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Meat Loaf: Bat Out of Hell

 A l b u m   D e t a i l s


Label: Epic Records
Released: 1978.09.01
Time:
 75:43
Category: Rock, Hard Rock
Producer(s): Todd Rundgren
Rating: ********.. (8/10)
Media type: CD
Web address: www.meatloaf-oifc.com
Appears with:
Purchase date: 2001.08.04
Price in €: 12,99



 S o n g s ,   T r a c k s


[1] Bat Out of Hell (J.Steinman) - 9:51
[2] You Took the Words Right Out of My Mouth [Hot Summer Night] (J.Steinman) - 5:04
[3] Heaven Can Wait (J.Steinman) - 4:41
[4] All Revved up With No Place to Go (J.Steinman) - 4:20
[5] Two Out of Three Ain't Bad (J.Steinman) - 5:25
[6] Paradise by the Dashboard Light (J.Steinman) - 8:28
[7] For Crying Out Loud (J.Steinman) - 8:44

Bonus Tracks:
[8] Bolero [Live Intro] (M.Ravel) - 3:54
[9] Bat Out of Hell [Live] (J.Steinman) - 11:10
[10] Dead Ringer for Love (J.Steinman) - 4:21

 A r t i s t s ,   P e r s o n n e l


MEAT LOAF - Vocals

TODD RUNDGREN - Guitar, Percussion, Arranger, Keyboards, Vocals, Background Vocals, Engineer, Mixing
ROGER POWELL - Synthesizer
JIM STEINMAN - Percussion, Arranger, Keyboards, Writer, Cover Art Concept
KASIM SULTON - Bass, Vocals, Background Vocals
ROY BITTAN - Piano, Keyboards
EDGAR WINTER - Saxophone
CHERYL HARDWICK - Piano
MARVIN LEE - Percussion, Vocals, Background Vocals
STEVEN MARGOSHES - Piano, Arranger, Orchestral Arrangements
MAX WEINBERG - Drums
JON WILCOX - Drums
JOHN WILCOX - Drums

ELLEN FOLEY - Vocals, Background Vocals
RORY DODD - Vocals, Background Vocals

PHILADELPHIA Orchestra - Orchestra
NEW YORK PHILHARMONIC - Orchestra, Orchestration
KENNY ASCHER - String Arrangements
GENE ORLOFF - Concert Master

AMY HEROT - Reissue Producer
JIMMY IOVINE - Recorder, Engineer, Remixing
JOHN JANSEN - Recorder, Engineer, Remixing
MARK THOMAS - Recorder, Engineer
ED SPRAGUE - Recorder, Engineer
STEPHEN SAPER - Engineer
JOE BRESCIO - Mastering
SCOTT HULL - Mastering
CHARLIE CONRAD - Consultant
ED LEE - Design, Illustrations
FRANK LAFFITTE - Photography

 C o m m e n t s ,   N o t e s


1978 LP Epic 34974
1990 CD Epic 34974
1990 LP Epic 34974
1990 CD Epic EK-34974
1992 CS Epic PET-34974
1992 CD Epic 34974
1993 CD Epic 57443
1994 CD Epic 64404
1994 CD Alex Imports 4493
1995 CD Epic 57443
2000 SCD Epic 34974
2001 CD Epic/Legacy 62171



There is no other album like Bat out of Hell, unless you want to count the sequel. This is grand guginol pop — epic, gothic, operatic, and silly, and it's appealing because of all of this. Jim Steinman was a composer without peer, simply because nobody else wanted to make mini-epics like this. And there never could have been a singer more suited for his compositions than Meat Loaf, a singer partial to bombast, albeit shaded bombast. The compositions are staggeringly ridiculous, yet Meat Loaf finds the emotional core in each song, bringing true heartbreak to "Two Out of Three Ain't Bad" and sly humor to "Paradise By the Dashboard Light." There's no discounting the production of Todd Rundgren, either, who gives Steinman's self-styled grandiosity a production that's staggeringly big, but never overwhelming and always alluring. While the sentiments are deliberately adolescent and filled with jokes and exaggerated clichés, there's real (albeit silly) wit behind these compositions, not just in the lyrics but in the music, which is a savvy blend of oldies pastiche, show tunes, prog rock, Springsteen-esque narratives, and blistering hard rock (thereby sounding a bit like an extension of Rocky Horror Picture Show, which brought Meat Loaf to the national stage). It may be easy to dismiss this as ridiculous, but there's real style and craft here and its kitsch is intentional. 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.

Stephen Thomas Erlewine
All-Music Guide, © 1992 - 2001 AEC One Stop Group, Inc.



With tens of millions of copies in circulation, this behemoth album looms even larger than the man who lodged it in the public consciousness. And while just about everyone weaned on the classic rock radio of the past three decades has the disc's songs -- running order and all -- ingrained in the brain, this 25th-anniversary reissue throws a few change-ups over the plate. The compilers raided the vaults for a pair of previously unreleased live tracks dating back to the Loaf's triumphant 1978 American tour. The version of Ravel's "Bolero" (which opened the big man's shows for ages) is suitably grandiose, although it would have sounded more appropriate at the front end of the disc rather than as an addendum, and the concert take on the album's title track boasts all the balls and bluster you'd expect. Retrofitted with a nicely appointed booklet packed with lyrics and photos, the 2001 edition is a wonderful look back at the heyday of Mr. Loaf, although it may not pack enough novelty to inspire purchase by folks who already have the original in heavy rotation.

