Bat Out Of Hell Vol.2 (Back Into Hell) - Meat Loaf

Many musical influences are exerted, sometimes subconciously, during childhood. One major artist my father would constantly play in the car on long journeys was Meat Loaf.

One thing that stuck with me was the length and awesome brevity of the songs and albums. The way numerous instruments collided and bounced off each other to create an overblown, epic wall of sound and audio imagery.

As you may know, Meat Loaf emerged ...
...of Hell' album of 1977, which re-defined popular rock music. The story began when Jim Steinman, a multi-instrumentalist visionary, hooked up with a young heavyweight singer called Marvin Lee Aday, nicknamed Meat Loaf by his father, at an audition for a broadway musical piece written by Steinman in 1974.
Suddenly, Steinman realised that he had found the voice that could translate his vision of music into songs. After the magnificent 'Bat out ... more

Many musical influences are exerted, sometimes subconciously, during childhood. One major artist my father would constantly play in the car on long journeys was Meat Loaf.

One thing that stuck with me was the length and awesome brevity of the songs and albums. The way numerous instruments collided and bounced off each other to create an overblown, epic wall of sound and audio imagery.

As you may know, Meat Loaf emerged in the '70's, his crowning achievement being the 'Bat out of Hell' album of 1977, which re-defined popular rock music. The story began when Jim Steinman, a multi-instrumentalist visionary, hooked up with a young heavyweight singer called Marvin Lee Aday, nicknamed Meat Loaf by his father, at an audition for a broadway musical piece written by Steinman in 1974.
Suddenly, Steinman realised that he had found the voice that could translate his vision of music into songs. After the magnificent 'Bat out of Hell', Steinman provided Meat Loaf with 'Dead Ringer for Love' in 1981, but by the nineties, Meat Loaf had all but disappeared from most people's conciousness, until him and Steinman collaborated again in 1993.

Meat Loaf fans were clamouring for a 'sequel' to 'Bat out of Hell', and in 1993, they got their wish.

1. 'I'd do anything for love (but i won't do that)'
The 'comeback' single from Meat Loaf, this is a power ballad as only Steinman can write. Opening with guitars distorted to sound like a motorcycle revving (referencing the original 'Bat out of Hell'), we then cut into a twinkling piano melody that runs alongside drums, bass, and interjecting electric guitars. The song itself runs for over seven minutes, and is multi-layered and as epic as Steinman demands, but of course the single was edited. Like the re-released version of 'Bat out of Hell' (which preceded this album), the main cut was off of the dramatic introduction. With three completely different verse structures, a bridge, and a mushy chorus, this is just overblown, but fascinating. You revel in each new twist and turn, with pianos, synthesisers and guitars taking their turns at leading the drama. There is even a female duet towards the end, and background vocalists include Todd Rundgren! A breathlessly grandiose opener.

2. 'Life is a lemon and i want my money back'
Power drumming opens this inventive anthem, comparing life to a lousy car ('lemon'). Meat Loaf suitably alters from 'ballad vocals' to an angry, bitter yell of defiance against the constant injustice of life on the wrong side of the tracks. More multi-layered 'progressive rock 'n' roll' here, if there is such a thing. Highlights include a dark and irresistibly sleazy guitar riff, fantastic shredding, and massive background chants and vocals from, amongst others; Todd Rundgren again, Jim Steinman and Meat Loaf himself! A great tune to turn up loud when you are really p*ssed off, although it lasts for almost eight minutes!

3. 'Rock and roll dreams come through'
Another hit single, this is another grandiose ballad, aching but uplifting. Meat Loaf's vocals are fantastic, and there are some slightly corny and retro background 'ooh' and 'aah' style vocals from male and female mouths. Main instruments are piano and keyboard which tells you about the nature of the song, although there is a lovely but short saxophone solo in there too! Another excellent track that some may find a tad pretentious in places.

4. 'It just won't quit'
More multi-layered magic, with an eerie intro. created by synths and piano, and mellow vocals, which melt into rockier verses which build to a loud and uplifting chorus. Meat Loaf's chorus vocals are supplemented by Todd Rundgren and co. There is the obligatory 'ooh' and 'aah' male and female 'choir-like' backing. Many instruments again, for this song about the rather strange feeling called love......or infatuation...maybe. I don't know what it is, but it just won't quit!

