Introduction

Bat out of Hell is the third best selling album of all time, behind Thriller and Back In Black, and here's why I think that might be...

I first heard the song Bat Out Of Hell eight years ago, when I was only ten, and didn't think that much to it. What I didn't realise however, was what I had heard on the free Daily Mail CD of Power Ballads, was an awfully watered down and pitifully edited four minute version of the song. I soon came to realise that Bat Out Of Hell was only to be listened to if you have the original edit, and ten minutes to spare, when my dad delved into his dusty record collection and cranked up the volume on his old player, just to prove that what I had listened to was not what Meat Loaf intended to be heard, and I quickly disposed of the god awful free CD.

So I sat and listened, and thought the song was over multiple times before it actually was, and I was greatly more impressed. But I'm one of those people who has to listen to the whole album, and I thank My lucky stars I did, because I have know idea what I would have done with just one Meat Loaf track on my iPod eight years down the line, as opposed to the 95 I currently have. This was the start of my obsession, the start of eight years of album collecting, biography reading, fan club joining, concert attending madness, about an artist that was a generation before my time, an obese, shouty, over excited Texan on the surface, but much more deep down, and in the earphones.

Mr. Loaf & Co

Bat Out Of Hell was Meat Loafs big break. Before it's release in 1977, he was largely unheard of, and only known in niche areas, for supporting more popular acts with his bands. However when he met songwriter Jim Steinman, all that changed. After touring with a bizarre sci-fi musical adaptation of Pater Pan, the two collaborated and ended up with the seven song album we know today, with three of the tracks heavily influenced by the aforementioned musical.

The album was then recorded with a host of pianists, backing singers, guitarists, drummers, saxophonists, co-vocalists, and a small orchestra. No expense spared then... and you sure can tell. This album is full on epic, and defined the entire genre of Rock Opera for years to come, not to mention becoming the birthplace of the term Wagnerian Rock.

The album was a huge hit, and Meat Loaf went on into a successful career, touring and releasing albums with an ever changing band, and working on more collaborations with Steinman, including the two sequel albums Bat Out Of Hell Two & Three. Meat Loafs later works include 'I Would Do Anything For Love' which reached number one in the UK, 'Dead Ringer For Love', and 'I'd Lie For You And That's The Truth', but mostly, he is remembered for his first main album, and the first track on it. They continue to tour to this day, despite Meat Loafs vocal chord operations and about 30 incidents of passing out on stage, which shows a real commitment to his music and fans.

The Songs

Bat Out Of Hell (9:51)

Where does one begin when describing this song. It's certainly the song everyone thinks of when they hear the words Meat Loaf, and whenever I tell people that I like him, whether they love or hate him they start singing. The lyrics are a mad romp through the dark and mysterious underbelly of a lovers mind (excuse the frivolous and pretentious language but I can't help it), telling the tale of how he lives in filth and squalor with the hope of breaking free from his sexual partner, which he does, on a motorbike, which then crashes, killing him in a blaze of fire and inexplicable poetry. It is essentially an anti-love song, which doesn't mean its against love in any way, quite the opposite, but it's written and accompanied in such a maniacal way that it leaves you thinking that it can't be about love, surely its about Hell and rock n roll and sexual perversion. Well personally I like to think it's about all of those things.

Musically, it just shouldn't work. It is technically appalling on paper, in fact many of the prospective producers of the album took one look at the chord arrangement of this track and dismissed it as drivel without even trying to listen to it. They were foolish however, as it does work, and it works in a way that gets you tapping your feet and nodding your head whatever mood you're in. The introduction (of nearly two minutes in length) is a masterpiece of guitar work on its own. Then arrives the piano, with unexpected elegance and grace, followed shortly by Mr. Loaf's voice, with fully expected throttle and menace. The power of the song continues to amaze me, its so fast paced for something not generated on a computer like the mulch in todays charts, and continues at full whack for ten minutes. I've seen it done live too, and it really takes it out on the Loaf, but he's still going after all these years so you cant knock him.

The main part of the song, that everyone hears in the crappy shortened versions, is the most fluid both musically and lyrically, the part that everyone knows the words to, and the backbone of the song. It's where the Bat Out Of Hell simile is first employed, at full volume and with tremendous impact. You really get a sense of the Meat Loaf's range, even this early on in the album, and it leaves you impatient to listen to more. The final third of the song is when the narrator crashes his bike, and is 'Lying at the bottom of a pit in the blazing sun', and he describes vividly how the last thing he sees is his heart breaking out and flying away... you guessed it: like a bat out of hell. This really is an all time classic rock song, and should only be listened to at full volume to do it justice.

You Took The Words Right Out Of My Mouth (Hot Summer Night) 5:04

This song starts with just dialogue, spoken by Meat Loaf and some random woman, about how loose she is basically. Well, I say that, but it's really very gothic and cult and wolf related which makes it not so tacky. Then the song begins. Apparently Meat begged Steinman to write him a song that wasn't 15 minutes long... even if it was a 'pop' style song. This travesty was avoided, thankfully, and we got a practically tiny 5 minute rock and roll anthem, thats quite satisfactory. Meat Loaf continues at full volume with this number, and his band still don't get to rest, as this song is full on in every respect. The story is of a young couple on a beach at night, as they both say the words 'I love you' for the first time. But not in a cheesy rom-com way, think more... Jaws.

