October 6, 2024 • 48 mins
Sexy saxophones, stirring songs and pseudo-Steinmans! It's Chat out of Hell!
This episode we answer the key questions:
- Where did Rory Dodd get his moustache ideas?
- Where does Meat Loaf get his coats from?
- What Tripadvisor rating did Beefsteak Charlie's get?
PLUS all the usual blather, Emma gets in on the hashtag game (#pleasegiveemmaamichaelbaybudget), we accidentally create a podcast villain and we continue to plug our show at the Nottingham Comedy Festival (10th November, be there or be in the majority).
Next time! We close out series two with a warmup for the next Film Club, with Original Sin taking to the ring against Bad For Good.
Keep your comments, reviews and arguments flying in to chatoutofhell@gmail.com, find us on Facebook or Instagram by searching Chat out of Hell and don't forget to use the hashtag #dearA1saucepleasesendsomeofyourA1saucetosamfromthereallygoodpodcastchatoutofhell or the much shorter one #pleasegiveemmaamichaelbaybudget
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:
Rock & Roll Dreams Come Through by Jim Steinman from the album Bad for Good (1981)
Rock & Roll Dreams Come Through by Meat Loaf from the album Bat out of Hell 2: Back into Hell (1993)
Couldn't Have Said it Better by Meat Loaf from the album Couldn't Have Said it Better (2003)
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 UK's most downloaded
fortnightly podcast about theworks of Meat Loaf and his best
pal Jim Steinman.
Now guaranteed to contain asmuch truth as anything Jim
Steinman says.
Who is Meat Loaf?
Emma (00:15):
Meat Loaf is the undoubted star of the definitely not at
all shit sci fi horror show,Ghost Wars.
Currently available on Netflix.
I've watched it, so you shouldhave to as well.
Who's Jim Steinman?
Sam (00:30):
I don't care Tell me more about Ghost Wars
Emma (00:34):
It's so bad, but it's good.
It's good bad.
It's very serious.
And I giggled all the waythrough it.
Sam (00:43):
Well, To answer your original question, Jim Steinman
is some guy who got into collegeby lying about writing an opera
based on a James Joyce novel.
Because of course he
Emma (00:53):
he did.
Who are we?
Sam (00:55):
I'm Sam Wilkinson and you're Emma Crossand and we are
stand up comedians, glasseswearers and fans of Banana Man,
the spin off cartoon from theBeano.
Emma (01:05):
Welcome to Chat Out of Hell.
Sam (01:07):
Bow dow dow dow.
I was worried you weren'tjoining in that time.
Emma (01:17):
No, I'm joining in.
So we're recording this on the1st of October.
Last Friday, the 27th ofSeptember, would have been Meat
Loaf's 77th birthday.
yeah, there's that.
that.
Do you
Sam (01:29):
There is that.
Do you know what would have beenbetter?
What?
If you'd told me that for theepisode that we recorded before
last Friday.
Emma (01:36):
I only know about that because I've been browsing
through the Meat Loaf Facebookpage this evening.
Sam (01:42):
Oh, the loaf
Emma (01:43):
the loaf archives.
yeah.
Sam (01:47):
Happy retroactive birthday Meat
Emma (01:50):
What did you do to celebrate?
Sam (01:51):
Last Thursday was it?
Friday.
Oh, last Friday.
Oh, actually last Friday I droveto a house in the Midlands to
spend a weekend playing boardgames with 20 other massive
nerds.
It's exactly what he would havewanted.
Emma (02:03):
Yeah.
I got drunk in a bar with afriend.
Sam (02:05):
He would have liked
Emma (02:06):
that I think he would have liked
Sam (02:07):
that.
Wonderful.
So this podcast, the way itworks, we both bring a Meat Loaf
and or Jim Steinman song to thetable every two weeks.
We do.
We watch the video, we listen tothe song, we chat shit about it,
and then we rate it on ourpatented song rating scales.
So what have you brought thistime?
Emma (02:27):
I have brought a song from the album Couldn't Have Said It
Better and I've brought thetitle track, Couldn't Have Said
It Better, and I think I couldhave said that better.
Sam (02:39):
I was about to make the very same joke.
But it's crueler if I do it, sowell done you.
Thanks! And I've And I'vebrought Rock and Roll Dreams
Come Through, which is from theMeat Loaf album Bat Out of Hell
2, and Jim Steinman's solo albumBad For Good.
So listeners, go away, get onYouTube, Spotify, wherever you
(03:00):
find your music.
8 track, God, I've got to getone more in before the end of
the
Emma (03:07):
series.
