Meat Loaf — Bat out of Hell II: Back into Hell…
Songs by Jim Steinman

1 I’d Do Anything for Love (But I Won’t Do That) 11:55
2 Life Is a Lemon and I Want My Money Back 7:59
3 Rock and Roll Dreams Come Through 5:41
4 It Just Won’t Quit 7:19
5 Out of the Frying Pan (And into the Fire) 7:27
6 Objects in the Rear View Mirror May Appear Closer Than They Are 10:15
7 Wasted Youth * 2:45
8 Everything Louder Than Everything Else 7:58
9 Good Girls Go to Heaven (Bad Girls Go Everywhere) 6:50
10 Back into Hell * 2:44
11 Lost Boys and Golden Girls 4:23

Written, Produced and Arranged by Jim Steinman
Co-Arranged by Meat Loaf and the musicians
Associate Producer and Recording Engineer: Steve Rinkoff
Mixed by David Thoener
Associate Producer: Roy Bittan
Background vocals arranged by Todd Rundgren
* Mixed by Steve Rinkoff
Additional Engineering (L.A.): Steve Holroyd
Assistant Engineering (L.A.): Dan Gellert
Second Assistant Engineers: Chris Albert, Matthew "Boomer" LaMonica, Steve Boyer, Mark Guilbeault, Bill Gardner, Brandon Harris, Victor Deyglio, Rory Romano
Recorded at Ocean Way Recording (L.A.) and The Power Station (N.Y.)
Mixed at Record Way (L.A.) and The Power Station (N.Y.)
Mastered by Greg Calbi at Sterling Sound (N.Y.)
Project Coordinators: Carol Peters and Don Ketteler

Mrs. Loud appears courtesy of MCA Records
Gunnar Nelson appears courtesy of DGC Records
Matthew Nelson appears courtesy of DGC Records
Bill Payne appears courtesy of Morgan Creec Records

Management: Allan Kovac, Jeff Sydney, and Tommy Manzi, Left Bank Management
Business Management: Bernie Gilhuly, Hecht and Company, P.G., Inc. Los Angeles and New York
North American Booking: Jonathan Levine, The William Morris Company
Flood Control: Terry and Gail Coen
International Booking: John Giddings, Solo Agency, New York
Silver Screen Advisors: Bill Butler and Joel Roman
Homecoming Queen: Pearl Aday
Best Actress, Home Drama Series: Amanda Aday
Travel Agents: Happy Holidays Travel (Norwalk, CT) and Real Time Travel (L.A.)
The Best: Harry Medcalf and Maria
Attorney: Gary Stiffelman, Esq., Ziffren, Brittenham & Branca
Throat Guy: Dr. Ed Lane
Godfather: Earl Shuman
Other Kid: Jodi Rosnick
Timekeeper: Mashawn Nix
Baseball Mgr.: Dan Hecht
Fan Club: Meat Loaf, c/o Left Bank Management, 6255 Sunset Boulevard, STE 2100, Los Angeles, CA 90028
Merchandising: Winterland, 100 Harrison Street, 4th Floor, San Francisco, CA 94101
The Band: Steve Buslowe, Mark Alexander, Pat Thrall, Chuck Burgi, Amy Goff, Elaine Goff, Dave Gelis, John Miceli, Paul Jacobs, Dominic Chichetti, Patricia Rousseau
The Crew: Eric Anderson, Matt Jeatt, Jim Staniforth, Carl Gagnon, George Wehrlin, Billy Sheldon, Dave Basone, Tony Roan, Brian Hinchcliffe, Fred Galfas, Simon Touchner, Kim Jeatt, Big Mike, Dave Bell, Louise de Ville Morel, O.B. and Bear.

Cover Art and all other illustrations by Michael Whelan
Portrait of Meat Loaf by Michael Halsband
Art Co-ordination: Joe Pearson
Line Artwork: Hills Archer Ink.

Special Thanks: Ken Berry, Paul Conroy, Ray Cooper and everyone at Virgin, Al Teller, Richard Parmese and all at MCA, Bill Prescott, John Bochie, Ed Nussbaum, Charles Ortner, Harvey Strickon, Irv Goldman, Jon Podell, Liane and Eunice at William Morris, Fred “Sparky” Pollard, Chris Linwald, Brad Davis, Marti Bailey, Lewis, Lawrence, Laure, Randy, Chrystal, Roger, Ed, July, Harvey, Nina and Lory at Left Bank, Ian and Sunny Ralfini, Bob and Nene Thurman, Ed and Virginia, Don Mattingly and the New York Yankees; and the Super Bowl champs — the Dallas Cowboys, Audrey Whelan, Cindy Thrall, Jane Buslowe.

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

May peace prevail on earth.

Special Limited Edition

1 Bat Out of Hell (live) 12:11
2 You Took The Words Right Out of My Mouth (Hot Summer Night) (live) 6:42
3 Everything Louder Than Everything Else (live) 9:19

Produced by Meat Loaf
Live arrangements by Meat Loaf and the Neverland Express
Recorded and Mixed by David Thoener
Mobile Recording Unit provided by Effanel Music, New York
Recorded in New York, NY during July 1993

Deluxe Edition (2002)

Disc One: Bat Out of Hell II: Back into Hell…
Disc Two: Single & Radio Edits / Remixes
1 Objects in the Rear View Mirror May Appear Closer Than They Are (radio edit)
MCA Single 54848 Pop #38 / charted 5-14-94
4:57
2 I’d Do Anything for Love (But I Won’t Do That) (single edit)
MCA Single 54626 Pop #1 / charted 9-18-93
5:16
3 Rock and Roll Dreams Come Through (radio edit)
MCA Single 54757 Pop #13 / charted 1-29-94
4:03
4 Life Is a Lemon and I Want My Money Back (radio edit) 4:47
5 Objects in the Rear View Mirror May Appear Closer Than They Are (Wild Bomb mix) 5:53
6 I’d Do Anything for Love (But I Won’t Do That) (longer but not as long as the album version) 7:41
7 Life Is a Lemon and I Want My Money Back (Ty Cobb edit) 6:03
8 Objects in the Rear View Mirror May Appear Closer Than They Are (Wild Car mix) 7:40
9 Rock and Roll Dreams Come Through (Knute Rockne edit) 5:29
10 Life Is a Lemon and I Want My Money Back (1998 remix) 8:07

Deluxe Edition Credits
Written, Arranged & Produced by Jim Steinman
Compilation Produced by Mike Ragogna
96k/24-bit Mastered by Erick Labson @ Universal Mastering Studio West—North Hollywood, CA
Production Coordination by Margareth Goldfarb
Editorial Assistance by Barry Korkin, Adam Abrams and Robin Schwartz
Legal Clearances by Kelly Martinez

Art Dirtection: Vartan
Design: Mike Diehl
Photography: Michael Halsband
Photo Coordination: Ryan Null

Management: Left Bank Management

Fan Club: Official Internation Fan Club. P.O. Box 5228, Bellingham, WA 98227 USA

www.meatloaf-oifc.com

UMe Deluxe Special Edition Thanks to Bruce Resnikoff, Andy McKaie, Richie Gallo, Robin Kirby, Jim Dobbe, Ken Patrick, Jason Kleve, Michael Rosenberg, David Richman, Lynn Kerman, Brendan Morris, and Randy Aronson at Universal Music Library; Patte Medina, Meire Murakami and Morley Sobo at Universal Music Enterprises Creative Services; and Neil Nagano, Pat Blair and the rest of the UMe and UMVD staff.

