August 26, 2024 • 49 mins
A seven-minute catcall, a theme tune dashed off for an ungrateful wrestler and a horny Welsh lady making it her own! What's not to like? This episode we delve into the big questions, like:
What was Jim Steinman's refridgerator-bed really like?
How gross is that ancient hallway?
Why is Hulk Hogan such an awful man?
Once you've chewed those over we'll see you on Monday September 9th to talk about Everything Louder than Everything Else and Dance in my Pants.
Keep your comments, reviews and arguments flying in to chatoutofhell@gmail.com
Chat out of Hell is a is a review podcast: all music extracts are used for review/illustrative purposes. To hear the songs in full please buy them from your local record shop or streaming platform. Don't do a piracy.
Music extracts on this episode:
Out of the Frying Pan (And into the Fire) by Meat Loaf from the album Bat out of Hell 2: Back into Hell (1993)
Out of the Frying Pan (And into the Fire) by Jim Steinman from the album Bad for Good (1981)
Hulk Hogan's Theme by the WWF All Stars from the album The Wrestling Album (1984)
Real American by Rick Derringer from the album The Wrestling Album (1984)
Ravishing by Bonnie Tyler from the album Secret Dreams and Forbidden Fire (1985)
Mark as Played
Transcript
Episode Transcript
Available transcripts are automatically generated. Complete accuracy is not guaranteed.
Emma (00:00):
What is this?
Sam (00:01):
This is Chat Out of Hell, the only bi weekly podcast
dedicated to the music of MeatLoaf and Jim Steinman.
And I mean bi weekly in theAmerican sense, not in the
British sense of twice a week.
Once every two weeks Who is MeatLoaf?
Emma (00:16):
Meat Loaf was Hartlepool FC's biggest fan, and a
collector of rubber ducks.
He had over a hundred.
Who's Jim Steinman?
Sam (00:25):
Oh, Jim Steinman is a musician and songwriter who
caused Andrew Lloyd Webber torecoil in horror.
at his habit of ordering most ofthe menu at fine dining
restaurants.
Emma (00:37):
Who are we?
Sam (00:37):
Oh well, I'm Sam Wilkinson and you're Emma Crossand and we
are the preeminent Steinmanacademics of our age.
Our age being 39 slash 40.
Sounds about right, doesn't it?
Emma (00:47):
Yeah.
Sam (00:47):
Yeah.
Welcome to Chat Out of Hell.
Bow now, now, now.
Bing.
Emma (00:54):
Slick.
Sam (00:54):
Emma, what's going on?
Emma (00:55):
We've got an international listener, Sam.
We've got somebody listening whoisn't either of us or our mums.
Sam (01:03):
Oh, my mum's not listening.
Emma (01:05):
listening.
Or someone called Tom.
Sam (01:06):
Oh! Oh
Emma (01:07):
no.
Because that's our listenership,the Toms.
Sam (01:10):
I am going to have to speak to the advertisers about
Emma (01:12):
this.
No, I heard this week that myfriend Connie, who lives over in
Portland, Oregon.
Sam (01:22):
Portland,
Emma (01:23):
So, West Coast.
Yeah.
She listens to us while she'sdriving around.
Oh! Yeah, she says she reallyenjoys the banter between the
two of us
Sam (01:32):
That's lovely.
Emma (01:33):
Isn't it?
I don't think she gives a flyingfuck about Meat Loaf.
Sam (01:36):
Hello, Connie, who drives around.
Look out! Oh, no! There's adeer!
Emma (01:43):
Connie's lovely.
She's one of my mum's ukulele
Sam (01:46):
chums, Oh, okay.
Oh, nice.
I think
Emma (01:47):
who comes over for Duke Fest.
Sam (01:49):
Well, Connie, if you could give loads of people lifts in
the next few months and justtell them to shut up and play
the podcast at them, that wouldbe great.
That would be, like, the bestadvertising we can
Emma (02:00):
get Yeah.
Connie, why don't you Get a jobdoing Uber driving and
Sam (02:04):
Oh yeah, that would be good.
So yeah, Connie, if you don'tmind turning your life upside, I
don't know what does Connie dofor a living
Emma (02:11):
Connie is retired.
Sam (02:12):
Oh, okay.
Stop enjoying your well earnedretirement and go out and drive
people around as a less safetaxi driver.
Emma (02:23):
Yes.
Sam, do you need to explain whatthe strange noises are going to
Sam (02:26):
be?
Yes.
Do you know what?
I think I
Emma (02:28):
should.
Sam (02:28):
Regular listeners will be aware of my lovely dog, Maisie,
who makes appearances in thepodcast.
And today, as we were settingup, Maisie crawled into my lap
and fell asleep.
If you can hear gentle snoringnoises, Or massive loud snoring
noises.
That is Maisie, who is forcingme to constantly pet her as
(02:50):
we're talking.
Because if I stop moving my handfor even half a second, she will
reach over and lick it.
Emma (02:57):
have we had any emails or anything this time?
Sam (02:59):
Eddy Thomas emailed again.
Hello Chellers.
I think that's chat out ofhellers.
I'm about to get on a train tosee some awesome friends and
you've inspired me to listen toas much Meat Loaf as possible on
my three hour journey.
Thanks, question mark.
We do provide this service ofreminding people that Meat Loaf
is available as a product.
(03:20):
And it does help while away twoto three hour Train and car
rides.
Emma (03:24):
That's how this all started.
Sam (03:26):
That's true,
Emma (03:26):
yeah.
Those car journeys.
Yeah,
Sam (03:28):
And now it's happening to everybody else.
Emma (03:31):
A problem shared is a problem
Sam (03:33):
doubled.
Emma for the benefit of peoplewho aren't Eddy Thomas, two
people called Tom, and yourfriend Connie, what is this
podcast?
How does it work?
Emma (03:41):
We are a Meat Loaf and Jim Steinman jukebox podcast.
I remember that from last time.
What we do is we each bring asong to the table to discuss in
detail, excruciating detail.
And I've brought one of my alltime favourites.
It's one of the silliest songsever, really.
Sam (04:03):
thought you were about to say in the Meat Loaf canon
Emma (04:05):
No, I think it's just one of the silliest songs.
Sam (04:07):
It is also one of the silliest songs in the Meat Loaf
cannon I was just about tocomment that we're on to chat
out of hell episode 8 and we'venot yet said Meat Loaf cannon
Which is very unacademic of us.
Emma (04:16):
I am imagining weaponry.
Yes.
Sam (04:20):
those
Emma (04:21):
Firing those meatloaves that we saw on the A1 sauce
advert, because they look likethey'd be pretty solid.
They're going to do some damage.
Grim.
Sam (04:30):
Yeah, so one of the silliest songs in the canon,
Emma (04:32):
it is Out of the Frying Pan and Into the Fire
Sam (04:35):
I will be bringing to the table a song that Jim Steinman
dashed off for some quick moneyin the mid eighties, which will
be Hulk Hogan's Theme.
if you're a wrestling fan, whichI'm not, but I had to enter
their brains this week it's notthe Hulk Hogan theme that you
think it is, but we will talkabout that one as well.
So listeners, go away, go toYouTube, Spotify, I don't know
if you'll find Hulk Hogan'sTheme on Spotify, I hope they've
(04:56):
got better things to do.
But yeah, do look up Out of theFrying Pan and Into the Fire,
and then Hulk Hogan's Theme.
Start with Out of the Frying Panand Into the Fire, from the
album Bat Out of Hell 2, and wewill see you in just a few
minutes.
Laptop (05:14):
Temperature's beginning to soar In the city you see the
walking wounded and the livingdead It's never been this hot
and I've never been so bored andbreathing is just no fun anymore
And then I saw you like a summerdream and you're the answer to
every prayer that I ever say Oh,I saw you like a summer dream
(05:39):
And
Emma (05:40):
That was Out of the Frying Pan and Into the Fire.
Glorious So that was from theBat Out of Hell 2 album.
Released in september 1993, andit was track 5 on Bat Out of
Hell 2.
Now, there is another version ofit out in the world, which is,
of course, the Jim Steinman onefrom Bad for Good, which was
(06:00):
also track 5.
Sam (06:03):
Emma, are you about to blow my mind with a great, incredible
theory here?
Emma (06:07):
No.
Oh.
I just thought it was aninteresting little coincidence.
Probably a deliberate
Sam (06:13):
the difference between me and you, because uh, if I had
been handling this song, thatwould be one of the Wilkinson
mysteries.
Emma (06:19):
Of
Sam (06:20):
A whiteboard covered in bits of red string.
Emma (06:22):
Ultimately leading
Sam (06:24):
Yes, absolutely yeah.
I love this song.
It's so
Emma (06:28):
It's so stupid.
It's incredibly stupid.
This one has long been myfavourite from the album.
Okay.
There's some crossover becausethere is another track that I'm
particularly in love with andthat's Everything Louder Than
Everything Else, which isanother song that's very stupid.
Yes, And I like the upbeat,stupid ones most of all.
Sam (06:46):
And it is an upbeat, stupid album.
Emma (06:48):
the, for the most part.
Sam (06:49):
Okay, yeah, there's one serious song in there, and an
instrumental, just to fill outout the disc.
Just
Emma (06:55):
Just to make sure that they used as much of the disc as
Sam (06:58):
possible.
Yes.
as much as could fit onto one CDin the
Emma (07:01):
early I was very surprised when in later years I bought
myself an album by indie bandIdlewild and found that they'd
only used 35 of the availableminutes.
What a waste!
Sam (07:15):
What do you want to talk about on the song?
Emma (07:16):
It's, an album track on both versions.
And so there's no accompanyingvideo, which I think's a shame.
I'd have loved to have seen thevideo for this.
It would have
Sam (07:25):
this.
Well, as we discussed last time,Michael Bay did the music videos
for this album.
I don't want to watch MichaelBay make a music video about a
man shouting out of the windowat a sexy lady for seven minutes
a, it's It's a very silly song,but
Emma (07:40):
exactly what's happening.
Oh, yeah, it's a man It's a mansaying oh, it's really hot
today.
I know let's get hotter.
as he's shouting out of thewindow At a woman.
Inviting her up for sexy There'sno finer way to spend a hot
afternoon, is
Sam (07:53):
there?
There really is not.
Emma (07:56):
work our way through some of the lyrics.
It's only two o'clock and thetemperature's beginning to soar.
Are we thinking 2:00 AM or 2:00PM
Sam (08:03):
2pm?
If the temperature's soaring at
Emma (08:05):
2:00 that's
Sam (08:07):
That's significant.
Significant is certainly one wayof putting it, Emma, yeah.
I'm assuming it's 2pm, thetemperature's beginning to soar,
there's a lot more daylightleft.
Emma (08:17):
Cat calling in the daytime, then.
Yeah, I mean Afternoon delight.
Sam (08:21):
Hell does not advocate catcalling at any time of the
day, but it's much worse at 2am,
Emma (08:26):
I
Sam (08:26):
want to speak for all the women, but I reckon they're less
on board with it then.
How about you, one of the women?
Emma (08:34):
As one of the women I don't like it at any time.
I think it's more expected at2am.
The afternoon catcall seems abit unusual.
Sam (08:45):
it depends if you're walking past builders.
Builders
Emma (08:47):
don't work
Sam (08:48):
at
Emma (08:48):
night
Sam (08:48):
So it's only two o'clock, the temperature's
Emma (08:50):
beginning to soar.
Zombie attack at two in the
Sam (08:53):
afternoon.
Zombie apocalypse, two in theafternoon shall we be generous
and imagine that's a metaphor.
Yeah.
It's unlike Meat Loaf and JimSteinman to not mean everything
literally, but here we are.
And I, that does paint a lovelypicture of American cities in
the summer they fuckin' baking..
Emma (09:12):
It's hot.
There are people walking aroundleading their boring day to day
zombie lives.
Not like Meat Loaf who'scatcalling from a window.
Because he's not got a job to goto.
Sam (09:24):
Meat Loaf Meat Loaf is in his flat, shouting out the
window at a lady waiting for thebus.
Yes.
How do we know she's waiting forthe bus?
Because she's still there afterseven minutes.
She clearly has to be on thatparticular point and can't just
walk away feeling uncomfortable.
Emma (09:39):
It's never been this hot, and I've never been so bored,
and breathing is just no fun
Sam (09:44):
Do you remember?
Do you remember when we used tobreathe?
Emma (09:47):
Oh, bloody love a
Sam (09:49):
loved A good breathe.
yeah! Oh
Emma (09:51):
Oh, hang on, hang on, hang on.
Oh, that was a good one.
Sam (09:55):
one.
Oh, oh, we're getting into aSMRterritory now.
Emma (09:58):
Oh, hang on, no, I've done enough breathing now.
No, it's not the same as it usedto be.
Sam (10:02):
Yeah, when I first got into breathing it was cool and edgy.
I couldn't
Emma (10:06):
it.
Now everybody's doing it.
Sam (10:07):
doing it.
Yeah.
Yeah?
Fuck you, Jim Steinman.
Write a better line Write mate
Emma (10:12):
And then I saw you like a summer dream and you're the
answer to every prayer that Iever
Sam (10:20):
I mean, I'm, yeah.
I'm not a religious man.
No.
But I understand that those whodo believe in God ask him to do.
Big stuff.
World peace.
Help us solve hunger.