Sam (03:09):
Go find those two
Emma (03:11):
you done Minidisc yet?
Sam (03:12):
Oh, that's good.
Thank you.
Find those two songs whereveryou get your music from.
Start with Rock and Roll DreamsCome Through.
Meat Loaf and Jim Steinman haveboth recorded versions of this
song.
You don't have to listen to themboth, they're functionally
identical except one has betterproduction values.
The Meat Loaf one has a crazymusic video, as they often do,
(03:35):
so if you want to look atsomething stupid, watch that.
Oh, and the Jim Steinman onealso has a much cheaper, crazier
music video, so pick one to goto listen to.
We're going to start with JimSteinman, and then we're going
to punish ourselves and listento Meat Loaf afterwards.
See you all in a few minutes.
Laptop (03:49):
Think of how we'd lay down together We'd be listening
to the radio so loud and sostrong Every golden nugget
coming like a gift of the godsSomeone must have blessed us
when he gave us those songs
Sam (04:06):
We've just listened to Jim Steinman's version of Rock and
Roll Dreams Come Through.
I know you want to talk aboutthe video.
We do have to talk about thesong first.
This was from the 1981 album BadFor Good, which as previously
established Was his solo albumthat he did when Meat Loaf's
voice was all fucked up in Thisversion went to number 52 in the
(04:26):
uk.
It was released as a single.
Okay.
52 in the uk, number 32 in theus, and number six in New
Zealand.
Ooh.
Yeah.
Which was 33 places higher thanScatman(Ski-Ba-Bop-Ba-Dop-Bop)
Emma (04:35):
ah, John.
Getting in early.
Sam (04:39):
It's from Bad For Good album, but it wasn't originally
on the album disc.
The album was packaged with a 7inch single, which had this on
it, and the instrumental TheStorm.
So The Storm was supposed to bethe prelude to the album.
Yeah.
So you'd play the Storm, thenswap the LP in, listen to the
(04:59):
album, then you'd swap it backout to listen to this as the
epilogue.
Yeah, I think that's why my CDjust has it in the middle
Emma (05:08):
quite
Sam (05:09):
it's quite a nice song, I like it.
Emma (05:11):
Yeah, it's a brilliant song.
It's a good song.
my first encounter with it wason Bat Out of Hell 2, And we
will come to that version goodtime, I'm sure.
It's a little bit daft butthere's a nice sentiment I think
Sam (05:23):
Yeah, so this, this one is the song of a young man being
like, yeah, rock and roll, it'sgonna get me through.
And then when Meat Loaf sings itlater on, he's A middle aged man
lecturing the kids on why theyneed some more rock and roll in
Emma (05:35):
in
Sam (05:35):
Yeah.
Yeah.
There's a sort of weirdly tinnypiano on it.
It's a bit honky tonk.
Yeah.
There's a very sexy sax solo inthe
Emma (05:44):
the middle.
A saxy
Sam (05:46):
Sax y solo.
Do you remember Garth Marenghi'sDarkplace?
In the last episode of that,they break into song for no
apparent reason.
Garth Marenghi plays the sax inalmost exactly the same way in a
little solo at the end.
was inspired?
I hope so, because pretty muchthe
Emma (06:03):
the same Yes, yes,
Sam (06:07):
So I've described this as a Jim Steinman song.
Of is it It isn't, no.
This is one of three songs onthe album that aren't actually
sung by Jim, but by Rory Doddinstead.
the liner notes don't evencredit Rory for this song.
Well, we'll get on to that,because yeah, poor Rory.
you can tell this isn't a JimSteinman song, because the
(06:28):
singing's alright.
Emma (06:31):
Yeah, it's no Meat Loaf.
Sam (06:33):
no meat loaf
Emma (06:34):
it's
Sam (06:34):
No
Emma (06:34):
tombstone.
Sam (06:34):
Steinman.
Steinman.
Lord bless him.
He tries his best as aperformer.
But It's
Emma (06:41):
He's an awkward bugger, isn't he?
Sam (06:42):
it?
Awkward is exactly the rightterm, yeah.
This is his only top 40 hit asan artist.
Aww.
Which must really sting that hedidn't even sing on it.
So let's learn about Rory Dodd.
Okay.
The Salieri to Meat Loaf'sMozart.
That's the angle I wanted to goin with.
But I've not seen Amadeus.
I've seen the episode of TheSimpsons where they parody
(07:03):
Amadeus.
Have you seen Amadeus?
Of
Emma (07:06):
I haven't!
Sam (07:06):
haven't! Okay.