Liner notes by Bill DeYoung

Disc Two: All tracks previously released

Collectors Edition (2006)

CD1: Bat Out of Hell II: Back into Hell…
CD2: Live Tracks
1 Bat Out of Hell (live) 11:13
2 You Took the Words Right Out of My Mouth (Hot Summer Night) (live) 6:35
3 Heaven Can Wait (live) 4:48
4 All Revved Up With No Place To Go (live) 7:55
5 Two Out of Three Ain’t Bad (live) 7:38
6 Paradise by the Dashboard Light (live) 11:27
7 For Crying Out Loud (live) 9:51
8 I’d Do Anything for Love (But I Won’t Do That) (live) 12:44
DVD
1 To Hell And Back: Meat Loaf & Jim Steinman Interview 9:22
2 I’d Do Anything for Love (But I Won’t Do That) 7:40
3 Rock and Roll Dreams Come Through 5:47
4 Objects In the Rear View Mirror May Appear Closer Than They Are 7:43
Digital Only Extras
1 Life Is a Lemon and I Want My Money Back (live) 8:02
2 Rock and Roll Dreams Come Through (live) 8:28
3 Out of the Frying Pan (And into the Fire) (live) 8:43
4 Everything Louder Than Everything Else (live) 9:44
5 Objects In the Rear View Mirror May Appear Closer Than They Are (edit) 5:56

CD2
Recorded live in New York during July 1993 except “For Crying Out Loud” recorded live in the USA in 1994
Produced by Meat Loaf
Live arrangements by Meat Loaf and the Neverland Express
Tracks 1-6 and 8: Recorded and Mixed by David Thoener
Mobile Recording Unit provided by Effanel Music, New York

DVD:
All sections directed by Michael Bay
All sections produced by Propaganda Films

CD1: Audio remastered by Geoff Pesch at Abbey Road Studios, London
CD2: Audio remastered by Peter Mew with Nigel Reeve at Abbey Road Studios, London
DVD Produced by Abbey Road Interactive
Collector’s Edition A&R and co-ordination: Nigel Reeve and Jason Day
Special Edition Artwork by Hills Archer Studios

With thanks to Jordan Berliant and Jeff Varner at 10th Street Management, Sharon Finnie and Clive Munday at EMI/Virgin, Tim Fraser-Harding and Alan Brown at Sony-BMG Entertainment and Brian Regan at Mercury Records.

Liner notes by Geoff Barton

Label Cat.No. F. Y. C. Notes
1 Virgin V 2710 LP 1993 UK
2 Virgin VP 2710 LP 1993 UK numbered picture disc, #0047
3 Virgin VIR 129 2LP 1993 ZW double LP, Gramma Records archive copy
4 Virgin CDV 2710 CD 1993 NL (first CD purchased)
5 Virgin CDVDJ 2710 CD 1993 UK promo (press blurb)
6 Virgin 8396352 2CD 1993 UK special lim. ed. incl. bonus tracks
7 MCA MCAD 10699 CD 1993 USA cog shaped case, oversized booklet, signed
8 MCA 088 112 810-2 2CD 2002 USA deluxe edition, incl. radio edits
9a Virgin / EMI CDVX 2710 2CD+DVD 2006 EU collectors edition incl. live CD and DVD
9b Virgin / EMI Catalogue CD 2006 UK “Digital Only Extras” white label promo

I’d Do Anything for Love (But I Won’t Do That)

And I would do anything for love
I’d run right into hell and back
I would do anything for love
I’ll never lie to you and that’s a fact

But I’ll never forget the way you feel right now—oh no—no way
And I would do anything for love
But I won’t do that
No—I won’t do that

Anything for love
Oh—I would do anything for love
I would do anything for love
But I won’t do that
Ha—no I won’t do that....

And some days it don’t come easy
And some days it don’t come hard
Some days it don’t come at all and these are the days that never end

And some nights you’re breathing fire
And some nights you’re carved in ice
Some nights you’re like nothing I’ve ever seen before or will again

And maybe I’m crazy, but it’s crazy and it’s true
I know you can save me, no-one else can save me now but you
As long as the planets are turning
As long as the stars are burning
As long as your dreams are coming true—you better believe it!

That I would do anything for love
And I’ll be there ’til the final act
And I would do anything for love
And I’ll take a vow and seal a pact

But I’ll never forgive myself if we don’t go all the way—tonight
And I would do anything for love!
Oh—I would do anything for love
Oh—I would do anything for love
But I won’t do that
No I won’t do that

I would do anything for love
Anything you’ve been dreaming of
But I just won’t do that…

I would do anything for love
Anything you’ve been dreaming of
But I just won’t do that…

I would do anything for love
Anything you’ve been dreaming of
But I just won’t do that…

And some days I pray for silence
And some days I pray for soul
Some days I just pray to the God of Sex and Drums and Rock and Roll

Some nights I lose the feeling
And some nights I lose control
Some nights I just lose it all when I watch you dance and the thunder rolls

Maybe I’m lonely, that’s all I’m qualified to be
There’s just one and only, one and only promise I can keep:
As long as the wheels are turning
As long as the fires are burning
As long as your prayers are coming true—you better believe it!

That I would do anything for love
And you know it’s true and that’s a fact
I would do anything for love
And there’ll never be no turning back

But I’ll never do it better than I do it with you—so long—so long
And I would do anything for love
Oh—I would do anything for love
I would do anything for love
But I won’t do that
No—no I won’t do that

I would do anything for love
Anything you’ve been dreaming of
But I just won’t do that…

I would do anything for love
Anything you’ve been dreaming of
But I just won’t do that…

I would do anything for love
Anything you’ve been dreaming of
But I just won’t do that…

I would do anything for love
Anything you’ve been dreaming of
But I just won’t do that…

I would do anything for love
Anything you’ve been dreaming of
But I just won’t do that…

I would do anything for love
Anything you’ve been dreaming of
But I just won’t do that…

I would do anything for love
Anything you’ve been dreaming of
But I just won’t do that…

But I’ll never stop dreaming of you, every night of my life—no way
And I would do anything for love
Oh—I would do anything for love
Oh—I would do anything for love
But I won’t do that
No I won’t do that

Coda:

Girl: Will you raise me up? Will you help me down?
Will you get me right out of this Godforsaken town?
Will you make it all a little less cold?

Boy: I can do that!
I can do that!

Girl: Will you hold me sacred? Will you hold me tight?
Can you colorize my life? I’m so sick of black and white!
Can you make it all a little less old?

Boy: I can do that!
Oh—no I can do that!

Girl: Will you make me some magic with your own two hands?
Can you build an emerald city with these grains of sand?
Can you give me something I can take home?

Boy: Now I can do that!
Oh I can do that!

Girl: Will you cater to every fantasy I got?
Will ya hose me down with holy water if I get too hot?
Will you take me to places I’ve never known?

Boy: I can do that!
Oh no—I can do that!

Girl: After a while you’ll forget everything
It was a brief interlude and a midsummer night’s fling
And you’ll see that it’s time to move on

Boy: I won’t do that!
I won’t do that!

