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Meat Loaf – Bat Out Of Hell II: Back Into Hell (Album Review)

Meat Loaf – Bat Out Of Hell II: Back Into Hell (Album Review)

Released in 1993, Meat Loaf's Bat Out of Hell II: Back Into Hell is a monumental rock album that not only pays homage to its iconic predecessor but also manages to carve out its own unique space in the annals of rock music history. Expanding on Bat Out Of Hell, this second outing furthers the rock opera approach, taking listeners on an epic journey filled with larger-than-life characters, dramatic storytelling, and soaring melodies. In this review, we’ll explore the various aspects that make Bat Out Of Hell II: Back Into Hell a timeless classic for it’s more than just a cash grab follow-up.

Maintaining the operatic storytelling style that Jim Steinman and Meat Loaf are renowned for, Bat Out Of Hell II continues the story arc of the original Bat Out of Hell album, with recurring themes of love, rebellion, and the timeless battle between good and evil. The narrative elements make the album feel like a rock and roll Broadway show, immersing listeners in a world of passion and drama. While Steinman’s songwriting has been pivotal to Meat Loaf’s success, it is the vocalist’s powerful and emotive vocals that are at the heart of this album's success. Yes, others have recorded Steinman’s songs, to much fanfare, but nobody has outperformed Meat Loaf’s vocal prowess on his classic tunes.

Part of the appeal had always been Meat Loaf’s larger-than-life persona; a style that perfectly complements the operatic and grandiose nature of Steinman's storytelling. Tracks like I'd Do Anything For Love (But I Won't Do That) showcase Meat Loaf’s incredible vocal range and passion and his delivery consistently adds a layer of depth and emotion to the lyrics, making them feel more like character monologues than typical rock songs.

While these two incredibly talented individuals are the core reason for the success of each other, and the Bat Out Of Hell series, the production of Bat Out Of Hell II: Back Into Hell is second to none as the arrangements are orchestral and theatrical, featuring elements of rock, pop, and even a touch of classical music influence. Add to that the use of choirs, pianos, and guitars and you get an incredibly rich sonic landscape that perfectly complements the narrative. Yes, the album benefited from a big-budget approach, that wasn’t quite present with the original 1977 release of Bat Out Of Hell, but a level of rawness remains ever-present despite this album’s polished and epic sound.

Purists, particularly those who are attached to the original Bat Out Of Hell will likely view this second instalment as a detractive element but it would be amiss to consider it this way as Bat Out Of Hell II not only lived up to the legacy of the original, but also managed to become a classic in its own right. That statement certainly can’t be applied to the third instalment, Bat Out Of Hell III: The Monster Is Loose; an album that is solid on its own, but is certainly not worthy of its legacy. 

While the music may be paramount, and one should never judge an album by its cover, Michael Whelan created a captivating piece of imaginative realism when designing the Bat Out Of Hell: Back Into Hell cover art. It screams to be seen on the larger vinyl canvas, and while it was released on vinyl in 1993, the CD was commanding everyone’s attention by that stage and the smaller canvas, while adequate, failed to truly captivate the essence of the scene. Thankfully, in 2019, the album was reissued on vinyl for the 25th anniversary and I’m fortunate to have that edition in my collection for it not only sounds incredible, but it looks magnificent.

As enamoured as I often am with Apple Music’s quality, the lossless Apple Music stream is a direct CD counterpart that is more than acceptable, but it’s the fullness of sound, mixed with nuanced clarity, that enables you to turn the volume up and rock out like never before to the aforementioned vinyl reissue. That isn’t to say that the stream is substandard, but if you have the option and you enjoy vinyl, it presents the album in a manner that is incomparable to any other delivery method for the smoothness and fullness of the analogue counterpart really makes this album shine. That all said, grab whichever copy you have access to, turn the volume up, and let’s check out the songs that make up this exceptional release.   

I'd Do Anything For Love (But I Won't Do That) is an epic ballad and the album's most iconic track. Featuring a soaring melody, a powerful choir element, and Meat Loaf's passionate vocals, I’d Do Anything For Love (But I Won’t Do That) was destined to be a standout. Some may lament that this song has been played ad nauseam throughout the years, but as a contender for the greatest power ballad of all time, it is to be expected that it would be controversial.