David Sprague - Barnes & Noble



Was bei Bat Out Of Hell am ehesten hängenbleibt, ist der Song, der das Elend jedes männlichen Teenagers wohl exemplarisch beschreibt: Die Rockoperette "Paradise By The Dashboard Light". Sicherlich der dramatischste Titel auf dem ganzen Album. Meat Loaf -- mit testosteronhaltiger Tenorstimme -- treibt seine Sexspielchen mit der standhaften Ellen Foley auf die Spitze. Diese Orgie von Power-Akkorden, kreischenden Chorstimmen und überladenen Arrangements, die an eine Rock´n´Roll-Broadwayrevue denken läßt, machte Meat Loaf zum Star. Jim Steinmans Beitrag zu dem Werk ist von unschätzbarem Wert. Sein klassisch angehauchtes Piano verlieh den Songs eine gewisse üppige Note und machte aus Hits wie "Two Out Of Three Ain´t Bad" kleine Dramen. Bat Out Of Hell, überlebensgroß im wahrsten Sinne des Wortes, klingt heute streckenweise ein wenig angestaubt, hat aber nichts von seiner Anziehungskraft verloren.

Steve Gdula, Amazon.de



How few people on this and other planets do not know the intro to You Took The Words Right Out Of My Mouth or have failed to mime the motorbike noise on Bat Out Of Hell? Can there be a former teenager living who wondered why Ellen Foley and Meat Loaf were trying to get it on in a car on Paradise By The Dashboard Light anyway? For this record more so than Dark Side Of The Moon or Rumours, was DNA coded into the genes of a generation who had not realised that a large man singing giant Rocky Horror show pastiches of Bruce Springsteen was what they had always wanted. And now Bat Out Of Hell is back, with a barely discernable revamp (more echo, if possible) and the addition of the ludicrous Dead Ringer For Love, on which Cher honks at Meat Loaf and Meat Loaf honks back. Such additions don't improve Bat Out Of Hell, but neither do they detract from its loopy greatness.

"Q" Magazine



Well. Before you read this review, you may as well roll over to Amazon.com and see how many people have reviewed that album. Lost count? Sure, because this is, after all, one of the Top 10 bestselling albums of all time. Now let's see how many people give this album a five-star rating. Lost count? Definitely, because these are the people that claim the record to be one of the most grandiose listening experiences ever. Now let's see how many people give this album a one-star rating. Lost count? Naturally, because endless amounts of people claim the record to be a huge offensive put-on symbolizing all that was wrong with the Seventies. Now let's see how many people give this album a two-, three-, or four-star rating... you guessed the answer.

Not that people on Amazon.com really tend to give out ratings other than "five" or "one" - but Bat Out Of Hell polarizes audiences more than just about any kind of rock album I've ever heard, at least, if we're speaking about 'normal' albums, not risky avantgarde business like THRaKaTTaK or Metal Machine Music. And even I feel torn in between: usually I tend to straddle the fence in such cases, but whenever I listen to Bat, it's more like an endless circulation of the waves: one moment it seems like a total gas, the other moment it's cheesy beyond belief, one moment it's saved by subtle humour, the next moment it's undermined by some pedestrian banality, etc., etc. A truly mysterious album.

But perhaps you haven't heard of its existence? Let me introduce you, then: Bat Out Of Hell is Meat Loaf's proper solo debut, a huge, grandiose 'rock musical' written in its entirety by Jim Steinman and sung, almost in its entirety, by Meat Loaf. The overall theme of the musical is more or less clear - teenage dreams, angst and sexual experience - but the overall plot is hardly existent, so it's actually preferrable to view this stuff as a set of "related" songs rather than a sequence of events, which it is probably not. The album had been recorded with a cast of thousands, boasting huge Phil Spector-like production, and is more "atmosphere-oriented" than "song-oriented", but doesn't lack hooks. And it sold like hotcakes.

To a certain extent, what explains the album's success is the overwhelming potload of influences that can be seen here. The primary influence is Andrew Lloyd Webber, of course, and the concept of a 'rock opera' as such - a real rock opera. But the exact sound achieved here, with all of its thunderous might, owes far more to Bruce Springsteen's E Street Band - and not coincindentally, several members of that band, including pianist Roy Bittan, do play on the album. The album's concept and 'plot' elements owe a lot to Quadrophenia, what with all the teenage angst and biker thematics; but Meat Loaf's pompous delivery is far closer to Freddie Mercury and other glam icons than to Roger Daltrey. Throw in some generic vaudeville, some heavy metal guitar solos, some retro boogie... and to top it all, the album was produced by none other than Todd Rundgren in person! Now how could this record not be selling like hotcakes?

Ah well. All odds taken, I must say that I kinda like this album, and at least I do not, not at all, actively dislike it like so many people. To enjoy Bat Out Of Hell as it is supposed to be enjoyed, one should do the following: (a) get rid of the nasty bias against any kind of Broadway musical stuff and (b) understand that the record is, in fact, very much tongue-in-cheek and needn't be considered all that serious. I would actually put it in the same bin where I put stuff like 10cc's 'Une Nuit A Paris': vaudeville-style pop with an ironic message, even if the irony in Meat Loaf's delivery is far less evident than in the case of 10cc.

Oh, and one thing you can't deny - Marvin Lee Aday's voice on most of these songs is wonderful, a truly powerful, emotional and superbly professional delivery that often comes to the rescue of even the weakest numbers. Well, the guy hasn't been called 'the Pavarotti of rock' for nothing.