Emma (10:35):
And also bring us the pretty
Sam (10:37):
lady.
Yeah, give me pretty lady.
Every single prayer that I'veever said has been about getting
laid.
That
Emma (10:43):
feels
Sam (10:44):
to me.
me.
Emma (10:47):
So that's the end of the first verse.
Yep.
What an incredible verse.
And then it's, you can feel thepulse of the pavement racing
like a runaway horse.
And that's really
Sam (10:57):
this is on
Emma (10:57):
my list of Yes.
Subways
Sam (11:00):
steaming and the skin of the street is gleaming with
Emma (11:03):
Again, it's really evocative of that Jim Steinman
Meat Loaf world.
Where everything's a bit Grimy,but a bit sexy with it.
Yeah, now
Sam (11:12):
We've talked about Steinman's origins.
He's from New York originally.
Yeah.
Lived around Massachusetts, backto New York.
Meat Loaf is from Dallas.
Yes.
This is a song that feels likeit's in Dallas, right?
It's hot and sweaty and
Emma (11:26):
horrible It's definitely got that sort of steamy South
feel to it, seen you sitting onthe steps outside Creepy creepy.
And you are looking so restlessand reckless and lost.
Sam (11:38):
Alright darling, I've never seen anyone looking so restless
and reckless and lost.
Get your tits out.
Emma (11:44):
Maybe I would.
I think it's time for you tocome inside.
I'll be waiting here withsomething that you'll never
forget.
I just have this that's visionof him laying on his squalid
bed.
Sam (11:58):
Would you like to hear about Jim Steinman's squalid
bed?
Meat Loaf on Jim Steinman.
When I first met Jim, he wassharing an apartment 102nd
Street with I don't know howmany people.
His bed was in the kitchen.
His headboard was therefrigerator.
I said, Jim, what if anybodywants something from the
refrigerator?
He said, believe me, no one everdoes.
Emma (12:19):
Oh God! Oh, this is like The Young Ones House times a
million, isn't it?
Sam (12:26):
Yeah, that's from Classic Rock Magazine September 2000.
So there
Emma (12:32):
you go, that's your I bet the skin of the fridge was
gleaming with sweat.
So, come on, Come on, there'llbe no turning back, you're only
killing time and it'll kill youright back.
lyrics Yeah, but that is rhymingback with back.
Sam (12:46):
Oh you fucker!
Emma (12:47):
It's rhyming back with back, it's rubbish.
Come on, Come on, it's time toburn up the fuse, you've got
nothing to do and even less tolose.
I like that one.
Yeah?
And then we're at the ancienthallway.
Sam (12:57):
Okay, so the Ancient Hallway.
Narratively, we're to believethe lady has entered his
apartment building.
and the next instruction is,wander down the ancient hallway,
Emma (13:08):
taking the stairs only one at a time.
Sam (13:11):
Because there's nothing sexier than health and safety
advice.
Emma (13:15):
If she runs up the stairs two or three at a time, she
might get tired.
Oh! And then there'll be lessopportunity
Sam (13:21):
for, for doing it.
sexy times.
Okay I thought he was worriedshe might trip and break her
nose.
And then he wouldn't be into itanymore.
Emma (13:30):
Follow
Sam (13:31):
the sound of my heartbeat now.
I'm in the room at the top.
You're at the end of the line.
Sexy and threatening.
Meat Loaf and Jim Steinman areone of the only double acts who
can pull that off.
Emma (13:43):
Yeah, we've tried.
Sam (13:44):
Yeah.
Emma (13:47):
Doesn't work for us.
Sam (13:48):
Which one of us was which?
Emma (13:53):
I think I might be
Sam (13:54):
be threatening.
Very
Emma (13:56):
thank you
Sam (13:56):
And
Emma (13:58):
And this is why it doesn't work.
Maybe I should go back.
Sam (14:03):
I'm in the room at the top, you're at the end of the line.
Open the door, lay down on thebed.
The sun is just a ball ofdesire! Just a bit of astronomy
in there for you.
you I think that is to distractfrom the fact that the bed is
just a mattress on the floor,next to the of a refrigerator,
I'm not sure.
Emma (14:23):
Oh, God.
Yeah, I think when I first heardthis song and realised what it
was about I imagined somethingreally grand and spectacular and
possibly even bordering onromantic because I was a stupid
kid with stupid ideas.
Now, the more I listen to it,the more squalid it seems.
(14:44):
It's just a sweaty
Sam (14:45):
It's a sweaty day, and he wants to get sweatier with her.
Emma (14:48):
He
Sam (14:48):
He wants to A restless, Reckless and lost young lady.
know I keep returning to thiswell on Bat Out of Hell 2, but
Meat Loaf is in his mid 40s.
Yeah.
Which adds another layer of
Emma (14:59):
Do you think the idea of the girl who is restless and
reckless and lost is a bit of amanic dream
Sam (15:04):
Oh, that's a manic dream pixie girl, isn't it?
Emma (15:06):
Yes, you're absolutely right.
That's, that's, manic dreampixie girls turn into mad women.
Sam (15:11):
mad women?
WOMEN.
Yeah.
Emma (15:17):
I just, I don't think this is a long term relationship that
he's entering
Sam (15:20):
probably not, no,
Emma (15:21):
because
Sam (15:21):
he's going to murder her.
He wants to take her out of thefrying pan and into the fire.
Emma (15:27):
Can we talk about out of the frying pan and into the
fire?
Because it's so stupid.
So yeah, this song is Out of theFrying Pan and Into the Fire
Sam (15:37):
Yeah.
Emma (15:38):
now usually.
That's quite a negative phrase,isn't it?
So it's for moving out of a bador difficult situation into a
worse one.
Sam (15:48):
Sure, but It's a sexual metaphor.
We're going out of the sexualfrying pan
Emma (15:54):
And into the sexual fire.
Exactly.
The sexual fire sounds likesomething you need to go and see
a
Sam (15:58):
about.
We're gonna turn up the sex heaton this situation.
You've had frying pan sex sofar, and that's fine, sure, but
have you tried FIRE SEX?
Come to me, Meat Loaf, at 123Apartment
Emma (16:14):
Street.
So you go through all of that,and then he says fire, and then
he says Meat Loaf.
Lots of times.
And then just repeats the entiresong.
Sam (16:23):
That's right.
Yeah.
This song is like seven and anda half minutes long, isn't it?
Yeah, and it could have beenhalf or four
Emma (16:27):
It's actually
Sam (16:28):
minutes long.
Yeah.
It's a pop song.
It could have been a pop song.
It could never have been a popCome on.
a pop song.
Here's my test for if it was apop song.
Can you hear B*Witched singingit?
Oh, do you
Emma (16:41):
what?
I can.
I can.
I can hear B*Witched singing it.
I would
Sam (16:44):
I'd love that! If any of B*Witched are listening, do
write in.
We'll get you set up with thelyrics,
Emma (16:51):
you can find them on the
Sam (16:53):
Yeah, In actual fact, now, B*Witched, you don't need us.
Just go away and do recording.
You can borrow my microphones ifyou need to.
Emma (17:00):
That's very generous of you.
Isn't it, Jess?
Yeah, yeah.
Said before, this is the secondversion of this song because it
was originally recorded by JimSteinman himself for his Bad For
Good record that came out inApril in 1981.
Yes.
Sam, you have lots of factsabout this record.
Do you know if he actually sungthis track?
Sam (17:20):
Jim Steinman did do lead vocals on this one, yes.
Emma (17:24):
Because he didn't do lead vocals on everything on his own
solo album.
Sam (17:28):
No, he did not, no.
So he got Rory Dodd in to singlead on three of the songs, and
they are the three songs thatsound quite good.
So I guess, yeah, to recap onBad For Good, this is the album
that was originally written as afollow up to Bat Out Of Hell for
Meat Loaf.
And then Meat Loaf was, in thewords of one of our
correspondents, too fucked up ondrugs Steinman had to sing it
(17:52):
instead to the record's greatdetraction.
Emma (17:58):
Yes.
I Have got a review of JimSteinman's version of the song.
Ooh, lovely.
That was written by SandyRobinson from Sounds Magazine in
1982.
And he said Out of the FryingPan and into the Fire is like
two songs in one.
A Dorsian vocal sex rocker.
Ha Ha! Slashed open with achorus that'd do Barry Manilow
(18:19):
proud.
Would you like to hear what Jimhimself has to say about the
song?
Cliches are ultimately likemagic spells of language.
Ha ha ha Ha! They have auniversal effect.
One straight cliché I used onBad for Good was out of the
frying pan and into the fire.
(18:40):
It amazes me, the power oflanguage.
Like some two year old kidgrowing up now, you somehow know
that by the age of 16, he'sgonna know that phrase.
He's gonna have heard it maybe ahundred times, like it's there
in his memory, unconscious, ifyou like.
But they're all the same.
He's going to recognize my song.
It doesn't matter if he likes itor not, but there must be
(19:02):
something familiar about it fromthe very first moment he hears
it.
Even if he only says, oh shit,that's a cliche.
Just, what?
Sam (19:11):
What?
That was some solid word soupthere
Emma (19:13):
I got you, Jim.
Sam (19:17):
what's the thesis there that I'm using clichés so that
somebody listening to it goes,oh shit, that's a cliché?
Emma (19:24):
I think it's more that people will recognize The terms,
because they're cliches, andYeah, that's what a cliche is.
And then it faded into nothing.
So some classic Jim there, Ithink.
Talk about the Yeah, do we wantto play the Jim version?
Sam (19:41):
I'd love to play the Jim version.
that.
We're here, we may as well.
Laptop (19:48):
Holy, taking the stairs only one at a time.
And follow the sound of myheartbeat.
Now I'm in the room with theYou're at the end of the line.
So open the door and lay down onthe bed.
The sun is just a fall ofdesire.
And I wanna take you out of thefrying pan.
(20:08):
And into the fire.
Out of the frying pan.
And into the fire.
Out of the frying pan.
Emma (20:18):
I think I've mentioned it before, I feel like a fade out
is a cop out ending.
But in my head, I imagine thatparty's still going.
Yeah,
Sam (20:26):
Jim Steinman did a lot of fade outs at the end of six or
seven minute songs, and I'massuming that is because the
tape was running out and
Emma (20:34):
and an
Sam (20:35):
just had to sort of gently turn it down and then walked out
and got lunch while Steinmanplaying.
So that was the
Emma (20:43):
Jim
Sam (20:43):
Steinman version from Bad for Good.
Emma (20:45):
Yes.
Sam (20:46):
Which do you prefer?
Emma (20:47):
I have a soft spot for both, because I think both
versions are perfectly valid.
I prefer the Meat Loaf version.
Okay.
Because I feel like it, it givesthe song the full body that it
deserves.
What I love about you
Sam (21:00):
Meat Loaf can sing
Emma (21:01):
Loaf can sing, Jim Steinman can't.
What I love about the JimSteinman version though, and
it's down to Jim Steinman'sterrible singing voice, which is
particularly bad on this, itgives me real teenager vibes.
Sam (21:12):
It does have real teenager vibes, yeah.
And it's, so that came out in 81and he was like, early 30s I
think.
His attempt to do an impressionof Heather Small from m People.
People, is very endearing.
I I like The more 80s y guitarsin the 1981 version.
(21:33):
So I would prefer the JimSteinman one.
We've sort of mentioned thisbefore, Bad for Good.
eventually became a dry run forBat Out of Hell 2.
Half the tracks off Bat For Goodmade it onto Bat Out of Hell 2,
as did many tracks fromPandora's Box, the other pseudo
solo project that Jim Steinmandid in the 80s.
And at some point he cut hislosses and gave these good songs
(21:57):
to a performer
Emma (21:58):
sing them.
Sam (21:59):
them.
Yeah, which is a real shame forJim.
Emma (22:04):
But hey, it made them both millions.
Perhaps a wise decision.
Sam (22:10):
Good song.
We both like it.
It's a good song that we bothlike that is also creepy as
fuck.
Oh yeah! And I think if there'sever going to be a tagline for
this podcast as a whole, it isgoing to be, Good songs that are
creepy as fuck.
Emma (22:25):
Yes! Would you like to hear what the people think?
Sam (22:29):
I love the people.
Emma (22:29):
About this song.
Uncle Joe Neon Cherry.
Says the most epic way toproposition sex ever.
Sam (22:41):
Epic is an interesting word.
Because Greek epic Is indeed anoral tradition of something that
takes many nights to fullyperform so in that context it is
absolutely epic.
Emma (22:55):
Do you Do think he's calling out to her every night?
Yeah,
Sam (22:59):
Yeah, this is the Homeric
Emma (23:00):
the Homeric tradition every night he tells
Sam (23:03):
bit of the
Emma (23:04):
of a weird story Come on! Come on! Don't come and touch
it! Please! Just come and touchit! Just breathe on it!!
ctookwell6562 said, anyone elsethink this would have made a
kick ass closing credit song toThe Hobbit, Desolation of Smaug?
(23:24):
Although, frankly, anythingwould have been better than the
Ed warbling over the credits.
Sam (23:29):
I'm aware this is People in Glass Houses Throwing Stones,
Emma (23:32):
but NERD! Fucking nerd! Also, no.
Sam (23:40):
I just There's something that really annoys me about
nerds, Emma.
It's when they performativelypretend that something is
appropriate or doesn't existwhen it does.
