Meat Loaf - Welcome to the Neighbourhood

1 Where the Rubber Meets the Road 4:57 Paul Jacobs / Sarah Durkee
2 I’d Lie for You (And That’s the Truth) 6:41 Diane Warren
3 Original Sin 5:56 Jim Steinman
4 45 Seconds of Ecstasy 1:06 Martha Minter Bailey
5 Runnin’ for the Red Light (I Gotta Life) 3:59 Harry Vanda / George Young / Patti Russo / Meat Loaf / Sarah Durkee
6 Fiesta de las Almas Perdidas 1:27 Jeff Bova
7 Left in the Dark 7:13 Jim Steinman
8 Not a Dry Eye in the House 5:54 Diane Warren
9 Amnesty Is Granted 6:09 Sammy Hagar
10 If This Is the Last Kiss (Let’s Make It Last All Night) 4:34 Diane Warren
11 Martha 4:40 Tom Waits
12 Where Angels Sing 6:09 Steven Allen Davis

Produced by Ron Nevison except
† Produced by Sammy Hagar, Steven Van Zandt and Ron Nevinson
‡ Produced by Meat Loaf and Ron Nevinson
Engineered by Ron Nevinson, Larry Alexander and Ben Fowler
Mixed by Mike Shipley
Additional Engineering: Jay Healy, Dan Gellert
Assistants: Barbara Lipke, Jen Monnar, Chad Munsey, Scott Austin, Robert Smith, Rory Romano
Recorded at Power Station (NY), Right Track (NY), A&M (LA)
Mixed at Right Track (NY) and A&M Studios (LA)
Mastered by Greg Calbi, Masterdisc Inc, NYC
Post Production by Randy Nicklaus

Management: Allen Kovac, Jeff Sydney, Tommy Manzi for Left Bank Management
Business Management: Bernie Gilhuly and Anthony Lipman for Tribe Management • Bill Prescott for Grill, Gilhuly, Prescott & Co.
Legal: Gary Stiffelman, Esq, for Ziffren, Brittenham, Branca & Fischer • Charles Ortner Esq, for Paul, Hastings, Jenofsky & Walker • Don Engel Esq, for Engel & Engel

Recording Coordination: Rick Fagan; Mark Sullivan for Tribe Management & Carol Peters for Left Bank Management

Front Cover Art: Ricky DiTommaso
Back Cover Art: Rafael DeSoto
Martha Art: Ricky DiTommaso
Additional Artwork Supplied by Ira Resnick, Elaina Wahl and Joe Veutis at Motion Picture Arts Gallery, NYC; Jack Devere for the Fighting Ranger; Steve Kennedy for the True Detective
Photography: Norman Watson
Art Coordination & Direction: Joe Pearson, Vartan, Andy Dowsett
Layout & Artwork: Hills Archer Inc.
US Edition Line Illustration: Alan Redulfin
US Edition Design: Cimarron/Bacon/O’Brien

A very special thanks to Jim Steinman for all of his cooperation, support and contributions in the making of this record

The Band: Meat Loaf • Steve Buslowe: Musical Director, Bass Guitar & Background Vocals • Kasim Sulton: Rhythm Guitar, Keyboards, Background Vocals • Pat Thrall: Lead Guitar • Mark Alexander: Piano, Keyboards • John Miceli: Additonal Drums, Percussion • Patti Russo: Lead Background Vocals • Pearl Aday: Background Vocals.

Background Vocals Arranged by Kasim Sulton and Rory Dodd

Curtis King: Background Vocals
Rory Dodd: Background Vocals

Touring Staff: Craig Evans: Tour Management • Rock Fagan: Tour Management • Alan Hornall: Production Manager • John “JT” Thomson: Tour Manager • Eric Anderson: Drum Technician/Crew Chief • Billy Sheldon: Lighting Designer/Director • George Wehrlin: Front of House Engineer • Kevin Pruce: Monitor Engineer • Peter "Bear" Barna: Stage Carpenter • Andrea Donnelly: Wardrobe • Yik Wong: Guitar Technician • Tony Roan: Guitar Technician • Rick Huber: Keyboard/Piano Technician • Norman Gomes: Head Rigger • Arthur “Torch” Russo: Rigger • Booking Agencies: Rob Light, CAA, Los Angeles • Jonathan Levine, Artists & Audience, New York • John Giddings, SOLO-IGT Agency, London • Travel Agencies: Travel Concepts World Wide (LA) • Blonder Travel (LA) • Happy Holidays Travel (Norwalk, CT) • Tour Coordinator: Mark Sulivan and Paul Leighton for Tribe Management • Randy Garelick and Mick Angus for Left Bank Management • Merchandising: Winterland, 100 Harrison Street, 4th Floor, San Francisco, CA 94101 • US/UK Touring Vendors: Sound Company: Eight Day Sound • Lighting Companies: Creative Stage & Lighting/NEG Earth Lighting • Trucking Companies: Upstaging Inc./‌ Edwin Shirley Trucking • Bussing Companies: Florida Custom Coach/Phoenix Bussing Service • Pyro Company: Luna Tech Inc.

The band wishes to thank: Greg Romanl at D’Addario, Modulus Graphite, Lennie Di Muzio, John De Christopher and John King at Zildjan Cymbals, John Barrie Dyke and Oliver Link at Sonor Drums, Ken Parker at Parker Guitars, Washburn Guitars, Frank Sheehan at Hammond Suzuki USA, Vic Firth, Larry Hartke at Hartke System.