Credit, however, must be given to Lorraine Crosby for the incredible vocal prowess she delivered on this track. Meat Loaf is good, there’s no doubt about that, but Crosby’s vocal inclusion takes the song to another level entirely; much the same as Ellen Foley’s inclusion on Paradise By The Dashboard Light did.

Life Is A Lemon And I Want My Money Back is an incredible, yet pessimistic, reflection on life's disappointments and unfulfilled promises. It is one of Meat Loaf’s greatest tunes and with its catchy chorus and introspective lyrics, it's memorable and relatable. Add to that some killer guitar work and you’ve got a theatrical rock number with just the right amount of aggression to give the song an attitude all of its own.

Rock And Roll Dreams Come Through is a soft rock anthem but as catchy as it is, it’s one song that has dated far more than it ideally should have. Perhaps that is because it was originally released in 1981 on Steinman’s Bad For Good. That edition features the vocals of Rory Dodd and while he doesn’t have the vocal chops Meat Loaf had, I thoroughly enjoy the original and consider it to be a published demo. Still, neither is exceptional and I dare say that Rock And Roll Dreams Come Through has yet to be fully realised. While it is unlikely, I do hope that another artist will cover this tune, and make it their own, while ensuring that it has a harder rock edge that I feel is deserving of the song. 

It Just Won't Quit shifts the flow of the album somewhat. Yes, it may be sonically compelling, but as much as I consider Bat Out Of Hell II to be largely perfect, It Just Won’t Quit does adversely affect the flow of the album. While rock operas demand melodrama, I can’t help but wonder if a shortening, and simplification, of the song wouldn’t have been better suited to the track.

It Just Won’t Quit is another cover for Meat Loaf as it was originally recorded and released by Pandora’s Box on their 1989 release, Original Sin. The Pandora’s Box original isn’t bad, but I do prefer this interpretation.

Out Of The Frying Pan (And Into The Fire) is a high-energy, rock-infused anthem driven by a sense of urgency and a killer guitar performance. Yes, dear reader, get your air guitar ready as you’re going to need it for it’s one of the best songs in Meat Loaf’s back catalogue.

Jim Steinman originally released Out Of The Frying Pan (And Into The Fire) on Bad For Good and while it’s somewhat lacklustre, it showcases the origins of the song and allows fans to see the evolution of the tune.

Objects In The Rear View Mirror May Appear Closer Than They Are is a beautiful song from start to finish. While I enjoy Meat Loaf’s louder, more rock-driven songs, he had such incredible control over his vocals that he could sing almost any style thrown at him and this is no exception. 

Wasted Youth captures the feeling of youthful rebellion and the idea that life is fleeting. That said, I’m not sure I would call it a song and while Jim Steinman’s spoken word lyrics offer a momentary respite from Meat Loaf, it really doesn't add substance to the overall album experience. Nevertheless, if viewed in a similar style to Lou Reed’s body of work, then it most certainly can be classed as a song. Still, it makes for a very compelling entry into Everything Louder Than Everything Else.

Everything Louder Than Everything Else has a driving rock rhythm and powerful vocal performance that contribute to its anthemic quality. While it was never going to be a standout tune, I couldn’t imagine the album without this song as it’s a solid riff-driven number that is thoroughly enjoyable every time I hear it. 

Good Girls Go To Heaven (Bad Girls Go Everywhere) is a jazzy rock song with a catchy, upbeat melody and a playful attitude and is without a doubt one of the standout tunes from Bat Out Of Hell II: Back Into Hell

As with It Just Won’t Quit, Good Girls Go To Heaven (Bad Girls Go Everywhere) is another Pandora’s Box cover. The original is solid, reminding me of many Bonnie Tyler songs. Yes, Meat Loaf’s version is the one to beat, but Pandora’s Box recorded an exceptional original.