Girl: I know the territory, I’ve been around
It’ll all turn to dust and we’ll all fall down
Sooner or later you’ll be screwing around

Boy: I won’t do that!
No I won’t do that!

Anything for love
Oh—I would do anything for love
I would do anything for love
But I won’t do that
No I won’t do that....

© 1993 Edward B. Marks Music Co. (BMI)

Life Is a Lemon and I Want My Money Back

(I want my money back!)
(I want my money back!)

It’s all or nothing and nothing’s all I ever get
Every time I turn it on, I burn it up and burn it out
It’s always something, there’s always something going wrong
That’s the only guarantee, that’s what this is all about

It’s a never-ending attack
Everything’s a lie and that’s a fact
Life is a lemon and I want my money back!

And all the morons, and all the stooges with their coins
They’re the ones who make the rules—it’s not a game it’s just a rout
There’s desperation, there’s desperation in the air
It leaves a stain on all your clothes and no detergent gets it out

And we’re always slipping thru the cracks
When the movie’s over, fade to black
Life is a lemon and I want my money back!

(I want my money back!)
(I want my money back!)

What about love?
—It’s defective!

It’s always breaking into half

What about sex?
—It’s defective!

It’s never build to really last

What about your family?
—It’s defective!

All the batteries are shot

What about your friends?
—They’re defective!

All the parts are out of stock

What about hope?
—It’s defective!

It’s corroded and decayed

What about faith?
—It’s defective!

It’s tattered and it’s frayed

What about your Gods?
—They’re defective!

They forgot the warranty

What about your town?
—It’s defective!

It’s a dead end street to me

What about your school?
—It’s defective!

It’s a pack off useless lies!

What about your work
—It’s defective!

It’s a crock and then you die

What about your childhood?
—It’s defective!

It’s dead and buried in the past

What about your future?
—It’s defective!

And you can shove it up your ass!

(I want my money back!)
(life is a lemon)
(I want my money back!)
(life is a lemon, life is a lemon)

It’s all or nothing and nothing’s all I ever get
Every time I turn it on I burn it up and burn it out

It’s a never ending attack
Everything’s a lie and that’s a fact
Life is a lemon and I want my money back!

And we’re always slipping thru the cracks
When the movie’s over, fade to black
Life is a lemon and I want my money back—back—back—back—back....

(I want my money back!)
(I want my money back!)
(life is a lemon) …

© 1993 Edward B. Marks Music Co. (BMI)

Rock and Roll Dreams Come Through

You can’t run away forever
But there’s nothing wrong with getting a good head start
You want to shut out the night
You want to shut down the sun
You want to shut away the pieces of a broken heart

Think of how we’d lay down together
We’d be listening to the radio so loud and so strong
Every golden nugget coming like a gift of the gods
Someone must have blessed us when he gave us those songs

I treasure your love—I never want to lose it
You’ve been through the fires of hell
And I know you’ve got the ashes to prove it

I treasure your love—I want to show you how to use it
You’ve been through a lot of pain in the dirt
And I know you’ve got the scars to prove it

Remember everything that I told you
And I’m telling you again that it’s true:
When you’re along and afraid
And you’re completely amazed
To find there is nothing anybody can do

Keep on believing
And you’ll discover baby

There’s always something magic
There’s always something new
And when you really really need it the most
That’s when rock and roll dreams come through

The beat is yours forever
The beat is always true
And when you really need it the most
That’s when rock and roll dreams come through … for you…

Once upon a time was a back beat
Once upon a time all the chords came to life
And the angels had guitars even before the had wings
If you hold onto a chorus you can get through the night

I treasure your love—I never want to lose it
You’ve been through the fires of Hell
And I know you’ve got the ashes to prove it

I treasure your love—I want to show you how to use it
You’ve been through a lot of pain in the dirt
And I know you’ve got the scars to prove it

Remember everything that I told you
And I’m telling you again that it’s true:
You’re never alone
‘Cause you can put on the phones
And let the drummer tell your heart what to do

Keep on believing
And you’ll discover baby

There’s always something magic
There’s always something new
And when you really really need it the most
That’s when rock and roll dreams come through

The beat is yours forever
The beat is always true
And when you really need it the most
That’s when rock and roll dreams come through … for you…

(the beat is yours forever)
(that’s when rock and roll dreams come through)
(the beat is yours forever)
(that’s when rock and roll dreams come through)

(the beat is yours forever)
(that’s when rock and roll dreams come through)
(the beat is yours forever)
(that’s when rock and roll dreams come through) …

© 1993 Music Corporation of America and Lost Boys Music (BMI)

It Just Won’t Quit

And I never really sleep anymore
And I always get those dangerous dreams
And I never get a minute of peace
And I gotta wonder what it means
And I gotta wonder what it means

Maybe it’s nothing and I’m under the weather
Maybe it’s just one of those bugs going round
Maybe I’m under a spell and its magic
Maybe there’s a witch doctor with an office in town

Oh, is this a blessing? Or is it a curse?
Does it get any better? Can it get any worse?
Will it go on forever? Or is it over tonight?
Does it come with the darkness? Does it bring out the light?

Is it richer than diamonds?
Or just a little cheaper than spit?

I don’t know what it is but it just won’t quit
I don’t know what it is but it just won’t quit
I don’t know what it is but it just won’t quit
I don’t know what it is but it just won’t quit....

And there used to be such an easy way of living
And there used to be every hope in the world
And I used to get everything that I went after
But there never used to be this girl
But there never used to be this girl

Maybe I’m crazy and I’m losing my senses
Maybe I’m possessed by a spirit or such
Maybe I’m desperate and I’ve got no defences
Can you get me a prescription for that one perfect touch?

Oh, is this a blessing? Or is it a curse?
Does it get any better? Can it get any worse?
Will it go on forever? Or is it over tonight?
Does it come with the darkness? Does it bring out the light?

It’s a stairway to heaven
Or a subway going down to the pits

I don’t know what it is but it just won’t quit
I don’t know what it is but it just won’t quit
I don’t know what it is but it just won’t quit
I don’t know what it is but it just won’t quit....

Oh, is this a blessing? Or is it a curse?
Does it get any better? Can it get any worse?
Will it go on forever? Or is it over tonight?
Does it come with the darkness? Does it bring out the light?

Is it richer than diamonds?
Or just a little cheaper than spit?

I don’t know what it is but it just won’t quit
I don’t know what it is but it just won’t quit
I don’t know what it is but it just won’t quit
I don’t know what it is but it just won’t quit

I don’t know what it is but it just won’t quit
I don’t know what it is but it just won’t quit
I don’t know what it is but it just won’t quit
I don’t know what it is but it just won’t quit

There was a time when nothing really mattered
There was a time when there was nothing I didn’t know
There was a time when I knew just what I was living for
There was a time and the time was long ago
There was a time and the time was so long ago

And I never really sleep anymore....