Special Thanks to Jim Fifield, Ken Berry, Nancy Berry Paul Conroy, Ray Cooper and Charlie Dimont and everone at Virgin Records, Al Teller, Richard Palmese, Randy Miller, Mark Gorlick and Gina Iorillo, Jane Buslowe, Zoe Thrall, Janet Alexander, Eve and Anna Miceli, Laurie, Alexandra, Karik and Kassandra Sulton, Siro Pagliaro, Lewis Kovac, Laure Dunham &, Randy Nicklaus, Ed Thomas, Holly Browde, and everyone at The Left Bank Organisation, Debbie Tymon at Yankee Stadium, Bill Mahr, Hank Gallo and Hillary Kun at Politically Incorrect, Boomer Esiason, Debbie Bledsloe, Warren Moon, Matt Bahr, Dennis Haysbort, Daniel Baldwin, Bernie Kosar Sr., Andy Noch, Beth Rahill, New York Yankees, Nikki Sixx, Artie Smith, Mike Mascolo at International Pinball, Russ Gill and The Hollywood Allstars, Warren Cuccurulo, Jodi Geiger Davis, Hohn Blankert at NFL Hall of Fame, Bobby Mercer, Dave Cohen, Al Troutwig, and Jim Katt at the Play by Play, Michael Kay and John Sterling at Yankee Radio, Butch the Umpire, The 1995 Entertainment League Division Champs: Danny, Jack, Chris, Jeff, DL, Rick, Meat, Vinnie, Johnny, Steve, Billy, Carl, Buff and Curt, Also, Don Kohler and the Broadway Show League.

Plus: True Alternative — Amanda Aday • Extra Mom — Mimi Sokol • Auction Partner — Amy Kovac • Fireworks Committe — Terry and Gail Coen • Hall of Fame — Phil “Scooter” Rizzuto • Best Actor in an Astronaut Movie — Brett Cullen • Best Actress in an Astronaut Movi — Michelle Little • Baby — Harper Cullen • Hair and Make-up — Catherine Furniss • Still the Throat Guy — Dr, Lane • And Other Parts — Dr, Rogers • Baseball Manager — Dan Hecht • Softball Manager — Curt Chaplin • Best Catcher/Pitcher — Yogi Berra and Whitey Ford • The Godfather — Earl Shuman • Always Ruins Everything & Costs Too Much — Darren Hennault and Mark Finley • Never Hits His Thumb — Master Carpenter Jack • Fine Arts Director — George Read • Coat Keeper — Sharon Tapper • The Best — Harley & Maria Medcalf • Everyone Knows — Ira Resnik • Puts Up With, Never Shuts Up — Zoe Thrall • Best Ball Guys — Don Mattingley, Pat Kelly, Wade Boggs, Jim Leyritz and Kirby Puckett • Autograph Club — Tony “Goose” Siragusa, Dan Marino, Jim Kelly, Darrell Talley, Bernie Kosar, Jack Trudeau, Bruce Smith

SUPPORT: Tibet House, an organization dedicated to the unique culture of the Tibetan people which has the potential to make a valuable contribution to the world at large: 241 East 32ns St., NY, NY 10016 • Also: War Child, 7/12 Greenland Street, London NW1 0ND

For more information write: Meat Loaf, The Left Bank Organization, 6255 Sunset Blvd., #1111, Los Angeles, CA 90028

Better Than A Fan Club! The Meat Loaf Line: 1-900-4MT-LOAF
For all information updated daily & personally ($1.99 per minute)

In memory of Ol’ number 7
May Peace Prevail on Earth!
Politically Incorrect is the ONLY way!

Get AMP’d: MCA Records Online: http://www.mca.com/mca_records

A Web Of Lies And That’s The Truth: http://www.meatloaf.mca.com

Japanese Edition — bonus tracks

13 I’d Do Anything for Love (But I Won’t Do That) (live) 5:27 Jim Steinman
14 Bat Out of Hell (live) 11:03 Jim Steinman

I’d Do Anything for Love (But I Won’t Do That)
Recorded live in New York City, 1993
Recorded by Kooster McAllister/Mixed and Engineered by Randy Nicklaus
Produced by Meat Loaf and The Neverland Express

Bat Out of Hell
Published by Edward B. Marks Music Company
Recorded live in London, Wembley Arena-March 1994
Engineered by David Thoener / Mixed by Randy Nicklaus

