Some albums become instant classics, not requiring the usual time + nostalgia equation. Bat Out Of Hell II: Back Into Hell was most certainly an instant classic as there isn’t a bad song to be heard on this 1993 release while paying homage to the original Bat Out Of Hell album from 1977.
While one may suggest it was mere nostalgia that contributed to the success of this release, we have to remember that Bat Out Of Hell III: The Monster Is Loose was less than a stellar release and ultimately failed to captivate music lovers as Bat II did. Yes, there are many reasons for this, such as Jim Steinman’s absence during the album’s creation, even though a number of his songs were used. Of course, the legal dispute between Steinman and Meat Loaf, regarding the phrase Bat Out Of Hell, certainly didn’t help and one has to wonder how much of Bat III was really about closing out the trilogy and how much was driven by the obvious capitalisation of the brand. While I’d like to suggest the latter is not a factor, if there is money to be made, sadly the powers that be will milk a franchise for all it’s worth until they destroy it. As such, Bat III just doesn’t have the soul of the original album, nor Bat II; even though the second instalment is an album that I consider to be the pinnacle of Meat Loaf’s career and one which is, in my subjective opinion, better than the original masterpiece.
Yes, I acknowledge my aforementioned declaration of love for Bat II is likely to ruffle some feathers, but one must remember that Bat II was my first exposure to Meat Loaf and the moment I saw the music video for I’ll Do Anything For Love, (But I Won’t Do That), with its epic motorcycle revving introduction and the lustful Dana Patrick, I was hooked.
Of course, I’d go on to own Meat Loaf’s entire catalogue. Yes, even those albums that I’m sure Meat Loaf would regret having recorded and released. I am a collector, after all. Nevertheless, when I wanted my Meat Loaf fix, throughout the 90s, I’d turn to Bat II as it is a killer album from start to finish without a single B-Side to be found. Yes, Wasted Youth and Back Into Hell are minor distractions, but they ultimately suit the album’s styling adequately enough that they don’t feel too out-of-place.
Speaking of things being out-of-place, I even tried to woo a girl with this album as the teenage mind believed that music could be a great icebreaker. Well, it kind of was but truth is often stranger than fiction and this particular girl asked if she could borrow the CD after hearing me casually discuss it with another friend at the time. I said sure and took the CD from the portable CD player, placed it back into its case, and handed it across.
The golden brown locks and those hazel eyes captivated me and like many testosterone-driven teenage boys, I was sure this was going to be my foot in the door.
A couple of days later, I got the shock of my life, as she returned the CD to me and merely said thank you. Of course, being a massive music nerd, I couldn’t leave it at that, I had to enter the interrogation mode and find out what she thought of it. I quickly found out she didn’t even listen to it. Her father was a huge Meat Loaf fan and didn’t yet have the album. Of course, I was assured that he liked the album.
Yes, dear reader, I was rejected and my heart was broken and life as I knew it would never be the same again. Okay, maybe that is a little overdramatic, but it is truly amazing how rejection, for any reason, can impact the psyche of the teenage mind.
Of course, a quarter of a century later, I no longer feel rejected by it. In fact, I find it hilarious that I could have even pondered such a notion, although not much as changed as I’m fast approaching 40, getting ready for my midlife crisis, only imagining the ludicrous stories I will be able to tell you upon reflection in the years to come. That, however, is another lifetime away and until then, let’s take a look at the songs that make up Bat Out Of Hell II: Back Into Hell.
I’d Do Anything For Love (But I Won’t Do That) has an exceptional opening that is simply unmistakable. While some may lament the extensive radio play that this song has received, I still find that it’s fresh and the intro, if nothing else, is one of the greatest in the history of rock and roll. Nevertheless, I put I’d Do Anything For Love (But I Won’t Do That) in the same category as Paradise By The Dashboard Light; it is pure perfection and should be part of everyone’s power ballad playlist.
While, obviously, this is primarily a Meat Loaf review, credit must be given to Lorraine Crosby for the incredible vocal prowess she delivered on this track. Meat Loaf is good, but with Crosby, he and I’d Do Anything For Love (But I Won’t Do That) is great!
I’d Do Anything For Love (But I Won’t Do That) also won a Grammy Award for the Best Rock Vocal Performance, Solo in 1994 at the 36th Annual Grammy Awards, beating out Peter Gabriel’s Steam, Sting’s Demolition Man, Bob Dylan’s All Along The Watchtower, and perhaps most surprisingly Lenny Kravitz’s Are You Gonna Go My Way.
While I haven’t viewed the music video for a couple of decades, it’s still rather compelling. Although, I don’t find it as captivating and mystical as I did in my teenage years. Isn’t it interesting how as we age, our viewpoints change? In its heyday, I recall watching the music video back to back for hours at a time; that poor VHS tape. Of course, if I’m to be completely honest, I was most probably more captivated by the beauty of Dana Patrick than any other aspect of the music video. Nevertheless, it’s still worth checking out and hasn’t really aged despite drastic changes in filmmaking during the last couple of decades. Perhaps we could put that down to the vision of Michael Bay who directed all Meat Loaf’s music videos during this era. Of course, the music video, and associated radio mix is truncated as the original song is a 12-minute epic. It’s a shame as the shift is noticeable in the music video, especially if you’re familiar with the original album release.
Life Is A Lemon And I Want My Money Back is my all-time favourite Meat Loaf song. It is rock and roll 101 and the poetic delivery, mixed with the sarcastic and ironic has always appealed to my slightly left-of-the-centre mindset. I love it!
Rock And Roll Dreams Come Through is a great tune, but it has aged significantly and no longer feels as fresh as it once did. Nevertheless, it is one of my favourite songs on the album but may not appeal to modern fans of Meat Loaf.