Back Into Hell serves as an instrumental interlude that works well on its own, but does it work well in the album format? Over the last couple of decades I’ve become familiar with it, so removing it now would not be an option. However, as with Wasted Youth, one can’t deny that it shifts the flow of the album.

Lost Boys And Golden Girls is pure Meat Loaf. His vocal tracking on Lost Boys And Golden Girls is superb and the song is a perfect classical-styled rock tune that compels me to listen to the album again.

Lost Boys And Golden Girls was also originally recorded and released on Steinman’s Bad For Good and as much as I adore Meat Loaf’s interpretation, Steinman's performance is masterful.

The impact of Bat Out Of Hell II: Back Into Hell on the rock opera genre and its influence on subsequent generations of rock musicians cannot be overstated. While it may not have been quite as successful as its predecessor, it remains a timeless rock masterpiece that captures the essence of operatic storytelling within the realm of rock music. Meat Loaf's powerful vocals, intertwined with Jim Steinman's poetic songwriting, and grandiose arrangements, result in an epic musical experience that continues to resonate with music lovers even decades after its release. 

Meat Loaf – Bat Out Of Hell (Album Review)

Meat Loaf – Bat Out Of Hell (Album Review)

Bat Out Of Hell is an absolute classic and while few would dismiss its importance to the history of recorded music, most of us would agree that it’s a landmark album. It's a shame, however, that the sonic quality has never really lived up to the hype, but more on that later.

Released in 1977, Bat Out Of Hell, produced by Todd Rundgren and penned by Jim Steinman, has left an indelible mark on music history with its bombastic melodies, theatrical storytelling, and Meat Loaf's unmatched powerhouse vocals. It really is the complete package and there isn’t a bad track to be heard on the album. Certainly, some songs may appeal more to you than others, I know that is the case for me, but when you combine them in the chosen sequencing, Bat Out Of Hell becomes more than just a collection of songs for it is an album experience first and foremost. 

Aside from the music, the album artwork is also legendary and yearns to be seen on the larger vinyl canvas. Unfortunately, despite trying various editions, I’ve yet to find a vinyl copy that is mastered exceedingly well. Truth be told, there probably isn’t one definitive edition as Bat Out Of Hell has never been an album that will please audiophiles. Its recording is somewhat raw, thereby limiting the quality of the output, but in a strange dichotomy, that aspect adds to the appeal of the album. 

The problem that exists when recordings lack a little spit and polish from the production stage is that by the time it has been mastered, or additionally remastered, and then delivered to the music-loving consumer, the magic of the album tends to be severely reduced. In other words, you’ll hear the songs but there are moments whereby Bat Out Of Hell is sonically closer to muzak than music. Yes, dear reader, it can be that bad and while highly touted editions exist, it’s a case of once bitten twice shy. Plus, and this will drive vinyl purists insane, I thoroughly enjoy the Hi-Res Lossless stream, an Apple Digital Master, from Apple Music. 

Don’t get me wrong, I’m not suggesting that the Apple Music stream offers the definitive edition of this classic release, but I find that it is the least offensive with a smoother top end and a little fuller sound in the mids. The low end of the audio spectrum is still lacking on the Apple Music stream, unfortunately, but if we consider that to be part of the album’s style, I can live with that.

Of course, the stereo mix isn’t the only option available on Apple Music for the album is also presented in Dolby Audio. You’ll notice that I didn’t say Dolby Atmos and that is because Apple Music also delivers the legacy SACD and DVD-Audio surround sound mixes; if the record label delivers it to them. In this case, I believe it is taken from the 2001 surround mix counterpart, sans the two bonus tracks, but the lack of complete liner notes means that this is pure conjecture on my part. Despite that, the sonic presentation of the surround mix is fuller and more spacious than the stereo counterpart. I almost want to say that I prefer it, but some elements leave me a little unsure and displeased. The low end is a little muddier, by comparison, and after listening to the stereo mix for decades, the shift to a multi-channel mix can take a little getting used to. As always, our musical perspectives are subjective and there are numerous mixed opinions relating to the 5.1 surround mix on QuadraphonicQuad. My advice would be to find the version you’re happy with and stick with it. For me, it is the Hi-Res Lossless stereo mix from Apple Music.