As for the actual songs: I can't accuse Jim Steinman of being a perfect composer or lyricist, but most of these numbers range from decent to very good anyway, as long as one keeps in mind that we're talking Broadway/hard rock hybrids here. In this respect, the nine-minute title track really kicks, and with its tale of the rise and fall of a reckless biker, really creates a powerful image that's hard to deny - a kind of an 'upgrade' on 'Born To Be Wild', but far more professional and complex. The other lengthy well-known epic, 'Paradise By The Dashboard Light', is bouncy, well-written, and fun - Meat Loaf duets with Ellen Foley on that one, acting a scene between a boy and a girl and their, ahem, unhappy sexual relations. And the minor numbers, like 'All Revved Up And No Place To Go' and 'You Took The Words Right Out Of My Mouth', with their light humor touches and catchy choruses, do kick some moderate ass. I must say, though, that the overemoted spoken dialogue at the beginning of 'You Took...' really threw me back for the first couple of times - but then you finally get around to realize that if a certain dialogue begins with somebody ecstatically whispering 'on a hot summer night, would you offer your throat to the wolf with the red roses?', it just can't be meant to be taken seriously. It's parodic, of course. And, by the way, since we'd already started mentioning Springsteen, my guess is that a lot of those bombastic, pseudo-romantic 'epics' are viciously ridiculing the Boss' Born To Run vibe, with its storytelling fetish and all. Thumbs up! Thumbs up! The ballads on here aren't that interesting - in the true tradition of mediocre vaudeville, they don't have a memorable melody, supposed to carry on through vibe and voice alone. Fortunately, like I said, the voice is THE voice, and therefore, even if I can't memorize a single of those ballads and even suppose that at least one of them sounds a lot like bad Phil Collins, I'm still able to enjoy 'Heaven Can Wait' and 'For Crying Out Loud' as good as anybody.

Indeed, it's easier to suck in the Bat experience as an experience - these songs shouldn't really be drawn apart, they can only function as one single whole unity. In that respect, I think I'd rather join the "five-star" camp of those who uphold the album's being worthy, but with one serious reservation: I'm not wild-eyed about the album as most Meat Loaf fanatics. I take it for what it is: an excellently performed, professional, campy take on the "teenage epic" genre that can be enjoyed but doesn't deserve tear-shedding... isn't actually destined for tear-shedding, to be correct. Unfortunately, it's this general starry-eyed attitude that makes normal, intelligent people shun away from interesting albums like these and eventually assigns them to the "guilty pleasures" category. Alas! The same fate befell ABBA, T. Rex and God knows how many other excellent bands (not to mention AC/DC!). Come on now, people, don't be so dang serious.

George Starostin - starling.rinet.ru



What can you possibly say about this album that hasn't already been said? Legacy just reissued this classic from 1977--remastered from the original tapes, and with two bonus tracks. Almost 25 years after it's original release, the songs still rage with the same fury and intensity. Well, some of them anyway. I still can't make it through "Heaven Can Wait" or "For Crying Out Loud" without hitting the skip button. The other tracks still stand on their own, even after all this time. The musicians on the record (Todd Rundgren & Utopia, Edgar Winter, plus members of Bruce Springsteen's E Street Band) are outstanding. Listening to Roy Bittan's piano and some of the other arrangements (particularly on "You Took the Words Right Out of My Mouth"), you can't help but think that this is the album Bruce wishes he had made. It's also the album that Meat Loaf wishes he could sing live on stage.

I had high hopes for the bonus tracks--"Bolero" and "Bat Out of Hell" performed live at Nassau Coliseum back in 1978. Meat Loaf has always had a hard time performing the album's title track in concert. Try singing it yourself sometime. It's almost impossible too hit those notes. Unfortunately, even in 1978, he wasn't able to pull it off. It's painful to hear him straining his voice like that. Still, you have to give him an "A" for effort. Meat's touring band (which didn't include any of the musicians on the record) at the time was fair at best. It's almost like you're listening to a bad Meat Loaf cover band.

When it's all said and done, Bat Out of Hell is still a great album. The pros outweigh the cons by a long shot. Jim Steinman's songs are epic, and immediately recognizable. You can't say that about many songwriters. There are only a small number of records that fall into the 'essential rock album' category, and this is definitely one of them.

© 2001 Steve Marshall



“Most bands demo their material, we couldn’t demo Bat Out Of Hell. Jim and I didn’t demo Bat Out Of Hell, it didn’t exist, you could not demo Bat Of Hell, you either had to do Bat Out Of Hell or not.”

Marvin Lee Aday



Three of my first musical memories included the Donny & Marie TV show, the ’78 Kiss dolls TV jingle, and seeing the cover of Meatloaf’s Bat Out Of Hell album while over a neighbor’s house. Well, the classic Meatloaf song “Two Out Of Three Ain’t Bad” fits perfectly here of which two (out of three) memories that should be looked upon fondly (and I will let you figure out which two). Bat Out Of Hell is back complete with a re-master job and bonus tracks and like any great record this is surely a must pickup for any type of music fan. BOOH is one of those rare breed type of albums that is among the best sellers the world over by simply containing a certain charm that crosses music “barriers.” Like Back In Black (AC/DC), Purple Rain (Prince), Led Zep IV, Eliminator (ZZ Top), etc. it wouldn’t be uncommon to find BOOH in say a country or jazz lovers music collection. And like the great albums I just mentioned EVERY song on BOOH is a ten across the board. And as a side note, part of BOOH was recorded about a stone’s throw from where I grew up but that’s another story.