Collectors Edition 2011

Disc One: Studio Recordings — Bonus Tracks
1.13 Come Together 3:17 John Lennon / Paul McCartney
1.14 Let It Be 2:27 John Lennon / Paul McCartney
1.15 Oh, What a Beautiful Morning 3:04 Richard Rogers / Oscar Hammerstein II
1.16 Is Nothing Sacred (feat, Patti Russo) 5:37 Jim Steinman / Don Black
Disc Two: Bonus Tracks (Live In Concert)
2.01 Life Is a Lemon and I Want My Money Back 7:59 Jim Steinman
2.02 Where the Rubber Meets the Road 5:40 Paul Jacobs / Sarah Durkee
2.03 I’d Lie for You (And That’s the Truth) 7:17 Diane Warren
2.04 Amnesty is Granted 5:50 Sammy Hagar
2.05 You Took the Words Right Out of My Mouth (Hot Summer Night) 9:13 Jim Steinman
2.06 All Revved Up With No Place to Go 6:48 Jim Steinman
2.07 Dead Ringer for Love 4:30 Jim Steinman
2.08 I’d Do Anything for Love (But I Won’t Do That) 5:29 Jim Steinman
2.09 Runnin’ for the Red Light (I Gotta Life) (album version) 3:58 Harry Vanda / George Young / Patti Russo / Meat Loaf / Sarah Durkee
2.10 Midnight at the Lost and Found 4:58 Steve Buslowe / Paul Christie / Meat Loaf / Dan Peyronel
2.11 Whatever Happened to Saturday Night? 3:15 Richard O’Brien
2.12 Bat Out of Hell 11:58 Jim Steinman
Disc Three: DVD Video
Promo Videos
  1. I’d Lie for You (And That’s the Truth)
  2. Not a Dry Eye in the House
BBC TV Top of the Pops Appearances
  1. I’d Lie for You (And That’s the Truth) — 12 October 1996
  2. Not a Dry Eye in the House — 1st February 1996
Interview with Meat Loaf
Meat Loaf discusses the making of Welcome to the Neighbourhood

2011 Edition Credits
Research and R&D for Virgin Records: Hugh Gilmour with thanks to Nigel Reeve & Jason Day
Product Manager: Helen Owens
Remastered by Andy Pearce
DVD authored by Meedja, London
Liner Notes: Geoff Barton

Disc One tracks 13 & 14 b-sides of Not a Dry Eye in the House.
—Produced by Meat Loaf and the Neverland Express, Engineered and Mixed by Ben Fowler, As heard on Nightline/ABC Network USA.
Disc One track 15 b-side of I’d Lie for You (And That’s the Truth).
—Produced by Ron Nevinson, Mixed by Mike Shipley.
Disc One track 16 single a-side, 1999.
—Produced by Meat Loaf and Kasim Sulton, in association with Jeff Bova, Frank Filipetti and Russ Titelman, Mixed by Frank Filepetti.
Disc Two tracks 1, 4, 6, 7 & 10 b-side of Runnin’ for the Red Light (I Gotta Life)
Disc Two tracks 2 & 3 b-side of Not a Dry Eye in the House
Disc Two tracks 5 and 12 previously unreleased on CD
—Produced by Meat Loaf and the Neverland Express, Engineered and Mixed by Ben Fowler, Recorded live at The Beacon Theater, NY, October 1995
Disc Two track 8 b-side of I’d Lie for You (And That’s the Truth).
—Produced by David Thoener and Meat Loaf, Engineered by Dave Thoener, Mixed by Randy Nicklaus, Recorded live in New York City, 1993
Disc Two track 11 b-side of I’d Lie for You (And That’s the Truth).
—Recorded live in Tallahasse, FL, 1989.

Label Cat.No. F. Y. C. Notes
1 Virgin V 2799 2LP 1995 UK "Neighbourhood"
2 Virgin CDV 2799 CD 1995 UK "Neighbourhood"
3 Virgin VJCP 25199 CD 1995 JP "Neighbourhood", bonus tracks, OBI strip + lyric sheet
4 MCA MCSSD-11341 CD 1995 USA "Neighbourhood"
4 Virgin CDVX 2799 2CD+DVD 2011 EU "Neighbourhood", Collectors Edition

Where the Rubber Meets the Road

Somewhere some girl is crazy
And some boy’s half out of his head
Somewhere somebody’s fearless
And someone won’t wind up dead

Somewhere two hearts are pounding
And they don’t care what’s correct
Somewhere somebody’s fallin’ in love
Without a background check…

Son, I’m Mister P.C., believe you and me
I’m the ultimate king of correct
And if you wanna make it you gotta make her take it
As a sign of your deep respect

If you’re gonna do it you gotta see through it
To the heavenly trust that it is
Then you can call her a slut and you can call her a slave
Just remember to call her ‘Miss’…

Where the rubber meets the road
Welcome to protection mode
‘Used to be sex’ was a fine hello
Now the rubber meets the road

Ya say ‘Girl, you are a beauty’ but I’m no beast
I got a little contract right here
See, you can slam on the brakes anytime you got the stick
Even if we’re in fourth gear

Cop in the front seat, lawyer in the back seat
Get it on videotape
Got a shrink in the bed, Lord, sittin’ on the headboard
Swearin’ that we both got raped…

Where the rubber meets the road
Welcome to protection mode
‘Used to be sex’ was a fine hello
Now the rubber meets the road

Where the rubber meets the road
Boy meets girl then watch it explode
Yes means no means yes means no
Where the rubber meets the road!

Somewhere some girl is crazy
And some boy’s half out of his head
Somewhere somebody’s fearless
And someone won’t wind up dead

Somewhere two hearts are pounding
And they don’t care what’s correct
Somewhere somebody’s fallin’ in love
Without a background check
Somewhere somebody’s fallin’ in love
Without a background check....

Where the rubber meets the road
Welcome to protection mode
‘Used to be sex’ was a fine hello
Now the rubber meets the road

Where the rubber meets the road
Boy meets girl then watch it explode
Yes means no means yes means no
Where the rubber meets the road!

Where the rubber meets the road
Welcome to protection mode
‘Used to be sex’ was a fine hello
Now the rubber meets the road

Where the rubber meets the road
Boy meets girl then watch it explode
Yes means no means yes means no
Yes means no means yes means no
Yes means no means yes means no
Where the rubber meets the road!
Where the rubber meets the road!