© 1993 Lost Boys Music (BMI)

Out of the Frying Pan (And into the Fire)

It’s only two o’clock and the temperature’s beginning to soar
And all around the city you see the walking wounded and the living dead
It’s never been this hot and I’ve never been so bored
And breathing is just no fun anymore

Then I saw you like a summer dream
And you’re the answer to every prayer that I ever said
Then I saw you like a summer dream
And you’re the answer to every prayer that I ever said

You can feel the pulse of the pavement racing like a runaway horse
The subways are sizzling and the skin of the street is gleaming with sweat
I’ve seen you sitting on the steps outside
And you were looking so restless and reckless and lost

I think it’s time for you to come inside
And I’ll be waiting here with something that you’ll never forget
I think it’s time for you to come inside
And I’ll be waiting here with something that you’ll never forget

Come on! Come on!
And there’ll be no turning back
You are only killing time and it can kill you right back
Come on! Come on!
It’s time to burn up the fuse
You got nothing to do and even less to lose
You got nothing to do and even less to lose

So wander down the ancient hallway
Taking the stairs only one at the time
Follow the sound of my heartbeat now
I’m in the room at the top—you’re at the end of the line

Open the door, lay down on the bed
The sun is just a ball of desire

And I wanna take you out of the frying pan
Oh—Out of the frying pan
Out of the frying pan
Oh—I wanna take you out of the frying pan
Oh—Out of the frying pan
Oh—Out of the frying pan and into the fire

And into the fire! fire! fire!
And into the fire! fire! fire!
And into the fire! fire! fire!
And into the fire! …

Oh, hmm, it’s only two o’clock and the temperature’s beginning to soar
And all around the city you see the walking wounded and the living dead
It’s never been this hot and I’ve never been so bored
And breathing is just no fun anymore

Then I saw you like a summer dream
And you’re the answer to every prayer that I ever said
Then I saw you like a summer dream
And you’re the answer to every prayer that I ever said

Come on! Come on!
And there’ll be no turning back
You are only killing time and it can kill you right back
Come on! Come on!
It’s time to burn up the fuse
You got nothing to do and even less to lose
You got nothing to do and even less to lose

So wander down the ancient hallway
Taking the stairs only one at the time
Follow the sound of my heartbeat now
I’m in the room at the top—you’re at the end of the line

Open the door, lay down on the bed
The sun is just a ball of desire

And I wanna take you out of the frying pan
Out of the frying pan
Out of the frying pan
Hmm—I wanna take you out of the frying pan
Oh—Out of the frying pan
Out of the frying pan and into the fire
And into the
And into the
And into the
And into the fire...

Fire! fire! fire! And into the
Fire! fire! fire! And into the
Fire! fire! fire! And into the… fire! …

And into the fire! fire! fire!
And into the fire! fire! fire!
And into the fire! fire! fire! f-f-f-f-fire! …

© 1993 Music Corporation of America and Lost Boys Music (BMI)

Objects in the Rear View Mirror May Appear Closer Than They Are

The skies were pure and the fields were green
The sun was brighter than it’s ever been
When I grew up with my best friend Kenny
We were close as any brothers that you ever knew

It was always summer and the future called
We were ready for adventures and we wanted them all
There was so much left to dream
And so much time to make it real

But I can still recall the sting of all the tears when he was gone
They said he crashed and burned
I know I’ll never learn why any boy should die so young!

We were racing — we were soldiers of fortune
We got in trouble but we sure got around
There are times I think I see him peeling out of the dark
I think he’s right behind me now and he’s gaining ground!

But I was long ago and it was far away
Oh God it seems so very far
And if life is just a highway — then the soul is just a car

And objects in the rear view mirror may appear closer than they are
And objects in the rear view mirror may appear closer than they are
And objects in the rear view mirror may appear closer than they are
And objects in the rear view mirror may appear closer than they are
They are, they are....

And when the sun descended and the nights arose
I heard my father cursing everyone he knows
He was dangerous and drunk and defeated
And corroded by failure and envy and hate

There were endless winters and the dreams would freeze
No were to hide and no leaves on the trees
And my father’s eyes were blank as he hit me again and again and again

I know I still believe he’d never let me leave
I had to run away alone
So many threats and fears — so many wasted years before my life became my own

And through the nightmares should be over
Some of the terrors are still intact
I hear that ugly coarse and violent voice
And then he grabs me from behind and then he pulls me back!

But I was long ago and it was far away
Oh God it seems so very far
And if life is just a highway — then the soul is just a car

And objects in the rear view mirror may appear closer than they are
And objects in the rear view mirror may appear closer than they are
And objects in the rear view mirror may appear closer than they are
And objects in the rear view mirror may appear closer than they are....

There was a beauty living on the edge of town
And she always put the top up and the hammer down
And she taught me every thing I’ll ever know
About the mystery and the muscle of love

The stars would glimmer and the moon would glow
I’m in the back seat with my Julie like a Romeo
And the signs along the highway all said
“Caution! Kids At Play!”

Those were the rights of spring and we did everything—
There was salvation every night
We got our dreams reborn and our upholstery torn
But everything we tried was right!

She used her body just like a bandage
She used my body just like a wound
I’ll probably never know where she disappeared
But I can she her rising up out of the back seat now
Just like an angel rising up from a tomb!

But I was long ago and it was far away
Oh God it seems so very far
And if life is just a highway — then the soul is just a car

And objects in the rear view mirror may appear closer than they are
And objects in the rear view mirror may appear closer than they are
And objects in the rear view mirror may appear closer than they are
And objects in the rear view mirror may appear closer than they are
And objects in the rear view mirror may appear closer than they are
And objects in the rear view mirror may appear closer than they are
And objects in the rear view mirror may appear closer than they are
And objects in the rear view mirror may appear closer than they are

And objects in the rear view mirror may appear closer than they are
And objects in the rear view mirror may appear closer than they are
And objects in the rear view mirror may appear closer than they are
And objects in the rear view mirror may appear closer than they are

She used her body just like a bandage
She used my body just like a wound
I’ll probably never know where she disappeared
But I can she her rising up out of the back seat now....

© 1993 Edward B. Marks Music Co. (BMI)

Wasted Youth

Wasted! Youth!
Wasted! Youth!

I remember everything
I remember every little thing as if it happened only yesterday!
I was barely seventeen
And I once killed a boy with a Fender guitar
I don’t remember if it was a Telecaster or a Stratocaster
But I do remember that it had a heart of chrome
And a voice like a horny angel!

I don’t remember if it was a Telecaster or a Stratocaster
But I do remember that it wasn’t at all easy
It required the perfect combination of the right power chords
And the precise angle from witch to strike
The guitar bled for about a week afterwards
And the blood was, ooh, dark and rich, like wild berries
The blood of the guitar was Chuck Berry red
The guitar bled for about a week afterwards
But it rung out beautifully
And I was able to play notes that I had never even heard before

So I took my guitar
And I smashed it against the wall
I smashed it against the floor
I smashed it against the body of a varsity cheerleader
I smashed it against the hood of a car
I smashed it against a 1981 Harley Davidson
The Harley howled in pain
The guitar howled in heat
And I ran up the stairs to my parents’ bedroom
Mommy and Daddy were sleeping in the moonlight
Slowly I opened the door
Creeping in the shadows
Right up to the foot of their bed
I raised the guitar high above my head
And just as I was about to bring the guitar crashing down upon the center of the bed
My father woke up screaming:
STOP! Wait a minute!
Stop it boy!
What do you think you’re doing?
That’s no way to treat an expensive musical instrument!

And I said: God damn it, Daddy!
You know I love you…
But you got a hell of a lot to learn about rock and roll!!!