Meatloaf (a.k.a. Marvin Lee Aday) was probably the most unlikely person who would find a huge place in rock history, but that is the sheer beauty of rock & roll as just about anything can happen. This is kind of similar to Brian Johnson working in his father’s garage in 1980 before getting the call of his life via AC/DC. Meatloaf led kind of a Forest Gump type of life before becoming one of the greatest stories in the music biz. As legend has it, Meatloaf was in the Parkland Hospital in Dallas, TX when JFK was pronounced dead and he once provided a ride for a hitchhiker by the name of Charles Manson. Even getting his first role on Broadway came by being in the right place at the right time and this eventually led to his meeting with musician/songwriter, Jim Steinman. Meatloaf even landed a small role in the mega “cult” classic, The Rocky Horror Picture Show. Hell, Meatloaf (still relatively unknown) even provided some lead vocals on Ted Nugent’s 1976 classic Free For All album, but it would be Bat Out Of Hell where he and collaborator Jim Steinman would make history.

The partnership of Meatloaf and Steinman (who wrote all the songs on BOOH) was PERFECT and is on the same level as Lennon/McCartney, Jagger/Richards, Simmons/Stanley, Tyler/Perry, etc. In fact, the whole team (producer Todd Rundgren, backup singers, musicians) really made BOOH soar to unimaginable heights. After overcoming insurmountable odds to get a record deal, BOOH was released in the last quarter of ’77 via Cleveland International/Epic and within a year Meatloaf was (no pun) just about the biggest thing to hit the ‘70s. By 1978, Meatloaf was bigger than KISS, Alice Cooper, Aerosmith, etc., as those bands never had a record as huge as BOOH. The only band that really may have had Meatloaf “beat” were the Bee Gees but, again, that's another story. Meatloaf’s timing couldn’t be better for an era that spawned KISS and Studio 54 and both were huge!!! And yes, like many acts in the '70s, Meatloaf provided some interesting “theatrics." Where else would you find a 300-plus pound man dressed in tuxedo suit singing lengthy, bombastic, lustful anthems and tear jerking ballads in a crazed fashion??? Meatloaf kind of reminded me of Ozzy Osbourne in how he could feed off an audience to provide a supercharged show.

As far as the songs off BOOH per say go, who isn’t familiar with the roaring title track, the tender ballad “Two Out Three Ain’t Bad,” which broke the album courtesy of a Saturday Night Live clip, the monster radio smash sex anthem “Paradise By The Dashboard Light,” etc.??? The title track opens the album and it is probably one of the most memorable openings in rock history. Drum cymbals crash, guitars wail, piano keys run in a frenzied fashion and then everything pulls back and allows that voice to take over!!! It would be hard to find a voice that has impacted an album the way Meatloaf did on BOOH. His voice is so huge, moving, powerful and confident, with his southern tone firmly rooted in tow.

But again it was the team that really made Bat fly, as key members included producer Todd Rundgren and backup singer Ellen Foley. Rundgren’s production was simply fantastic, as the album still sounds so fresh and bouncy and that is saying a lot as there wasn’t a big budget for BOOH. Rundgren also provided guitars, percussion, backing vocals, and brought in Bruce Springsteen drummer Max Weinberg to play on a few tracks. Just listen to how the team makes “You Took The Words Right Out Of My Mouth” sound, as it provides a “gang” vocal style surrounding Meatloaf. And take close notice to the bouncy piano keys (courtesy of Steinman and Roy Bittan) between verses (mainly after verse one) on “Paradise,” as it adds tremendously to its upbeat vibe.

If there was an “unsung” hero on BOOH, it was singer Ellen Foley. Obviously, she was overshadowed by Meatloaf, but by 1977 you can count on one hand of how many females played a pivotal role on a major rock and roll album like Foley did. She was confident, sexy, and simply had a killer voice. Her co-lead vocals on “Paradise” will always be her calling card, but her presence is also strongly heard upon tracks “All Revved Up With No Place To Go” (Foley is on the bridge singing “You know what its like”) and the previously mentioned “You Took The Words.” It should be noted that Foley put out a few solo albums after the Bat album and tour success with little fanfare.

The songs on “Bat” are so memorable because Steinman wrote them in a fashion that everyone could easily (and who hasn’t?) relate to them, as they insinuate passion and dirty teenage lust to the max. DJs across the country have this one in their collection and it's mandatory for karaoke gatherings, wedding receptions, and other social events to feature Bat Out Of Hell. You just don’t get tired of hearing these songs played over and over. The ballads are so genuine that you could “borrow” lyrics for love letters to your girlfriend.

This re-mastered edition contains two bonus tracks and since they are no demos available, obviously they are live tracks. The bonus tracks are taken from Meatloaf’s 9/1/78 Nassau Coliseum (Long Island, NY) concert and they include the show instrumental opener “Bolero” and right into the title track. It’s always nice to have extra goodies on a re-issue, but these two tracks really don’t add anything of great value. Meatloaf’s vocals may be doctored on this live cut, as his voice sounds post BOOH era (i.e. when his voice was shot). The packaging is a little misleading courtesy of the sticker on the jewel case because it advertises (or hypes) more than there really is (lyrics, bonus photos, extra tracks, etc). The lyrics were in the previous issue and the “unseen” photos aren’t that big of a deal; one in the jewel case, two in the booklet, and a different picture on back of jewel case. By the way, the classic back cover photo (now on back of CD booklet only) is still one of the coolest pics in rock history. Meatloaf (decked out in tuxedo and sunglasses) and Steinman sandwiched with a hidden chick, and Meatloaf’s left hand (wearing his wedding ring while grasping his red scarf) is placed nicely on her ass. That is what rock and roll is all about and how can anyone ever forget that photo?!?!