Bat Out Of Hell is a sprawling rock opera that sets the tone for the entire album. Meat Loaf's passionate vocals combined with Steinman's poetic lyrics make this an unforgettable anthem.

You Took The Words Right Out Of My Mouth (Hot Summer Night) has the classic Steinman spoken intro that works well with the song, but I find the musicality of this track to be a little campy and rather dated. That doesn’t mean I don’t like it, anything but, it’s just an aspect such as this that would likely deter modern listeners who have yet to fully grasp the musical impact Meat Loaf had throughout his career. Regardless, this nostalgic ballad is infused with both rock and pop sensibilities and before it’s over, you’ll likely find yourself singing along to a song that very easily could have come out of the ABBA camp.

Heaven Can Wait is a beautiful heartfelt ballad that will leave a lasting impression for it’s, arguably, Meat Loaf’s greatest recording. 

All Revved Up With No Place To Go kicks the album back into high gear with this high-octane track. My only frustration is I feel it’s a little too jazzy. That, however, doesn’t prevent me from belting out every chorus and verse. 

Two Out Of Three Ain't Bad is one of Meat Loaf’s most iconic songs. While Meat Loaf is often remembered for his rock and roll numbers, ballads like this, and Heaven Can Wait, are the trademark tunes that showcased just how extraordinary his skill was as a vocalist.

Paradise By The Dashboard Light needs no introduction for it’s one of the greatest songs ever written and recorded for few rock operas are as addictively good as Paradise By The Dashboard Light. With a narrative featuring young love and lust, weaving in humour, drama, and intense musical interludes, the multi-faceted structure of the song keeps you engaged from the very first note to the last. Incredible!

For Crying Out Loud is the perfect bookend to an incredible album, for this sweeping power ballad encapsulates the grandeur that only Meat Loaf was capable of delivering. The result is yet another reason to put the album on repeat for it is a rare occasion when I listen to this masterpiece only once.

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 their greatest and most creative achievements can about when they worked together. The result is a well-crafted timeless masterpiece.  

Meat Loaf – Hang Cool Teddy Bear (Album Review)

Meat Loaf – Hang Cool Teddy Bear (Album Review)

Many Meat Loaf albums are underrated, as we compare his output too often to Bat Out Of Hell, but Hang Cool Teddy Bear is more than a simple cash-in on the legacy, for there are some extraordinary songs to be heard. Yes, there are a couple of songs that I don’t feel suit Meat Loaf’s vocal style, but if you give it a chance, Hang Cool Teddy Bear is a great rock album that is worthy of the Meat Loaf moniker. Of course, Meat Loaf is more than a singular entity and the lineup of collaborators in this 2010 release is impressive, although, no music is featured from Meat Loaf’s long-time collaborator, Jim Steinman.

As for the recording, mix, and mastering of Hang Cool Teddy Bear, it’s LOUD! That isn’t necessarily a bad thing for it works well with the style of the album, but you’ll likely find yourself turning the volume down and listening at lower levels to prevent listener fatigue. Thankfully, even though the album is dynamically compromised, it hasn’t been compressed to the extent that elements, such as cymbals, are crunching unnaturally. In that regard, Ted Jensen did an admirable job mastering the album to modern standards. 

Similarly commendable is Boris Vallejo’s cover art. There’s just something about fantasy artwork that works so well for album covers. Naturally, while the music is the most important aspect, pictures can tell a thousand words and in this case, you can take from the artwork what you want. All I know is that this would look awesome on a vinyl-sized canvas. 

Peace On Earth isn’t the greatest tune to launch the album on, for the introduction is somewhat pointless and the tempo is a little too upbeat for Meat Loaf. Also of note is Meat Loaf’s lyrical style that appears to be a merging of himself, Lou Reed, and Johnny Cash. Does it work? I’m not sure it does, but you grow to accept it as it also makes an appearance on Living On The Outside. Regardless, while I’d suggest that the verses are a little chaotic, I thoroughly enjoy the delivery of the chorus. 