© 1993 Music Corporation of America and Lost Boys Music (BMI)

Everything Louder Than Everything Else

(wasted! youth!)
(wasted! youth!)

I know that I will never be politically correct
And I don’t give a damn about my lack of etiquette
As far as I’m concerned — the world could still be flat
And if the trill is gone — then it’s time to take it back!
If the trill is gone — then it’s time to take it back!

Who am I? Why am I here?
Forget the questions! Someone gimme another beer!
What’s the meaning of life?
What’s the meaning of it all?
You gotta learn to dance before you learn to crawl!
You gotta learn to dance before you learn to crawl!

So sign up all you raw recruits
Throw away those designers suits
You got your weapons cocked and your targets in your sights
There’s a party raging somewhere in the world
You gotta serve your country ­— you gotta service your girl
You’re all enlisted in the armies of the night

And I ain’t in it for the power
And I ain’t in it for my health
I ain’t in it for the glory of anything at all
And I sure ain’t in it for the wealth
But I’m in till it’s over
And I just can’t stop
If you wanna get it done
You got to do it yourself
And I like my music like I like my life

Everything louder than everything else!
Everything louder than everything else!
Everything louder than everything else!
(everything louder, everything louder, everything)

Everything louder than everything else!
Everything louder than everything else!
Everything louder than everything else!
(everything louder, everything louder, everything)

(wasted! youth!)
(wasted! youth!)
(wasted! youth!)
(wasted! youth!)

They got a file on me and it’s a mile long
And they say that they got all of the proof
That I’m just another case of arrested development
And just another wasted youth

They say I’m in the need of a radical discipline
They say I gotta face the truth
That I’m just another case of arrested development
And just another wasted youth

They say I’m wild and I’m reckless
I should be acting my age
I’m an impressionable child in a tumultuous world
And they say I’m at a difficult stage

But it seems to me the contrary
Of all the crap they’re going to put on the page
That a wasted youth is better by far
Than a wise and productive old age!
A wasted youth is better by far
Than a wise and productive old age!
A wasted youth is better by far
Than a wise and productive old age!
A wasted youth is better by far
Than a wise and productive old age!
A wasted youth is better by far
Than a wise and productive old age!
A wasted youth is better by far
Than a wise and productive old age!

(louder! louder! louder! louder! louder!)

If you want my views of history then there’s something you should know:
The tree men I admire most are Curly, Larry, Moe!
Don’t worry ‘bout the future — sooner or later it’s the past
If they say the trill is gone — then it’s time to take it back!
If the trill is gone then it’s time to take it back!

So sign up all you raw recruits
Throw away those two-bit suits
You got your weapons cocked and your targets in your sights
There’s a party raging somewhere in the world
You gotta serve your country — you gotta service your girl
You’re all inducted in the armies of the night

And I ain’t in it for the power
And I ain’t in it for my health
I ain’t in it for the glory of anything at all
And I sure ain’t in it for the wealth
But I’m in till it’s over
And I just can’t stop
If you wanna get it done—you got to fight for yourself
And I like my music like I like my life

Everything louder than everything else!
Everything louder than everything else!
Everything louder than everything else!
Everything louder than everything else!
Everything louder than everything else!
Everything louder than everything else!
(everything louder, everything louder, everything)

Everything louder than everything else!
Everything louder than everything else!
Everything louder than everything else!
(everything louder, everything louder, everything)

Everything louder than everything else!
Everything louder than everything else!
Everything louder than everything else!
(everything louder, everything louder, everything)
(repeat chorus)

© 1993 Edward B. Marks Music Co. (BMI)

Good Girls Go To Heaven (Bad Girls Go Everywhere)

(good girls go to heaven)
(good girls go to heaven)
(good girls go to heaven) (but the bad girls go everywhere)
(good girls go to heaven)
(good girls go to heaven but the bad girls go everywhere)....

When the wind is howling through your windowpane
It’s not the only pain of the night
You’re burning up in your bed, you got a fever of love
And there’s not an anti-body in sight

Hey Jenny, Jenny why are you crying?
There is a beauty of a moon in the sky!
But I guess when you’ve been leading such a sheltered life
You never lift your head and look so high

You don’t have a lot but it’s all that you got
And you can turn it into more than it seems
Just give it a shot, fantasize every movement
And imagine every inch of you dream

No one said it had to be real
But it’s gotta be something you can reach out and feel now
It ain’t right, it ain’t fair
Castles fall in the sand and we fade in the air

And the good girls go to heaven
But the bad girls go everywhere
Oh now, good girls go to heaven
But the bad girls go everywhere

Somebody told me so
Somebody told me, now I know every night in my prayer
I’ll be praying that the good girls go to heaven
But the bad girls go everywhere

When the sweat is sizzling on your skin in the dark
And you’re desperate now for somewhere to turn
Every muscle is rebellious, every nerve is on edge
And every limb has been erotically burned

Hey Johnny, Johnny why are you shaking
When a boy should do whatever he can?
You’ve been nothing but an angel every day of your life
And now you wonder what it’s like to be damned

You don’t have a lot but it’s all that you got
And you can turn it into more than it seems
Just give it a shot, fantasize every movement
And imagine every inch of you dream

No one said it had to be real
But it’s gotta be something you’ve been wanting to feel now
It ain’t right, it ain’t fair
Castles fall in the sand and we fade in the air

And the good boys go to heaven
But the bad boys go everywhere
Oh—good boys go to heaven
But the bad boys go everywhere

Somebody told me so
Somebody told me, now I know every night in my prayer
I’ll be praying that the good boys go to heaven
But the bad boys go everywhere

Every time I try and dream you
I can’t believe how hard it’s been to
Conjure up your face
And trace your body in the air

All the seconds go on forever
But the thirds and fourth ones are even better
Every time I do it just a little bit longer
Every time I dream it’s just a little bit stronger—than real life....

No one said it had to be real
But it’s gotta be something you can reach out and feel now
It ain’t right, it ain’t fair
Castles fall in the sand and we fade in the air

And the good girls go to heaven
But the bad girls go everywhere
Oh now, good girls go to heaven
But the bad girls go everywhere

Somebody told me so
Somebody told me, now I know every night in my prayer
I’ll be praying that the good girls go to heaven
But the bad girls go everywhere

Good girls go to heaven, bad girls go everywhere
Good girls go to heaven, bad girls go everywhere
Good girls go to heaven, bad girls go everywhere
Good girls go to heaven, bad girls go everywhere
Good girls go to heaven, bad girls go everywhere

Good girls go to heaven
Bad girls go everywhere....

© 1993 Lost Boys Music (BMI)

Back into Hell

[instrumental]

© 1993 Edward B. Marks Music Co. (BMI)

Lost Boys and Golden Girls

Lost boys and golden girls
Down on the corner and all around the world
Lost boys and golden girls
Down on the corner and all around, all around the world

It doesn’t matter where they’re going
Or wherever they’ve been
‘Cause they got one thing in common it’s true
They’ll never let a night like tonight go to waste
And let me tell you something
Neither will you
Neither will you

We gotta be fast
We were born out of time
Born out of time and alone
And we’ll never be as young as we are right now
Running away, and running for home
Running for home....