There is also a small issue of what number this re-mastered version is for BOOH because over the last couple of years there was a re-mastered gold disc version (I’ll let that slide). Then the standard version carried a re-master label over the last couple of years. Though that one did sound juiced, this “official” re-master, make no mistake about it so stick to this new version with the bonus tracks. Most importantly though, these marketing flaws take nothing away from the music itself. Also mandatory for fans of Meatloaf and this record is the ’91 Meatloaf video/ DVD compilation Hits From Hell. The highlights are the promo clips from BOOH, as it’s always cool to see videos pre-MTV era.

Almost a quarter of a century has passed and Bat Out Of Hell is still a steady seller and will continue to hold its rightful place among the top albums in rock history. Sure Meatloaf has had his ups and downs, including getting back to the top (with much needed Steinman reunion) 16 years later with his 1993 #1 smash album Bat Out Of Hell II: Back Into Hell. But again, that’s another story and it really is Bat Out Of Hell for which he will always be remembered for. In conclusion, Meatloaf has to be the only 300-pound man who was able to make girls across the globe went their panties with his voice alone courtesy of Bat Out Of Hell.

Jimmy Metal, KNAC.COM Pure Rock Patroller
 

 L y r i c s


BAT OUT OF HELL

The sirens are screaming and the fires are howling,
way down in the valley tonight.
There's a man in the shadows with a gun in his eye,
and a blade shining oh so bright.
There's evil in the air and there's thunder in sky,
and A killer's on the bloodshot streets.
Oh and down in the tunnel where the deadly are rising,
Oh I swear I saw a young boy down in the gutter,
He was starting to foam in the heat.

Oh baby you're the only thing in this whole world,
that's pure and good and right.
And wherever you are and wherever you go,
there's always gonna be some light.
But I gotta get out,
I gotta break it out now,
Before the final crack of dawn.
So we gotta make the most of our one night together.
When it's over you know,
We'll both be so alone.

Like a bat out of hell
I'll be gone when the morning comes.
When the night is over
Like a bat out of hell
I'll be gone gone gone.
Like a bat out of hell
I'll be gone when the morning comes.
But when the day is done and the sun goes down,
and the moonlights shining through,
Then like a sinner before the gates of heaven,
I'll come crawling on back to you.

I'm gonna hit the highway like a battering ram,
on a silver black phantom bike.
When the metal is hot and the engine is hungry,
and we're all about to see the light.
Nothing ever grows in this rotting old hole.
Everything is stunted and lost.
And nothing really rocks
And nothing really rolls
And nothing's ever worth the cost.
And I know that I'm damned if I never get out,
And maybe I'm damned if I do,
But with every other beat I've got left in my heart,
You know I'd rather be damned with you.
If I gotta be damned you know I wanns be damned,
dancing through the night with you.
If I gotta be damned you know I wanna be damned.
Gotta be damned you know I wanna be damned.
If I gotta be damned you know I wanna be damned,
Dancing through the night
Dancing through the night
Dancing through the night with you.

Oh baby you're the only thing in this whole world,
that's pure and good and right.
And wherever you are and wherever you go,
there's always gonna be some light.
But I gotta get out,
I gotta break it out now,
Before the final crack of dawn.
So we gotta make the most of our one night together.
When it's over you know,
We'll both be so alone.

Like a bat out of hell
I'll be gone when the morning comes.
When the night is over
Like a bat out of hell
I'll be gone gone gone.
Like a bat out of hell
I'll be gone when the morning comes.
But when the day is done and the sun goes down,
and the moonlights shining through,
Then like a sinner before the gates of heaven,
I'll come crawling on back to you.

I can see myself tearing up the road,
Faster than any other boy has ever gone.
And my skin is raw but my soul is ripe.
No-one's gonna stop me now,
I gotta make my escape.
But I can't stop thinking of you,
and I never see the sudden curve until it's way too late.
I never see the sudden curve 'till it's way too late.

Then I'm dying at the bottom of a pit in the blazing sun.
Torn and twisted at the foot of a burning bike.
And I think somebody somewhere must be tolling a bell.
And the last thing I see is my heart,
Still beating,
Breaking out of my body,
And flying away,
Like a bat out of hell.
Then I'm dying at the bottom of a pit in the blazing sun.
Torn and twisted at the foot of a burning bike.
And I think somebody somewhere must be tolling a bell.
And the last thing I see is my heart.
Still beating, still beating,
Breaking out of my body and flying away,
Like a bat out of hell.
Like a bat out of hell.
Like a bat out of hell.
Oh like a bat out of hell!
Oh like a bat out of hell!
Like a bat out of hell!


YOU TOOK THE WORDS RIGHT OUT OF MY MOUTH (HOT SUMMER NIGHT)

(spoken)
BOY: On a hot summer night,
would you offer your throat to the wolf with the red roses?
GIRL: Will he offer me his mouth?
BOY: Yes.
GIRL: Will he offer me his teeth?
BOY: Yes.
GIRL: Will he offer me his jaws?
BOY: Yes.
GIRL: Will he offer me his hunger?
BOY: Yes.
GIRL: Again, will he offer me his hunger?
BOY: Yes!
GIRL: And does he love me?
BOY: Yes.
GIRL: Yes.
BOY: On a hot summer night,
would you offer your throat to the wolf with the red roses?
GIRL: Yes.
BOY: I bet you say that to all the boys!

