Go elsewhere to read in memoriam bios of Michael Lee Aday; I'm here to talk about Meat Loaf dammit!
He passed away yesterday and even those of us who were not huge fans recognize his importance to the rock world. He came along at a time when rock stars typically looked like Bruce Springsteen or Joey Ramone -- skinny kids in their twenties hungry for their next meal. Or else they were glam, androgynous Brits like Bowie, Rod Stewart and Freddie Mercury - gangly guys in super-sleek slacks. And then here comes Meat Loaf, this big, fat, sweaty dude with long hair and sloppy clothes... He didn’t fit the mold.
And then his Bat Out of Hell album, which was initially rejected by any and every record company in the business. Album composer Jim Steinman described the dismissals he and Meat Loaf endured as "brutal". Along the way, the two were not only turned down, but branded as crazy, untalented and incompetent by so-called geniuses like the imperious and forever over-celebrated Clive Davis. It's a testament to Steinman's and Meat Loaf's fortitude and belief in their own talent that they were able to persevere and eventually find a home at Cleveland International/Epic Records.
The company's decision paid off with the success of the album's third single “Paradise by the Dashboard Light". It is, of course, a song about a teenage boy who takes his girlfriend up to the lake in his car and tries to talk her into having sex. She's reluctant and asks him to swear that he’ll love her forever — “til the end of time.” He promises he will, but of course by song's end he’s “praying for the end of time” so he can break up with her.
That song blows you away with its storytelling and the way it so jarringly and repeatedly changes tempo and style. And it’s so theatrical, like a rock opera — similar to “Bohemian Rhapsody”. And the fact that the track was so long and non-radio-friendly, which mattered so much at the time of its release (1977.) And the song’s completely bizarre incorporation of New York Yankees broadcaster Phil Rizzuto announcing a baseball game — but it’s really a metaphor for these two kids having sex… Just so amazingly creative.
And the great lyrics:
"It was long ago and it was far away and it was so much better that it is today"
“And we’re glowing like the metal on the edge of a knife…”
“Ain’t no doubt about it, we were doubly blessed — cause we were barely seventeen and we were barely dressed.”
Oh, and that cover art!... The muscled hero onboard a motorcycle exploding out of the grave, illustrated in the style of a Frank Frazetta comic... And Meat Loaf's name in that Old English-looking Bradley font was the perfect compliment. The album went on to become one of the best selling LPs of all time. In 1977 everyone you knew had Fleetwood Mac Rumors, Frampton Comes Alive, Hotel California, the Saturday Night Fever soundtrack and Bat Out of Hell.
And finally, in 1993 Meat Loaf had his famous comeback and again collaborated with Bat Out of Hell Steinman to produce Bat Out of Hell II. Considered a 70s relic by most, Meat Loaf defied the doubters with his sequel and managed to catch lightning in a bottle a second time with another 8 minute-plus power ballad and monster single, "I'd Do Anything for Love (But I Won't Do That". The song was an even bigger chart hit than “Paradise” and the its similar themes, style, arrangement and male/female vocals brought back fond memories of "Paradise" while also creating a new generation of Meat Loaf fans nearly two decades after his debut.
So Godspeed to an uncompromising original. Meat Loaf broke through on his terms and paved the way for the success of Elvis Costello, Talking Heads, the B-52's, Weezer and other artists with unconventional images and non-conforming music.
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