5. 'Out of the frying pan (and into the fire)'
Great change of pace, with inventive guitars and twinkling keyboards guiding this in with energy to burn. Some mellow verses open, Meat Loaf on top form. After the first 'set' of verses, more guitars kick in for the next 'set', as well as background singers. The bridge builds, and we go into....no not a chorus, but a bizarre mellow 'second bridge' led by 'angelic' vocal backing. Then comes the addictive chorus, with background chants! Marvellous stuff, and those twinkling keyboards put a smile on your face as this superb track rolls on to more bridges and a final belting chorus that just has to be sung along to, endlessly, until the sweat-drenched, vocal-stretching climax from the big guy!

6. 'Objects in the rear view mirror may appear closer than they are'
A tear-jerking ballad about the bitter effects of a young friend dying, set mainly to haunting piano. This was also a single, and another song that relates an element of life back to a vehicle! This is a theme repeated through many of Steinman's songs. It is intense throughout, mellow verses, powerful bridges, and mellow and an aching chorus.
"But i can still recall the sting of tears when he was gone,
They said he crashed and burned,
I know i'll never learn why any boy should die so young"

7. 'Wasted Youth'
A dramatic spoken-word track from Mr Steinman, set to more dramatic programming effects. Cleverly referencing the opening line of former hit 'Paradise by the dashboard light' in his opening speech, Steinman tells of how he; 'once killed a boy with a Fender guitar'! Basically, this is a tongue-in-cheek ode to the power of music, or more particularly rock and roll!

8. 'Everything louder than everything else'
My personal favourite track, this continues the theme of the last track, with the same male voices chanting; "Wasted youth! Wasted youth!" pretty much constantly in the background. Led by riotous guitars, bass, drums and piano, this has more camp 'ooh' and 'aah' style male/female backing vocals during the verses that build to a rollicking bridge and supremely bellowed chorus from Meat Loaf and backing singers. The piano is particularly well utilised in parts, as this mass of individual sounds collide and merge together for a belting track, loud and irresistible to sing along to. The backing vocals do grate in places though. The track fades to a lonely 'marching' bagpipe blast.

9. 'Good girls go to heaven (bad girls go everywhere)'
Where do i start? A sleazy jazz sax opens, and in come funky drums and horns! Incredibly retro camp kitsch vocals follow, then a monstrous 'buzz-saw' guitar riff changes the direction completely, and the real song starts, led mainly by a simple and repetitive drum beat and keyboards. Meat Loaf belts out the relentless and uplifting vocals, interjected by that 'buzz-saw' guitar riff and pounding drums that fade quickly, as the song continues at pace, until the second chorus ends, and the instruments fly off into a different dimension, playing solos and signatures far removed from the previous melody. Just before this interlude ends, we get another distant blast of 'that riff' with icy keyboards, then it's straight back to the verses. After the next chorus, another blast of that riff, before the chorus bellows back in, then fades out. Phew!

10. 'Back into Hell'
A fantastic instrumental piece, with apparently all instruments played and programmed by Jeff Bova. Remember 'that riff', heard on and off through the last track? Well, it appears here again, but cleverly is played on numerous instruments. This gives the bizarre idea that a group of musicians are fighting to outdo each other! Elsewhere, the numerous synths, keyboards, pianos, guitars and programming gizmos weave other mysterious musical spells, with the song rising and falling dramatically until the sudden end. Nicely devious, with a definite sense of foreboding.

11. 'Lost boys and golden girls'
A typical Steinman end track, epic and soothing in equal measure. The intro., and some of Meat Loaf's vocals, recall the original 'Bat out of Hell' album. Strangely enough, no discernible percussion here, but it is all the more of a stand-out track because of it. Great lyrics, this is a wistful and very pleasant ending to a dramatic and magnificently pompous album.
"We'll never be as young as we are right now"

So there. Demonstrates the genius of Steinman, the power of Meat Loaf, and the value of various instruments to the mix of sound. Some may find the camp backing vocals a tad hard to swallow, but it is a guilty pleasure! Also, look out for the magnificent sleeve art contained within, by Michael Whelan. A quality release that should be affordable at all good record stores, and/or e-bay. Enjoy! 

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