It doesn’t matter where they’re going
Or wherever they’ve been
‘Cause they got one thing in common it’s true
They’ll never let a night like tonight go to waste
And let me tell you something
Neither will you
Neither will you
Neither will you

Lost boys and golden girls
Down on the corner and all around the world
Lost boys and golden girls
Down on the corner and all around, all around the world....

© 1993 Music Corporation of America and Lost Boys Music (BMI)

Promo Version Press Blurb

Here it comes, speeding up the highway — the sequel to ‘Bat Out Of Hell’, the longest-charting record in the history of the music business…

Bat Out Of Hell was one of the biggest selling albums of all time — to date it’s sold in excess of 25 million copies worldwide. Now, with the sound of burning rubber, the winning team of Meat Loaf and Jim Steinman come roaring back with an album more than worthy of the term ‘sequel’: BAT OUT OF HELL II — BACK INTO HELL

Eleven epic tracks! 75 revved-up minutes! With titles like ‘Life Is A Lemon And I Want My Money Back’ and ‘Objects In The Rear View Mirror May Appear Closer Than They Are’ you know you’re not dealing with an ordinary album! And with Meat, Jim and many of the same musicians who appeared on the original album all at full throttle, you’re in for a treat!

Look out for the video for the first single ‘I’d Do Anything For Love (But I Won’t Do That)’ — an epic treatment of ‘Beauty And The Beast’. And Meat Loaf’s ‘Back Into Hell’ tour of the UK in December.

Bat out of Hell II
back into hell…

Out 6th September!

Climb aboard — for a journey to hell and back…

Meat Loaf has never done anything on a small scale — 2002 Deluxe Edition liner notes

Bat Out Of Hell II: Back Into Hell, first released in August, 1993, topped the American and British Charts, made “I’d Do Anything For Love (But I Won’t Do That)” the Number One single in the world, and, most importantly, turned Meat Loaf, the gale-force rocker with the operatic voice and the prodigious girth, into the comeback kid of the ‘90s.

The original Bat Out Of Hell, released in 1977, was a watershed event. From songwriter Jim Steinman’s elborate wet-dream set pieces, Todd Rundgren’s own Wall of Sound production and dramatic, passionate vocals by Mr. Loaf himself, it was unlike any rock ‘n’ roll the world had ever heard. To date, Bat Out Of Hell has sold more than 25 million copies.

Some history: Meat Loaf began life in Dallas, Texas, as Marvin Lee Aday, Orvis and Wilma’s only child. He was always a large kid, and weighed 240 pounds in the seventh grade. Accordingly, he was the big bruiser on the high school football team. His family called him ML—for Marvin Lee—and it was his father, a cop with Dallas’ finest, who turned the initials into Meat Loaf. A bit uncomfortable for the sensitive youngster, but it stuck. Soon enough, his running buddies at Jefferson High were calling him Meat.

Meat developed an interest in the theater as a teen, began acting in school productions and he also sang in the school chorus. After a stint at North Texas State, he went west, landing in Los Angeles in the summer of 1967. Putting together a band, with many monikers including Meat Loaf Soul, Popcorn Blizzard, and Floating Circus, he sang R&B, hard rock and straight ahead electric blues, lacing the stage show with theatrics: With Floating Circus, the 300-pound Meat wore a tuxedo and went shoeless, the drummer was in full clown regalia, the bass player dressed like an Indian and the backup singer sported a swan costume.

In 1968, on a whim, Meat Loaf auditioned for the L.A. company of Hair and was hired on the spot. Eventually he made his first recording, an album for Motown with the play’s leading lady, Stoney (their single, “What You See Is What You Get,” reached No. 11 on Billboard’s R&B chart). But a career in music was still a few years away. In the early-to-mid ‘70s, Meat Loaf appeared onstage in As You Like It and Rainbow, and a half-dozen other plays. He was the original actor in the role of Eddie in the stage version of The Rocky Horror Show, and he repeated in the film version.

Meat Loaf and Jim Steinman met in 1972 at auditions for the latter’s play, More Than You Deserve, which was being produced by the legendary Broadway bigwig Joe Papp. The eccentric but wildly talented Steinman played Meat the songs he was composing for Never Land, a proposed Peter Pan-type musical. When Meat was hired for the touring ensemble of the National Lampoon Show in ‘75, he insisted that Steinman came alone as the show’s piano player. By this time, they were, together, transforming sections of Never Land into the songs that would become Bat Out Of Hell. Steinman created the songs with no one but Meat Loaf in mind.

Steinman’s grandiose teen-age dreams and lust-fueled nightmares seemed to be tailor-made for Meat’s larger-than life voice. With Todd Rundgren’s stylish production, Bat Out Of Hell was released on CBS subsidiary Cleveland International in October 1977. The late ‘70s were ready and waiting for "Two Out Of Three Ain’t Bad," "Paradise By The Dashboard Light" and "You Took The Words Right Out Of My Mouth." With his ample waistline, wild, unkempt hair and a voice that seemed to leap, song by song, from tender to terrorizing, Meat Loaf gave rock music a welcome sense of drama. The rest is history.

Trouble entered the picture almost immediately; burned-out from his constant roadwork, Meat lost his voice as he and Steinman were beginning the follow-up album, Bad For Good. After disagreements about the songs, the studio musicians and the very nature of the singer’s problems, Steinman cut the vocals himselfand released Bad For Good under his own name. Eventually, the split came to legal blows, and although Meat made a handful albums in the 1980s, none were as succesful.

By the end of the ‘80s, he and Steinman had kissed and made up, and Bat Out Of Hell II: Back Into Hell was born. Steinman recycled several older songs—“Rock And Roll Dreams Come Through,” “Lost Boys And Golden Girls” and “Out Of The Frying Pan (And Into The Fire)” were on Bad For Good—and wrote a handful of melodic epics. There’s nothing like this, Steinman ethused before the album’s release. I believe people will be enriched and thrilled by it.

“Good Girls Go To Heaven (Bad Girls Go Everywhere),” “Life Is A Lemon And I Want My Money Back,” “Everything Louder Than Everything Else” and “Objects In The Rear View Mirror May Appear Closer Than They Are.” Who could resist titles like those? In its original form, “I’d Do Anything For Love (But I Won’t Do That)” was more than 15 minutes in length. Jim’s songs may be miniature operas, but they’re always too long for radio, wrote Meat Loaf in his autobiography, To Hell And Back. Practically every one of them has to be edited down from 9 or 11 minutes to something that the stations will play. He goes through incredible agony over these edits. As far as he is concerned, it’ll kill the song.

“I’d Do Anything For Love…” was trimmed for the album, and the single version is included here on Disc 2. Much to the surprise and delight of everyone concerned, the song was championed by MTV, which gave the accompanying $565,000 (or so) video, a gothic tragedy wit Meat as rock ‘n’ roll Phantom Of The Opera, the heaviest rotation possible. The single logged five weeks on the top of Billboard chart, the album went gold, the multi-platinum, and for a while it was 1977 all over again. Meat Loaf was playing sellout shows across the country, and Bat Out Of Hell II: Back Into Hell was all over the airwaves.

Older and wiser, but no less Wagnerian in his approach, Steinman produced the album himself, using everything he learned from Rundgren back in the day and applying it to a set of slightly more mature songs. The pathos of “I’d Do Anything For Love (But I Won’t Do That)” or the autobiographical wistfulness of “Objects In The Rear View Mirror May Appear Closer Than They Are” would have been beyond the young songsmith’s grasp in the ‘70s.