Of course, you may be familiar with the Jim Steinman original, released on his 1981 release, Bad For Good and sung by Rory Dodd. Dodd is no Meat Loaf, from a vocal perspective, but I thoroughly enjoy this original and in this case, I consider it to be a published demo. There’s a music video for this original and it’s so bad that it’s good! Dodd doesn’t appear in the music video as Steinman delivers lead vocals via lip syncing that is surprisingly convincing.
The Meat Loaf music video isn’t bad, but it isn’t the greatest either. Of course, at the time, I thought it was wonderful. Hey, come on, it featured Angelina Jolie; what else was I to do as my teenage mind took control of my likes and dislikes. I know you’ve been there too, dear reader, there’s no use denying it.
It Just Won’t Quit shifts the flow of the album and while musically It Just Won’t Quit is glorious, I find the flow of the album is adversely affected by this song. Of course, once the song gets going, things start to pick up and therefore it has me wondering if we really needed the slow, near-acoustic, introduction or if the song could have started more promptly. Although, I do thoroughly enjoy the closing element that bookends the song in the same manner as the introduction, so you can’t necessarily have one without the other. Perhaps you could, but it wouldn’t be the same and there is certainly a balance that works with this edition.
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 Meat Loaf’s cover.
Out Of The Frying Pan (And Into The Fire) has a killer guitar track. Yes, dear reader, get your air guitar ready, you’re going to need it. In fact, the entire song is fantastic and one of the best on the album and in Meat Loaf’s catalogue.
Jim Steinman originally released Out of the Frying Pan (And into the Fire) on Bad For Good. Steinman’s version isn’t appealing, but one can certainly see the origins of what the song would become.
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, the guy has an incredible vocal prowess that works brilliantly with Steinman’s near-symphonic songwriting style.
…and yes, every time I look at the bottom of the rear view mirrors on my car, and notice the safety message, I’m reminded that I should put this album on and rock out to Objects In The Rear View Mirror May Appear Closer Than They Are.
The music video is, as the song is, a rollercoaster ride of emotions that is true to the song and visually appealing. Yes, dear reader, once again as I was a teenager when this album and the subsequent video clip was released, the scene depicting an older woman teaching the younger man about the mystery and the muscle of love was likely at the forefront of my experience with this song. In fact, in my own life, I would gravitate to a beautiful woman some nine years older than myself. Well, will you look at that, life really does imitate art!
Wasted Youth is one track that I have a love/hate relationship with. I’m not sure I would call it a song. Although, if viewed in similar styling to Lou Reed’s work, then perhaps it could be classed as a song. That said, it isn’t a bad parable and flows well into Everything Louder Than Everything Else, but one must question if it adds any intrinsic value to the album.
Everything Louder Than Everything Else is a solid riff-driven rock and roll song that was never going to set the world on fire but is thoroughly enjoyable when it comes on. Of course, it could just be a welcome inclusion following Steinman’s spoken word Wasted Youth. Okay, maybe I’m being a little too harsh on Wasted Youth, it really isn’t that bad, but it does break the flow of the album.
Good Girls Go To Heaven (Bad Girls Go Everywhere) is jazzy rock and roll. I love it! Seriously, what’s not to like? Turn the volume up and enjoy!
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 really recorded an exceptional original. Released as a single, the Pandora’s Box version also had a music video made which is rather good but seriously dated to the time. Seriously, check it out and you’ll see what I mean.
Back Into Hell is an interesting instrumental track that works well on its own, but does it really 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 song, ensuring I remain in Meat Loaf’s catalogue and listen to the album again. In fact, as I think about it further, I would say Lost Boys And Golden Girls is the one song that links Bat Out Of Hell II: Back Into Hell to the original Bat Out Of Hell.
Lost Boys And Golden Girls was also originally recorded and released on Steinman’s Bad For Good. As much as I love Meat Loaf’s rendition, Steinman performs it masterfully.
Overall, Bat Out Of Hell II: Back Into Hell is one of the greatest rock and roll albums of all time. Yes, I know that praise is often given to the original Bat Out Of Hell, but the collaboration between Meat Loaf and Jim Steinman on this second instalment is beyond reproach. Rock and roll, truly, doesn’t get much better than this!
This review was based on listening to the Apple Music stream and the CD release. Sonically, both are sensational and you won’t be disappointed with the mastering on this release; a stark contrast to the original Bat Out Of Hell. However, sadly, the CD copy I own has very faded artwork that makes me wonder how it got past quality control checks. It’s tragic considering just how beautiful Michael Whelan’s artwork is.
I’m also fortunate enough to have a double cassette release of Bat II that was issued when Meat Loaf toured Australia. Unfortunately, I haven’t got a cassette deck anymore, so it sits staring at me in hope that the cassette revival will reach critical mass and I will come back to a format that I adore and grew up with. If money were no object, I’d likely buy a good Hi-Fi cassette deck on the secondhand market; cause I’ve gotta have the best hardware possible to play the four cassette tapes remaining in my collection. Nevertheless, will you just look at that cover. I thought the original cover was spectacular, but I love the darker, hell-inspired cover art of the limited edition release.
The cassette, of course, includes the entire album on Cassette 1, while the second cassette includes live editions of Bat Out Of Hell, You Took The Words Right Out Of My Mouth, and Everything Louder Than Everything Else; repeated on both sides. Liner notes, however, are not included, which is a shame, but not entirely unexpected given the change in format and limited nature of the release. I seem to recall there was also an outer cardboard slipcase when I first got the album, but if that were the case, the slipcase is long gone and likely would have got battered up from the various moves I’ve done throughout my life.
Speaking of the varied formats, I really need to pick up a copy of the 25th Anniversary vinyl re-issue. Let’s just hope it isn’t as flawed as my release of Bat Out Of Hell was.
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