Some albums in music history stand out as something really special. The first Bat Out Of
Hell album was a minor revolution in 1977, thanks to its pompous and excessive arrangements. Lesser, but still huge, was the effect when the second part came out sixteen years later, it was built upon the same concept but a lot had happened in the years between. So while the first one was the most original and shocking, I still like the song writing and musical performances just a bit better on the sequel. Allow me to explain myself through a tour de hell, where my comments could end up being as long as the songs themselves, now you have at least been warned.
I guess we all to some extent have crossed the path of
I'd Do Anything For Love (But I Won't Do That) at some point. This 11-minute giant wasn't exactly what I would call a radio friendly tune, but sometimes strange things happen.
The whole build up makes it a classic in its own right, a breathtaking opus being completely over the top.just as we love it from master Jim Steinman.
The powerful choirs make the hair on my arms rise a few times, especially when they help out with the infectious refrain. The break at 5.28 is just brilliant and incredible melodic too.
Just as the song was about to get a bit stretched out, the strong voice of the female counterpart enter and the song changes nature, if you listen carefully you can hear how the guitar keep teasing in the left speaker in the closing passage.
In my opinion the only really setback on this album comes with
Life Is A Lemon And I Want My Money Back. The rhythm is rather boring, the chorus dragging and the almost eight minutes become too much, on the positive side the ending instrumental jam session is a smart move.
The whole atmosphere covering
Rock And Roll Dreams Come Through has always felt warm and uplifting to me. A great and harmonious song, once again ending with a playful guitar and piano closure, it's these minor details that keep popping up as the album progresses and eventually makes it that inch better than otherwise.
From the first time I heard
It Just Won't Quit, it left a deep impression on me, the fantastic lyric about fighting the turmoil inside oneself is very recognisable.
The expressive vocals and sorrowful piano passages are excellent by the way.
I never really understood why
Out Of The Frying Pan (And Into The Fire) wasn't a major hit from this album, I mean this song is divine.
Beginning with those melodic guitar licks, followed by inspiring piano notes and jamming bass lines, all leading into the heavy guitar explosion that opens up the thrilling mid-section. The break at 2:36 is as sent from heaven, the guitar soloing thrilling and the playful piano strokes are of the kind I have to imitate every time.
I could go on and on about his revelation, a true masterpiece.
Another song I would include in that category is the 10-minute epic
Objects In The Rear View Mirror May Appear Closer Than They Are. I'm already sold with the first seconds of warm piano lines and embracing keys.
Meat Loaf's apathetic vocal delivery is simply phenomenal, he captures all of these messed up emotions so incredible well. He must have known exactly what Steinman wanted to express with these words, and what words. A stirring story dealing with two different kind of loss, now how clever is that.
The extremely powerful mid-section injects some real energy before the well-structured verses set in again. This song is the perfect example of how a successful piano can be used in a song, giving it a recurring melodic shine.
Wasted Youth is a funny little monolog from Steinman himself fittingly leading into
Everything Louder Than Everything Else. I really dig the pompous chorus and the easy-going direction of the song, not taking things too seriously for once. Great forceful drumming and intelligent guitars add that something extra. Admitted that in the end it becomes a bit forced.
Good Girls Go To Heaven (Bad Girls Go Everywhere) starts out with what could sound as a circus parade, but it quickly turns into a more serious tone, nevertheless remaining a very positive nucleus. The choirs work well but the only OK chorus gets repeated too much.
Back Into Hell is a short experimenting instrumental, combining familiar melodies with bombastic key scenarios. Nothing fantastic but not uninteresting either.
To round things off,
Lost Boys And Golden Girls is the brilliant full-blown ballad we had been waiting for. Stunning vocals, a monster chorus, heavenly choirs, a sugar sweet piano melody, soaring keys and an overall great feeling of accomplishment.
The album is brilliantly produced, allowing room for every element and detail in a huge and bombastic sound landscape. The lyrics are meaningful, humorous and dealing with universal aspects as love, hope and pain, so not much to be wished for here either.
I can't wait to hear what Jim Steinman will come up with for the third part; hopefully it will be another elaborate chapter to this fabulous and effusive drama.
This is one of those albums where I find myself singing along most of the way through, I really think it is that memorable.
Written by
Tommy Sunday, December 11, 2005
Show all reviews by TommyRatingsTommy: 8/10Members: 8.25/10 - Average of 2 ratings.
Member ratings
 | Stuart (Staff)
Rating: 9.5/10
Hard to describe how much this album means to me. Its one of those records that I've alway... · Read more · |
 | Steen (Staff)
Rating: 7/10
I don't agree on the classic status of this one. I think it misses the spark and the intui... · Read more · |
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