Meat Loaf himself sang these new productions with a touch of resignation and sweetness that clearly reflected the hard lesson he had learned during his long, lean period. Bat Out Of Hell II: Back Into Hell became one of the rarest birds in the entertainment business: A sequel that actually complemented the original.

Bill DeYoung,
November 2002

Sources include “To Hell And Back—An Autobiography” by Meat Loaf with David Daltohn (Regan Books, an imprint of Harper Collins Publishers, 1999)

Collectors Edition Liner Notes

Meat Loaf? He’d do anything for love… but he won’t do that. Record a sequel to the original Bat Out Of Hell, that is. Uh-uh. Absolutely not! Try to replicate the revved-up rampage of that ker-zillion-selling classic? Get back together with his old mucker Jim Steinman for a follow-up blitzkrieg of overblown bravado? No way, Bat fans. At least that’s what it seemed like to an outsider; to someone who wasn’t entirely privy to the mad machinations of what went on between the release of the first Bat Out Of Hell album in October 1977 (January 1978 in Europe) and its long-delayed sequel, Bat Out Of Hell II: Back Into Hell a full decade-and-a-half later.

Today, with the recent release of Bat Out Of Hell III, the series has developed into something of a franchise. Purist might bemoan the absence of the aforementioned Steinman, Meat Loaf’s muse (some would say mentor), from the present-day project. But two out of three ain’t bad.

The original Bat Out Of Hell made an indelible impression. It was released at an unlikely time, when the music of British punk bands such as The Sex Pistols, The Clash and The Damned was resonating in thousands of pairs of safety-pin-pierced ears. A stripped-down, do-it-yourself ethic prevailed. But not in the case of Bat Out Of Hell. When the album came out it created an entirely new genre of music: baroque ‘n’ roll. It was as lavish and incredible as punk’s three-minute crusades were lewd and crude. Bat Out Of Hell was more than a humble rock record. It was a leviathan.

Bat Out Of Hell was the product of two mightily contrasting personalities: singer Meat Loaf and songwriter Jim Steinman. Or perhaps actor and playwright would be closer to the mark.

Meat Loaf was born Marvin Lee Aday in 1948 in Dallas, Texas. He’d been in a psychedelic band called Popcorn Blizzard; he’d acted on stage in Hair; he’d been a car park attendant; and he’d enjoyed minor chart success with gal vocalist Stoney in the duo Stoney & Meat Loaf, purveyors of uptempo gospel soul in the manner of Delaney & Bonnie. Stoney would later go on to find a sliver of success singing with Bob Seger and Eric Clapton, while her partner Meat Loaf carreer stalled. And not for the first time.

New York-born Jim Steinman was an off-beam brainbox with hippy inclinations. His hero was, and doubtless still is, Richard Wagner. Steinman had grown up in a cultured household and had attended Amherst College in Massachusetts, one of America’s top liber art schools. The pair’s paths first crossed when Meat Loaf tried out for a show Steinman was helping to stage in the Big Apple. It was late 1971 and the venue was the city’s Shakespeare Festival Theater.

Meat was the most mesmerising thing I’d ever seen, much bigger than he is now, Steinman told Q magazine in 1993. (The man-mountain auditionee apparently weighed close to 300 pounds — that’s nearly 19 of your English stones.) I grew up with Wagner, Steinman expanded, so all my heroes were larger than life. Meat’s eyes went into his head like he was transfixed. I can seem arrogant at times because I’m certain of things — and I was certain of him.

Meat Loaf sang a number from the album he’d recorded with Stoney called ‘(I’d Love To Be) As Heavy As Jesus’. Steinman commented that Meat looked as heavy as at least two Jesus’s.

We are totally different people — completely, Steinman later explained. But somehow, within the music, we connect on a level that’s pretty strange…

Five years and plenty of thespian activity later Meat Loaf found himself contributing vocals to Ted Nugent’s 1976 Free For All album. Everything was telling me I should be in a rock band and trying to get me into one, he said. Couldn’t do it. Jim Steinman was my man. Nevertheless, the Nugent experience proved a handy precursor to Bat Out Of Hell, which would be released one year later.

The remarkable thing was that, initially, no one was interested in Bat Out Of Hell. As Meat Loaf recalled in his autobiography To Hell And Back: When we went to record companies, people would invariably ask me why I was haning around with this weird guy [Steinman, who thought gold lamé cloaks were casual daywear]. And what are thes songs? they’d say. These are not rock songs. No one wants a 10-minute rock song. Well, everything we did was 10 minutes long.

But Todd Rundgren was an early advocate of Meat Loaf and Jim Steinman’s fledgling efforts; he helped pay for Bat Out Of Hell and even produced it. Eventually the album snuck out on Cleveland International Records, a subsidiary of Epic.

The album was not an immidiate hit. But when it took hold, its grasp was talon-sharp. Its mixture of epic songs, lush piano-laden melodies and tremulous tales of teenage angst, rounded off with Meat Loaf’s tempestuous voice, captivated a nation, and then the planet. Songs such as ‘You Took The Words Right Out Of My Mouth’, ‘Two Out Of Three Ain’t Bad’, ‘Paradise By The Dashboard Light’ and of course the title track were as seductive as they were sprawling.

Bat Out Of Hell invented the word supersize, and don’t let any burger-guzzling fatso tell you otherwise. It made an impact, especially in the Stattes, because rock had become so sanitised over there, disco was for dummies and British punk had made negligible impact; it was an expansive ocean away, after all.

Meat Loaf and Jim Steinman rumbled on to the road to promote Bat Out Of Hell. They played more than 170 shows in the first 10 months of 1978 as Bat Fever, a highly contagious new virus, spread at an alarming rate. An initially reluctant record label becan to clamour for a follow-up. They wanted Steinman to take time off from touring to write it.

But Meat Loaf’s voice was starting to crack under the pressure of playing a gig practically every night. It was psychosomatic at first because I didn’t want to do it, he said. But soon enough the throat problem became very real. Meat Loaf fell of stage and injured himself in Canada — on purpose, some claimed, to gain respite from the mayhem. Ultimately relations with Jim Steinman became as strained as the singer’s vocal chords.

As Bat Out Of Hell got bigger, Meat Loaf got crazier. It was like some terrible curse where everything I’d ever wished for turned into a nightmare, and it was rapidly turning me into a maniac, he wrote in his autobiography.

Steinman completed a follow-up to Bat Out Of Hell, provisionally titled Renagade Angel. But the Loaf — after endless nights of bellowing out Jim’s soaring operathic anthems — developed a mental block about the new stuff. Renagade Angel eventually became a Steinman solo album, Bad For Good.

In spite of Meat Loaf’s fragile mental state, Steinman quickly concocted the album Dead Ringer for his partner. Meat could barely sing at this point but Steinman pieced together the vocal parts word-by-word, line-by-line. It was like being at the scene of a traffic accident, Steinman related to journalist Greg Sandow. I wanted to work. He [Meat Loaf] was frozen. It’s one of the strangest, most surreal things I’ve encountered.

Somehow, Dead Ringer was completed. Upon release in 1981 it went to No. 1 in the UK. But, hell… it was no Bat Out Of. It made only No. 45 in the States.

