Bat Out of Hell

From Wikipedia, the free encyclopedia

Bat Out of Hell is the second studio album and the major-
label debut by American rock singer Meat Loaf, as well as Bat Out of Hell
being his first collaboration with composer Jim Steinman and
producer Todd Rundgren, released on October 21, 1977 on
Cleveland International/Epic Records. It is one of the best-
selling albums of all time, having sold over 43 million copies
worldwide.[1] Rolling Stone Magazine ranked it at number
343 on its list of the 500 greatest albums of all time in 2003.

Its musical style is influenced by Steinman's appreciation of

Richard Wagner, Phil Spector, Bruce Springsteen and The
Who. Bat Out of Hell has been certified 14 times platinum by
the Recording Industry Association of America.[2] As of
May 2015, it has spent 485 weeks in the UK Charts.[3] The
album went on to become one of the most influential and Studio album by Meat Loaf
iconic albums of all time and its songs have remained classic Released October 21, 1977
rock staples.
Recorded 19751976
This album's title also became the title for two more Meat Studio Various
Loaf albums. Steinman produced the album Bat Out of Hell 8 Bearsville Studios, Woodstock,
II: Back into Hell (1993). Desmond Child produced the NY
album Bat Out of Hell III: The Monster Is Loose (2006). Utopia Sound, Lake Hill,
A musical based on the album, staged by Jay Scheib, opened NY
at the Manchester Opera House on 17 February 2017 before The Hit Factory, New
transferring to the London Coliseum.[4] York, NY
House of Music, West
Orange, NJ
Contents Genre Rock hard rock glam rock
Length 46:33
1 Pre-production
Label Cleveland International / Epic
2 Production
3 Composition Producer Todd Rundgren
4 Cover Meat Loaf chronology
5 Title
6 Reception Stoney & Bat Out of Hell Dead Ringer
7 Dispute between Cleveland International and Meatloaf (1977) (1981)
Sony Records (1971)
8 Track listing
8.1 Versions Singles from Bat Out of Hell
9 Personnel
9.1 Arrangements 1. "You Took the Words Right Out of My
9.2 Band Mouth (Hot Summer Night)"
10 Charts Released: 1977
11 Certifications
2. "Two Out of Three Ain't Bad"
12 See also
13 References Released: July 31, 1977
3. "Paradise by the Dashboard Light"
Released: 1977
4. "Bat Out of Hell"
Pre-production
Released: 1979
The album developed from a musical, Neverland, a futuristic
rock version of Peter Pan, which Steinman wrote for a workshop in 1974, and performed at the Kennedy
Center Music Theatre Lab in 1977.[5][6] Steinman and Meat Loaf, who were touring with the National
Lampoon show, felt that three songs were "exceptional" and Steinman began to develop them as part of a
seven-song set they wanted to record as an album.[7] The three songs were "Bat Out of Hell", "Heaven Can
Wait" and "The Formation of the Pack", which was later retitled "All Revved Up with No Place to Go".

Bat Out of Hell is often compared to the music of Bruce Springsteen, particularly the album Born to Run.
Steinman says that he finds that "puzzling, musically", although they share influences; "Springsteen was more
an inspiration than an influence."[6] A BBC article added, "that Max Weinberg and Roy Bittan from
Springsteen's E Street Band played on the album only helped reinforce the comparison."[8]

Steinman and Meat Loaf had immense difficulty finding a record company willing to sign them. According to
Meat Loaf's autobiography, the band spent most of 1975 writing and recording material, and two and a half
years auditioning the record and being rejected.[9] Manager David Sonenberg jokes that they were creating
record companies just so they could be rejected.[10] They performed the album live in 1976, with Steinman on
piano, Meat Loaf singing, and sometimes Ellen Foley joining them for "Paradise". Steinman says that it was a
"medley of the most brutal rejections you could imagine."[11] Meat Loaf "almost cracked" when CBS executive
Clive Davis rejected the project.[7] The singer recounts the incident in his autobiography. Not only did Davis,
according to Meat Loaf, say that "actors don't make records", the executive challenged Steinman's writing
abilities and knowledge of rock music:

Do you know how to write a song? Do you know anything about writing? If you're going to write
for records, it goes like this: A, B, C, B, C, C. I don't know what you're doing. You're doing A, D,
F, G, B, D, C. You don't know how to write a song... Have you ever listened to pop music? Have
you ever heard any rock-and-roll music... You should go downstairs when you leave here... and
buy some rock-and-roll records.[12]

