Bat Out Of Hell is an absolute classic and while there are few that would dismiss its importance to the history of recorded music, most of us would agree that it is a landmark album. It's a shame then that the sonic quality has never really lived up to the hype, but more on that later.
In 1993, Meat Loaf had once again exploded on the world's stage with Bat Out Of Hell II: Back Into Hell and the monumentally popular lead single I'd Do Anything For Love (But I Won’t Do That). Both would herald my first experiences of Meat Loaf and I was immediately hooked. So much so that the acquisition of the album that started it all was all but guaranteed.
As I played the Bat Out Of Hell cassette, I remember being surprised that an album would have fewer than ten songs. You must remember that this was at the height the CD era when artists and record labels had a tendency to fill the capacity of the CD for no other reason than because they could. Sure, there were some exceptional albums that went for the 74-minute duration, but they were often the exception, rather than the rule. Despite this, I quickly learnt that the song limitations on Bat Out Of Hell were due to the approximate 44-minute runtime of the vinyl LP and the fact that Meat Loaf often defied the radio-friendly runtime.
Sadly, the cassette no longer exists in my collection. It became a casualty of the MP3 era. Yes, dear reader, I was a bloody idiot! The most unfortunate aspect of this move to digital convenience was that I’ve never been able to find a comparable copy, on any format. While I acknowledge the placebo effect in relation to my memories of how the cassette sounded, I have found that many of the currently available editions lack midrange with excessive treble. It is frustrating and reminds me of my beloved ABBA collection. Some releases are excellent, most are substandard, usually due to varied masters and master tape quality.
A few years ago, I decided to pick up a vinyl release as much for the artwork as the promised return to analog sound. Well, let's just say the CD-quality edition on TIDAL Hi-Fi is significantly better. That's putting it mildly as Lucifer himself wouldn't allow the Simply Vinyl pressing to enter hell. It truly is that bad!
The catalogue number for the aforementioned atrocity is SVLP 0086/82419. Simply Vinyl even had the audacity to claim that it was pressed on Virgin Vinyl, a fact that is a completely inaccurate as the surface noise alone is off the charts. Even recycled vinyl can sound adequate if the record has been mastered and pressed with respect to the limitations of the medium and the original recording. Besides the poor sonic quality, the Simply Vinyl release is pressed so poorly that the lead song, Bat Out Of Hell, starts about a second later than it should.
I could go on and on about how pathetic the pressing is and how much extraneous treble is present. I could also detail how the record lacks soul, drive, and emphasis, not to mention musicality, but I think you get the idea. Simply avoid this pressing at all costs.
As a result, I won’t be using the Simply Vinyl release for this review as it would tarnish my thoughts on the songs themselves. I will subsequently be using the TIDAL Hi-Fi edition as the basis for this review. It still isn’t what I would consider as perfect, but it offers a decent quality that allows me to enjoy Bat Out Of Hell.
Bat Out Of Hell is a killer track to commence the album with. It is the epitome pop/rock opera, along with Paradise By The Dashboard Light of course, and I simply adore it.
You Took The Words Right Out Of My Mouth (Hot Summer Night) has the classic Jim Steinman spoken intro that works well with the song, but I find the musicality in this track to be too campy and rather dated. That is not to say that I dislike it, but this song could have easily come from Abba's catalogue, especially with the backing vocal style. Regardless, once the song gets going, I find it captivating and feel the need to sing-a-long.
Heaven Can Wait is simply gorgeous!
All Revved Up With No Place To Go is a little too jazzy for my liking. Despite that, I don’t dislike the song and will once again belt out every chorus and verse.
Two Out Of Three Ain't Bad is pure Meat Loaf. Just like Heaven Can Wait, I thoroughly enjoy songs that highlight Meat Loaf's vocal presentation. While he’s been criticised in recent years for poor live performances, there is no shame on this track. He knocked it out of the park with Two Out Of Three Ain’t Bad; one of my all-time favourites.
Paradise By The Dashboard Light has a reputation that needs no introduction, Pure perfection from a songwriting and musical perspective. It's a shame it lacks midrange while also needing a little boost in the low end. Regardless, it would be in my Top 100 songs of all-time, if I had such a list.
For Crying Out Loud is another of those exceptional vocal-driven tunes that are perfect for Meat Loaf. While we all likely gravitate to the well-known, face-paced, rock tunes on the album, I personally adore this song and the gradual build-up is pure gold. Just as Bat Out Of Hell was the perfect song to begin the album with, For Crying Out Loud is the ultimate closer, encouraging me to listen to the album again and stay within Meat Loaf's catalogue for the rest of the day.
Bat Out Of Hell is one of the greatest albums ever recorded; even if not from a sonic standpoint. While Meat Loaf gets most of the credit, Jim Steinman needs to be remembered as the silent but extremely talented writer that was as important to Meat Loaf’s success as Bernie Taupin was to Elton John. Yes, both Meat Loaf and Elton John have worked with other songwriters, but it could be argued that their best work occurred when working with these key contributors.
Without doubt, I need to source a better original for my physical music collection. I have been considering the Analogue Spark SACD release as it is reported to be very good and amongst the best masterings of the album. However, as I was finalising this review, I noticed that Friday Music has just re-issued the album as a 40th Anniversary Edition on red vinyl. Yes, I’m sceptical of another vinyl edition as well. However, it is important to note that this edition has been mastered by Joe Reagoso and Kevin Gray at RTI. Those names alone are akin to royalty in audiophile circles and based on my prior experience with Friday Music pressings, I’m almost tempted to order a copy.
Do you have a preferred edition of this classic? If so, please let us know in the comments.
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