Somewhere some girl is crazy
And some boy’s half out of his head
Somewhere there’s just the moment
Where it all remains unsaid

Somewhere two hearts are pounding
And they don’t care what’s correct
Somewhere somebody’s fallin’ in love....

Written by Paul Jacobs and Sarah Durkee
© 1995 King Dog Music / Jive Durkee (ASCAP)

I’d Lie for You (And That’s the Truth)

Boy: I’d never tell you one lie, I’d never let you down
I’d never leave, I’d be the one who’d always be around
Girl:Baby give me a chance…

Boy: I’d pull the sun down from the sky to light your darkest night
I wouldn’t let one drop of rain fall down into your life
Girl:Put your heart in my hands…

Boy: Baby, believe me I could never do you wrong
And I would never paint your world blue
And if sometimes it seems I must have lost my mind
I might be crazy—but I’m crazy ‘bout you

Both: I’d lie for you and that’s the truth
Do anything you asked me to
I’d even sell my soul for you
I do it all for you—if you just believe in me

Boy: Just take a look in my eyes, you’ll see a love that’s blind
Just take a hold of my hand and I’ll take you to paradise
Girl:Ain’t a star that’s to far…

Boy: Your every wish will be a wish that I will make come through
And if you want the moon, I swear: I’ll bring it down for you
Girl:Let me into your heart…

Girl: Believe me, baby, got your name carved on my soul
‘Cause you’re the only one that I’ll give it to
Boy: Go let ‘em say that I’m a fool to act this way
‘Cause if I’m crazy—I’m just crazy ‘bout you

Both: I’d lie for you and that’s the truth
Do anything you asked me to
I’d even sell my soul for you
I do it all for you—if you just believe in me

I’d lie for you and that’s the truth
Move mountains if you want me to
I’d walk across the fire for you
I’d walk on the wild for you—if you just believe in me

Girl: And you’ll never see a day I’ll ever break your heart
You’ll see the sky fall down before it ever gets that far
Boy: I’ll show you heaven ev’ry second that you’re in my arms
Baby I’m crazy—but I’m crazy ‘bout you....

Both: I’d lie for you and that’s the truth
Move mountains if you want me to
I’d walk across the fire for you
I’d walk on the wild for you, if you just believe in me

Boy:I’d walk across the wild for you
Girl:Move mountains if you want me to
Boy:I’d walk across the fire for you
Girl:Do anything you asked me to

Both: I’d lie for you—and that’s the truth
Do anything you asked me to
I’d even sell my soul for you
I do it all for you—if you just believe in me

I’d lie for you and that’s the truth
Move mountains if you want me to
I’d walk across the fire for you
I’d walk on the wild for you—if you just believe in me....

Boy:I’d lie for you and that’s the truth....

Music and Lyrics by Diane Warren
© 1995 Realsongs (ASCAP)

Original Sin

I’ve been looking for an original sin
One with a twist and a bit of a spin
And since I’ve done all the old ones
‘Till they’ve all been done in
Now I’m just looking—then I’m gone with the wind
Endlessly searching for an original sin…

You can dance forever, you got a fire in your feet
But will it ever be enough? You know that it’ll never be enough!
You can fly and never land and never need to sleep
But will it ever be enough? You know that it’ll never be enough!

It’s not enough to make the nightmares go away
Not enough to make the tears run dry
Not enough to live a little better every day

Everything that they taught us was nothing but lies
Everything that they brought us was nothing but bribes
(but it’ll all be over now)

All I wanted was a piece of the night
I never got an equal share
When the stars are out of sight and the moon is down
The natives are so restless tonight…

I’ve been looking for an original sin
One with a twist and a bit of a spin
And since I’ve done all the old ones
‘Till they’ve all been done in
Now I’m just looking—then I’m gone with the wind
Endlessly searching for an original sin…

You can loose yourself in pleasure ‘till your body’s going numb
But will it ever be enough? You know that it’ll never be enough!
You can always take whatever you conceivably could want
But will it ever be enough? You know that it’ll never be enough!

It’s not enough to make the nightmares go away
Not enough to make the tears run dry
Not enough to live a little better every day

Everything that they taught us was nothing but lies
Everything that they brought us was nothing but bribes
(but the lies are over now)

All I wanted was a piece of the night
I never got an equal share
When the stars are out of sight and the moon is down
The natives are so restless tonight…

I’ve been looking for an original sin
One with a twist and a bit of a spin
And since I’ve done all the old ones
‘Till they’ve all been done in
Now I’m just looking for an original sin…

I’ve been looking for the ultimate crime
Infinite victims, infinitesimal time
And I’m so very guilty for no reason or rhyme
Now I’m just looking and I’m killing some time
Endlessly searching for the ultimate crime…

I’ve been looking for an original sin
One with a twist and a bit of a spin
And since I’ve done all the old ones
‘Till they’ve all been done in
Now I’m just looking—then I’m gone with the wind
Endlessly searching for an original sin…

I’m applying for a license to thrill
Going out on the edge
Moving in for the kill

And there’ll be hell to pay someday
So put it all on the bill
‘Cause we’ll always be paying
And paying until
We’re beyond expiration
With a license to thrill....

(I’ve been looking for an original sin) …

Written by Jim Steinman
© 1989 Lost Boys Music (BMI)

45 Seconds of Ecstasy

45 seconds of ecstasy
How it comes right back to me
Fly so high and feel so free
45 seconds of ecstasy

45 seconds of ecstasy
Cuts right through the complexity
When I feel him right next to me
45 seconds of ecstasy....