Oh, isn't it a shame GeorgeLucas never made those Star Wars
prequels he was talking about?
They, fuck off! They exist andthey're shit! It's fine to
acknowledge that.
Anyway.
Emma (24:00):
Good.
Do you feel better now?
A little
Sam (24:02):
bit, yes.
Emma (24:03):
Last one then.
This is a conversation.
Kimberly Hollands said, Remindsme of my mum.
Sam (24:10):
Aww.
Emma (24:12):
Please keep in mind the song.
Sam (24:13):
Yeah, but depends in what context, maybe.
Carry
Emma (24:18):
Ben Northfield 4875 said, How so?
and Kimberly Hollands replied,She used to play it all the
time.
Sam (24:29):
See?
Emma (24:31):
That's very sweet.
And then uh, Bombastic,something I'm not going to
pronounce, said, Great mum youhad.
Sam (24:38):
lovely.
That's
Emma (24:39):
sweet.
Sam (24:40):
Yeah.
Emma (24:41):
But also reminds me of my mum.
Sam (24:46):
Did your mum
Emma (24:47):
your mum Yes, my mum will have listened to this.
I'm thinking in the context ofthe songs.
Sam (24:53):
No, I know,
Emma (24:54):
I
Sam (24:54):
sure, I get it, but
Emma (24:56):
I'm
Sam (24:56):
trying to be horrible and you're not letting me be Yeah,
sorry.
Yeah, you idiot.
Stop letting music remind you ofyour mum.
Emma (25:03):
Stop letting a dirty song remind you of your mum.
It's weird.
Sam (25:06):
It's a dirty song and also an astronomy lesson,
Emma (25:09):
The
Sam (25:10):
The sun is just a ball of desire.
Emma (25:12):
Oh, yeah.
Can we wrap this up?
Because I'd quite like to catchthe ball of desire set this
evening.
Sam (25:17):
oh, that's nice.
So the people liked the song,did anybody in the comments
angry about it?
Emma (25:23):
No, it was genuinely a very well received song by
everybody.
There was somebody thatcommented, Meat Loaf is quite
good at romanticizing for aproposition for sex with his
operatic voice.
I highly urge any Meat Loaf fanswho like this song to listen to
the 1981 Jim Steinman versionfrom the album Bad for Good,
which goes by the same name.
(25:44):
Both songs are good bythemselves, But there was a
great deal more romanticizing inthe Bat out of Hell 2.
Whereas in Bad for Good, it'sutterly devoid of such
romanticization.
Sam (25:55):
Sorry, who was that user?
Emma (25:56):
That was@JohanBachmeer.
4, 6, 8, 4.
Sam (26:02):
Johan Bachmeer 4684?
You're an idiot.
Well, in what way is this moreromanticised than the other one?
Emma (26:11):
Neither of them are what I would call romantic songs.
It's less sophisticated thanromance.
Come up and bang!
Sam (26:22):
But down the ancient hallway.
I think the ancient hallway iswhat makes it romantic.
Because he's got his ancientcastle on the streets of Dallas.
Emma (26:33):
Are we back to his stupid castle?
Sam (26:35):
It is his stupid castle though, isn't it?
It's an ancient
Emma (26:37):
hallway.
Yeah, is it not just an ancienthallway and the fact that it's
just a bit grimy and crumbling?
Sam (26:42):
Shit, I've been picturing all along, like The streets of
Dallas baking in the hot sun,and a lady waiting for the bus,
and the Munsters' castle,
Emma (26:52):
That's just there.
No, I'm imagining a reallyskeevy apartment.
and so she's wandering down thesort of sweaty brown hallway.
Sam (27:01):
Oh, wander down the sweaty brown hallway.
Emma (27:07):
Taking the stairs only one at a time.
'cause if you try and leap upmore than one, you might go
through
Sam (27:10):
them.
Oh no, you've, oh.
This
Emma (27:12):
is what I've, this is,
Sam (27:14):
See, I've always seen this as a sort of a meeting of the
Gothic
Emma (27:17):
and the I used to see it that way now it's become more
and more skeevy each time in myhead.
I'm afraid it's like, to astudent bedsit.
Sam (27:27):
Listeners, do let us know, did you think of the Ancient
Hallway as being some sort ofRocky
Emma (27:31):
Horror style Transylvanian castle?
I'm
Sam (27:32):
teleported
Emma (27:34):
to be.
Sam (27:35):
Or did you see it as a festering filth pit?
Do email us in, chatoutofhell.
gmail.
com So Emma as with all of oursongs, we have to rate this on
our patented song rating scale.
Emma (27:47):
yep.
And we're
Sam (27:48):
to trademark it as well.
Our patented, trademark pending,song rating scale.
This song was written by JimSteinman, which means we have
the three point scale of JimSteinman for the very top songs,
Jim Feynman in the middle, OrJim Declineman at the bottom.
Emma (28:07):
I think you know where this is going to go.
This is pure, solid gold JimSteinman.
Sam (28:13):
Pure, solid gold Jim Steinman!
Emma (28:25):
going to have fun editing
Sam (28:26):
fun I'm sorry, pupper.
I've woken up the dog listeners.
Emma (28:32):
She looks disgusted.
Sam (28:34):
So that was, that was our first song today.
Emma (28:37):
And
Sam (28:37):
now we're going to talk about my choice this week,
Emma (28:39):
Uh huh.
Sam (28:39):
This is song that Jim Steinman wrote for a different
artist and that is Hulk Hogan'sTheme which came out on the
wrestling album WWF All Stars in1985.
It's on YouTube, I'm sure it'son Spotify as well because
wrestling fans are fuckingweird.
Go away listen to Hulk Hogan'sTheme from the wrestling album
(29:00):
and we'll see you all in a veryspry four minutes thirty seconds
(29:35):
emma, you
Emma (29:35):
didn't
Sam (29:35):
seem enthused by that one.
Emma (29:37):
No.
No.
No.
Okay.
Perhaps if it was accompanied bya load of wrestling visuals it
might have been marginally moretolerable, but oh god.
Sam (29:47):
So do you want to know the full lyrics?
So the song goes hulk, Hulk,Hulk, hulk.
Hulk, Hulk.
Mm hulk, Hulk.
Hulk, hulk.
hmm.
Hulk, hulk.
Mm hmm.
Hulk, Hulk.
hmm.
Hulk, Hulk.
(30:10):
I've made the word go all funnyon
Emma (30:12):
myself.
Has it stopped having a meaningnow.
Yeah.
Yeah, it's weird when thathappens.
Yeah, lyrically, it's definitelynot one of Jim's finest.
Sam (30:19):
No! did rather phone the lyrics that week, didn't he just
bit.
Did you like the tune at all?
Emma (30:23):
No, No, not particularly.
No.
It was, it was alright.
I don't think there was anythingparticularly special to it.
Part of it had a bit of an Eyeof the Tiger vibe to could
definitely hear a refrain fromthat in there somewhere.
Sam (30:34):
Yeah, discovered this while I was researching Jim Steinman
for earlier episodes.
I have no long standingaffection for wrestling
whatsoever.
Were you not I was not aHulkamaniac Emma, we'll talk
about my disdain for Hulk Hoganin a few minutes.
But yeah, I've listened to thisa few times, I think it's fun.
It's quite a, an exciting themetune, but
Emma (30:59):
Is it on your gym motivation playlist now?
Sam (31:03):
I thought by that you meant James Motivation, but yes,
Emma (31:05):
you mean
Sam (31:05):
Gymnasium motivation.
Motivation
Emma (31:08):
Ah! James Motivation!
Sam (31:11):
I do need to start running again and I might put it on my
playlist for that, I
Emma (31:15):
Because it's it's not going on my swimming playlist.
Yeah,
Sam (31:17):
do you want some facts?
Yeah.
This was released in 1985 on theWrestling Album, which is a
compilation album, of course,for WWE.
F, as it was then known, not thePandas.
The track's artists are creditedas the WWF All Stars.
A 30th anniversary edition ofthis album was released in 2015.
(31:38):
Because, as mentioned before,wrestling fans, fuckin weirdos.
So yeah, I genuinely have
Emma (31:43):
had head now.
Poor
Sam (31:46):
Oh, you.
it's got a bit of oomph for somethrowaway shite that he wrote
for an ungrateful
Emma (31:50):
It is shite.
Hahaha! Haha!
Sam (31:55):
But Emma, there is a reason I brought this song.
Emma (31:58):
Go on.
Sam (31:59):
this is a theme tune that he wrote for Hulk Hogan as walk
on music
Emma (32:03):
for
Sam (32:03):
when he went on to Do his dancing and his wrestling.
This is a quote from RollingStone.
For whatever reason, Steinman'ssong for Hogan never caught on
with wrestling fans.
And the WWE, although it was WFat the time, Icon adopted
another track off the wrestlingalbum with his entrance music,
Real American.
Written and performed by RickDerringer.
(32:23):
I never intended it for the WWF,Derringer told Rolling Stone
magazine.
I remember thinking, we havewritten the most patriotic song
of all time.
I'm gonna play you Real Americannow.
Officially, this is outside
Emma (32:36):
of our
Sam (32:37):
but
Emma (32:37):
I feel like I need to hear it
Sam (32:38):
yeah, you do, and also to watch the video.
Yeah, that's enough of that.
Emma (32:55):
I mean That's worse, isn't it?
That's so much worse.
I forgive you, Jim.
Sam (32:59):
Real American is outside of our officially licensed remit as
a Steinman slash Meat Loafjukebox.
But just to say it is a threeminute homage to toxic
masculinity and the deluded selfimage of Cold War America.
The video features Hulk Hoganinserting himself into Mount
Rushmore, head butting a Sovietflag and then more archive clips
(33:21):
of American soldiers marchingoff to war than is ideal, the
ideal number being zero.
It is utterly pathetic andcompletely the opposite of
everything Jim Steinman stoodfor.
Emma (33:32):
Yep.
Sam (33:32):
Yep.
So yeah, Hulk dropped the JimSteinman theme very quickly but
it did become the theme to thecartoon Hulk Hogan's Rock'N'
Wrestling.
Which ran from 1985 to 1987.
That show that was animated andproduced by DIC Animation City.
You must remember DIC because atthe end of all of their
cartoons, they had a title cardwhere a petulant child
(33:54):
delightedly shouted the word,DIC!
Emma (33:57):
Yes I do.
Sam (33:58):
I have watched an episode of this.
Emma (34:01):
Is it good?
Sam (34:02):
Do you remember about this
Emma (34:02):
time last year
Sam (34:03):
I tried to convince you that um Rude Dog
Emma (34:06):
Dog and the
Sam (34:06):
Rude Dog and
Emma (34:07):
and the Dweebs
Sam (34:07):
was good cartoon.
Starts with a live action sketchof some guy trying to teach you
how to lift weights really badlyand then a 15 minute story about
some wrestlers who have to havea race to have their merchandise
bait wrestler cars be in aHollywood film.
Various baddie wrestlers withoffensive foreign accents show
up to help the main baddiecheat.
(34:28):
Hulk Hogan.
star of the show, has two lines.
There's a good bit where thebaddies come across a sign that
says bridge out and cleverlywrite the word not in between
bridge and out.
The baddies win the race becausea dog runs out into the road and
the goodies don't want to run itover.
But then it turns out thebaddies get their comeuppance
because the Hollywood film thecar appears in is a Godzilla
(34:50):
movie and a big robot stampstheir car flat.
Then there's a second liveaction sketch in which Hulk
Hogan is spotting for his friendat the gym who is doing weights.
Goes off to make him a proteinsmoothie, and when he gets back,
the friend is asleep.
That is the entire joke.
And then I, stopped after that.
I'd had enough.
Emma (35:06):
I hate the sound of that.
it's, it sounds like, prime 80scynical greed is good kind of Oh
yeah, no,
Sam (35:16):
Things, He Man was intended to sell toys.
Transformers was created to selltoys.
Emma (35:22):
than those things.
Sam (35:22):
This is worse
Emma (35:23):
than
Sam (35:23):
things, yes.
Dogtanion, this is not.
Are you ready for the twist?
Because there's got to be areason I brought you this heap
of shite, right?
Emma (35:34):
Yeah.
Sam (35:35):
That song came out in 1985.
And in 1986, Bonnie Tylerreleased the album Secret Dreams
and Forbidden Fire.
And I'm going to play you theopening track of that album now
Laptop (35:48):
Tonight I really got it, babe.
Tonight I really got it bad Butit still looks so good, so good
That I got it at all and it wasRavishing, ravishing And I love
to see the moonlight See itshimmer down my dress It's so
(36:08):
ravishing, ravishing And thewind is like a finger Tracing
patterns on your chest You're soravishing, ravishing This is the
season
Sam (36:19):
so there you go, that was Bonnie Tyler singing Ravishing,
Emma (36:22):
Phew, how long was that?
Sam (36:24):
minutes, 25,
Emma (36:25):
a Steinman written song as well or is it
Sam (36:27):
yeah, no, yeah.
So this album was produced bySteinman.
And he wrote this song, Yap.
Do you like
Emma (36:33):
it
Sam (36:33):
better with the lyrics?
Emma (36:35):
No.
Oh, okay.
No, I don't.
I'm sorry, it does nothing forme that.
That's fine.
And I know that you're goingthrough a bit of a Bonnie Tyler
thing.
thing, aren't you?