The once-dynamic duo became increasingly estranged and a battle royal ensued between Meat Loaf, Jim Steinman and the manager they shared, David Sonenberg. Meat sacked Sonenberg but Steinman didn’t; lawsuits broke out; legal bills piled up; Meat declared himself bankrupt in a fit of despair.

The problem was with a million different forces — his [Meat Loaf’s] managers, his lawyers, his vocal chords, his brain, Jim Steinman told Rolling Stone. He had lost his voice, he had lost his house, and he was pretty much losing his mind.

For bad or for good, the pair went their separate ways. To counter his problems, Meat Loaf kept working — and working. He recorded several creditable albums — including Midnight AT The Lost And Found (1983), Bad Attitude (1984) and Blind Before I Stop (1986) — that enjoyed success in Britain and mainland Europe; however his carreer in America was in free-fall. Meat Loaf is the heftiest footnote in rock history, taunted one US critic.

The Shadow Of The Bat loomed large. Come 1987, Meat Loaf didn’t even have a record deal.

Meanwhile, Steinman was away doing his own thing. He started to make his name as a shit-hot producer and, as you might expect, his choices of artists were distinctly left-field: Bonnie Tyler, Sisters Of Mercy, Air Supply, Barry Manilow. He even worked with Def Leppard, who famously sacked him during the sessions for their Hysteria album. Steinman responded by concocting a wildly eccentric record of his own called Original Sin with a host of female vocalist assembled under the moniker Pandora’s Box. Despite gaining favourable reviews (Steinman, an unlikely cover star, even made the front page of Kerrang! magazine, if memory serves) Original Sin was a flop. Regardless, Steinman regards it as one of favourites. He once said that if Original Sin had been successful, then there would have been no Bat Out Of Hell II.

Ultimately though, Steinman’s songs cried out for Meat Loaf’s titanic tonsils. Meat’s talents were needed for Jim’s epic compositions to achieve their full majesty.

So the time had come, at last, for Meat Loaf and Jim Steinman to reunite. During their period of estrangement the sales of Bat Out Of Hell had been ticking over — to the tune of a cool million copies per year. And after a difficult time Meat Loaf’s career had taken an upward curve: he had expunged his demons, mended his voice and begun playing the lucrative European festival circuit. Meanwhile, in the States, the singer had left the clubs behind and was selling out theatres. We had no record, no promotion but Bat Out Of Hell was still going through the roof, said Meat Loaf. I talked to Steinman and said: Jim, you have no idea what’s going on out here. Bat Out Of Hell has risen from the grave and is flying high! We’re back!

Meat Loaf met with Steinman at the latter’s house in Putnam County, New York, one night in 1989. With Steinman pummelling a lone piano and Meat Loaf pacing up and down, they staged an improptu performance of Bat Out Of Hell in its entirety. The dark magic was still there. They set to work on a sequel, and when he [Steinman] played ‘I’d Do Anything For Love (But I Won’t Do That)’ for me, I melted, Meat Loaf recalled. Bat Out Of Hell II finally emerged in the autumn of 1993. It took a long time to get the album done, Meat explained in his autobiography. Jim’s songs may be miniature operas, but they’re always too long for radio. Practically every one has to be edited down from nine or 11 minutes to something that the stations will play. He goes through incredible agony over these edits. As far as he is concerned, it’ll kill the song.

Meat Loaf’s new manager, Jim Kovac, summed up the approach succinctly: You guys don’t make records, you make events. An example: the album version of ‘I’d Do Anything For Love (But I Won’t Do That)’ lasts for 12 minutes; the radio version is just under eight minutes. But that still makes it the longest No. 1 hit single ever, beating even The Beatles’ ‘Hey Jude’. Steinman shrugged: Everything I do is dictated by the dramatic. Interestingly, however, six songs on Bat Out Of Hell II were remakes: ‘Rock And Roll Dreams Come Through’, ‘Out Of The Frying Pan (And Into The Fire)’, ‘Lost Boys And Golden Girls’ and the crazed poem ‘Love & Death & An American Guitar’ originally cropped up on Steinman’s Bad For Good solo effort, while ‘Good Girls Go To Heaven (Bad Girls Go Everywhere)’ and ‘It Just Won’t Quit’ were on Original Sin by Pandora’s Box. As the review of Bat Out Of Hell II in Q magazine noted: None of them differs wildly from the originals, they’re just a bit louder.

Talking about the preponderance of ‘old’ songs, Meat Loaf explained: The way Jim works on an album is this: first he recycles stuff that’s either been lying around, or, often, songs he’s used elsewhere in another form. His albums consist of different little operas taken from a number of different years. He regurgitates the older material, then write three our four new songs, and that makes the album new. When he has the content down, then the album is ready to be recorded. Steinman, meanwhile, was more concerned about Meat Loaf’s physique. The singer had lost weight; he was eighty pounds lighter than when they had recorded the first Bat Out Of Hell. Steinman wanted to make sure Meat’s lumbering, blustering power was at optimum power for the sequel. So he reportedly laid a trail of doughnuts around the studio in the hope of, er, beefing up Mr Meat.

Despite the presence of a bunch of recycled songs, there’s a distinct difference between Bat Out Of Hell II and its predecessor. Whereas the original was fulkl of wistful musings on the American teenage dream — where everything is a scene played out on a giant-size drive-in screen — the follow up is much darker. After all, the world was in a different place in 1993 than it was in 1977-8. Tracks such as ‘Life Is A Lemon And I Want My Money Back’ and ‘Objects in The Rear View Mirror May Appear Closer Than They Are’ declare that adulthood is daunting and forbidding, and that the adolescence-in-day-glo vibe of the original Bat may have been a bitter fantasy after all. But then again… there’s always the possibility of redemption via the god-almighty power of rock ‘n’ roll.

Despite the success of the original Bat Out Of Hell, record labels weren’t exactly frothing at the mouth at the prospect of a follow-up. Especially not in the early 1990s, when the name Nirvana was on everyone’s lips and Seattle was the base camp for every self-respecting A&R man.

Bat Out Of Hell II eventually materialised on MCA in the States and Virgin in the rest of the world. MCA’s then chairman Al Teller admitted: I faced tremendous scepticism. The conventional wisdom was: Are these guys kidding?

Teller needn’t have worried. Bat Out Of Hell II sold a cool 150,000 copies in its first week of release and went No. 1 on both sides of the Atlantic, and in 18 other countries besides. To date, the album has sold more than 15 million copies around the globe. Nobody writes like Jim, Meat Loaf stated to Rolling Stone in November 1993. All these things — bombastic, over the top, self-indulgent. All these things are positives.

Bombastic? said Steinman. Of course it’s bombastic. I take that as a compliment. Rock ‘n’ roll is the most bombastic form ever — heightened, oversized, gigantic, thrilling and silly.

As Bat Out Of Hell II became the fastest selling album since Michael Jackson’s Thriller, the headline to a celebratory press advertisement proclaimed: The Road To hell Is Paved With Platinum. Praise be to the God Of Sex and Drums and Rock ‘n’ Roll. Meat Loaf, The Prince Of Pandemonium, and Jim Steinman, The Emperor Of Excess, were back in business. And how!

Geoff Barton
Classic Rock, October 2006

End Notes