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

A woman is standing on a filght of stairs, against a green wall. She looks freightened. Out of view, there must be a man with a hat, because we see his shadow.
A woman is standing on a filght of stairs, against a green wall. She looks freightened. Out of view, there must be a man with a hat, because we see his shadow.
Covers of the international and US versions, with artwork by Ricky DiTommaso. Notice the British/American spelling of the word “Neighbourhood.”
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 MCAD-11341 CD 1995 USA "Neighbourhood", Promo in yellow jewl case. Includes form for Triumph Motorcycle Sweepstake.
5 MCA MCSSD-11341 CD 1995 USA "Neighbourhood"
6 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 …

The image for “Where the Rubber Meets the Road” is adapted from the cover of the January 1995 issue (Volume 62, Number 3) of True Detective magazine.
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 …

The image for “I’d Lie for You (And That’s the Truth)” is adapted from the poster of the 1925 Western film serial The Fighting Ranger, directed by Jay Marchant. The film is now considered to be lost.
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) …

The image for “Original Sin” is adapted from the poster of the 1950 film noir Gun Crazy, directed by Joseph H. Lewis, starring Peggy Cummins and John Dall in a story about the crime-spree of a gun-toting husband and wife.
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 …

The image for “45 Seconds of Ecstasy” is based on the 1946 Bantam Book edition of No Hands on the Clock, a 1939 novel by Geoffrey Homes (a pseudonym for American novelist and screenwriter Daniel Mainwaring (1902-1977)).
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 …

The image for “Runnin’ for the Red Light (I Gotta Life)” is based on the 1958 Bernard L. Kowalski movie Hot Car Girl.
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? …

The image for “Left in the Dark” is based on the 1929 Paramount Pictures movie The Canary Murder Case, directed by Malcolm St. Clair and Frank Tuttle.
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 …

The image for “Not a Dry Eye in the House” is adapted from a 1947 movie poster for The Guilt of Janet Ames, starring Rosalind Russell.
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 …

The image for “Amnesty is Granted” is adapted from a 1929 movie poster for Pioneers of the West, starring Tom Tyler.
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 …

The image for “Is This is the Last Kiss (Let’s Make It Last All Night)” is based on a 1950 movie poster for the Italian-American film Stromboli, directed by Roberto Rossellini and featuring Ingrid Bergman.
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 …

The image for “Martha” (a Tom Waits cover), is an original artwork by Ricky DiTommaso.
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.

The image for “Where Angels Sing” is based on the iconic poster for Stanley Kubrick’s Lolita (1962).
Written by Steven Allen Davis
© Red Brazos Music, Inc. / Original Hometown Sheet Music (BMI)

Additional images

The back cover is adapted from the cover of the March 1946 (Volume 8, Number 2) issue of New Detective Magazine. The cover artist is Rafael M. DeSoto.
Meat Loaf, photographed by Norman Watson

End Notes