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. [The 2001 Super Audio reissue includes two bonus tracks: previously unreleased live recordings of "Boléro" and "Bat out of Hell."] ~ Stephen Thomas Erlewine