Skip to main content

Bat Out Of Hell – Meat Loaf



Year Released: 1977

Label: Cleveland International, Epic

Year Bought: 2024

I DON'T CARE.

I know it's not cool or credible, but I DON'T CARE. 

I LOVE THIS ALBUM.

It's camp, ridiculous, over-the-top, pretentious – all the things I love.

Rescued from the embers of a musical about Peter Pan (although this album was later turned into a musical), Jim Steinman wrote the songs, while Meat Loaf delivered the vocals.

Numerous labels turned the album down - with many believing it only worked as a performance piece, with the heavy-set presence of Meat Loaf a captivating spectacle.

Eventually released by Cleveland International - a subsidiary of Epic - Bat Out Of Hell found popularity in the UK and Australia before the US, but now it's one of the best-selling albums of all time.

A mix of rock songs and ballads, much of the record is like a campier version of a Bruce Springsteen album – just listen to that saxophone on 'All Revved Up With No Place To Go'.

This album is full of the classic US rock topics - small town frustration, broken hearts, motorbikes, Levi jeans.

I just think it's great. Everything is so committed to. No punches are pulled. 

'Two Out Of Three Ain't Bad' is a 'it's not you, it's me' song for the ages. 'You Took The Words Right Out of Mouth' has one of the great rock intros - and chorus lyrics.

As befitting the music, Steinman and Meat Loaf's relationship descended into bickering, legal wrangles, repeated reunions, more break ups, over the years. They made some great songs together after this, but 'Bat Out Of Hell' is the only truly great album the partnership produced.

You might hate it, but you'll know it, and after few beers you'll sing along to it - and two out of three ain't bad.

10/10

Comments

Popular posts from this blog

Franz Ferdinand – Franz Ferdinand

Year Released: 2004 Label: Domino Year Bought: 2004 January 2004. I'd just quit uni. Was back at the family home in Bishop's Stortford. The place I'd been so desperate to get away from, and I was back and already bored.  And then things got a bit less boring. I remember this so clearly. I was having a shower and the radio was on, and on came 'Take Me Out'. I couldn't believe what I was hearing. At first I thought it must be an old tune that had passed me by, but no, it was announced as a new song by a band called Franz Ferdinand. It sounded glorious. It sounded interesting. After the staleness of the post-Britpop years, and beigeness of Coldplay, Travis et al, there was actually a British band doing something interesting. I loved it, and when the album came out the next month, I gobbled it up with glee. Listening back now, and I still love it. The hushed opening of 'Jacqueline', the sleaze of 'The Dark of the Matinee', the homoeroticism of 'M...

NME Awards 2004 - Various Artists

  Released: 2004 Label: NME When I bought: 2004 In ye olde days before streaming, and even YouTube, it wasn't possible to hear within a matter of moments pretty much every song ever released. Therefore, compilations like this by the NME actually had a degree of value. Take 'Paperbag Writer' by Radiohead, a b-side from 'There There', the lead single from 2003's Hail to the Thief. I bought the album but not the single, so I'd never heard this tune. It's a brilliant track, with its electronic shuffle beat and muffled vocals making it sound like a left over from Kid A, or the starting point for Thom Yorke's debut solo album which would be released the following year. Likewise, 'See You Soon' by Coldplay. A true delight from a 1999 EP, with delicate guitar playing, scarce production, and honest vocal delivery. It's a reminder that once upon a time Chris Martin et al were able to operate with that oft-neglected trait: restraint. As a snapshot o...

The Good, The Bad & The Queen - The Good, The Bad & The Queen

  Released: 2007 Label: Parlophone,  Honest Jon's When I bought: 2007 Damon Albarn plus Paul Simonon from The Clash plus Simon Tonge from The Verve plus Tony Allen who helped create the Afrobeat genre. A pretty strong 'supergroup'. I listened to this album perhaps twice when I bought it in 2007 and remember being really bored by it.  Now I'm older, greyer and generally less angry at the world, would a re-listen spark joy? No. Urgh. This album is just so dull. First of all, the mix is terrible. I get that when you have the bass player from The Clash you want to hear him, but the bass just dominates the sound.  As a result, Albarn's vocals are buried for much of the album, and the melodies aren't strong enough to hold the attention. The album is primarily led by piano and acoustic guitar, and Albarn is trying his full 'I'm an authentic geezer' act, but it feels likes no one is really pushing themselves. This album was adored by critics at the time. I d...