In this article, we embark on a melodic journey through the illustrious career of Gladys Knight, as we celebrate the top 10 best songs that have defined her as one of the greatest voices in the history of music.įrom her early days with The Pips to her solo success, Gladys Knight has enchanted audiences with her rich, soulful tones and emotional depth. With a career that has spanned from the early days of Motown to the modern era of R&B and soul, she has consistently delivered hit after hit, earning her a hallowed place in the pantheon of musical legends. I was unable to find anybody else who’d bothered to write about it, and it doesn’t seem to even have been reprinted.Gladys Knight, often referred to as the “Empress of Soul,” has graced the music industry with her extraordinary talent, timeless voice, and unparalleled charisma for over six decades. Overall, except for the storytelling, it’s excellent. Overall, though, excellent for fan of Licence to Kill! It feels more like an artistic review rather than a complete retelling. If you’ve seen the film(or read John Gardener’s novelezation), you will understand what’s going on, but if you’re a newcomer, you will not understand anything, as the story jumps around too quickly, leaving very important plot translations and details. The only negative I can give is the storytelling. It’s an annoying read.Īnd then we get two pages from the British editor Dick Hansom (who, I’m guessing, is the one who managed to trick the people who own the Bond films to give Acme/Eclipse the rights for the comics adaptation) about how great Dalton is.Ī reader on Amazon gives it five stars and says: I think Grell tried to get all the scenes from the movie into this 46 page comic book, and gives us four panels of Hong Kong cops before they’re somehow killed. There’s no tension, no interesting characterisation, no fun, and nothing makes much sense. Reading this book is as entertaining as reading the Wikipedia recap of the plot. I don’t remember the Bond villains’ bon mots being this bad, either, but that might just be the fever talking.īond’s face transmogrifies every other panel into some other character, making it hard to follow sometimes.īut for one, glorious panel during this random walk through facial features, one of the artists manages to draw a face that almost resembles Timothy Dalton! What are the chances! Above Bond jumps from a helicopter and ties a wire around a prop plane’s tail, and that’s a fun scene in the film. Now, I was out with a cold some months back, and I watched a lot of Bond films while feverish, but I do remember this film, and I think that if I hadn’t, I would have been able to guess what’s supposed to be exciting and not. While Yeates and Woch are both pretty good action/adventure artists, Grell’s adaptation (whatever he did) is painful to read. For a minute I was wondering perhaps whether he wasn’t even cast when they drew the book, so they just had to draw a generic Bond-like person, but, no, this is Dalton’s second book. Nobody involved knows how to draw Timothy Dalton. So he watched the film and then did the layouts, and then left his minions to finish the book? That one wasn’t a complete failure, so I had some expectations for this one.īut… it turns out that the only thing Grell did on this was the breakdowns. If I have my chronology right (and I may very well not have), Mike Grell had published the first issue of his own Bond story, Permission to Die, before this adaptation of the current Bond film was released. They’re not underselling that it’s an official Bond adaptation, exactly. Man! That’s the most 007 cover of a comics album ever. James Bond 007: Licence to Kill (1989) by Mike Grell, Richard Ashford, Chuck Austen, Tom Yeates, Stan Woch et al.
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