Meat Loaf asserts "Jim, at the time, knew every record ever made. [He] is a walking rock encyclopedia."
Although Steinman laughed off the insults, the singer screamed "Fuck you, Clive!" from the street up to his
building.[13]

However, Todd Rundgren found the album hilarious, thinking that it was a parody of Springsteen.[14] The
singer quotes him as saying: "I've got to do this album. It's just so out there." They told the producer that they
had previously been signed to RCA.[9] In one 1989 interview with Classic Rock magazine, Steinman labeled
him "the only genuine genius I've ever worked with."[7] In a 1989 interview with Redbeard for the In the Studio
with Redbeard episode on the making of the album, Meat Loaf revealed that Jimmy Iovine and Andy Johns
were potential candidates for producing Bat Out of Hell before being rejected by Meat and Steinman in favor of
Rundgren, who Meat initially found cocky but grew to like.

Production
Recording started in late 1975 in Bearsville Studios, Woodstock, New York. Roy Bittan and Max Weinberg, the
pianist and drummer from Bruce Springsteen's E Street Band played on the album, in addition to members of
Rundgren's group Utopia: Kasim Sulton, Roger Powell and John "Willie" Wilcox. Edgar Winter played the
saxophone on "All Revved Up".[9] Rundgren himself played guitar, including the "motorcycle solo" on "Bat
Out of Hell".[15] Both Steinman and Rundgren were influenced by Phil Spector and his "wall of sound".[9]
According to Meat Loaf, Rundgren put all the arrangements together because although "Jim could hear all the
instruments" in his head, Steinman hummed rather than orchestrating.[15]

When Rundgren discovered that the deal with RCA did not actually exist, Albert Grossman, who had been Bob
Dylan's manager, offered to put it on his Bearsville label but needed more money.[16] Rundgren had essentially
paid for the album himself.[11] Mo Ostin at Warner Bros. was impressed, but other senior people rejected them
after they performed live. Steinman had offended them a few years earlier by auditioning with a song named
"Who Needs the Young", which contains the lyric "Is there anyone left who can fuck? Screw 'em!"[17]

Another E Street Band member, Steve Van Zandt, and Sonenberg arranged to contact Cleveland International
Records, a subsidiary of Epic Records. After listening to the spoken word intro to "You Took the Words Right
Out of My Mouth" ("Hot Summer Night"), founder Steve Popovich accepted the album for Cleveland.[17][18]

Rundgren mixed the record in one night. However, the mixes were not suitable to the extent that Meat Loaf did
not want "Paradise" on the album. Jimmy Iovine, who had mixed Springsteen's Born to Run, remixed some of
the tracks. After several attempts by several people, John Jansen mixed the version of "Paradise" that is on the
album. According to Meat Loaf, he, Jansen and Steinman mixed the title track.[16]

Phil Rizzuto's baseball play-by-play call for "Paradise by the Dashboard Light" was recorded in 1976 at The
Hit Factory in New York City by Rundgren, Meat Loaf and Steinman. As an Italian Catholic, Rizzuto publicly
maintained he was unaware that his contribution would be equated with sex in the finished song. However,
Meat Loaf asserts that Rizzuto only claimed ignorance to stifle some criticism from a priest and was fully
aware of the context of what he was recording.[19]

Composition
Todd Rundgren acknowledges that Steinman was highly
"Bat Out of Hell"
influenced by the "rural suburban teenage angst" of Bruce
Springsteen.[20] According to manager David Sonenberg, 0:00
"Jim would always come up with these great titles and then
This sample features the beginning of
he would write a song that would try to justify the greatness the chorus.
of the title."[10]
Problems playing this file? See media help.
The album tells the story of a young man who dies in a car
crash while speeding and relives select moments from his life before his soul is taken to Hell. It opens with the
title track "Bat Out of Hell", taken from Steinman's Neverland musical. It is the result of Steinman's desire to
write the "most extreme crash song of all time."[11] It features a boy who is riding so fast and ecstatically that
he is unable to see an obstruction until it is "way too late". As the unnamed young man slowly dies, he thinks
back to the first time he met his girlfriend ("You Took the Words Right Out of My Mouth/Hot Summer Night"),
opens with spoken word, performed by Steinman and Marcia McClain, that was also taken from the Neverland
musical, as were the next two tracks.[21]

As he dies, the young man thinks more deeply into the beginning of his relationship with his unnamed lover
and the first time he had sex with her ("All Revved Up and Nowhere to Go"):

You and me 'round about midnight

Someone's got to draw first blood [...]
Oooh I got to draw first blood.