Sam (36:45):
me some Bonnie Tyler.
Emma (36:46):
a recent thing or have you always
Sam (36:48):
Total Eclipse of the Heart has always been.
But then, since we started thisshow, I've been digging around
into the two albums that she didwith Steinman, and they are
bangers, Emma.
Yeah.
And I suspect we might have
Emma (36:59):
more disputes to come.
Sam (37:01):
Yeah, I've I've been listening to this one on the reg
since I discovered it I thinkit's really good.
Emma (37:04):
Is this one of the songs you were listening to the other
night when you were out pickingblackberries?
Yes, I
Sam (37:08):
blackberries?
Yes, I was picking blackberries,listening to Bonnie Tyler being
horny as fuck.
He's gone and done it again,Emma.
This is why I brought this.
Emma (37:16):
Because it's more Steinman Recycling.
Sam (37:18):
the master recycler.
He is.
And in this case, he's justlifted a whole song.
And stuck a few words on it.
Emma (37:24):
So I take it that, when he originally produced it for Hulk
Hogan, there was no exclusivitytie in or
Sam (37:31):
This is where it gets inter The internet, in general, says
he wrote this for Hulk Hogan, itdidn't do well, and then he
stuck some lyrics on and gave itto Bonnie Tyler.
Yeah.
But nobody ever providescitation for that and then I
found an article from BonnieTyler in Tracks magazine Where
she says In America, wrestlingis very popular there, and there
(37:51):
are a lot of rock fans followingwrestling at the moment.
One of the biggest names inwrestling over there is called
Hulk Hogan.
He had a listen to Ravishing andloved it so much he wanted it to
be his theme song, which used tobe Eye of the Tiger.
It's a really powerful song, soevery time he goes into the
arena to the roar of the crowd,it's fantastic.
He came to the studio as hewanted a slightly different
(38:12):
version.
We didn't want to go straightinto the lyrics for what they
play when he's in the arena.
He wanted some chants at thebeginning of it, so all through
the intro we were in the studiochanting HULK! HULK! HULK! on
the beat.
Emma (38:24):
So is that Bonnie Tyler chanting Hulk?
Sam (38:27):
This is what she says, yeah.
I've not found any liner notesor anything that explain who was
chanting HULK, but there's a lotof claims that Jim wrote it for
Hulk Hogan and then recycled it,but I think it's just as
plausible that he was working onit with Bonnie Tyler and then
Hulk Hogan heard it somehow andwas like, can I have that
please?
(38:47):
And that might be Bonnie Tylerchanting Hulk.
Emma (38:50):
That's the version I'd like to believe.
Yeah, I would too.
That's the version I'm choosingto believe.
Sam (38:54):
Jim Steinman wanted to call the entire Bonnie Tyler album
Ravishing.
Bonnie.
Says, I thought it would be abit hard to live up to, so I
changed that to Secret Dreamsand Forbidden Fire.
She's a bloody fool, Emma.
That's a stupid name for analbum.
Emma (39:09):
Ravishing
Sam (39:09):
would have been an excellent name.
Yeah, She did end up usingRavishing as the title of a 2009
Best Of album.
And it's rare that Jim Steinmanis the one with these succinct,
punchy ideas.
This is the only track from thealbum not to released as a
single, presumably because itwas too filthy.
Emma (39:25):
Yeah.
Sam (39:26):
I really like that the theme tune to a big smashy
stupid wrestler was given awayto a horny lady.
Emma (39:32):
I think it's a much better use of it.
there's something about it thatjust doesn't gel for me.
Sam (39:37):
was your first listen, wasn't it?
Yes.
I am just going to run throughsome lyrics that I think are
good.
Emma (39:42):
Okay.
Sam (39:43):
Tonight I really got it bad.
Tonight I really got it bad.
But it's still so good that Igot it at all.
Emma (39:49):
Oh, there's so much to unpack just there! Oh yeah! Wow.
Sam (39:58):
If an angel broke his wings, would he come to you for
parts?
I need a couple of wings, boy.
I need a reason to soar.
And if the devil lost his fire,could he count on you for
sparks?
There's something we ought totry now.
We ought to try it some more.
Emma (40:15):
for it.
Sam (40:15):
Emma.
Emma (40:16):
into it.
Sam (40:17):
In complete opposition to the lady from Out of the Frying
Pan and Into the Fire, this isBonnie Tyler
Emma (40:22):
hammering on your window.
Sam (40:26):
I'll come and
Emma (40:27):
and touch
Sam (40:27):
it.
Emma (40:28):
God, let me breathe on
Sam (40:29):
it.
I can't believe the way thestars are shooting through your
hair, you're so ravishing.
And it's just my luck, tonight Idon't have anything to wear.
I genuinely think that's a verygood couplet.
But that's six minutes of BonnieTyler
Emma (40:44):
Banging at the door.
Sam (40:45):
Demanding to be let
Emma (40:47):
in
Sam (40:47):
like a cat in heat.
We will return to my BonnieTyler obsession.
I think in this, maybe in thisseries, maybe later on, but Jim
Steinman did some really goodstuff.
Brilliant and some stupid stuffwith Bonnie.
Emma (40:58):
I'm looking forward to discovering more.
Sam (41:01):
for the quiz, right?
Emma (41:02):
Of course, it's always the quiz.
Sam (41:03):
We've talked a lot about consummate bullshitters on this
podcast, but Hulk Hogan reallytakes the cake.
Which two out of these are notlies that Hulk Hogan has told
and then immediately been caughtout in?
is it A.
Did Hulk Hogan claim to havebeen offered the endorsement
deal for the product that becameknown as George Foreman's Lean
Mean Fat Reducing GrillingMachine?
(41:25):
Sam Perlmutter, the attorney whomade the endorsement deal,
stated that did not happen.
Was it B?
Hulk Hogan claimed to havewrestled for more than 400 days
in a single year.
Because he was travelling backand forth between the US and
Japan so much.
Emma (41:41):
God.
Sam (41:43):
Was it C Hulk Hogan claimed to be a recipient of the
American Speech Language HearingAssociation's Annie Glenn Award
for outstanding service to thestuttering community.
Despite Hogan never having anykind of stutter.
'I inspire kids of all kinds,said Hogan.
ASLHA spokesman John Larkindenied any association with him.
(42:03):
Was it D?
Hulk Hogan claimed that ElvisPresley was a huge fan of his,
despite Elvis dying in 1977 andHogan's career starting in 1979.
E?
Hulk Hogan claimed to havepersonally been invited to join
metallica by lars ulrich.
Ulrich was once asked about thisstory in an interview with
Howard Stern and didn't evenknow who Hulk Hogan was.
(42:25):
F.
Hulk Hogan claims to haveinvented the concept of walk on
music for wrestlers, despite ithaving been around around since
the 1950s.
G.
Hulk Hogan claims to haveinvented the word Hulk and sued
Marvel over their use of histrademark on their character the
Incredible Hulk.
According to Hogan, The Marvelcharacter is only green to
differentiate between theradioactive superhero and the
(42:48):
real life wrestling idiot.
So which of those is
Emma (42:51):
lies, Emma?
Sam (42:52):
got two lies
Emma (42:53):
there.
Sam (42:53):
Two of those are not lies that he told.
So we've got, he claims
Emma (42:57):
he was
Sam (42:57):
offered the George Foreman grill, he claims to have
wrestled for 400 days in asingle year, He claims to have
been a recipient of theOutstanding Award for service to
the stuttering community.
He claimed that Elvis was a hugefan.
He claimed to have been invitedto join Metallica.
And he claimed to have inventedwalk on music.
Oh God, I did seven of these.
(43:18):
And he claimed to have inventedthe word Hulk.
Emma (43:22):
Oh God so the stuttering one, that's definitely
incorrect.
Sam (43:26):
Okay.
That's one
Emma (43:27):
of my choices.
Sam (43:28):
That's true, that is an actual fact.
Tch.
That Scatman John Larkin earnedthat award, the singer behind
the fantastic hit Scatman that'sski ba bop ba da bop.
But which other one?
Emma (43:40):
I'm going to say the Japan one the 400 days.
Sam (43:44):
He did claim to have wrestled for 400 days in a
single year because he's a twat,Emma.
The one I made up was that heclaimed to have invented the
word Hulk.
There was a comic book in thelate 80s where Hulk Hogan starts
calling himself the IncredibleHulk and the Incredible Hulk
shows up to a wrestling eventand throws him through
Emma (44:01):
the
Sam (44:01):
roof.
I've got no good YouTubecomments because wrestling fans
are colossal bores.
Sorry about that.
That's fair enough.
So Emma, it's time to rate thissong.
We're going to rate both ofthem, okay?
So we've got Hulk Hogan's theme?
Is that a Jim Steinman, a JimFeynman, or a Jim Declineman
Emma (44:17):
that is a Jim Declineman.
Sam (44:19):
I agree.
Jim Declineman wah, wah, wah.
And
Emma (44:25):
Ravishing
Sam (44:26):
by Bonnie Tyler.
Where are you going to place
Emma (44:28):
I'm going to say it's a Jim Feynman.
I feel like I probably need togive it more time.
Sam (44:35):
I agree.
Love it, but it's not a JimSteinman, it's not his best work
I do like some of the sillydirty lyrics that are in there,
so I agree, Jim Feynman.
So that's our first JimDeclineman and our first Jim
Feynman.
Let me just do a voice for theJim Feynman, sorry.
Emma (44:50):
Yeah.
Feynman! Yeah,
Sam (44:55):
good.
was all of our songs
Emma (44:57):
for It was?
Sam (44:59):
It was, yeah.
Good luck editing all of thisdown.
Emma (45:01):
Thanks! Thanks
Sam (45:02):
Ha ha So listeners, if you enjoyed these songs or you
didn't enjoy them, or you're awrestling fan who wants to call
me an idiot, please do email usin, chatoutofhellatgmail.
com.
The following calls to actionappeared as we talked through
the podcast.
Members of B*Witched.
If you're out there, please dosing a cover of Out Of The
Frying Pan And Into the Fire andsend that to us.
(45:23):
And if you think that theAncient Hallway is a gothic
castle or a festering cesspit,do write in and let us know,
chat out of hell at gmail.
com.
Anything else
Emma (45:31):
Yes.
Yes.
A couple of weekends ago theDukery's Ukeries ukulele band
got together.
And I was there as well anddrinks occurred.
And then the following recordingoccurred.
Laptop (45:46):
On a hot summer night, would you offer your throat to
the wolf with the red roses?
Yes! I bet you say that to allthe boys.
(46:22):
Rolling over the sand, when Ilisten to your heart I hear the
whole world turn, I see theshooting stars falling through
your threading hands.
The
Sam (46:33):
so that's where you get up to when I'm not around.
Yeah.
Oh, Thanks.
Emma (46:38):
was
Sam (46:38):
isn't it?
It's fun.
where are we going to put that?
listeners to listen to all ofit.
Emma (46:46):
I don't know.
Where should we put it?
On
Sam (46:48):
On your SoundCloud.
I don't think, I thoughteverybody had a, I don't know.
Emma (46:53):
That was a lovely
Sam (46:54):
Emma,
Emma (46:55):
just
Sam (46:55):
where that was from and by.
uh, That
Emma (46:57):
was, because I know it was Kermit the Frog
Sam (46:59):
Miss Piggy at the beginning doing the the
Emma (47:01):
dialogue.
Did you enjoyed the Kermit theFrog, miss Piggy?
yeah.
Yeah, That was, believe it ornot.
That was actually my husband andme doing that.
Sam (47:09):
that.
BOMF.
I Know! Mind blown.
Emma (47:11):
Acting.
Sam (47:12):
Acting.
Oh, that was lovely! We've notmentioned it yet, our quest is
to write
Emma (47:17):
a Jim song,
Sam (47:18):
and I suppose the way
Emma (47:19):
into
Sam (47:19):
is to learn to play Jim Steinman style songs, so you've
started us down that path.
Emma (47:23):
I don't think Steinman did much with the ukulele.
I
Sam (47:27):
only think that's because they were too small for him to
see.
Emma (47:31):
Aw.
Sam (47:33):
Yeah, he had big
Emma (47:34):
old contact lenses.
17
Sam (47:36):
year old contact lenses.
Ah! Ah! That Oh.
So that was very nice.
Yeah That's a lovely cover ofYou Took The Words Right Out Of
My Mouth.
Brackets Hot Summer Night.
By, what was the band calledagain?
Dukeries.
Ukeries.
Emma (47:48):
Joukeries.
Sam (47:50):
And you can find them on the internet.
You can.
Emma (47:53):
We will
Sam (47:54):
put links and stuff to their social media in the
comments.
So next time, I am going to bebringing another of the songs
from Jim Steinman's album, Good.
And I will be bringing Dance InMy Pants, which is a magnificent
song with a fucking batshitvideo.
So I'm really looking forward toseeing your response to that.
Emma (48:13):
I'm going to bring Everything Louder than
Everything Else as I continuesmashing through Bat Out Of Hell
2.
Sam (48:19):
Fantastic.
Listeners, go away and prepareyourselves for those.
They're both silly, fun songs,so the listeners are probably
going to have a good time withthose.
And, as always, keep yourgeneral Meat Loaf thoughts and
anecdotes flying in.
Did you see Meat Loaf at theMusée Royal d'Art et d'Histoire
in Brussels and been blown awayby the quality of the
collection?