Written by Martha Minter Bailey
© 1995 Red Horse Music (ASCAP)

Runnin’ for the Red Light (I Gotta Life)

Madder than a mad man and bored to the c-c-core
Minute hand crawling, can’t take it anymore
Future’s up the highway, I gotta get away
I’m gonna take a little trip and find a Tijuana stray

I got the time to take it
I got the balls to break it
Gotta a car that it’ll make it

South of the border—don’t drink the water…

Gonna have a good time tonight
Crazy from the heat and runnin’ for the red light
Oh señorita, have two tequila
Love seeker—Lord the will is gettin’ weaker

Gonna have a good time tonight
Burnin’ with the fever and runnin’ for the red light
She ain’t a teacher, she ain’t a preacher
Just so close to holy that you’re runnin’ just to reach her

Time bomb is tickin’, my head’s about to bust
Need some personal attention or I swear I’m gonna rust
Gonna find a little place, no one will tell you what to do
I tell her I’m a rebel, she says, Yea, without a clue

Just need some understanding
A girl who ain’t demanding
Who ain’t afraid to fake it

South of the border—don’t drink the water…

Gonna have a good time tonight
Crazy from the heat and runnin’ for the red light
Oh señorita, have two tequila
Love seeker—Lord the will is gettin’ weaker

Gonna have a good time tonight
Burnin’ with the fever and runnin’ for the red light
She ain’t a teacher, she ain’t a preacher
Just so close to holy that you’re runnin’ just to reach her....

Need some understanding
A girl who ain’t demanding
A little bad behavior, she’s gonna be my saviour

My knees are shakin’
My back is breakin’
Oh mama mia—ah! Señorita!

Gonna have a good time tonight
Crazy from the heat and runnin’ for the red light
Oh señorita, have two tequila
Love seeker—Lord the will is gettin’ weaker

Gonna have a good time tonight
Burnin’ with the fever and runnin’ for the red light
She ain’t a teacher, she ain’t a preacher
Just so close to holy that you’re runnin’ just to reach her

Ha—it’s all right

Gonna have a good time tonight
Crazy from the heat and runnin’ for the red light
Oh señorita, have some tequila
Need sneakers—Lord the will is gettin’ weaker

Gonna have a good time tonight
Burnin’ with the fever and runnin’ for the red light
Just heard the bell that got me outta hell
I got a girl—I gotta life....

Written by Harry Vanda, George Young, Micheal Aday, Patti Russo and Sarah Durkee
© 1995 Red Horse Music / Jive Durkee (ASCAP) / Albert Productions (APRA)

Fiesta de las Almas Perdidas

[instrumental]

Written by Jeff Bova

Left in the Dark

You don’t have to sneak in the door
Just come on into the room
I’ve been lying in our bed in the dark all alone
And I’ve been waiting—I’ve been waiting for you

There’s been no reason to move
It’s been as still as a tomb
I needed you oh so badly tonight
But I guess you had better things to do…

I should have known that it was coming to this
But I must have been blind
I bet you still got a trace of his love in your eyes
And you still got his eyes on your mind…

You swore you’d be with me at 7 o’clock
Now it’s a quarter to 3
Well whatever you got and whoever it was
I guess you couldn’t get it from me
No, whatever you got and whoever it was
I guess you couldn’t get it from me…

I know that you love me
There’s no need to talk
I see the look in your eyes and I got the proof
And there are no lies on your body
So take of your dress
I just want to get at the truth…

I know that you love me
There’s no need to talk
I see the look in your eyes and I got the proof
And there are no lies on your body
Oh, so take of your dress
Oh, I just want to get at the truth…

And there are so many things
That I’ve just got to know
You tell me who!
You tell me where!
You tell me when!

But don’t tell me now—I don’t need any answers tonight
I just need some love so turn out the lights
And I’ll be left in the dark again
I just need some love so turn out the lights
And I’ll be left in the dark again
I just need some love, so turn out the lights
And I’ll be left in the dark again

Oh, in the dark again....

I should have known that it was coming to this
But I must have been blind
I bet you still got a trace of his love in your eyes
And you still got his eyes on your mind…

You swore you’d be with me at 7 o’clock
Now it’s a quarter to 3!

Well, whatever you got and whoever it was
I guess you couldn’t get it from me
No I guess you couldn’t get it from me…

But down in my soul—down in my soul I know

I know that you love me
There’s no need to talk
I see the look in your eyes and I got the proof
And there are no lies on your body
Ooh, so take of your dress
Oh I just want to get at the truth…

But there are so many things
That I’ve just got to know—
You tell me who!
You tell me where!
You tell me when!