Side Two opens with the young man's dying thoughts turning to his recent breakup with the unnamed lover
("Two Out of Three Ain't Bad"); the song was written quite late in the album's production, shortly before the
album was released.[10] The song documents the breakup of a relationship where despite the fact that the man
wants and needs the woman, he will never love her; he tries to be positive and supportive, however, in
emphasizing that wanting her and needing her are very positive thingsi.e., "ain't bad"which gives the song
an ironic twist. A further twist is that the reason the man will never love the woman is because he already loves
another woman, who broke up with him because she already loved another man. Rundgren identifies how the
song was influenced by the Eagles, who were successful at the time. The producer also highlights the
"underlying humor in the lyrics", citing the line "There ain't no Coupe de Ville hiding at the bottom of a
Cracker Jack box." He says you could only "get away" with that lyric "in a Meat Loaf song".[20]
The young man then begins to remember his first sexual encounter with his unnamed lover as a teenager, when
he pressured her into having sex with him in his car ("Paradise by the Dashboard Light"); the song features a
duet between Meatloaf and Ellen Foley in which The Boy (the dying man's younger self) and his unnamed
girlfriend in which The Boy tries to convince his girlfriend to submit to him, while the girl feebly attempts to
reject his advances. They "make out" heavily in the middle instrumental section, described in metaphor in a
baseball commentary by New York Yankees announcer Phil Rizzuto. Right before The Man is about to take her
virginity, the girl makes him swear that he will love her, which he passionately agrees to; however, over time
The Man grows sick of the relationship and ultimately commits suicide by crashing his car ("if I got to spend
another minute with you I don't think that I can really survive.")

As the young man begins to accept his inevitable death ("For Crying Out Loud"), an angel appears to him and
forces him to accept the fact that his girlfriend's seemingly "interfering behavior" was really her trying to save
him; however, due to his selfish ways he was unable to appreciate the support she tried to give him and instead
viewed his relationship with her as merely sexual ("And can't you see my faded Levi's bursting apart.") As he
finally dies, he his taken before God, who condemns him for his selfish behavior and sends him to Hell.

Comparing the album to Steinman's late-1960s musical The Dream Engine, Classic Rock magazine says that
Steinman's imagery is "revved up and testosterone-fueled. Songs like "Paradise by the Dashboard Light", "Two
Out of Three Ain't Bad" and "For Crying Out Loud" echoed the textbook teenage view of sex and life:
irrepressible physical urges and unrealistic romantic longing."[7]

Steinman's songs for Bat Out of Hell are personal but not autobiographical:

I never thought of them as personal songs in terms of my own life but they were personality songs.
They were all about my obsessions and images. None of them takes place in a normal world. They
all take play in extreme world. Very operatic ... they were all heightened. They don't take place in
normal reality.[11]

For example, citing the narrative of "Paradise", Rundgren jokes that he can't imagine Steinman being at a
lakeside with the most beautiful girl in school, but he can imagine Steinman imagining it.[20]

Cover
Steinman is credited with the album cover concept, which was illustrated by Richard Corben. The cover depicts
a motorcycle, ridden by a long-haired man, bursting out of the ground in a graveyard. In the background, a
large bat perches atop a mausoleum that towers above the rest of the tombstones. In 2001, Q magazine listed
the cover as number 71 in its list of "The Hundred Best Record Covers of All Time."[22]

Steinman had wanted equal billing with Meat Loaf on the album's title. He wanted it to be called "Jim Steinman
presents..." or "Jim and Meat," or vice versa. For marketing reasons, the record company wished to make 'Meat
Loaf' the recognizable name. As a compromise, the words "Songs by Jim Steinman" appear relatively
prominently on the cover. The singer believes that this was probably the beginning of their "ambivalent
relationship."[23]

Title
The phrase "Bat Out of Hell" can be traced back to the Greek playwright Aristophanes' 414 B.C. work titled
The Birds.[24] In it is what is believed to be the first reference to a bat out of Hell:

Near by the land of the Sciapodes there is a marsh, from the borders whereof the unwashed
Socrates evokes the souls of men. Pisander came one day to see his soul, which he had left there
when still alive. He offered a little victim, a camel, slit his throat and, following the example of
 Odysseus, stepped one pace backwards. Then that bat of a Chaerephon came up from hell to drink
the camel's blood.