Write in and let us know.
Chat out of hell at gmail.
(48:39):
com.
I was blown away when I went toBrussels, and I'd just like to
say it's fantastic museum.
equal to many of the majormuseums around Europe, which are
much busier.
Emma (48:48):
See, it's not just Meat Loaf, it's culture we're
bringing as
Sam (48:51):
well.
That's right.
Anything else, Emma?
Good! All right,
Emma (48:56):
well thank you all
Sam (48:56):
listening to Chat Out Of Hell, and we'll see you all
again in two more weeks time.
Bye! everybody! Bye! Bye! We'rewaving
Emma (49:03):
again.
Why are we waving?
What is this?
Sam (00:01):
This is Chat Out of Hell, the only bi weekly podcast
dedicated to the music of MeatLoaf and Jim Steinman.
And I mean bi weekly in theAmerican sense, not in the
British sense of twice a week.
Once every two weeks Who is MeatLoaf?
Emma (00:16):
Meat Loaf was Hartlepool FC's biggest fan, and a
collector of rubber ducks.
He had over a hundred.
Who's Jim Steinman?
Sam (00:25):
Oh, Jim Steinman is a musician and songwriter who
caused Andrew Lloyd Webber torecoil in horror.
at his habit of ordering most ofthe menu at fine dining
restaurants.
Emma (00:37):
Who are we?
Sam (00:37):
Oh well, I'm Sam Wilkinson and you're Emma Crossand and we
are the preeminent Steinmanacademics of our age.
Our age being 39 slash 40.
Sounds about right, doesn't it?
Emma (00:47):
Yeah.
Sam (00:47):
Yeah.
Welcome to Chat Out of Hell.
Bow now, now, now.
Bing.
Emma (00:54):
Slick.
Sam (00:54):
Emma, what's going on?
Emma (00:55):
We've got an international listener, Sam.
We've got somebody listening whoisn't either of us or our mums.
Sam (01:03):
Oh, my mum's not listening.
Emma (01:05):
listening.
Or someone called Tom.
Sam (01:06):
Oh! Oh
Emma (01:07):
no.
Because that's our listenership,the Toms.
Sam (01:10):
I am going to have to speak to the advertisers about
Emma (01:12):
this.
No, I heard this week that myfriend Connie, who lives over in
Portland, Oregon.
Sam (01:22):
Portland,
Emma (01:23):
So, West Coast.
Yeah.
She listens to us while she'sdriving around.
Oh! Yeah, she says she reallyenjoys the banter between the
two of us
Sam (01:32):
That's lovely.
Emma (01:33):
Isn't it?
I don't think she gives a flyingfuck about Meat Loaf.
Sam (01:36):
Hello, Connie, who drives around.
Look out! Oh, no! There's adeer!
Emma (01:43):
Connie's lovely.
She's one of my mum's ukulele
Sam (01:46):
chums, Oh, okay.
Oh, nice.
I think
Emma (01:47):
who comes over for Duke Fest.
Sam (01:49):
Well, Connie, if you could give loads of people lifts in
the next few months and justtell them to shut up and play
the podcast at them, that wouldbe great.
That would be, like, the bestadvertising we can
Emma (02:00):
get Yeah.
Connie, why don't you Get a jobdoing Uber driving and
Sam (02:04):
Oh yeah, that would be good.
So yeah, Connie, if you don'tmind turning your life upside, I
don't know what does Connie dofor a living
Emma (02:11):
Connie is retired.
Sam (02:12):
Oh, okay.
Stop enjoying your well earnedretirement and go out and drive
people around as a less safetaxi driver.
Emma (02:23):
Yes.
Sam, do you need to explain whatthe strange noises are going to
Sam (02:26):
be?
Yes.
Do you know what?
I think I
Emma (02:28):
should.
Sam (02:28):
Regular listeners will be aware of my lovely dog, Maisie,
who makes appearances in thepodcast.
And today, as we were settingup, Maisie crawled into my lap
and fell asleep.
If you can hear gentle snoringnoises, Or massive loud snoring
noises.
That is Maisie, who is forcingme to constantly pet her as
(02:50):
we're talking.
Because if I stop moving my handfor even half a second, she will
reach over and lick it.
Emma (02:57):
have we had any emails or anything this time?
Sam (02:59):
Eddy Thomas emailed again.
Hello Chellers.
I think that's chat out ofhellers.
I'm about to get on a train tosee some awesome friends and
you've inspired me to listen toas much Meat Loaf as possible on
my three hour journey.
Thanks, question mark.
We do provide this service ofreminding people that Meat Loaf
is available as a product.
(03:20):
And it does help while away twoto three hour Train and car
rides.
Emma (03:24):
That's how this all started.
Sam (03:26):
That's true,
Emma (03:26):
yeah.
Those car journeys.
Yeah,
Sam (03:28):
And now it's happening to everybody else.
Emma (03:31):
A problem shared is a problem
Sam (03:33):
doubled.
Emma for the benefit of peoplewho aren't Eddy Thomas, two
people called Tom, and yourfriend Connie, what is this
podcast?
How does it work?
Emma (03:41):
We are a Meat Loaf and Jim Steinman jukebox podcast.
I remember that from last time.
What we do is we each bring asong to the table to discuss in
detail, excruciating detail.
And I've brought one of my alltime favourites.
It's one of the silliest songsever, really.
Sam (04:03):
thought you were about to say in the Meat Loaf canon
Emma (04:05):
No, I think it's just one of the silliest songs.
Sam (04:07):
It is also one of the silliest songs in the Meat Loaf
cannon I was just about tocomment that we're on to chat
out of hell episode 8 and we'venot yet said Meat Loaf cannon
Which is very unacademic of us.
Emma (04:16):
I am imagining weaponry.
Yes.
Sam (04:20):
those
Emma (04:21):
Firing those meatloaves that we saw on the A1 sauce
advert, because they look likethey'd be pretty solid.
They're going to do some damage.
Grim.
Sam (04:30):
Yeah, so one of the silliest songs in the canon,
Emma (04:32):
it is Out of the Frying Pan and Into the Fire
Sam (04:35):
I will be bringing to the table a song that Jim Steinman
dashed off for some quick moneyin the mid eighties, which will
be Hulk Hogan's Theme.
if you're a wrestling fan, whichI'm not, but I had to enter
their brains this week it's notthe Hulk Hogan theme that you
think it is, but we will talkabout that one as well.
So listeners, go away, go toYouTube, Spotify, I don't know
if you'll find Hulk Hogan'sTheme on Spotify, I hope they've
(04:56):
got better things to do.
But yeah, do look up Out of theFrying Pan and Into the Fire,
and then Hulk Hogan's Theme.
Start with Out of the Frying Panand Into the Fire, from the
album Bat Out of Hell 2, and wewill see you in just a few
minutes.
Laptop (05:14):
Temperature's beginning to soar In the city you see the
walking wounded and the livingdead It's never been this hot
and I've never been so bored andbreathing is just no fun anymore
And then I saw you like a summerdream and you're the answer to
every prayer that I ever say Oh,I saw you like a summer dream
(05:39):
And
Emma (05:40):
That was Out of the Frying Pan and Into the Fire.
Glorious So that was from theBat Out of Hell 2 album.
Released in september 1993, andit was track 5 on Bat Out of
Hell 2.
Now, there is another version ofit out in the world, which is,
of course, the Jim Steinman onefrom Bad for Good, which was
(06:00):
also track 5.
Sam (06:03):
Emma, are you about to blow my mind with a great, incredible
theory here?
Emma (06:07):
No.
Oh.
I just thought it was aninteresting little coincidence.
Probably a deliberate
Sam (06:13):
the difference between me and you, because uh, if I had
been handling this song, thatwould be one of the Wilkinson
mysteries.
Emma (06:19):
Of
Sam (06:20):
A whiteboard covered in bits of red string.
Emma (06:22):
Ultimately leading
Sam (06:24):
Yes, absolutely yeah.
I love this song.
It's so
Emma (06:28):
It's so stupid.
It's incredibly stupid.
This one has long been myfavourite from the album.
Okay.
There's some crossover becausethere is another track that I'm
particularly in love with andthat's Everything Louder Than
Everything Else, which isanother song that's very stupid.
Yes, And I like the upbeat,stupid ones most of all.
Sam (06:46):
And it is an upbeat, stupid album.
Emma (06:48):
the, for the most part.
Sam (06:49):
Okay, yeah, there's one serious song in there, and an
instrumental, just to fill outout the disc.
Just
Emma (06:55):
Just to make sure that they used as much of the disc as
Sam (06:58):
possible.
Yes.
as much as could fit onto one CDin the
Emma (07:01):
early I was very surprised when in later years I bought
myself an album by indie bandIdlewild and found that they'd
only used 35 of the availableminutes.
What a waste!
Sam (07:15):
What do you want to talk about on the song?
Emma (07:16):
It's, an album track on both versions.
And so there's no accompanyingvideo, which I think's a shame.
I'd have loved to have seen thevideo for this.
It would have
Sam (07:25):
this.
Well, as we discussed last time,Michael Bay did the music videos
for this album.
I don't want to watch MichaelBay make a music video about a
man shouting out of the windowat a sexy lady for seven minutes
a, it's It's a very silly song,but
Emma (07:40):
exactly what's happening.
Oh, yeah, it's a man It's a mansaying oh, it's really hot
today.
I know let's get hotter.
as he's shouting out of thewindow At a woman.
Inviting her up for sexy There'sno finer way to spend a hot
afternoon, is
Sam (07:53):
there?
There really is not.
Emma (07:56):
work our way through some of the lyrics.
It's only two o'clock and thetemperature's beginning to soar.
Are we thinking 2:00 AM or 2:00PM
Sam (08:03):
2pm?
If the temperature's soaring at
Emma (08:05):
2:00 that's
Sam (08:07):
That's significant.
Significant is certainly one wayof putting it, Emma, yeah.
I'm assuming it's 2pm, thetemperature's beginning to soar,
there's a lot more daylightleft.
Emma (08:17):
Cat calling in the daytime, then.
Yeah, I mean Afternoon delight.
Sam (08:21):
Hell does not advocate catcalling at any time of the
day, but it's much worse at 2am,
Emma (08:26):
I
Sam (08:26):
want to speak for all the women, but I reckon they're less
on board with it then.
How about you, one of the women?
Emma (08:34):
As one of the women I don't like it at any time.
I think it's more expected at2am.
The afternoon catcall seems abit unusual.
Sam (08:45):
it depends if you're walking past builders.
Builders
Emma (08:47):
don't work
Sam (08:48):
at
Emma (08:48):
night
Sam (08:48):
So it's only two o'clock, the temperature's
Emma (08:50):
beginning to soar.
Zombie attack at two in the
Sam (08:53):
afternoon.
Zombie apocalypse, two in theafternoon shall we be generous
and imagine that's a metaphor.
Yeah.
It's unlike Meat Loaf and JimSteinman to not mean everything
literally, but here we are.
And I, that does paint a lovelypicture of American cities in
the summer they fuckin' baking..
Emma (09:12):
It's hot.
There are people walking aroundleading their boring day to day
zombie lives.
Not like Meat Loaf who'scatcalling from a window.
Because he's not got a job to goto.
Sam (09:24):
Meat Loaf Meat Loaf is in his flat, shouting out the
window at a lady waiting for thebus.
Yes.
How do we know she's waiting forthe bus?
Because she's still there afterseven minutes.
She clearly has to be on thatparticular point and can't just
walk away feeling uncomfortable.
Emma (09:39):
It's never been this hot, and I've never been so bored,
and breathing is just no fun
Sam (09:44):
Do you remember?
Do you remember when we used tobreathe?
Emma (09:47):
Oh, bloody love a
Sam (09:49):
loved A good breathe.
yeah! Oh
Emma (09:51):
Oh, hang on, hang on, hang on.
Oh, that was a good one.
Sam (09:55):
one.
Oh, oh, we're getting into aSMRterritory now.
Emma (09:58):
Oh, hang on, no, I've done enough breathing now.
No, it's not the same as it usedto be.
Sam (10:02):
Yeah, when I first got into breathing it was cool and edgy.
I couldn't
Emma (10:06):
it.
Now everybody's doing it.
Sam (10:07):
doing it.
Yeah.
Yeah?
Fuck you, Jim Steinman.
Write a better line Write mate
Emma (10:12):
And then I saw you like a summer dream and you're the
answer to every prayer that Iever
Sam (10:20):
I mean, I'm, yeah.
I'm not a religious man.
No.
But I understand that those whodo believe in God ask him to do.
Big stuff.
World peace.
Help us solve hunger.
Emma (10:35):
And also bring us the pretty
Sam (10:37):
lady.
Yeah, give me pretty lady.
Every single prayer that I'veever said has been about getting
laid.
That
Emma (10:43):
feels
Sam (10:44):
to me.
me.
Emma (10:47):
So that's the end of the first verse.
Yep.
What an incredible verse.
And then it's, you can feel thepulse of the pavement racing
like a runaway horse.
And that's really
Sam (10:57):
this is on
Emma (10:57):
my list of Yes.
Subways
Sam (11:00):
steaming and the skin of the street is gleaming with
Emma (11:03):
Again, it's really evocative of that Jim Steinman
Meat Loaf world.
Where everything's a bit Grimy,but a bit sexy with it.