(sung)
It was a hot summer night
and the beach was burning.
There was fog crawling over the sand.
When I listen to your heart
I hear the whole world turning.
I see the shooting stars falling
through your trembling hands.

You were licking your lips
and your lipstick shining.
I was dying just to ask for a taste.
We were lying together in a silver lining
by the the light of the moon.
You know there's not another moment
Not another moment
Not another moment to waste.

You hold me so close that my knees grow weak.
But my soul is flying high above the ground.
I'm trying to speak but no matter what I do
I just can't seem to make any sound.

And then you took the words right out of my mouth.
Oh it must have been while you were kissing me.
You took the words right out of my mouth.
And I swear it's true,
I was just about to say I love you.
And then you took the words right out of my mouth.
Oh it must have been while you were kissing me.
You took the words right out of my mouth.
And I swear it's true,
I was just about to say I love you.

Now my body is shaking like a wave on the water
And I guess that I'm beginning to grin.
Oh we're finally alone and we can do what we want to.
The night is young
And Ain't no-one gonna know where you
No-one gonna know where you
No-one's gonna know where you've been.
You were licking your lips
and your lipstick shining.
I was dying just to ask for a taste.
We were lying together in a silver lining
by the the light of the moon.
You know there's not another moment
Not another moment
Not another moment to waste.

And then you took the words right out of my mouth.
Oh it must have been while you were kissing me.
You took the words right out of my mouth.
And I swear it's true,
I was just about to say I love you.
And then you took the words right out of my mouth.
Oh it must have been while you were kissing me.
You took the words right out of my mouth.
And I swear it's true,
I was just about to say I love you.


HEAVEN CAN WAIT

Heaven can wait,
And a band of Angels wrapped up in my heart,
Will take me through the lonely night,
Through the cold of the day.
And I know, I know,
Heaven can wait,
And all the gods come down here just to sing for me,
And the melody's gonna make me fly,
Without pain, without fear.

Give me all of your dreams,
And let me go alone on your way.
Give me all of your prayers to sing,
And I'll turn the night into the skylight of day.
I got a taste of paradise,
I'm never gonna let it slip away.
I got a taste of paradise,
It's all I really need to make me stay
Just like a child again.

Heaven can wait.
And all I've got is time until the end of time.
I won't look back.
I won't look back.
Let the altars shine.

And I know that I've been released,
But I don't know to where,
And nobody's gonna tell me now,
And I don't really care. No, no, no.
I got a taste of paradise.
That's all I really need to make me stay.
I got a taste of paradise.
If I had it any sooner you know
You know I never would have run away from my home.

Heaven can wait.
And all I've got is time until the end of time.
I won't look back.
I won't look back.
Let the altars shine.

Heaven can wait.
Heaven can wait.
I won't look back.
I won't look back.
Let the altars shine.
Let the altars shine.


ALL REVVED UP WITH NO PLACE TO GO

I was nothing but a lonely boy
Looking out for something new
And you were nothing but a lonely girl
But you were something
Something like a dream come true.

I was a varsity tackle and a hell of a block
When I played my guitar
I made the canyons rock, but
Every Saturday Night
I felt the fever grow
Do ya know what it's like
All revved up with no place to go
Do ya know what it's like
All revved up with no place to go

In the middle of a steamy night
I'm tossing in my sleep
And in the middle of a red-eyed dream

I see you coming
Coming on to give it to me

I was out on the prowl
Down by the edge of the track
And like a son of a jackal
I'm the leader of the pack, but
Every Saturday night
I felt the fever grow
Do ya know what it's like
All revved up with no place to go
Do ya know what it's like
All revved up with no place to go

Oh baby I'm a hunter in the dark of the forest
I've been stalking you and tracking you down
Cruising up and down the main drag all night long
We could be standing at the top of the world
Instead of sinking further down in the mud
You and me 'round about midnight
You and me 'round about midnight
Someone's got to draw first
Draw first
Someone's got to draw first blood
Someone's got to draw first blood
Ooh I got to draw first blood
Ooh I got to draw first blood
I was out on the prowl
Down by the edge of the track
And like a son of a jackal
I'm the leader of the pack, but
Every Saturday night
I felt the fever grow
Do ya know what it's like
All revved up with no place to go
Do ya know what it's like
All revved up with no place to go

I was nothing but a lonely all-American boy
Looking out for something new
And you were nothing but a all-American lonely girl
But you were something like a dream come true.
I was a varsity tackle and a hell of a block
And when I played my guitar
I made the canyons rock, but
But every Saturday Night
I felt the fever grow
All revved up with no place to go
All revved up with no place to go
All revved up with no place to go
All revved up with no place to go
All revved up with no place to go


TWO OUT OF THREE AIN'T BAD

Baby we can talk all night
But that ain't getting us nowhere
I told you everything I possibly can
There's nothing left inside of here

And maybe you can cry all night
But that'll never change the way I feel
The snow is really piling up outside
I wish you wouldn't make me leave here

I poured it on and I poured it out
I tried to show you just how much I care
I'm tired of words and I'm too hoarse to shout
But you've been cold to me so long
I'm crying icicles instead of tears

And all I can do is keep on telling you
I want you
I need you
But there ain't no way
I'm ever gonna love you
Now don't be sad
'Cause two out of three ain't bad
Now don't be sad
'Cause two out of three ain't bad