Steinman registered "Bat Out of Hell" as a trademark in 1995, and sought to prevent Meat Loaf from using the
title.[25] In 2006, however, the singer sought to cancel Steinman's trademark and use the title for Bat Out of
Hell III: The Monster Is Loose.[26]

In the film The Rocky Horror Picture Show, Eddie, the character played by Meat Loaf, is killed and then served
as dinner. As the meal is rolled out, audience members now traditionally yell out, "Here comes Meat Loaf like a
bat out of hell." (The phrase "Let me sleep on it", from "Paradise by the Dashboard Light", is yelled out at
another point.) Originally, the audience yelled out "What? Meat Loaf again?" until Meat Loaf's album became a
hit.

Reception
Bat Out of Hell was released by Cleveland International on
October 21, 1977. Cleveland International's parent label was Professional ratings
Epic Records, where almost everyone hated it.[18] Steve Review scores
Popovich, the head of Cleveland International Records, was
relentless in his efforts to get Epic and all of CBS Records Source Rating
and radio on board. In 1993, Steinman reflected that the [27]
AllMusic
album is "timeless in that it didn't fit into any trend. It's never
been a part of what's going on. You could release that record Rolling Stone mixed [28]
at any time and it would be out of place."[30]
Robert Christgau C[29]
Response to the album was slow. Steinman asserts that it was
"underpromoted", having a reputation of being "damaged goods because it had been walked around to so many
places." Due to the enthusiastic response to the music videos from the record Australia and England were the
first to develop interest.[11] The BBC television programme The Old Grey Whistle Test aired a clip of the live
band performing the nine-minute title track. According to Classic Rock, response was so overwhelming, that
they screened it again the following week. They later invited the band to perform "Paradise" live. "As a result,
in the UK Bat became an unfashionable, uncool, non-radio record that became a 'must-have' for everyone who
heard it, whether they 'got' Steinman's unique perspective or not."[18]

The album was not an immediate hit; it was more of a growing one. Bat Out of Hell still sells about 200,000
copies per year and has sold an estimated 43 million copies worldwide,[31][32] including 14 million in the
United States[33] and over 1.7 million albums in Australia, where it is the second best-selling album in the
country behind John Farnham's Whispering Jack (1.73 million copies)[34][35] and even re-entered the ARIA
Charts in June 2007, at #34. It stayed on the United Kingdom charts for 485 weeks,[36] a feat surpassed only by
the 522 weeks of Fleetwood Mac's Rumours.[37] In 1989, Kerrang! magazine listed the album at No. 38 among
the "100 Greatest Heavy Metal Albums of All Time".[38] In 2003, the album was ranked number 343 on
Rolling Stone's list of the 500 greatest albums of all time.[39] In 2005, Bat Out of Hell was ranked number 301
in Rock Hard magazine's book of The 500 Greatest Rock & Metal Albums of All Time.[40] In 2006 it was voted
number nine in a poll conducted by the Australian Broadcasting Corporation to discover Australia's most
popular album.[41] In November 2007, Meat Loaf was awarded the Classic Album award in Classic Rock's
Classic Rock Roll Of Honour.[42] The album was also included in the book 1001 Albums You Must Hear Before
You Die.[43]

Reviews were initially mixed, but have since become much more positive. At first Rolling Stone called the
songs "swell, but... entirely mannered and derivative" and noted that the arrangements "aren't bad", although
the musicians were commended. The review ended with the assertion that the "principals have some growing to
do."[44] Modern reviews are more positive, however. Allmusic declares "this is Grand Guignol popepic,
gothic, operatic, and silly, and it's appealing because of all of this." They acknowledge that Steinman is "a
composer without peer, simply because nobody else wanted to make mini-epics like this." Rundgren's
production is applauded, as is the wit in the music and lyrics. "It may elevate adolescent passion to operatic
dimensions, and that's certainly silly, but it's hard not to marvel at the skill behind this grandly silly, irresistible
album."[45]

Also, Meat Loaf revealed on In the Studio with Redbeard that he was not well received early on in the tour
when he was opening for Cheap Trick. In the same interview, Meat Loaf revealed that when he played at a CBS
Records convention in 1978, record executives and superstar Billy Joel (who was in the audience) gave Meat
Loaf a standing ovation for his performance after a haunting rendition of the closing track "For Crying Out
Loud", and credits this as the turning point in the album's success in the United States.