Yeah, now
Sam (11:12):
We've talked about Steinman's origins.
He's from New York originally.
Yeah.
Lived around Massachusetts, backto New York.
Meat Loaf is from Dallas.
Yes.
This is a song that feels likeit's in Dallas, right?
It's hot and sweaty and
Emma (11:26):
horrible It's definitely got that sort of steamy South
feel to it, seen you sitting onthe steps outside Creepy creepy.
And you are looking so restlessand reckless and lost.
Sam (11:38):
Alright darling, I've never seen anyone looking so restless
and reckless and lost.
Get your tits out.
Emma (11:44):
Maybe I would.
I think it's time for you tocome inside.
I'll be waiting here withsomething that you'll never
forget.
I just have this that's visionof him laying on his squalid
bed.
Sam (11:58):
Would you like to hear about Jim Steinman's squalid
bed?
Meat Loaf on Jim Steinman.
When I first met Jim, he wassharing an apartment 102nd
Street with I don't know howmany people.
His bed was in the kitchen.
His headboard was therefrigerator.
I said, Jim, what if anybodywants something from the
refrigerator?
He said, believe me, no one everdoes.
Emma (12:19):
Oh God! Oh, this is like The Young Ones House times a
million, isn't it?
Sam (12:26):
Yeah, that's from Classic Rock Magazine September 2000.
So there
Emma (12:32):
you go, that's your I bet the skin of the fridge was
gleaming with sweat.
So, come on, Come on, there'llbe no turning back, you're only
killing time and it'll kill youright back.
lyrics Yeah, but that is rhymingback with back.
Sam (12:46):
Oh you fucker!
Emma (12:47):
It's rhyming back with back, it's rubbish.
Come on, Come on, it's time toburn up the fuse, you've got
nothing to do and even less tolose.
I like that one.
Yeah?
And then we're at the ancienthallway.
Sam (12:57):
Okay, so the Ancient Hallway.
Narratively, we're to believethe lady has entered his
apartment building.
and the next instruction is,wander down the ancient hallway,
Emma (13:08):
taking the stairs only one at a time.
Sam (13:11):
Because there's nothing sexier than health and safety
advice.
Emma (13:15):
If she runs up the stairs two or three at a time, she
might get tired.
Oh! And then there'll be lessopportunity
Sam (13:21):
for, for doing it.
sexy times.
Okay I thought he was worriedshe might trip and break her
nose.
And then he wouldn't be into itanymore.
Emma (13:30):
Follow
Sam (13:31):
the sound of my heartbeat now.
I'm in the room at the top.
You're at the end of the line.
Sexy and threatening.
Meat Loaf and Jim Steinman areone of the only double acts who
can pull that off.
Emma (13:43):
Yeah, we've tried.
Sam (13:44):
Yeah.
Emma (13:47):
Doesn't work for us.
Sam (13:48):
Which one of us was which?
Emma (13:53):
I think I might be
Sam (13:54):
be threatening.
Very
Emma (13:56):
thank you
Sam (13:56):
And
Emma (13:58):
And this is why it doesn't work.
Maybe I should go back.
Sam (14:03):
I'm in the room at the top, you're at the end of the line.
Open the door, lay down on thebed.
The sun is just a ball ofdesire! Just a bit of astronomy
in there for you.
you I think that is to distractfrom the fact that the bed is
just a mattress on the floor,next to the of a refrigerator,
I'm not sure.
Emma (14:23):
Oh, God.
Yeah, I think when I first heardthis song and realised what it
was about I imagined somethingreally grand and spectacular and
possibly even bordering onromantic because I was a stupid
kid with stupid ideas.
Now, the more I listen to it,the more squalid it seems.
(14:44):
It's just a sweaty
Sam (14:45):
It's a sweaty day, and he wants to get sweatier with her.
Emma (14:48):
He
Sam (14:48):
He wants to A restless, Reckless and lost young lady.
know I keep returning to thiswell on Bat Out of Hell 2, but
Meat Loaf is in his mid 40s.
Yeah.
Which adds another layer of
Emma (14:59):
Do you think the idea of the girl who is restless and
reckless and lost is a bit of amanic dream
Sam (15:04):
Oh, that's a manic dream pixie girl, isn't it?
Emma (15:06):
Yes, you're absolutely right.
That's, that's, manic dreampixie girls turn into mad women.
Sam (15:11):
mad women?
WOMEN.
Yeah.
Emma (15:17):
I just, I don't think this is a long term relationship that
he's entering
Sam (15:20):
probably not, no,
Emma (15:21):
because
Sam (15:21):
he's going to murder her.
He wants to take her out of thefrying pan and into the fire.
Emma (15:27):
Can we talk about out of the frying pan and into the
fire?
Because it's so stupid.
So yeah, this song is Out of theFrying Pan and Into the Fire
Sam (15:37):
Yeah.
Emma (15:38):
now usually.
That's quite a negative phrase,isn't it?
So it's for moving out of a bador difficult situation into a
worse one.
Sam (15:48):
Sure, but It's a sexual metaphor.
We're going out of the sexualfrying pan
Emma (15:54):
And into the sexual fire.
Exactly.
The sexual fire sounds likesomething you need to go and see
a
Sam (15:58):
about.
We're gonna turn up the sex heaton this situation.
You've had frying pan sex sofar, and that's fine, sure, but
have you tried FIRE SEX?
Come to me, Meat Loaf, at 123Apartment
Emma (16:14):
Street.
So you go through all of that,and then he says fire, and then
he says Meat Loaf.
Lots of times.
And then just repeats the entiresong.
Sam (16:23):
That's right.
Yeah.
This song is like seven and anda half minutes long, isn't it?
Yeah, and it could have beenhalf or four
Emma (16:27):
It's actually
Sam (16:28):
minutes long.
Yeah.
It's a pop song.
It could have been a pop song.
It could never have been a popCome on.
a pop song.
Here's my test for if it was apop song.
Can you hear B*Witched singingit?
Oh, do you
Emma (16:41):
what?
I can.
I can.
I can hear B*Witched singing it.
I would
Sam (16:44):
I'd love that! If any of B*Witched are listening, do
write in.
We'll get you set up with thelyrics,
Emma (16:51):
you can find them on the
Sam (16:53):
Yeah, In actual fact, now, B*Witched, you don't need us.
Just go away and do recording.
You can borrow my microphones ifyou need to.
Emma (17:00):
That's very generous of you.
Isn't it, Jess?
Yeah, yeah.
Said before, this is the secondversion of this song because it
was originally recorded by JimSteinman himself for his Bad For
Good record that came out inApril in 1981.
Yes.
Sam, you have lots of factsabout this record.
Do you know if he actually sungthis track?
Sam (17:20):
Jim Steinman did do lead vocals on this one, yes.
Emma (17:24):
Because he didn't do lead vocals on everything on his own
solo album.
Sam (17:28):
No, he did not, no.
So he got Rory Dodd in to singlead on three of the songs, and
they are the three songs thatsound quite good.
So I guess, yeah, to recap onBad For Good, this is the album
that was originally written as afollow up to Bat Out Of Hell for
Meat Loaf.
And then Meat Loaf was, in thewords of one of our
correspondents, too fucked up ondrugs Steinman had to sing it
(17:52):
instead to the record's greatdetraction.
Emma (17:58):
Yes.
I Have got a review of JimSteinman's version of the song.
Ooh, lovely.
That was written by SandyRobinson from Sounds Magazine in
1982.
And he said Out of the FryingPan and into the Fire is like
two songs in one.
A Dorsian vocal sex rocker.
Ha Ha! Slashed open with achorus that'd do Barry Manilow
(18:19):
proud.
Would you like to hear what Jimhimself has to say about the
song?
Cliches are ultimately likemagic spells of language.
Ha ha ha Ha! They have auniversal effect.
One straight cliché I used onBad for Good was out of the
frying pan and into the fire.
(18:40):
It amazes me, the power oflanguage.
Like some two year old kidgrowing up now, you somehow know
that by the age of 16, he'sgonna know that phrase.
He's gonna have heard it maybe ahundred times, like it's there
in his memory, unconscious, ifyou like.
But they're all the same.
He's going to recognize my song.
It doesn't matter if he likes itor not, but there must be
(19:02):
something familiar about it fromthe very first moment he hears
it.
Even if he only says, oh shit,that's a cliche.
Just, what?
Sam (19:11):
What?
That was some solid word soupthere
Emma (19:13):
I got you, Jim.
Sam (19:17):
what's the thesis there that I'm using clichés so that
somebody listening to it goes,oh shit, that's a cliché?
Emma (19:24):
I think it's more that people will recognize The terms,
because they're cliches, andYeah, that's what a cliche is.
And then it faded into nothing.
So some classic Jim there, Ithink.
Talk about the Yeah, do we wantto play the Jim version?
Sam (19:41):
I'd love to play the Jim version.
that.
We're here, we may as well.
Laptop (19:48):
Holy, taking the stairs only one at a time.
And follow the sound of myheartbeat.
Now I'm in the room with theYou're at the end of the line.
So open the door and lay down onthe bed.
The sun is just a fall ofdesire.
And I wanna take you out of thefrying pan.
(20:08):
And into the fire.
Out of the frying pan.
And into the fire.
Out of the frying pan.
Emma (20:18):
I think I've mentioned it before, I feel like a fade out
is a cop out ending.
But in my head, I imagine thatparty's still going.
Yeah,
Sam (20:26):
Jim Steinman did a lot of fade outs at the end of six or
seven minute songs, and I'massuming that is because the
tape was running out and
Emma (20:34):
and an
Sam (20:35):
just had to sort of gently turn it down and then walked out
and got lunch while Steinmanplaying.
So that was the
Emma (20:43):
Jim
Sam (20:43):
Steinman version from Bad for Good.
Emma (20:45):
Yes.
Sam (20:46):
Which do you prefer?
Emma (20:47):
I have a soft spot for both, because I think both
versions are perfectly valid.
I prefer the Meat Loaf version.
Okay.
Because I feel like it, it givesthe song the full body that it
deserves.
What I love about you
Sam (21:00):
Meat Loaf can sing
Emma (21:01):
Loaf can sing, Jim Steinman can't.
What I love about the JimSteinman version though, and
it's down to Jim Steinman'sterrible singing voice, which is
particularly bad on this, itgives me real teenager vibes.
Sam (21:12):
It does have real teenager vibes, yeah.
And it's, so that came out in 81and he was like, early 30s I
think.
His attempt to do an impressionof Heather Small from m People.
People, is very endearing.
I I like The more 80s y guitarsin the 1981 version.
(21:33):
So I would prefer the JimSteinman one.
We've sort of mentioned thisbefore, Bad for Good.
eventually became a dry run forBat Out of Hell 2.
Half the tracks off Bat For Goodmade it onto Bat Out of Hell 2,
as did many tracks fromPandora's Box, the other pseudo
solo project that Jim Steinmandid in the 80s.
And at some point he cut hislosses and gave these good songs
(21:57):
to a performer
Emma (21:58):
sing them.
Sam (21:59):
them.
Yeah, which is a real shame forJim.
Emma (22:04):
But hey, it made them both millions.
Perhaps a wise decision.
Sam (22:10):
Good song.
We both like it.
It's a good song that we bothlike that is also creepy as
fuck.
Oh yeah! And I think if there'sever going to be a tagline for
this podcast as a whole, it isgoing to be, Good songs that are
creepy as fuck.
Emma (22:25):
Yes! Would you like to hear what the people think?
Sam (22:29):
I love the people.
Emma (22:29):
About this song.
Uncle Joe Neon Cherry.
Says the most epic way toproposition sex ever.
Sam (22:41):
Epic is an interesting word.
Because Greek epic Is indeed anoral tradition of something that
takes many nights to fullyperform so in that context it is
absolutely epic.
Emma (22:55):
Do you Do think he's calling out to her every night?
Yeah,
Sam (22:59):
Yeah, this is the Homeric
Emma (23:00):
the Homeric tradition every night he tells
Sam (23:03):
bit of the
Emma (23:04):
of a weird story Come on! Come on! Don't come and touch
it! Please! Just come and touchit! Just breathe on it!!
ctookwell6562 said, anyone elsethink this would have made a
kick ass closing credit song toThe Hobbit, Desolation of Smaug?
(23:24):
Although, frankly, anythingwould have been better than the
Ed warbling over the credits.
Sam (23:29):
I'm aware this is People in Glass Houses Throwing Stones,
Emma (23:32):
but NERD! Fucking nerd! Also, no.
Sam (23:40):
I just There's something that really annoys me about
nerds, Emma.
It's when they performativelypretend that something is
appropriate or doesn't existwhen it does.
Oh, isn't it a shame GeorgeLucas never made those Star Wars
prequels he was talking about?
They, fuck off! They exist andthey're shit! It's fine to
acknowledge that.
Anyway.
Emma (24:00):
Good.
Do you feel better now?
A little
Sam (24:02):
bit, yes.
Emma (24:03):
Last one then.
This is a conversation.
Kimberly Hollands said, Remindsme of my mum.
Sam (24:10):
Aww.
Emma (24:12):
Please keep in mind the song.
Sam (24:13):
Yeah, but depends in what context, maybe.
Carry
Emma (24:18):
Ben Northfield 4875 said, How so?
and Kimberly Hollands replied,She used to play it all the
time.