But don’t tell me now—I don’t need any answers tonight
I just need some love so turn out the lights
And I’ll be left in the dark again
I just need some love so turn out the lights
And I’ll be left in the dark again
Ooh I just need some love so turn out the lights
And I’ll be left in the dark again

I just need some love so turn out the lights
I’ll be left in the dark again
Ooh I just need some love so turn out the lights
I’ll be left in the dark again
Ooh I just need some love, ooh turn out the lights
I’ll be left in the dark again

Left in the dark…

Who made the very first move?…

Written by Jim Steinman
© 1980 Lost Boys Music (BMI)

Not a Dry Eye in the House

Not a dry eye in the house
After loves curtain comes down
Listen and you’ll hear the sound
Hear the sound of a heart breaking…

I can still see you standin’ there
Midnight wind blowin’ through your hair
Remember kisses sweet in the salty air
When love was forever

Turn the page and we fade to blue
The scene has changed, now I’m without you
Well, you just walked away when the act was through
And the dream was over

It was almost like a movie, the way you said goodbye
You must have spend a lot of time rehearsing each and every line

Now there’s not a dry eye in the house
After loves curtain comes down
Listen and you’ll hear the sound
Hear the sound of a heart breaking—breaking

Not a smile left on my face
The ending is just too sad to take
And there is not a dry eye
Not a dry eye in the house

The greatest story was you and me
We had it all; we had everything
But now the story’s done, it’s just history
The last act is over

Your every line had the sweetest sound
Your every touch turned my world around
But then the light came up and my world crashed down
End of show, it’s over

It was almost like a movie, those nights we touched the stars
Time stood still for you and I—now it’s sad enough to make you cry

And there’s not a dry eye in the house
After loves curtain comes down
Listen and you’ll hear the sound
Hear the sound of a heart breaking—breaking

Not a smile left on my face
The ending is just too sad to take
And there is not a dry eye—not a dry eye in the house....

Act one: the story’s just begun
Act two: I fell in love with you
Act three: knew it was meant to be
Act four: you don’t love me no more

Not a dry eye in the house
After loves curtain comes down
Listen and you’ll hear the sound
Hear the sound of a heart breaking—breaking

Not a smile left on my face
The ending is just too sad to take
And there is not a dry eye—not a dry eye—

Not a dry eye in the house
After loves curtain comes down
Listen and you’ll hear the sound
Hear the sound of a heart breaking—breaking

Not a dry eye in the house
Not a dry eye in the house
Not a dry eye in the house.....

Music and Lyrics by Diane Warren
© 1995 Realsongs (ASCAP)

Amnesty is Granted

Meat: Love’s an hourglass
It goes out wide then it comes in closer
Time ticks away
It drifts away, leaving empty sanded shoulders… gonna cry on

Who said that love could last forever?
Oh, I’m growin’ tired of feelin’ like I do…

As we drift apart
Little secrets comes between us
As we sail away
I’m feelin’ comfort in the distance

You said that love would last forever
Sammy:You said that love would last forever
Neither one of us will ever surrender…
Sammy:Ever surrender

There is a time, oh, there’s a place
A change of heart, about face
This is about love
This is about forgiveness…

Sammy:Ooh

Tell me now, tell me like it is
You don’t have to give—amnesty is granted
Ooh, what’s done is done for everyone
Come on baby let’s start again right now
Amnesty
Amnesty
Amnesty is granted

Amnesty is granted....

Oh yeah
You said that love would last forever
Sammy:You said that love would last
Neither one of us will ever surrender…
Sammy:Neither one of us… ever surrender

There is a time, there’s a place
A change of heart, about face
This is about love
This is about forgiveness…

Tell me now, tell me like it is
No one has to give—amnesty is granted
Ooh what’s done is done for everyone
Come on baby, wanna start again right now…
Amnesty
Amnesty
Amnesty is granted

Hmm, oh, I’ve been thinking about you
Lord knows I’ve been thinkin’ bout you
Baby, thinkin’ ‘bout you
(amnesty is granted)
Oh tell me now, c’mon baby, and tell me like it is
(amnesty is granted)
You know no one has to give
Sammy:I’ve been thinkin’ bout you baby
(amnesty is granted)
I’ll start again, come on, come on
(amnesty, amnesty is granted)
Come on baby, come on baby
(amnesty, amnesty is granted)
Oh amnesty, amnesty
(amnesty, amnesty is granted)
Oh amnesty
Sammy:I’ve been thinkin’ ‘bout you baby
(amnesty, amnesty, amnesty is granted)
Oh it’s granted…
(amnesty is granted)
(amnesty is granted)
(amnesty is granted)
(amnesty is granted)
Ooh, it’s all right
It’s all right
(amnesty)
It’s all right....

Written by Sammy Hagar
© 1995 WB Music Corp, / The Nine Music (ASCAP) All rights on behalf of The Nine Music Administered by WB Music Corp, (ASCAP)

If This is the Last Kiss (Make It Last All Night)

Boy: I know you’re going, I know this is goodbye
And I can’t make you stay no matter, no matter how I try
But, ooh, if you’re leaving, hey hey
Please grant this one request
And leave my heart with some happiness

Both: If this is the last kiss—let’s make it last all night
If this is the last time—that I’m ever, ever gonna hold you
Let me hold you tight ‘til the morning light
If this is the last time—ooh—we’ll ever be together
Kiss me and baby give me something tender to remember you by…

Girl: If I can’t be with you—oh baby—all my life
Boy: The next best thing is you next to me
All through the night…

Boy: Pull all the shades down, put your heart next to mine
Girl: Tonight give me a chance to feel heaven just one more time
And ooh, if you’re leaving hey hey
Honey I’ll set you free
Boy: Just leave my arms this one sweet memory

Both: If this is the last kiss—let’s make it last all night
If this is the last time—that I’m ever, ever gonna hold you
Let me hold you tight ‘til the morning light
If this is the last time—ooh—we’ll ever be together
Kiss me and baby give me something tender to remember you by…

Girl: If I can’t be with you—oh baby—all my life
Boy: The next best thing is you next to me
All through the night…
Girl: All through the night....

