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'Bat Out of Hell' is a song written by Jim Steinman, for the 1977 album Bat Out of Hell and performed by Meat Loaf. It was released as a single in 1979, and again in 1993.

• 1Inspiration
• 2Music and lyrics

Inspiration[edit]

The song was inspired by teenage tragedy songs such as 'Leader of the Pack', 'Terry' and 'Tell Laura I Love Her', the latter being the first single Jim Steinman had ever bought. Steinman wanted to write the 'most extreme crash song of all time':^[1]

There is something so thrilling to me about that operatic narrative that involves a cataclysmic event, especially one so perfectly intune with a teenager's world, and rock and roll, as a car or motorcycle crash.^[1]

On a musical and thematic level, 'Bat Out of Hell', both single and album, are often compared to the work of Bruce Springsteen, particularly the Born to Run album, and especially the song 'Thunder Road'. Steinman says that he finds that 'puzzling, musically,' although they share influences. 'Springsteen was more an inspiration than an influence.'^[2] A BBC article suggested, '...the fact that Max Weinberg and Roy Bittan from Springsteen's E Street Band played on the album only helped reinforce the comparison.'^[3]

According to Meat Loaf, the song is 'constructed from' a shot near the beginning of Alfred Hitchcock's Psycho in which the viewer looks down a valley and sees the lights of a city. He says all the clients in the Bates Motel 'wish they would have left like a bat out of hell... It had nothing to do, believe it or not, with Bruce Springsteen. It had to do with Alfred Hitchcock and Psycho.'^[4]

Neverland[edit]

The song, along with 'Heaven Can Wait' and 'All Revved Up with No Place To Go', originally featured in Steinman's Peter Pan-inspired 1977 musical Neverland. Steinman and Meat Loaf, who were touring with the National Lampoon show, felt that the three songs were 'exceptional' and Steinman began to develop them as part of a seven-song set they wanted to record as an album.^[5] In the musical, the character of Baal describes to Wendy what Neverland feels like: ' The sirens are screaming and the fires are howling...' After the first chorus, Wendy screams 'Don't leave me.' There is some rapid dialogue after the second chorus between Tink, Baal and Wendy, concluding:

Tink: Lost boys.

Baal: Lost girls.

Tink: Year after year.

Baal: Sooner or later—

Tink:—they'll never grow up.

Both: Sooner or later, they'll never grow up.

Wendy: Never grow up...^[6]

Baal yells 'Destiny', and continues into the motorcycle part of the song.

Music and lyrics[edit]

The song opens with an instrumental section lasting nearly two minutes, predominantly featuring piano and guitar. The lyrics begin to set the scene of evil, guns, knives and 'blood shot streets.'

The song then focuses upon a 'pure' girl, which Sounds magazine commented is 'always an important symbol'.^[7]

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

Steinman says that Rundgren vetoed two of his ideas. The first idea involved this section (the second concerns a later part of the song).

'In the soft section, I wanted to have a boy’s choir... Todd wanted to do it with the existing vocal backup section and then speed up the tape and use other technical tricks to get the boy’s choir sound. I said that we needed a real boy’s choir but he insisted. But it didn’t work out so we weren’t able to use it. You see, I’d heard this symphony by Mahler and I really wanted a boy’s choir. There’s nothing more beautiful than the sound of 20 boy sopranos singing.'^[8]

Motorcycle[edit]

Steinman insisted that the song should contain the sound of a motorcycle, and complained to producer Todd Rundgren at the final overdub session about its absence. Rather than use a recording of a real motorcycle, Rundgren himself played the section on guitar, leading straight into the solo without a break.^[1] In his autobiography, Meat Loaf relates how everyone in the studio was impressed with his improvisation. Meat Loaf commends Rundgren's overall performance on the track:

'In fifteen minutes he played the lead solo and then played the harmony guitars at the beginning. I guarantee the whole thing didn't take him more than forty-five minutes, and the song itself is ten minutes long. The most astounding thing I have ever seen in my life.'^[9]

Steinman also wanted a choir in this section of the song, but Rundgren vetoed it. Steinman says that he wanted it to sound 'just like in the film 2001: A Space Odyssey, they used a choir sounding like it was singing whole clusters of notes. I wanted to use an entire orchestra, and I wanted to use them viciously.'^[8]

Crash[edit]

Rundgren and Meat Loaf were angry with Steinman when he refused to stop writing when the track was already six minutes long. He knew that he had to do the crash.^[1]

The lyrics describe how the biker is riding 'faster than any other boy has ever gone.' He is so involved that he 'never [sees] the sudden curve till it's way too late.' Drums and a roaring guitar indicate the crash.

The biker lies fatally injured, 'torn and twisted at the foot of a burning bike.' He can see his 'heart still beating', which is also represented musically through bass guitar, a section devised by Kasim Sulton.^[4] Steinman says 'I don't think there's ever been a more violent crash... the guy basically has his body opened up and his heart explodes like a bat out of hell.'^[1]

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The song ends with the line 'like a bat out of hell' repeated three times, each ending on a high C.^[1]

Music video[edit]

The video intersperses shots of a motorcyclist riding through a graveyard, lit by a full moon, with shots of Meat Loaf and backing singers at microphones.

Single release[edit]

Despite being released 2 years after the album became available, the single reached number 15 in the UK in 1979, becoming his first top 20 UK hit and the highest charting song off the Bat Out of Hell album ^[10] and was reissued in December 1993 following the huge chart success of 'I'd Do Anything for Love (But I Won't Do That)' in 1993. This time it reached number 8 giving Meat Loaf two singles in the UK Top Ten at the same time - a feat not repeated by any artist until 2002.