Sam (24:29):
See?
Emma (24:31):
That's very sweet.
And then uh, Bombastic,something I'm not going to
pronounce, said, Great mum youhad.
Sam (24:38):
lovely.
That's
Emma (24:39):
sweet.
Sam (24:40):
Yeah.
Emma (24:41):
But also reminds me of my mum.
Sam (24:46):
Did your mum
Emma (24:47):
your mum Yes, my mum will have listened to this.
I'm thinking in the context ofthe songs.
Sam (24:53):
No, I know,
Emma (24:54):
I
Sam (24:54):
sure, I get it, but
Emma (24:56):
I'm
Sam (24:56):
trying to be horrible and you're not letting me be Yeah,
sorry.
Yeah, you idiot.
Stop letting music remind you ofyour mum.
Emma (25:03):
Stop letting a dirty song remind you of your mum.
It's weird.
Sam (25:06):
It's a dirty song and also an astronomy lesson,
Emma (25:09):
The
Sam (25:10):
The sun is just a ball of desire.
Emma (25:12):
Oh, yeah.
Can we wrap this up?
Because I'd quite like to catchthe ball of desire set this
evening.
Sam (25:17):
oh, that's nice.
So the people liked the song,did anybody in the comments
angry about it?
Emma (25:23):
No, it was genuinely a very well received song by
everybody.
There was somebody thatcommented, Meat Loaf is quite
good at romanticizing for aproposition for sex with his
operatic voice.
I highly urge any Meat Loaf fanswho like this song to listen to
the 1981 Jim Steinman versionfrom the album Bad for Good,
which goes by the same name.
(25:44):
Both songs are good bythemselves, But there was a
great deal more romanticizing inthe Bat out of Hell 2.
Whereas in Bad for Good, it'sutterly devoid of such
romanticization.
Sam (25:55):
Sorry, who was that user?
Emma (25:56):
That was@JohanBachmeer.
4, 6, 8, 4.
Sam (26:02):
Johan Bachmeer 4684?
You're an idiot.
Well, in what way is this moreromanticised than the other one?
Emma (26:11):
Neither of them are what I would call romantic songs.
It's less sophisticated thanromance.
Come up and bang!
Sam (26:22):
But down the ancient hallway.
I think the ancient hallway iswhat makes it romantic.
Because he's got his ancientcastle on the streets of Dallas.
Emma (26:33):
Are we back to his stupid castle?
Sam (26:35):
It is his stupid castle though, isn't it?
It's an ancient
Emma (26:37):
hallway.
Yeah, is it not just an ancienthallway and the fact that it's
just a bit grimy and crumbling?
Sam (26:42):
Shit, I've been picturing all along, like The streets of
Dallas baking in the hot sun,and a lady waiting for the bus,
and the Munsters' castle,
Emma (26:52):
That's just there.
No, I'm imagining a reallyskeevy apartment.
and so she's wandering down thesort of sweaty brown hallway.
Sam (27:01):
Oh, wander down the sweaty brown hallway.
Emma (27:07):
Taking the stairs only one at a time.
'cause if you try and leap upmore than one, you might go
through
Sam (27:10):
them.
Oh no, you've, oh.
This
Emma (27:12):
is what I've, this is,
Sam (27:14):
See, I've always seen this as a sort of a meeting of the
Gothic
Emma (27:17):
and the I used to see it that way now it's become more
and more skeevy each time in myhead.
I'm afraid it's like, to astudent bedsit.
Sam (27:27):
Listeners, do let us know, did you think of the Ancient
Hallway as being some sort ofRocky
Emma (27:31):
Horror style Transylvanian castle?
I'm
Sam (27:32):
teleported
Emma (27:34):
to be.
Sam (27:35):
Or did you see it as a festering filth pit?
Do email us in, chatoutofhell.
gmail.
com So Emma as with all of oursongs, we have to rate this on
our patented song rating scale.
Emma (27:47):
yep.
And we're
Sam (27:48):
to trademark it as well.
Our patented, trademark pending,song rating scale.
This song was written by JimSteinman, which means we have
the three point scale of JimSteinman for the very top songs,
Jim Feynman in the middle, OrJim Declineman at the bottom.
Emma (28:07):
I think you know where this is going to go.
This is pure, solid gold JimSteinman.
Sam (28:13):
Pure, solid gold Jim Steinman!
Emma (28:25):
going to have fun editing
Sam (28:26):
fun I'm sorry, pupper.
I've woken up the dog listeners.
Emma (28:32):
She looks disgusted.
Sam (28:34):
So that was, that was our first song today.
Emma (28:37):
And
Sam (28:37):
now we're going to talk about my choice this week,
Emma (28:39):
Uh huh.
Sam (28:39):
This is song that Jim Steinman wrote for a different
artist and that is Hulk Hogan'sTheme which came out on the
wrestling album WWF All Stars in1985.
It's on YouTube, I'm sure it'son Spotify as well because
wrestling fans are fuckingweird.
Go away listen to Hulk Hogan'sTheme from the wrestling album
(29:00):
and we'll see you all in a veryspry four minutes thirty seconds
(29:35):
emma, you
Emma (29:35):
didn't
Sam (29:35):
seem enthused by that one.
Emma (29:37):
No.
No.
No.
Okay.
Perhaps if it was accompanied bya load of wrestling visuals it
might have been marginally moretolerable, but oh god.
Sam (29:47):
So do you want to know the full lyrics?
So the song goes hulk, Hulk,Hulk, hulk.
Hulk, Hulk.
Mm hulk, Hulk.
Hulk, hulk.
hmm.
Hulk, hulk.
Mm hmm.
Hulk, Hulk.
hmm.
Hulk, Hulk.
(30:10):
I've made the word go all funnyon
Emma (30:12):
myself.
Has it stopped having a meaningnow.
Yeah.
Yeah, it's weird when thathappens.
Yeah, lyrically, it's definitelynot one of Jim's finest.
Sam (30:19):
No! did rather phone the lyrics that week, didn't he just
bit.
Did you like the tune at all?
Emma (30:23):
No, No, not particularly.
No.
It was, it was alright.
I don't think there was anythingparticularly special to it.
Part of it had a bit of an Eyeof the Tiger vibe to could
definitely hear a refrain fromthat in there somewhere.
Sam (30:34):
Yeah, discovered this while I was researching Jim Steinman
for earlier episodes.
I have no long standingaffection for wrestling
whatsoever.
Were you not I was not aHulkamaniac Emma, we'll talk
about my disdain for Hulk Hoganin a few minutes.
But yeah, I've listened to thisa few times, I think it's fun.
It's quite a, an exciting themetune, but
Emma (30:59):
Is it on your gym motivation playlist now?
Sam (31:03):
I thought by that you meant James Motivation, but yes,
Emma (31:05):
you mean
Sam (31:05):
Gymnasium motivation.
Motivation
Emma (31:08):
Ah! James Motivation!
Sam (31:11):
I do need to start running again and I might put it on my
playlist for that, I
Emma (31:15):
Because it's it's not going on my swimming playlist.
Yeah,
Sam (31:17):
do you want some facts?
Yeah.
This was released in 1985 on theWrestling Album, which is a
compilation album, of course,for WWE.
F, as it was then known, not thePandas.
The track's artists are creditedas the WWF All Stars.
A 30th anniversary edition ofthis album was released in 2015.
(31:38):
Because, as mentioned before,wrestling fans, fuckin weirdos.
So yeah, I genuinely have
Emma (31:43):
had head now.
Poor
Sam (31:46):
Oh, you.
it's got a bit of oomph for somethrowaway shite that he wrote
for an ungrateful
Emma (31:50):
It is shite.
Hahaha! Haha!
Sam (31:55):
But Emma, there is a reason I brought this song.
Emma (31:58):
Go on.
Sam (31:59):
this is a theme tune that he wrote for Hulk Hogan as walk
on music
Emma (32:03):
for
Sam (32:03):
when he went on to Do his dancing and his wrestling.
This is a quote from RollingStone.
For whatever reason, Steinman'ssong for Hogan never caught on
with wrestling fans.
And the WWE, although it was WFat the time, Icon adopted
another track off the wrestlingalbum with his entrance music,
Real American.
Written and performed by RickDerringer.
(32:23):
I never intended it for the WWF,Derringer told Rolling Stone
magazine.
I remember thinking, we havewritten the most patriotic song
of all time.
I'm gonna play you Real Americannow.
Officially, this is outside
Emma (32:36):
of our
Sam (32:37):
but
Emma (32:37):
I feel like I need to hear it
Sam (32:38):
yeah, you do, and also to watch the video.
Yeah, that's enough of that.
Emma (32:55):
I mean That's worse, isn't it?
That's so much worse.
I forgive you, Jim.
Sam (32:59):
Real American is outside of our officially licensed remit as
a Steinman slash Meat Loafjukebox.
But just to say it is a threeminute homage to toxic
masculinity and the deluded selfimage of Cold War America.
The video features Hulk Hoganinserting himself into Mount
Rushmore, head butting a Sovietflag and then more archive clips
(33:21):
of American soldiers marchingoff to war than is ideal, the
ideal number being zero.
It is utterly pathetic andcompletely the opposite of
everything Jim Steinman stoodfor.
Emma (33:32):
Yep.
Sam (33:32):
Yep.
So yeah, Hulk dropped the JimSteinman theme very quickly but
it did become the theme to thecartoon Hulk Hogan's Rock'N'
Wrestling.
Which ran from 1985 to 1987.
That show that was animated andproduced by DIC Animation City.
You must remember DIC because atthe end of all of their
cartoons, they had a title cardwhere a petulant child
(33:54):
delightedly shouted the word,DIC!
Emma (33:57):
Yes I do.
Sam (33:58):
I have watched an episode of this.
Emma (34:01):
Is it good?
Sam (34:02):
Do you remember about this
Emma (34:02):
time last year
Sam (34:03):
I tried to convince you that um Rude Dog
Emma (34:06):
Dog and the
Sam (34:06):
Rude Dog and
Emma (34:07):
and the Dweebs
Sam (34:07):
was good cartoon.
Starts with a live action sketchof some guy trying to teach you
how to lift weights really badlyand then a 15 minute story about
some wrestlers who have to havea race to have their merchandise
bait wrestler cars be in aHollywood film.
Various baddie wrestlers withoffensive foreign accents show
up to help the main baddiecheat.
(34:28):
Hulk Hogan.
star of the show, has two lines.
There's a good bit where thebaddies come across a sign that
says bridge out and cleverlywrite the word not in between
bridge and out.
The baddies win the race becausea dog runs out into the road and
the goodies don't want to run itover.
But then it turns out thebaddies get their comeuppance
because the Hollywood film thecar appears in is a Godzilla
(34:50):
movie and a big robot stampstheir car flat.
Then there's a second liveaction sketch in which Hulk
Hogan is spotting for his friendat the gym who is doing weights.
Goes off to make him a proteinsmoothie, and when he gets back,
the friend is asleep.
That is the entire joke.
And then I, stopped after that.
I'd had enough.
Emma (35:06):
I hate the sound of that.
it's, it sounds like, prime 80scynical greed is good kind of Oh
yeah, no,
Sam (35:16):
Things, He Man was intended to sell toys.
Transformers was created to selltoys.
Emma (35:22):
than those things.
Sam (35:22):
This is worse
Emma (35:23):
than
Sam (35:23):
things, yes.
Dogtanion, this is not.
Are you ready for the twist?
Because there's got to be areason I brought you this heap
of shite, right?
Emma (35:34):
Yeah.
Sam (35:35):
That song came out in 1985.
And in 1986, Bonnie Tylerreleased the album Secret Dreams
and Forbidden Fire.
And I'm going to play you theopening track of that album now
Laptop (35:48):
Tonight I really got it, babe.
Tonight I really got it bad Butit still looks so good, so good
That I got it at all and it wasRavishing, ravishing And I love
to see the moonlight See itshimmer down my dress It's so
(36:08):
ravishing, ravishing And thewind is like a finger Tracing
patterns on your chest You're soravishing, ravishing This is the
season
Sam (36:19):
so there you go, that was Bonnie Tyler singing Ravishing,
Emma (36:22):
Phew, how long was that?
Sam (36:24):
minutes, 25,
Emma (36:25):
a Steinman written song as well or is it
Sam (36:27):
yeah, no, yeah.
So this album was produced bySteinman.
And he wrote this song, Yap.
Do you like
Emma (36:33):
it
Sam (36:33):
better with the lyrics?
Emma (36:35):
No.
Oh, okay.
No, I don't.
I'm sorry, it does nothing forme that.
That's fine.
And I know that you're goingthrough a bit of a Bonnie Tyler
thing.
thing, aren't you?
Sam (36:45):
me some Bonnie Tyler.
Emma (36:46):
a recent thing or have you always
Sam (36:48):
Total Eclipse of the Heart has always been.
But then, since we started thisshow, I've been digging around
into the two albums that she didwith Steinman, and they are
bangers, Emma.
Yeah.
And I suspect we might have
Emma (36:59):
more disputes to come.
Sam (37:01):
Yeah, I've I've been listening to this one on the reg
since I discovered it I thinkit's really good.
Emma (37:04):
Is this one of the songs you were listening to the other
night when you were out pickingblackberries?
Yes, I
Sam (37:08):
blackberries?
Yes, I was picking blackberries,listening to Bonnie Tyler being
horny as fuck.