You'll never find your gold on a sandy beach
You'll never drill for oil on a city street
I know you're looking for a ruby
In a mountain of rocks
But there ain't no Coupe de Ville hiding
At the bottom of a Cracker Jack box

I can't lie
I can't tell you that I'm something I'm not
No matter how I try
I'll never be able to give you something
Something that I just haven't got

There's only one girl that I will ever love
And that was so many years ago
And though I know I'll never get her out of my heart
She never loved me back, ooh I know
I remember how she left me on a stormy night
She kissed me and got out of our bed
And though I pleaded and I begged her
Not to walk out that door
She packed her bags and turned right away

And she kept on telling me
She kept on telling me
She kep on telling me
I want you
I need you
But there ain't no way
I'm ever gonna love you
Now don't be sad
'Cause two out of three ain't bad
Don't be sad
'Cause two out of three ain't bad

Baby we can talk all night
But that ain't getting us nowhere


PARADISE BY THE DASHBOARD LIGHT

BOY:
I remember every little thing
As if it happened only yesterday
Parking by the lake
And there was not another car in sight
And I never had a girl
Looking any better than you did
And all the kids at school
They were wishing they were me that night

And now our bodies are oh so close and tight
It never felt so good, it never felt so right
And we're glowing like the metal on the edge of a knife
Glowing like the metal on the edge of a knife
C'mon, hold on tight
C'mon, hold on tight

Though it's cold and lonely in the deep dark night
I can see paradise by the dashboard light

GIRL:
Ain't no doubt about it we were doubly blessed
'Cause we were barely seventeen
And we were barely dressed

BOTH:
Ain't no doubt about it
Baby got to go out and shout it
Ain't no doubt about it
We were doubly blessed

BOY: 'Cause we were barely seventeen
And we were barely dressed

Baby don'cha hear my heart
You got it drowing out the radio
I've been waiting so long
For you to come along and have some fun
And I gotta let you know
No you're never gonna regret it
So open up your eyes, I got a big surprise
It'll feel all right
Well I wanna make you motor run

And now our bodies are oh so close and tight
It never felt so good, it never felt so right
And we're glowing like the metal on the edge of a knife
Glowing like the metal on the edge of a knife
C'mon, Hold on tight
C'mon, Hold on tight

BOTH:
Though it's cold and lonely in the deep dark night
I can see paradise by the dashboard light
Paradise by the dashboard light

You got to do what you can
And let Mother Nature do the rest
Ain't no doubt about it
We were doubly blessed
'Cause we were barely seventeen
And we were barely

We're gonna go all the way tonight
We're gonna go all the way
And tonight's the night

RADIO BROADCAST:
OK, here we go, we got a real pressure cooker going here
Two down, nobody on, no score, bottom of the ninth
There's the wind-up, and there it is
A line shot up the middle, look at him go
This boy can really fly
He's rounding first and really turning it on now
He's not letting up at all, he's gonna try for second
The ball is bobbled out in the center
And here's the throw and what a throw
He's gonna slide in head first
Here he comes, he's out
No, wait, safe, safe at second base
This kid really makes things happen out there
Batter steps up to the plate
Here's the pitch, he's going
Amd what a jump he's got
He's trying for third
Here's the throw
It's in the dirt, safe a third
Holw cow, stolen base
He's taking a pretty big lead out there
Almost daring them to pick him off
The pitcher glances over, winds-up and it's bunted
Bunted down the third base line
The suicide squeeze is on
Here he comes, squeeze play, it's gonna be close
Here's the throw, here's the play at the plate
Holy cow, I think he's gonna make it

GIRL:
Stop right there
I gotta know right now
Before we go any further

Do you love me
Will you love me forever
Do you need me
Will you make me so happy
For the rest of my life
Will you take me away
And will you make me your wife
Do you love me
Will you love me forever
Do you need me
Will you make me so happy
For the rest of my life
Will you take me away
And will you make me your wife

I gotta know right now
Before we go any further
Do you love me
Will you love me forever

BOY:
Let me sleep on it
Baby, baby let me sleep on it
Let me sleep on it
And I'll give you an answer in the morning

Let me sleep on it
Baby, baby let me sleep on it
Let me sleep on it
And I'll give you an answer in the morning

Let me sleep on it
Baby, baby let me sleep on it
Let me sleep on it
And I'll give you an answer in the morning

GIRL:
I gotta know right now
Do you love me
Will you love me forever
Do you need me
Will you make me so happy
For the rest of my life
Will you take me away
And will you make me your wife
I gotta know right now
Before we go any further
Do you love me
And will you love me forever

BOY:
Let me sleep on it
Baby, baby let me sleep on it
Let me sleep on it
And I'll give you an answer in the morning
Let me sleep on it

GIRL:
Will you love me forever

BOY:
Let me sleep on it

GIRL
Will you love me forever

BOY:
I couldn't take it any longer
Lord I was crazed
And when the feeling came upon me
Like a tidal wave
I started swearing to my god
And on my mother's grave
That I would love you to the end of time
I swore I would love you to the end of time

So now I'm praying for the end of time
To hurry up and arrive
'Cause if I gotta spend another minute with you
I don't think that I can really survive
I'll never break my promise or forget my vow
But God only knows what I can do right now
I'm praying for the end of time
So I can end my time with you

BOY:
It was long ago and it was far away,
And it was so much better than it is today.

GIRL:
It never felt so good, It never felt so right
And we were glowing like the metal on the edge of a knife.