Critical reaction[edit]

Sounds magazine described it as 'heavy metal thunder with Bruce Springsteen overtones (it's L-O-U-D, but this fellow sang with Ted Nugent...), a lyrical, white-noise tale of screaming sirens, silver black phantom bikes, the Ultimate Girl and her purity (always an important symbol), ending in the final death crash when his heart tears out of his chest and flies away.'^[7]

The song was honored at the Q Awards 2008 with the 'Classic Song' award.^[10] Paul Rees, Q’s editor in chief, said: 'There are some songs that transcend such things as time and genre, and 'Bat Out Of Hell' is assuredly one of them. It sounded extraordinary when it was first released, and it appears no less so now—like something beamed in from another planet. Extraordinary, and magnificent too, thanks in large part to one of the great vocal performances on record.'^[11]

This song placed third of Top Gear's Top 5 Ultimate Driving Songs, as voted by the audience of the show. It was ranked below Queen's 'Don't Stop Me Now' and Golden Earring's 'Radar Love'.

Charts[edit]

Certifications[edit]

Personnel[edit]

• Meat Loaf - lead vocals
• Todd Rundgren - backing vocals, electric guitar, keyboards, percussion
• Roy Bittan - piano, keyboards
• Jim Steinman - keyboards, percussion
• Kasim Sulton - backing vocals, bass guitar
• Roger Powell - synthesizer
• Max Weinberg - drums
• Rory Dodd - backing vocals
• Ellen Foley - backing vocals

References[edit]

1. ^ ^abcdefJim Steinman (1999). Classic Albums: Meat Loaf Bat Out of Hell (DVD). Image Entertainment.
2. ^'The Power Of Rock 'n Roll'. Gallery magazine. May 1978. Archived from the original on 3 November 2006. Retrieved 2006-11-17.
3. ^'Sold on Song Top 100: Bat Out Of Hell'. BBC Radio 2. Retrieved 2006-11-17.
4. ^ ^abMeat Loaf (commentary) (2004). Meat Loaf Live with the Melbourne Symphone Orchestra (DVD). Melbourne: Warner Music Vision.
5. ^Hotten, Jon (September 2000). 'Bat Out Of Hell - The Story Behind The Album'. Classic Rock Magazine. Archived from the original on 9 June 2007. Retrieved 2007-06-16.
6. ^'NEVERLAND by Jim Steinman'. jimsteinman.com. Retrieved 2007-06-17.
7. ^ ^abRobertson, Sandy (1978). 'Heavy Metal With A Heart'. Sounds magazine. Archived from the original on 7 November 2006. Retrieved 2006-11-17.
8. ^ ^abYorke, Ritchie (June 1978). 'The Julia Child Of Rock 'N Roll'. Sounds magazine. Archived from the original on 7 January 2008. Retrieved 2008-01-23.
9. ^Loaf, Meat; David Dalton (2000). To Hell and Back: An Autobiography. London: Virgin Publishing. p. 122. ISBN978-0-7535-0443-7.
10. ^ ^ab'Meat Loaf's epic to be honoured'. BBC News. 2008-09-29. Archived from the original on 1 October 2008. Retrieved 2008-10-04.
11. ^Barnes, Anthony (2008-09-29). 'Meat Loaf to win 2008 Q award'. Archived from the original on 9 October 2008. Retrieved 2008-10-04.
12. ^'British single certifications – Meat Loaf – Bat Out of Hell'. British Phonographic Industry. Retrieved 1 March 2019.Select singles in the Format field.Select Gold in the Certification field.Type Bat Out of Hell in the 'Search BPI Awards' field and then press Enter.

External links[edit]

• Lyrics of this song at MetroLyrics

Old English cwen 'queen, female ruler of a state, woman, wife,' from Proto-Germanic *kwoeniz (cf. Old Saxon quan 'wife,' Old Norse kvaen, Gothic quens), ablaut variant of *kwenon (source of quean), from PIE *gwen- 'woman, wife' supposedly originally 'honored woman' (cf. Greek gyné 'a woman, a wife;' Gaelic bean 'woman;' Sanskrit janis 'a woman,' gná 'wife of a god, a goddess;' Avestan jainish 'wife;' Armenian kin 'woman;' Old Church Slavonic zena, Old Prussian genna 'woman;' Gothic qino 'a woman, wife; qéns 'a queen').

The original sense seems to have been 'wife,' specialized by Old English to 'wife of a king.' In Old Norse, still mostly of a wife generally, e.g. kvan-fang 'marriage, taking of a wife,' kvanlauss 'unmarried, widowed,' kvan-riki 'the domineering of a wife.' English is one of the few Indo-European languages to have a word for 'queen' that is not a feminine derivative of a word for 'king.' The others are Scandinavian: Old Norse drottning, Danish dronning, Swedish drottning 'queen,' in Old Norse also 'mistress,' but these also are held to be ultimately from male words, e.g. Old Norse drottinn 'master.'

Used of chess piece from mid-15c. (as a verb in chess, in reference to a pawn that has reached the last rank, from 1789), of playing card from 1570s. Of bees from c.1600 (until late 17c., they generally were thought to be kings; cf. 'Henry V,' I.ii); queen bee in a figurative sense is from 1807. Meaning 'male homosexual' (especially a feminine and ostentatious one) first certainly recorded 1924; probably here an alteration of quean, which is earlier in this sense. Queen Anne first used 1878 for 'style characteristic of the time of Queen Anne of Great Britain and Ireland,' who reigned 1702-14. Cincinnati, Ohio, has been the Queen City (of the West) since 1835.