You miss a lot during your busy years. There are so many things I just gave up when real life consumed me. This included most television, most leisure reading, lots of movies and music. Now that I’m retired I’m trying to catch up on a lot of stuff that I missed. I’ll never catch up, of course, so it’s kind of futile to try, but I am trying to catch up on Meat Loaf.
His record Bat out of Hell soared to the top of the charts in 1977 and sold more copies than Sergeant Peppers Lonely Hearts Club Band. In the world of rock music it was something of a nuclear warhead, flattening the competition for months. The album’s success was in part aided by the cover’s outrageously clever artwork. Still, I just had not gotten around to ever listening to it. 37 years later in semi-retirement, I found the time.
There were certainly many in the hard rock genre at the time. All sorts of artists were trying for the loudest and most outrageous acts on stage. We were looking for spectacle. We were looking for our eardrums to be pierced by music. In that sense, the artist formally known as Michael Lee Aday was just another screaming head. Still, when I finally got around to listening to the title track all these years later, I felt that he must have the loudest and certainly the most convincing of the bunch. Ably assisted by songwriter Jim Steinman, it’s not surprising that this album sold like gangbusters.
For a fat guy, Meat Loaf has had a remarkable career. Big fat guys aren’t supposed to be this talented, and if they are they are supposed to be spurned by the skinnier set. Meat Loaf was the exception but you can tell that his fellow artists begrudged his rise to success. Starting with a part in the rock opera Hair, not to mention a role on The Rocky Horror Picture Show, this accidental artist somehow dramatically beat the odds against him. Listening to Bat out of Hell, not to mention two sequel albums also enabled by Jim Steinman, it’s clear to me what makes him different. It comes down to one thing: authenticity.
Meat Loaf is a talented singer and performer, even when he did not have Jim Steinman’s songwriting talents to draw on. For artists like Alice Cooper or Gene Simmons though, music is just an act. For Meat Loaf, singing is a projection of the person he actually is. Consequently he brings a loud but honest sincerity to his singing that makes him unique. It was this I think that people latched onto, and why his album went nuclear. His songs were quite good, but they were by themselves no better than similar songs of his era. The reason they shown was simply because he puts one hundred percent of who he really is into them. Every word overflows with emotion.
Most big fat boys who grow up to be men are going to have issues. Meat had many, as will be clear if you read his biography. It would be hard to find an issue he didn’t have, but certainly they included the ones that usually bedeviled rock stars of his time, including drugs and booze. In his case it also included a dysfunctional family, something he sings about candidly in Bat out of Hell II, in the song “Objects in the Rear View Mirror May Appear Closer Than They Are”. As Steinman wrote the song, I assumed it was fictional. However, if you take the time to hear his story, this is not fictional at all. Meat’s drunken father did actually tried to kill him with a knife. Meat suffered the discrimination common to boys who did not fit in. It was these taunting boys and his father that gave him the name “Meat Loaf”.
So it turns out that spinning through Meat Loaf’s albums is a heady and enjoyable experience, if you don’t mind hearing pain leach out of his voice so frequently. He eloquently connects many of us to painful periods in our own past. You might say he is a grounded artist, both in real life and in his work. Unlike most artists who make a one hit wonder, he was able to resurrect himself. Bat out of Hell II was released in 1993, sixteen years after the first album’s debut and inexplicably moved his career out of the toilet and back into the stratosphere. Having heard all three Bat albums, the second is actually better than the first, and longer as well. It is also more personal.
The third Bat album was released in 2006. Steinman was the sole songwriter for the first two albums and contributed to the third album, with other songs contributed by Desmond Child, who also produced the record. The success of the Bat albums, all of which went gold, triggered disagreements and lawsuits between Meat Loaf and Steinman. Nonetheless, when their collaboration worked, it was to both their benefits. Steinman tried to put out some albums of his own, but he simply isn’t gifted with Meat Loaf’s voice, so they floundered.
Music is supposed to affect you. Sometimes music will touch you. Very rarely sometimes music will grip you tightly and rattle you with its power. Not all of Meat Loaf’s music qualified in the latter, but some of it, particularly many of the songs on his Bat out of Hell albums have that rare magic. Some of them can make you cry in spite of their loudness.
It took 37 years, but I’m glad I took these albums for a virtual spin. It’s curious that Meat Loaf has not yet been invested in the Rock and Roll Hall of Fame. Let’s hope it’s not a snub, because he should be in its gilded ranks.
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