BOLERO [LIVE INTRO]

Instrumental


BAT OUT OF HELL

The sirens are screaming and the fires are howling,
way down in the valley tonight.
There's a man in the shadows with a gun in his eye,
and a blade shining oh so bright.
There's evil in the air and there's thunder in sky,
and A killer's on the bloodshot streets.
Oh and down in the tunnel where the deadly are rising,
Oh I swear I saw a young boy down in the gutter,
He was starting to foam in the heat.

Oh baby you're the only thing in this whole world,
that's pure and good and right.
And wherever you are and wherever you go,
there's always gonna be some light.
But I gotta get out,
I gotta break it out now,
Before the final crack of dawn.
So we gotta make the most of our one night together.
When it's over you know,
We'll both be so alone.

Like a bat out of hell
I'll be gone when the morning comes.
When the night is over
Like a bat out of hell
I'll be gone gone gone.
Like a bat out of hell
I'll be gone when the morning comes.
But when the day is done and the sun goes down,
and the moonlights shining through,
Then like a sinner before the gates of heaven,
I'll come crawling on back to you.

I'm gonna hit the highway like a battering ram,
on a silver black phantom bike.
When the metal is hot and the engine is hungry,
and we're all about to see the light.
Nothing ever grows in this rotting old hole.
Everything is stunted and lost.
And nothing really rocks
And nothing really rolls
And nothing's ever worth the cost.
And I know that I'm damned if I never get out,
And maybe I'm damned if I do,
But with every other beat I've got left in my heart,
You know I'd rather be damned with you.
If I gotta be damned you know I wanns be damned,
dancing through the night with you.
If I gotta be damned you know I wanna be damned.
Gotta be damned you know I wanna be damned.
If I gotta be damned you know I wanna be damned,
Dancing through the night
Dancing through the night
Dancing through the night with you.

Oh baby you're the only thing in this whole world,
that's pure and good and right.
And wherever you are and wherever you go,
there's always gonna be some light.
But I gotta get out,
I gotta break it out now,
Before the final crack of dawn.
So we gotta make the most of our one night together.
When it's over you know,
We'll both be so alone.

Like a bat out of hell
I'll be gone when the morning comes.
When the night is over
Like a bat out of hell
I'll be gone gone gone.
Like a bat out of hell
I'll be gone when the morning comes.
But when the day is done and the sun goes down,
and the moonlights shining through,
Then like a sinner before the gates of heaven,
I'll come crawling on back to you.

I can see myself tearing up the road,
Faster than any other boy has ever gone.
And my skin is raw but my soul is ripe.
No-one's gonna stop me now,
I gotta make my escape.
But I can't stop thinking of you,
and I never see the sudden curve until it's way too late.
I never see the sudden curve 'till it's way too late.

Then I'm dying at the bottom of a pit in the blazing sun.
Torn and twisted at the foot of a burning bike.
And I think somebody somewhere must be tolling a bell.
And the last thing I see is my heart,
Still beating,
Breaking out of my body,
And flying away,
Like a bat out of hell.
Then I'm dying at the bottom of a pit in the blazing sun.
Torn and twisted at the foot of a burning bike.
And I think somebody somewhere must be tolling a bell.
And the last thing I see is my heart.
Still beating, still beating,
Breaking out of my body and flying away,
Like a bat out of hell.
Like a bat out of hell.
Like a bat out of hell.
Oh like a bat out of hell!
Oh like a bat out of hell!
Like a bat out of hell!


DEAD RINGER FOR LOVE

Every night I grab some money
And I go down to the bar
I got my buddies and a beer
I got a dream - I need a car
You got me begging on my knees
C'Mon and throw this dog a bone
A man he doesn't live by
Rock 'n'Roll and brew alone, Baby, Baby

Rock 'n' Roll and brew, Rock 'n' Roll and brew
I know that you and I,  we got better things to do
Rock 'n' Roll and brew, Rock 'n' Roll and brew
They don't mean a thing when I compare 'em next to you
I don't know who you are or what you do
Or where you go when you're not around
I don't know anything about you
But you're everything I'm dreaming of
I don't know who you are
But you're a real dead ringer for love
You're a real dead ringer for love

Ever since I can remember
You been hanging around this joint
You been trying to look away
But now you finally got the point
I don't have to know your name
And I won't tell you what to do
But a girl - she doesn't live by only
Rock 'n' Roll and brew, Baby, Baby

Rock 'n' Roll and brew
Rock 'n' Roll and brew
Boy they don't mean a thing
When I compare 'em next to you
Rock 'n' Roll and brew
Rock 'n' Roll and brew
I know that you and I
We got better things to do
I don't know who you are or what you do
Or where you go when you're not around
I don't know anything about you baby
But you're everything I'm dreaming of
I don't know who you are
But you're a real dead ringer for love
You're a real dead ringer for love

You got the kind of legs, that do more than walk
I don't have to listen to your whimpering talk
Listen you got the kind of eyes, that do more than see
You gotta lot of nerve, coming on to me
You got the kind of lips, that do more than drink

You got the kind of mind, that does less than think
But since I'm feeling kinda lonely and my defenses are low
Why don't we give it shot and get ready to go

I'm looking for anonymous and fleeting satisfaction
And I want to tell my Daddy that I'll be missing in action
Ever since I can remember
I've been hanging around this joint
My Daddy never noticed it
Now he finally got the point

You got me beggin' on my knees, C'Mon and throw this dog a bone
A man he doesn't live by Rock 'n' Roll and brew alone, Baby, Baby

 M P 3   S a m p l e s


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