Dispute between Cleveland International and Sony Records

In 1995, Cleveland International sued Sony for unpaid royalties from sales of the album. Under the terms of the
1998 settlement agreement ending the suit, Sony agreed to include the Cleveland International logo on all
future releases of the album. In 2002, Steve Popovich, founder of Cleveland International and the owner of the
rights to its name, sued Sony, alleging that Sony had failed to include the Cleveland International logo on some
copies of the album and on some compilations Sony released that included songs from the album. On May 31,
2005, the federal district court in Cleveland, Ohio, entered judgment against Sony pursuant to a jury verdict in
favor of Popovich and awarded Popovich more than US$5,000,000 in damages for Sony's breach of the 1998
settlement agreement. On November 21, 2007, the federal appellate court in Cincinnati, Ohio, affirmed the
judgment of the trial court.[46]

Track listing
All tracks written by Jim Steinman.

Side one
No. Title Length
1. "Bat Out of Hell" 9:48
2. "You Took the Words Right Out of My Mouth (Hot Summer Night)" (intro spoken by Steinman 5:04
and Marcia McClain)
3. "Heaven Can Wait" 4:38
4. "All Revved Up with No Place to Go" 4:19
Side two
No. Title Length
5. "Two Out of Three Ain't Bad" 5:23
6. "Paradise by the Dashboard Light" (duet with Ellen Foley ) (I. Paradise / II. Let Me Sleep On It / III. 8:28
Praying for the End of T ime)
7. "For Crying Out Loud" 8:45

Versions

The album also exists in numerous other formats and re-releases, including a Super Audio CD version, a 25th
anniversary edition (2001 Epic/Legacy #62171) with two bonus tracks ("Great Bolros of Fire (live intro)"
[3:54] and "Bat Out of Hell (live)" [11:10], and a Bat Out of Hell: Re-Vamped release (1991) featuring the
bonus song "Dead Ringer for Love".

A new hybrid SACD version was released in late 2016 by Analog Spark, an audiophile imprint of the Razor &
Tie label, mastered from the original tapes by Ryan Smith at Sterling Sound. (Early copies erroneously name
Kevin Gray as the mastering engineer; Analog Spark issued a statement that this intended arrangement did not
happen because of a "miscommunication.")
Personnel
Track numbers indicate that a musician only plays the instrument so noted on that specific track.

Arrangements
Kenneth Ascher string arrangements (3, 5)
Steve Margoshes orchestra arrangement (7)

Band

Meat Loaf lead vocals, backing vocals (6), percussion (2)

Todd Rundgren guitar (1, 2, 46), percussion (1, 2), keyboards (1), backing vocals (13, 5, 6)
Kasim Sulton bass guitar (1, 2, 47), backing vocals (1)
Roy Bittan piano, keyboards (1-3, 6)
Steve Margoshes piano (7)
Cheryl Hardwick piano (7)
Jim Steinman keyboards (1, 2, 6), percussion (1, 2), "lascivious effects" (6), dialogue intro (2)
Roger Powell synthesizer (1, 2, 5, 6)
Edgar Winter saxophone (2, 4, 6)
Max Weinberg drums (1, 2, 6)
John "Willie" Wilcox drums (4, 5, 7)
Marcia McClain dialogue intro (2)
Phil "Scooter" Rizzuto play-by-play (6)
Ellen Foley featured vocal (6), backing vocals (1, 2, 4, 6)
Rory Dodd backing vocals (all except 4)
Gene Orloff concert master (7)
Members of New York Philharmonic and Philadelphia Orchestra orchestra (7)

Charts
Peak
Chart (197778)
position

Australian Albums (Kent Music Report)[47] 1

Dutch Albums (MegaCharts)[48] 1

German Albums (Offizielle Top 100)[49] 11

New Zealand Albums (RMNZ)[50] 1

Swedish Albums (Sverigetopplistan)[51] 13

UK Albums (OCC)[52] 9

US Billboard 200[53] 14

Certifications
 Region Certification Certified units/Sales

Australia (ARIA)[54] 25 Platinum 1,750,000^

Canada (Music Canada)[55] 2 Diamond 2,000,000^

Denmark (IFPI Denmark)[56] 2 Platinum 40,000^

Germany (BVMI)[57] Platinum 500,000^

New Zealand (RMNZ)[58] 17 Platinum 255,000^

United Kingdom (BPI)[59] 10 Platinum 3,282,300[60]

United States (RIAA)[61] 14 Platinum 14,000,000^

Summaries

Worldwide 43,000,000

*sales figures based on certification alone

^shipments figures based on certification alone

See also
Wagnerian rock

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select Album, then click SEARCH

Preceded by
Australian Kent Music Report number- Succeeded by
Saturday Night Fever
one album Grease (soundtrack) by
(soundtrack)
June 26 August 13, 1978 Various artists
by Various artists

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