Meat Loaf - Bat Out of Hell

File under: TLDR

Note to the reader. First sorry, second not really, but I am sorry I don't have the ability to edit. Oh happy Valentine's day.  To celebrate let's take a gander at Meat Loaf's 1977 Bat Out of Hell.

Over forty three million people disagree with me but for decades I thought this album was, and continues to be, one giant disappointment. I'll be the first to admit that despite decades of baggage the overwhelming power of nostalgia managed to erode even the hardest of convictions and I found that Bat Out of Hell was one of those albums I wanted to have in my collection, but I wasn't looking all that hard. It was an album I knew more about than I actually knew about. So at this moment in time I'm still holding firm on my long held opinion.

But before I get into things, it's time for some meanderambling blurbage ... I remember seeing the cover when I was a kid and thinking it was the single greatest cover I had ever seen. What wonders were to be heard, and what kind of name was Meat Loaf? Goodness gracious was this a wink and a nod to Alice from The Brady Bunch who loved meatloaf? 

This was an album that spread through the kids at school through word of mouth as Lord knows our little shitty radio station in Northern British Columbia was sketchy at best, although every so often something good would come on. All the cool kids seemed to have it, which gave it a little credibility, mainly because I was a tall skinny kid who wore flood pants and always felt out of step, and if I could be part of something by extension I was at least in on it - except I never got in on this one. Such is the life of the awkward outsider.

It was my junior high art class that was a haven, and Mr. Woodruff had set up a stereo and allowed us to play music. The small collection that seemed to always be there included Hotel California, Doucette's debut, and Bat Out of Hell. There were others but when Hotel California wasn't playing there always seemed to be an argument over what to play next.

Bat Out of Hell didn't make much of an impression. It was more "What is this?" It wasn't rock and roll, it was a goofy album that seemed like the soundtrack to an old radio play, or worse inspired by Grease (the stage production) but through '78 the album was going strong and Grease the movie was a big deal, and along with Bat Out of Hell seemed to be part of a weird one two punch that connected with kids. The song "Two Out of Three Ain't Bad" was a love song? Don't get me started on ""Paradise by the Dashboard Light" a song so horrifically bad that it took decades ... DECADES ... to be able to hear it without looking for a paper bag. 

When Meat Loaf passed away a couple of years ago, it was the end of an era. I mean love him or hate him the guy was a great singer and you have to give props where props are due ... but I didn't run out and look for Bat Out of Hell, or hold a vigil and listen to his music. 

It was a couple of months ago I stumbled onto a copy of the album. It wasn't expensive and I figured my wife would like this, as she loves "Paradise by the Dashboard Light" and has it on her playlist of favourite songs. I'll admit (begrudgingly) that I've actually softened to the point where I almost enjoy hearing him pray for the end of time, where before I was praying right along with him hoping the song would end.

The album was in decent shape, and the liner notes were still there. I figured it was time to put on my big boy pants and give this an honest listen and see what all the fuss was about. So here I go I'm getting the liner notes and I'm going to sit and listen and read along and see what happens. Now, I have to say I'm actually looking forward to spending time with this one. Full disclosure as a chaser before I found this one I had actually snagged Jim Steinman's aborted followup to Bat Out of Hell, that became his 1980 solo album Bad for Good and found myself really enjoying it.

Anyways enough of the jibber jabber, let's get at 'er.

The album opens with "Bat Out of Hell" and the songs opens with a wicked sonic barrage. Maybe it's because I really want to like this, or I'm older and wiser, but this is awesome. Whatever the reason, this was huge sounding, and Todd Rundgren's guitar was front and centre and Max Weinberg's drums were solid. Roy Bittan's piano arrangement was spot on. Of course when the theatrics start, it doesn't matter. The song clocked in at close to ten minutes and there were no wasted notes. The stage was set and frankly it's not like I'm coming into this cold without any baggage. I've heard many of these songs so I cannot pretend I'm sitting here reacting for the first time.

I can say though this is the first time I've really spent time with the credits, and I'm actually having my mind blown. This was 1977, and while glam was over, and disco was the rage it wasn't like rock and roll was dead. What Jim Steinman and Meat Loaf conceived and deliciously executed by guitarist and producer / engineer Todd Rundgren and the marriage of genres and styles that blurred the lines between theatrics and rock was pretty astounding.

By the time the opening dialogue accompanies "You Took the Words Right Out of My Mouth" it doesn't feel weird, it's just the next song. Ellen Foley was a big part of what made some of the songs tick. Heck, I do remember her from the first season of Night Court. 

"Heaven Can Wait" not to be confused with Warren Beatty's 1978 movie, was a traditional ballad with Roy Bittan on piano and a string arrangement. It's a nice piece of music, and would have fitted with the movie. I guess Mr. Beatty didn't want to pay to license the song.

The first side closes out with "All Revved Up With No Place to Go" which features some great sax work by none other than Edgar Winter. The song is a fun little romp that hearkens to an earlier time and seemed content to cruise along, until the coda at the end when suddenly the song is literally all revved up with no place to go except into the dead wax. It's funny how this changed how I felt about the song.

So far, I'm having a lot of fun, and it's a push me pull you feeling as decades of ambivalence are met with the reality that this album was actually really good. One of the contributing factors was the era and what I was exposed to at the time and within my inner circle this album wasn't a big deal.

The second side is the one I'm more familiar with. "Two Out of Three Ain't Bad" and it was enough of a hit that I remember hearing it ... and dismissing it. The song still doesn't do much for me, but then again ballads are hit and miss. There's just something overly generic about their structure and while some hit me in the feels others are just ... meh. 

Finally we get to the centrepiece of the entire album, "Paradise By The Dashboard Light" - When I was a young teen this song just did not fit into my world. I had no idea what to do with this ... so I mocked what I didn't understand. Boy did I ever cement my derision as it took decades for me to unpack all of the vitriol I'd associated with this one song. I mean it wasn't a passive reaction, I literally hated the song. Which makes it all the weirder when I sing along now, there's a 14 year old boy inside me who is disgusted at the man he became.

The album closes with a song I just can't get into to, I'm too lazy to even write out the name. It's not for a lack of trying, both on my part and that of the band. It's a huge sounding song, complete with an orchestra. It's a big swing for the fences, and I suspect there are those who love it ... for me it was a whiff and a miss. For a guy who sang about two out of three not being bad, hitting six out of seven is a hall of fame batting average.

Oh don't get me wrong, I liked this a lot more than I expected but this will never be one of my favorite albums. It is, however, an album that I had sorely misjudged and one I've really enjoyed getting to know.