He's gone and done it again,Emma.
This is why I brought this.
Emma (37:16):
Because it's more Steinman Recycling.
Sam (37:18):
the master recycler.
He is.
And in this case, he's justlifted a whole song.
And stuck a few words on it.
Emma (37:24):
So I take it that, when he originally produced it for Hulk
Hogan, there was no exclusivitytie in or
Sam (37:31):
This is where it gets inter The internet, in general, says
he wrote this for Hulk Hogan, itdidn't do well, and then he
stuck some lyrics on and gave itto Bonnie Tyler.
Yeah.
But nobody ever providescitation for that and then I
found an article from BonnieTyler in Tracks magazine Where
she says In America, wrestlingis very popular there, and there
(37:51):
are a lot of rock fans followingwrestling at the moment.
One of the biggest names inwrestling over there is called
Hulk Hogan.
He had a listen to Ravishing andloved it so much he wanted it to
be his theme song, which used tobe Eye of the Tiger.
It's a really powerful song, soevery time he goes into the
arena to the roar of the crowd,it's fantastic.
He came to the studio as hewanted a slightly different
(38:12):
version.
We didn't want to go straightinto the lyrics for what they
play when he's in the arena.
He wanted some chants at thebeginning of it, so all through
the intro we were in the studiochanting HULK! HULK! HULK! on
the beat.
Emma (38:24):
So is that Bonnie Tyler chanting Hulk?
Sam (38:27):
This is what she says, yeah.
I've not found any liner notesor anything that explain who was
chanting HULK, but there's a lotof claims that Jim wrote it for
Hulk Hogan and then recycled it,but I think it's just as
plausible that he was working onit with Bonnie Tyler and then
Hulk Hogan heard it somehow andwas like, can I have that
please?
(38:47):
And that might be Bonnie Tylerchanting Hulk.
Emma (38:50):
That's the version I'd like to believe.
Yeah, I would too.
That's the version I'm choosingto believe.
Sam (38:54):
Jim Steinman wanted to call the entire Bonnie Tyler album
Ravishing.
Bonnie.
Says, I thought it would be abit hard to live up to, so I
changed that to Secret Dreamsand Forbidden Fire.
She's a bloody fool, Emma.
That's a stupid name for analbum.
Emma (39:09):
Ravishing
Sam (39:09):
would have been an excellent name.
Yeah, She did end up usingRavishing as the title of a 2009
Best Of album.
And it's rare that Jim Steinmanis the one with these succinct,
punchy ideas.
This is the only track from thealbum not to released as a
single, presumably because itwas too filthy.
Emma (39:25):
Yeah.
Sam (39:26):
I really like that the theme tune to a big smashy
stupid wrestler was given awayto a horny lady.
Emma (39:32):
I think it's a much better use of it.
there's something about it thatjust doesn't gel for me.
Sam (39:37):
was your first listen, wasn't it?
Yes.
I am just going to run throughsome lyrics that I think are
good.
Emma (39:42):
Okay.
Sam (39:43):
Tonight I really got it bad.
Tonight I really got it bad.
But it's still so good that Igot it at all.
Emma (39:49):
Oh, there's so much to unpack just there! Oh yeah! Wow.
Sam (39:58):
If an angel broke his wings, would he come to you for
parts?
I need a couple of wings, boy.
I need a reason to soar.
And if the devil lost his fire,could he count on you for
sparks?
There's something we ought totry now.
We ought to try it some more.
Emma (40:15):
for it.
Sam (40:15):
Emma.
Emma (40:16):
into it.
Sam (40:17):
In complete opposition to the lady from Out of the Frying
Pan and Into the Fire, this isBonnie Tyler
Emma (40:22):
hammering on your window.
Sam (40:26):
I'll come and
Emma (40:27):
and touch
Sam (40:27):
it.
Emma (40:28):
God, let me breathe on
Sam (40:29):
it.
I can't believe the way thestars are shooting through your
hair, you're so ravishing.
And it's just my luck, tonight Idon't have anything to wear.
I genuinely think that's a verygood couplet.
But that's six minutes of BonnieTyler
Emma (40:44):
Banging at the door.
Sam (40:45):
Demanding to be let
Emma (40:47):
in
Sam (40:47):
like a cat in heat.
We will return to my BonnieTyler obsession.
I think in this, maybe in thisseries, maybe later on, but Jim
Steinman did some really goodstuff.
Brilliant and some stupid stuffwith Bonnie.
Emma (40:58):
I'm looking forward to discovering more.
Sam (41:01):
for the quiz, right?
Emma (41:02):
Of course, it's always the quiz.
Sam (41:03):
We've talked a lot about consummate bullshitters on this
podcast, but Hulk Hogan reallytakes the cake.
Which two out of these are notlies that Hulk Hogan has told
and then immediately been caughtout in?
is it A.
Did Hulk Hogan claim to havebeen offered the endorsement
deal for the product that becameknown as George Foreman's Lean
Mean Fat Reducing GrillingMachine?
(41:25):
Sam Perlmutter, the attorney whomade the endorsement deal,
stated that did not happen.
Was it B?
Hulk Hogan claimed to havewrestled for more than 400 days
in a single year.
Because he was travelling backand forth between the US and
Japan so much.
Emma (41:41):
God.
Sam (41:43):
Was it C Hulk Hogan claimed to be a recipient of the
American Speech Language HearingAssociation's Annie Glenn Award
for outstanding service to thestuttering community.
Despite Hogan never having anykind of stutter.
'I inspire kids of all kinds,said Hogan.
ASLHA spokesman John Larkindenied any association with him.
(42:03):
Was it D?
Hulk Hogan claimed that ElvisPresley was a huge fan of his,
despite Elvis dying in 1977 andHogan's career starting in 1979.
E?
Hulk Hogan claimed to havepersonally been invited to join
metallica by lars ulrich.
Ulrich was once asked about thisstory in an interview with
Howard Stern and didn't evenknow who Hulk Hogan was.
(42:25):
F.
Hulk Hogan claims to haveinvented the concept of walk on
music for wrestlers, despite ithaving been around around since
the 1950s.
G.
Hulk Hogan claims to haveinvented the word Hulk and sued
Marvel over their use of histrademark on their character the
Incredible Hulk.
According to Hogan, The Marvelcharacter is only green to
differentiate between theradioactive superhero and the
(42:48):
real life wrestling idiot.
So which of those is
Emma (42:51):
lies, Emma?
Sam (42:52):
got two lies
Emma (42:53):
there.
Sam (42:53):
Two of those are not lies that he told.
So we've got, he claims
Emma (42:57):
he was
Sam (42:57):
offered the George Foreman grill, he claims to have
wrestled for 400 days in asingle year, He claims to have
been a recipient of theOutstanding Award for service to
the stuttering community.
He claimed that Elvis was a hugefan.
He claimed to have been invitedto join Metallica.
And he claimed to have inventedwalk on music.
Oh God, I did seven of these.
(43:18):
And he claimed to have inventedthe word Hulk.
Emma (43:22):
Oh God so the stuttering one, that's definitely
incorrect.
Sam (43:26):
Okay.
That's one
Emma (43:27):
of my choices.
Sam (43:28):
That's true, that is an actual fact.
Tch.
That Scatman John Larkin earnedthat award, the singer behind
the fantastic hit Scatman that'sski ba bop ba da bop.
But which other one?
Emma (43:40):
I'm going to say the Japan one the 400 days.
Sam (43:44):
He did claim to have wrestled for 400 days in a
single year because he's a twat,Emma.
The one I made up was that heclaimed to have invented the
word Hulk.
There was a comic book in thelate 80s where Hulk Hogan starts
calling himself the IncredibleHulk and the Incredible Hulk
shows up to a wrestling eventand throws him through
Emma (44:01):
the
Sam (44:01):
roof.
I've got no good YouTubecomments because wrestling fans
are colossal bores.
Sorry about that.
That's fair enough.
So Emma, it's time to rate thissong.
We're going to rate both ofthem, okay?
So we've got Hulk Hogan's theme?
Is that a Jim Steinman, a JimFeynman, or a Jim Declineman
Emma (44:17):
that is a Jim Declineman.
Sam (44:19):
I agree.
Jim Declineman wah, wah, wah.
And
Emma (44:25):
Ravishing
Sam (44:26):
by Bonnie Tyler.
Where are you going to place
Emma (44:28):
I'm going to say it's a Jim Feynman.
I feel like I probably need togive it more time.
Sam (44:35):
I agree.
Love it, but it's not a JimSteinman, it's not his best work
I do like some of the sillydirty lyrics that are in there,
so I agree, Jim Feynman.
So that's our first JimDeclineman and our first Jim
Feynman.
Let me just do a voice for theJim Feynman, sorry.
Emma (44:50):
Yeah.
Feynman! Yeah,
Sam (44:55):
good.
was all of our songs
Emma (44:57):
for It was?
Sam (44:59):
It was, yeah.
Good luck editing all of thisdown.
Emma (45:01):
Thanks! Thanks
Sam (45:02):
Ha ha So listeners, if you enjoyed these songs or you
didn't enjoy them, or you're awrestling fan who wants to call
me an idiot, please do email usin, chatoutofhellatgmail.
com.
The following calls to actionappeared as we talked through
the podcast.
Members of B*Witched.
If you're out there, please dosing a cover of Out Of The
Frying Pan And Into the Fire andsend that to us.
(45:23):
And if you think that theAncient Hallway is a gothic
castle or a festering cesspit,do write in and let us know,
chat out of hell at gmail.
com.
Anything else
Emma (45:31):
Yes.
Yes.
A couple of weekends ago theDukery's Ukeries ukulele band
got together.
And I was there as well anddrinks occurred.
And then the following recordingoccurred.
Laptop (45:46):
On a hot summer night, would you offer your throat to
the wolf with the red roses?
Yes! I bet you say that to allthe boys.
(46:22):
Rolling over the sand, when Ilisten to your heart I hear the
whole world turn, I see theshooting stars falling through
your threading hands.
The
Sam (46:33):
so that's where you get up to when I'm not around.
Yeah.
Oh, Thanks.
Emma (46:38):
was
Sam (46:38):
isn't it?
It's fun.
where are we going to put that?
listeners to listen to all ofit.
Emma (46:46):
I don't know.
Where should we put it?
On
Sam (46:48):
On your SoundCloud.
I don't think, I thoughteverybody had a, I don't know.
Emma (46:53):
That was a lovely
Sam (46:54):
Emma,
Emma (46:55):
just
Sam (46:55):
where that was from and by.
uh, That
Emma (46:57):
was, because I know it was Kermit the Frog
Sam (46:59):
Miss Piggy at the beginning doing the the
Emma (47:01):
dialogue.
Did you enjoyed the Kermit theFrog, miss Piggy?
yeah.
Yeah, That was, believe it ornot.
That was actually my husband andme doing that.
Sam (47:09):
that.
BOMF.
I Know! Mind blown.
Emma (47:11):
Acting.
Sam (47:12):
Acting.
Oh, that was lovely! We've notmentioned it yet, our quest is
to write
Emma (47:17):
a Jim song,
Sam (47:18):
and I suppose the way
Emma (47:19):
into
Sam (47:19):
is to learn to play Jim Steinman style songs, so you've
started us down that path.
Emma (47:23):
I don't think Steinman did much with the ukulele.
I
Sam (47:27):
only think that's because they were too small for him to
see.
Emma (47:31):
Aw.
Sam (47:33):
Yeah, he had big
Emma (47:34):
old contact lenses.
17
Sam (47:36):
year old contact lenses.
Ah! Ah! That Oh.
So that was very nice.
Yeah That's a lovely cover ofYou Took The Words Right Out Of
My Mouth.
Brackets Hot Summer Night.
By, what was the band calledagain?
Dukeries.
Ukeries.
Emma (47:48):
Joukeries.
Sam (47:50):
And you can find them on the internet.
You can.
Emma (47:53):
We will
Sam (47:54):
put links and stuff to their social media in the
comments.
So next time, I am going to bebringing another of the songs
from Jim Steinman's album, Good.
And I will be bringing Dance InMy Pants, which is a magnificent
song with a fucking batshitvideo.
So I'm really looking forward toseeing your response to that.
Emma (48:13):
I'm going to bring Everything Louder than
Everything Else as I continuesmashing through Bat Out Of Hell
2.
Sam (48:19):
Fantastic.
Listeners, go away and prepareyourselves for those.
They're both silly, fun songs,so the listeners are probably
going to have a good time withthose.
And, as always, keep yourgeneral Meat Loaf thoughts and
anecdotes flying in.
Did you see Meat Loaf at theMusée Royal d'Art et d'Histoire
in Brussels and been blown awayby the quality of the
collection?
Write in and let us know.
Chat out of hell at gmail.
(48:39):
com.
I was blown away when I went toBrussels, and I'd just like to
say it's fantastic museum.
equal to many of the majormuseums around Europe, which are
much busier.
Emma (48:48):
See, it's not just Meat Loaf, it's culture we're
bringing as
Sam (48:51):
well.
That's right.
Anything else, Emma?
Good! All right,
Emma (48:56):
well thank you all
Sam (48:56):
listening to Chat Out Of Hell, and we'll see you all
again in two more weeks time.
Bye! everybody! Bye! Bye! We'rewaving
Emma (49:03):
again.
Why are we waving?
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