ACROSS THE BORDER
Where the banned are
Loved so much of his music ...73
Karine Hannah was at one time working on an album with Steinman. The record was never completed, but there are demos and live recordings. She sang the Catwoman parts on the Batman demos.
Its sad how sick we can become of awesome songs we loved. I have been changing the station whenever "Paradise By The Dashboard Light" has come on for years. Last night i chose to listen with headphones to the entire song. In some ways its Jim's "Bohemian Rhapsody" So many musical changes in 8 minutes. And its the first time since Ellen Foley's wonderful tweet after Jim's death that i actually heard the words "STOP RIGHT THERE".
I've been playing it a lot, too, but I've never been sick of that one. It's genius. I've been watching she first time reaction videos to that song lately and it blows everyone away.
@Jerseyfornia i don't like to be a boomer elitist ....but my god ....the music we had.....coming at us ....constantly .There is no question Paradise is genius ....it is so much more than a song .... its a creation ..... But for the two big pieces ....this one , with our hero miserable and tortured for the rest of his life somehow seemed more uncomfortable and less relatable for me than " and i cant stop thinking of you and i never seeing the sudden curve until its way too late" ....Anyway it was bittersweet to listen to it for the first time since his death....and incredible to realize what he created ....
Just listening to Bruce's 'House Of A Thousand Guitars' and it strikes me as somewhat Steinmanesque. It's almost like one of the eternal teenagers of Steinman's world actually making it to older age, but still living spiritually in that world.
The original recordings of the songs that made up Meat and Jim's final collaboration. I wrote about that severely flawed record on the old forums and managed to find the post online.
The only way this record works is if it's the last. Not just the last Meat Loaf/Steinman collaboration, but the last Meat Loaf album. If this is the eulogy, then it serves as well as any.
I listened once all the way through and I was so disappointed. If I wasn't hoping for another Bat Out Of Hell, I was at least hoping for another Dead Ringer. What I heard was an attempt to replicate Steinman's production values, which is something many of Meat Loaf's producers have tried and failed at. I always thought it was interesting that a lot of the records Steinman was behind the board for are labeled "produced and directed by Jim Steinman." I've never seen another record producer use the word "directed" the way a film would. Only Jim Steinman does that. There are a lot of things only Jim Steinman does so it's not really fair to blame the producers who've worked with Meat Loaf, tried to direct like Steinman and failed. Some have come very, very close, but none of them hit the mark.
The more I listened to the album, the more I began to accept it for what I thought it was and then to hear it for what it actually is. This is the swan song, this is the viewing of the corpse, and it's a very public one. By any other standard, this album is probably a complete failure. The first and best record these two ever made together featured a headstone on the cover and their subsequent collaborations were illustrated with variations on the theme of the forever youthful hero, who escaped from hell in the name of love, battling the specter of death itself. The cover of this album doesn't feature that hero. Instead, it gives us the backsides of the two men who brought that hero to life as they face the obviously unstoppable, relentless riders of the apocalypse. The harbingers of the end. This album is the tombstone itself.
Meat Loaf and Jim Steinman pumped the pomp of Broadway into their rock and roll records, but on this final one, they turn that approach around and spit just a little bit of rock and roll into the theater seats. A lot of Steinman fans will recognize most of these songs from previous projects or demos and it's fitting, to me, that these two old road warriors, both of them ravaged to the point of being mere shadows of their former public images, give us, with their final breath, songs that were written when both of them were very young.
This album has a sort of truth to it and, as everyone knows, the truth is rarely pretty. Meat Loaf and Jim Steinman aren't going down swinging. Most of us won't. But at least they're going down singing. Bat Out Of Hell had its origins in Peter Pan and Steinman's imaginary universe is home to lost boys and golden girls who swore they'd never grow up. Well, the truth being told to me with this record is that they never did grow up, they never will grow up, but they will certainly die.
The album opens with an admission that, if the lost boys didn't grow up, they have somehow still grown old. Right from the start, the hopelessly romantic biker from Bat Out Of Hell (yes it's him, it's still him) reminding us boldly that his voice, his body, his sex and even his mind just aren't what they used to be. Given that admission, it's hard to judge him too harshly for then proving it to us.
And the last thing I see is my heart
Still beating...still beating...
Breakin' out of my body and flyin' away
Like a bat out of hell
Rest in peace, lost boys. Give 'em hell.
Seems something is coming out every day. I remember catching this bad movie on television in the early 80s and only watching through to the end to hear Steinman's music. Some easily recognizable melodies and motifs.
Jim Steinman vocal instead of the Ellen Foley version on the record.
I'm definitely downloading this to add to my multilingual Dance of the Vampires collection.