Both: If this is the last kiss—let’s make it last all night
If this is the last time—that I’m ever, ever gonna hold you
Let me hold you tight ‘til the morning light
If this is the last time—ooh—we’ll ever be together
Kiss me and baby give me something tender to remember you by
Kiss me and baby give me something, something to remember you by
Baby give me something tender to remember you by....

Music and Lyrics by Diane Warren
© 1995 Realsongs (ASCAP)

Martha

Operator, number please, it’s been so many years
And she’ll remember my old voice while I fight the tears

Hello, hello there? Is this Martha? This is old Tom Frost
And I am calling long distance, don’t worry ‘bout the cost
It’s been 40 years or more, now Martha, please recall
And meet me out for coffee, where we’ll talk about it all

Those where days of roses, poetry and prose and Martha
And all I had was you and all you had was me
And there was no tomorrow’s as we packed away our sorrows
And we saved it for a rainy day

And I feel so much older now, and you’re much older too
Oh, how’s the husband, and how’s the kids? You know that I got married too?
Oh, lucky that ya found someone to make ya feel secure
Oh, ‘cause we were all so young and foolish, now we are mature…

And those where days of roses, poetry and prose and Martha
And all I had was you and all you had was me
And there was no tomorrow’s as we packed away our sorrows
And we saved it for a rainy day

And I was always so impulsive—I guess that I still am
But all that really mattered then was that I was a man
I guess that our being together was never meant to be
Oh but Martha, oh Martha—I love you, can’t you see?

And those where days of roses, poetry and prose and Martha
All I had was you and all you had was me
And there was no tomorrow’s as we packed away our sorrows
And we saved it for a rainy day

And I remember quiet evenings
Trembling close to you....

Written by Tom Waits
© 1972 Fifth Floor Music, Inc, (ASCAP)

Where Angels Sing

Meet me downtown on the corner
I’ll be waiting in a big old yellow cab
Don’t bring a suitcase, you won’t need a thing
There’ll be no worries—where angels sing…

I got my ticket in my hand
And oh, the price is paid in full
No man can stop me, their words won’t sting you
No dream will haunt me—where angels sing…

Yeah, they will sing

I get so weary on this troubled road
Unlock these chains and gently rock me home
Beyond the clouds an the rain…

(where angels sing)
(where angels sing)

Where lies can’t hurt me
The flesh desert me
No in or out, no loss or doubt
No living with or doing without
Where money ain’t the power king
And kindness is the most precious thing

Where angels sing
Where angels sing....

Where time means nothing
No hustle, no one rushing
No dark or night, no hate or spite
No wrong or right, no day or night
No town, and no cities
There’s no pain, and no pity
Where hunger is no longer
And a good man just gets stronger

Where angels sing
Where angels sing
Where angels sing
Where angels sing
Where angels sing
Where angels sing....

This song is dedicated to Valeria M.

Written by Steven Allen Davis
© Red Brazos Music, Inc, / Original Hometown Sheet Music (BMI)

Collectors Edition Liner Notes

Nobody ever asks Meat Loaf: What do you eat? Why do you eat so much? Shouldn’t you lose some weight? No, he shouldn’t, He’s fuckin’ Meat Loaf, He writes songs, and he has a great time, and none of your fuckin’ business. — Layne Stanley

The late Alice in Chains front man hit it bang on the button in 1996 when he sang the praises of the man Born Marvin Lee Aday, in Dallas, Texas, 1947.

That’s because, just a year earlier, the subject of Stanley’s eulogy had defied his critics by emerging from the belfry-like shadows of his mightily successful Bat Out Of Hell opuses with a hot-selling comeback, Welcome To The Neighbourhood…

It was a comeback that was recorded very much on Meat Loaf’s own terms, and not those of his mentor/svengali/nemesis/sideman/partner (delete as applicable), Jim Steinman (the eccentric song writing genius).

Like it’s pointy-eared predecessors, Welcome To The Neighbourhood may have been dedicated to nocturnal activities — but they were of the type carried out in cheap detective novels, not in the bowels of stately Wayne Manor, Imagine Raymond Chandler wit a hint of Will Eisner’s spirit, Or Elmore Leonard penning the further adventures of Mary, the hero-noir of Frank Miller’s Sin City, That’s Welcome To The Neighbourhood for you!

For further evidence, check out the wide-eyed femme fatale depicted on Welcome To The Neighbourhood’s delightfully garish cover: her tousled, brittle-blonde hairdo, her ripped red dress, the way she’s recoiling from that menacing, hook-nosed silhouette, No doubt about it, The order Chiroptera ain’t remotely on the agenda.

In actual fact, those aforementioned belfries-like shadows had been doubly dark threatening for Meat Loaf around the time of Welcome To The Neighbourhood’s release, That’s because, a couple of years earlier, 1993, he had put out Bat Out Of Hell II: Back Into Hell… It had gone on to become a No, 1 record on both sides of the Atlantic.

Despite the span of 16 long years between the original Bat Out Of Hell and its sequel, plus albums such as Dead Ringer, Midnight At The Lost And Found, Bad Attitude and Blind Before I Stop along the way people were starting to question whether Meat Loaf was a single-trick pony, A man who ‘batted’ for one side, if you’ll pardon the expression.

But Welcome To The Neighbourhood proved once and for all that he could large it on his own, It was triumph for the man-mountain frontman, because he had been to hell and back — personally, as well as professionally.