Living On The Outside, similarly to Peace On Earth, has a great chorus but a somewhat inconsistent verse structure. Nevertheless, Living On The Outside is catchy, with a solid rhythm, and some killer guitar licks. 

Los Angeloser should have opened Hang Cool Teddy Bear. An utterly brilliant and witty tune! You’ll be head-bopping and toe-tapping from the very first note and its literal meaning is reminiscent, in my mind, of Alice Cooper’s Lost In America. The combination of James Michael and Meat Loaf has struck again and I don’t know about you, but I would love to see these two collaborate on a future record in the same way as Jim Steinman and Meat Loaf collaborated. 

Despite being the first single from Hang Cool Teddy Bear, Los Angeloser failed to gain traction in the charts; a shame considering it is arguably the best song on the album and most certainly should be in Meat Loaf’s career highlight reel. However, one can’t help but wonder if the quirky music video played a role in its lacklustre success with the only redeeming factor being Meat Loaf’s role as the preacher. Alas, we’ll never know!

If I Can't Have You (feat. Kara DioGuardi and Hugh Laurie) had the potential to be another I’d Do Anything For Love (But I Won‘t Do That), albeit with a faster tempo. The dynamic range, however, is a little shallow resulting in a smaller and more compressed soundstage that hides not only the backing vocals but Hugh Laurie’s piano elements throughout much of the song. DioGuardi’s vocal, however, is simply gorgeous and spot on. 

Love Is Not Real/Next Time You Stab Me In The Back has an enjoyable backbeat and overall rhythm, but it is Brian May and Steve Vai's intermingling guitar solo that makes this song truly memorable.

Like A Rose is one of the best songs on Hang Cool Teddy Bear and is one of my all-time favourite Meat Loaf tracks. In part, it’s due to Jack Black’s involvement but the tip of the hat to the Beastie Boys takes Like A Rose to another level. If there was one aspect that I’d change, it would be the mix. The guitar is simply too concealed and if it was more forward in the mix, and turned up by a few decibels, Like A Rose would be a guaranteed rock anthem.  

Song Of Madness is one tune that you’ll want to pump the volume on. Not only is Steve Vai’s guitar work masterful but Meat Loaf pushes his vocals beautifully, ensuring his signature smooth highs and guttural lows are prominent throughout. But, that bass tracking, by Chris Chaney, is what dreams are made of. A killer heavy metal-inspired tune!

Did You Ever Love Somebody slows the album down a little, but this isn’t your usual Meat Loaf ballad. It sounds, from a vocal perspective, like a demo as Meat Loaf’s full range isn’t on display here but that is also, strangely, part of its appeal. Did You Ever Love Somebody, however, could have been a masterpiece if a little more spit and polish had been applied. That introduction and gradual build, though, is magical. 

California Isn't Big Enough (Hey There Girl) is a rock song, with 80s synth elements, amongst a cascade of other styles, resulting in a compelling, yet confusing, composition. I enjoy the chorus, but as with a couple of other songs on Hang Cool Teddy Bear the chorus is where this song shines.

Running Away From Me is a classic B-side. It was never going to be a hit, but I like it. 

Let's Be In Love isn't a bad song, but is made significantly better thanks to Patti Russo. Again, Meat Loaf's vocal presence feels lacklustre, especially in the quiet passages, but given the love song styling it could be suggested that his vocal is intentionally vulnerable. Nevertheless, in comparison, Russo's Vocal takes the song to another level and it’s just disappointing that Russo doesn’t enter the mix until around the midway point of the song.

If It Rains is a great song but I would love to hear it with a slightly faster tempo and a little more edginess. 

Elvis In Vegas is a great closer but as good as Meat Loaf performs it, I’d love to hear Jon Bon Jovi record it as he co-wrote it with Desmond Child and Billy Falcon. A great song, regardless. 

Hang Cool Teddy Bear is likely no one’s first choice when listening to Meat Loaf, but it is underrated and is deserving of more attention as there is some thoroughly enjoyable music to be heard here. If you haven’t had a chance to check it out, I hope this review convinces you to give it a chance. Give it a few plays, particularly in the background, and you may be surprised just how much the entire album grows on you.