Heaven Can Wait 4:41

This song is an absolute godsend for Meat Loaf's drummers and guitarists. Slow and steady piano and slow strings all the way through, and a taste of the Loaf's softer vocal side. This song is toughing and graceful, with just the right amount of religious mockery, exploring death, fear of death and the embracement of death as something for another day. It does feel a little out of place between two rock ballads, but performed live it provides a nice slow and restful interlude. This isn't one of the major memorable tracks on the album, but it does have its charms.

All Revved Up With No Place To Go 4:21

Back to top gear with a bang with this one. The song starts reasonably slowly but with a strong beat, and includes some great sax solo's, but about 40 seconds towards the end it explodes into a manic increase of tempo for the last chorus and no instrument is left wanting. I do like this song, but the ending is a bit much for my taste, and the song would be much better with a 'normal' finish in my opinion. The lyrics of this one are no masterpiece either, but I think the passion they are sung with, combined with the awesome sax solo's make up for this.

Two Out Of Three Ain't Bad) 5:26

This is definitely one of Meat's most popular songs from his discography. It is a slow ballad about a lover leaving his partner, saying in quite a pained way:

I want you, I need you,
But there ain't no way I'm ever gonna love you.

This song is emotional and for once the piano and strings aren't overwhelmed by drums and guitar, enhancing the sad mood. Meat Loaf really shows his vocal range and talent in this one, as with 'Heaven Can Wait', but I prefer this one myself as it has much more of a story to it. As I've said this is one of the more famous tracks from the album, and deservedly so in my opinion.

Paradise By The Dashboard Light 8:29

I can't listen to this song and not smile. I just can't. Its split into three parts, which might constitute separate songs on their own, and they are:

1. Paradise: The first part of the song has a typical rock 'n' roll feel about it, with the boys character (Meat Loaf obviously) setting the scene of sitting in his steamy car with his girlfriend. He seduces her with his words and they begin to kiss, prompting a radio announcer to step in, while the fumbling is going off :P

2. Radio & Let Me Sleep On It: We hear a simple baseline as an american football commentary/radio announcer describes what's happening as though it's a football match. This is a very funny little way of describing how the guy is fondling the girl as they kiss, and she eventually interrupts, forcing him to say that he'll love her forever. There is then a very funny section where he says he needs to sleep on it, but she persists. He finally caves, and at my favourite part of the song, where Meat Loaf hastily reels off the lyrics and it just seems perfectly in sync with the music and the mood.

3. Praying For The End Of Time: This is just the final minute or so of the song, where the boy, having told the girl he will love her till the end of time, switches into the present and says he's now 'praying for the end of time'. The song carries on at a fast pace but the volume decreases to the end.

This is one of my favourite tracks on the album, I find it funny, musically good and lyrically clever. It is 8 and a half minutes long though, but it really needs to be.

For Crying Out Loud 8:45

'For Crying Out Loud' is a very long, very slow, and very moving song to end the album on. It is a poetic eulogy written from one lover to another, who has left had enough of him and is thinking of leaving. He then goes on to spew his heart onto his sleeve in such a moving way that my aunt and uncle chose this song for their wedding day. It is piano led at the beginning, but strings take over a few minutes in and the song builds up enormously, utilising a full orchestra by about half way through. The chorus is repeated several times and the verses are enough to make a grown man weep, before winding down to the final stage of the song, where he reminds himself of everything the woman has given him and done for him, and effectively says he needs her to live, in short.

This song is enormous, and a classical masterpiece if nothing else, with a superb strings accompaniment. For me though, it's Meat Loaf's vocals and Steinman's lyrics that make it stand out for me so much. This is one of my personal faves, and in my opinion the perfect song to end such an epic album on.

The Cover

The cover art features an incredible painting by Richard Corben, of a motorbike ridden by a long haired guy bursting out of the ground in a graveyard, with an enormous bat sat on a mausoleum in the background. The cover was voted the 71st greatest album cover of all time. I think it really reflects the feel of the album, as epic, and a little godless.

Comparison To 'Sequels'

Following the success of the first album, Bat Out Of Hell II was released in 1993, under the name 'Back Into Hell'. It features 11 songs, and has a much more toned down feel compared with the first album. It kicks off with 'I Would Do Anything For Love (But I Wont Do That)', which became his first and only UK number one, and now lives on through excessive use as an X-Factor audition song. The other songs were nowhere near as popular though, but were very good in my opinion. I probably listen to this album more than Bat 1, because it's easier to find a mood that fits the songs.

Bat Out Of Hell III: The Monster Is Loose, came out in 2006, and I was at the front of the cue for this one :) Its 14 songs are perhaps just as disparate in style as Bat 1, but because there are more of them it doesn't seem as strange. There are about 5 full power songs on this one, and 4 slower more love-songy tracks. The rest are still good, but somewhere in between. This is another great album, with a lot of collaborations, such as with Queens Brian May and with Desmond Child helping out and producing the album. This wasn't an enormous success sales wise, but it still proves Meat has still got it in him.

Conclusion

Some people hate this album, and you may just be one of them, but nobody can possibly deny that an awful lot of effort went into its production, and that a star was truly born in Meat Loaf. Whether you find him vulgar and loud or excitable an engaging, I can pretty much guarantee that there is a song in his back catalogue that you'll love, and it's likely to be on this album. There is a lot of variation in song types on this album that a lot of people might get annoyed with, but I see it as a portfolio, showing (almost) everything Meat Loaf is capable of at the beginning of his career. In brief, I would recommend this album to anyone, and you are free to blame me if you hate it :P