The success of his magnum opus, the glorious gothic rock opera that is the original 1977 Bat Out Of Hell, took its toll on our hulking hero — and then some, Meat Loaf had a nervous breakdown, He lost his voice, He went through therapy, Hell, according to his biography a doctor in Malibu even injected him with his own urine, wrapped him in a carpet and beat him until he screamed in a bid to get his career back on track, Sheesh, it would’ve been a lot easier to just pay a visit to the Job Centre…

Meat Loaf recalls in his biography that, as Bat Out Of Hell got bigger, I got crazier, It was like some terrible curse where everything I’d wished for turned into a nightmare, at it was rapidly turning me into a maniac. But still, that didn’t stop him from eventually recording the 1993 follow-up, (And, indeed, 2006’s Bat Out Of Hell III: The Monster Is Loose), Go figure!

Still, after the release of Bat II, Meat Loaf had conquered his demons and was in a good place, Haven proven himself musically once more, he felt he needed to get back into his second love: acting.

I love acting, and the movie critics love me, he once said, But the rock critics just brutalise me, And when they write about your acting, they don’t want to know about my dog that just died, or whatever when I was a kid, It’s grown-up stuff.

So Meat Loaf moved from New York to Hollywood and started to network — not by hogging the party circuit, but by playing golf, While honing his technique on the green he bumped into the likes of Joe Pesci, Sean Connery, Bill Murray and a director called Peter Chelsen, who gave him a part in the movie The Mighty, Several other roles followed, but before long the prospect of another Bat Out Of Hell recording reared its furry little head.

There were optimistic meetings with Jim [Steinman], Meat Loaf recalled, Two-thousand dollar dinners where Jim orders everything on the menu, Jim was throwing out tempting song titles like ‘God Has Left The Building’, We said: ‘Wow!’

But Jim’s method is seduction, he explained, He has ideas for new stuff; he doesn’t always have the songs, He was romancing us, talking himself into all these visions, We all started to believe he might have a whole new album in embryo, tucked away in one of his ratty old shopping bags.

Well, he hadn’t, Plus Steinman was rumoured to have copyrighted the phrase Bat Out Of Hell as his trademark, hindering Meat Loaf’s further use of it.

There’s just too much baggage, the singer said later, what with Steinman and his manager and lawyer and everything, Nobody will let it go, Everybody has to have a piece, It’s a shame…

Bat III ended up becoming Welcome To The Neighbourhood… Produced by Ron Nevinson (with a little help from Sammy Hagar and Steven Van Zandt), there are just two Steinman songs on the album: ‘Original Sin’, from the Pandora’s Box Original Sin album, and ‘Left In The Dark’, which first appeared on Steinman’s Bad For Good album.

The Grammy-winning songwriter Diane Warren takes up reins on ‘I’d Lie For You (And That’s The Truth)’ and ‘If This Is The Last Kiss (Let’s Make It Last All Night)’ — Meat Loaf duets with Patti Russo on both — while Hagar himself gets credit on ‘Amnesty Is Granted’, Van Zandt, in case you were wondering, plays guitar on that track, Hell, even Tom Waits gets a composer’s credit on ‘Martha’.

If the variety of songwiters makes Welcome To The Neighbourhood sounds like a mixed bag, don’t worry: it isn’t, Meat Loaf made clear: It’s a story album, Basically a guy’s life story from the time he went on his first date to the present, I used pulp-fiction artwork for the cover and the booklet, with lurid paintings and titles from the 1940s detective magazines.

Turns out Meat Loaf’s manager, Allen Kovac, wanted to call the record Welcome To The Neighbourhood: Escape From Hell, in order to capitalise on his artist’s heritage, But Meat Loaf responded: I want to do my own record, not more of Steinman’s characters, And I was screaming at Allen, saying I’m sick and tired of being a cartoon, I don’t want to be that Meat Loaf comic book character any more.

Still, one familiar and recurring theme on Welcome To The Neighbourhood is the use of parentheses (in song titles), as pioneered by Bat Out Of Hell’s ‘You Took The Words Right Out Of My Mouth (Hot Summer Night)’ and Bat II’s ‘I’d Do Anything For Love (But I Won’t Do That)’.

‘I’d Lie For You (And That’s The Truth)’ was never meant to have brackets, Meat Loaf growled in an interview shortly after Welcome To The Neighbourhood’s release, I didn’t notice them until two weeks ago and I said: Who put this in brackets?! I’m looking for whoever did it but no one will confess, I’m going to put him in a bracket when I find him!

Welcome To The Neighbourhood went platinum in both the United States and United Kingdom, spawning three hit singles along the way: ‘I’d Lie For You (And That’s The Truth)’, ‘Not A Dry Eye In The House’ and (watch out, it’s those goddamn brackets again) ‘Runnin’ For The Red Light (I Gotta Life)’.

Reflecting on Welcome To The Neighbourhood’s success in his autobiography, Meat Loaf found himself wondering about his self-imposed cartoon character persona, Eventually, the singer decided that instead of rejecting the cartoon image, I would embrace him, I was going to bring that cartoon to life, put him in living colour and take him on the road, So that’s what I did, I came to the realisation that, like Popeye, I yam what I yam, and that’s all I yam.

Meat and two veg, you could say — assuming the veg is Popeye-friendly spinach, And if you don’t agree… well, that’s none of your fuckin’ business.

Geoff Barton
Classic Rock magazine, 2011

End Notes