My understanding is that inthat, Salieri is portrayed as
like really jealous and enviousof Mozart's success and wanting
him to fail.
And less talented.
But if we apply the Amadeusthinking to this, I think Meat
Loaf is actually the Salieri toRory Dodd's Mozart.
Emma (07:25):
Do you?
Sam (07:26):
Rory Dodd is a lovely man.
Emma (07:28):
Okay.
Sam (07:29):
Meat Loaf, as we know.
Bit of a cock! Rory Dodd some ofour listeners will know this,
because we've attracted someSteinman Mega fans to our lovely
podcast.
Some of them just listen for thesound of us blathering on at
each other.
is wonderful
Emma (07:44):
I like
Sam (07:45):
all for listening.
Rory Dodd sang backing on BatOut of Hell when Meat Loaf and
Steinman had their break up inthe early 80s.
He went with Dad.
He went with Dad.
Emma (07:55):
Dad.
He went with Dad.
Jim
Sam (07:58):
Steinman took him with him.
He's performed on almosteverything Steinman's
Emma (08:01):
worked on since.
What I like is in that analogy,Meat Loaf is Mum.
Sam (08:04):
Oh absolutely,
Emma (08:04):
Oh
Sam (08:04):
Meat Loaf's mum.
Rory performed on both albumswith Bonnie Tyler, he performed
with Air Supply, Streets ofFire.
Pandora's Box, Celine Dion, Rorywas there for all of it.
At one moment he was singing onthe number one, number two and
number three singles all at thesame time.
Emma (08:22):
a delightful
Sam (08:23):
Yeah.
Well done.
So he had Total Eclipse of theHeart at number one.
Making Love out of Nothing AtAll at number two, and he sang
on Tell Her About It by BillyJoel.
Wow.
Yeah! I've watched a few videosof him, I've really fallen for
this guy.
He's this, he's very quiet, wellspoken, kind Canadian man.
And he looks like this perfectcross between the cowboy in Big
(08:44):
Lebowski and Earl in My Name IsEarl.
Do
Emma (08:48):
I want to see a picture!
Sam (08:49):
There he is.
Emma (08:51):
Aww.
Yeah that's a good description.
Sam (08:54):
exactly him.
He's done a few interviews andstuff.
He's very willing to talk aboutthe stuff he's done.
Because he's sung witheverybody.
He did a couple of solo albums,but he's not really known for
that.
He's just this incrediblesession singer that everybody
wants.
He sang for James Taylor andCarly Simon.
while they were in the middle ofa divorce on the same day.
(09:17):
That's how
Emma (09:17):
That's how in demand
Sam (09:18):
he was.
Emma (09:20):
You can picture the arguments
Sam (09:21):
James Taylor called up and asked for him 12 o'clock, and he
was like, yeah, brilliant, I'mgonna sit with James Taylor.
And then a few hours later,Carly Simon's manager calls up
and says, Can we get you at 12o'clock on Thursday?
And he says, No, can you do six?
And they said yes! It's amazing!His story starts in a Canadian
touring production of a musicalstage show called Rockabye
(09:44):
Hamlet.
Emma (09:45):
Okay!
Sam (09:45):
Which, as you might imagine, it's a cool rock
musical version of Hamlet.
That transfers to Broadway in1976 Rory Dodd is playing the
part of Horatio, who is Hamlet'sbest friend.
When he arrives at Broadway,he's chatting to the writer, and
the writer says,"There's allthese people here, there's a guy
called Meat Loaf." And I'm like,"Huh, that's interesting".
(10:06):
And they meet, and neither ofthem are interested in doing the
press junket that they'resupposed to be doing.
So they skive off to arestaurant called Beefsteak
Charlie's.
Emma (10:15):
Oh, hello!
Sam (10:16):
Yeah, Beefsteak Charlies.
Sounds amazing.
while they're there, Meat Loafstarts singing Wake Up Little
Susie by the Everly Brothers.
And Rory Dodd harmonises higherthan him.
And Meat Loaf says,'Nobody singshigher than me! You've gotta
meet Jimmy! I think this is thefirst appearance on the pod of
Meat Loaf calling Jim SteinmanJimmy.
He He calls him Jimmy.
(10:37):
I find it adorable, Jimmy.
So yeah, he takes Rory off to gomeet Jimmy.
Meanwhile, Rockabye Hamletcloses after seven performances.
Maybe they should have done thatpress junket, I don't know.
The show was briefly revivedunder the name Something Rockin
in the State of Denmark, which,much better, Much better title.
But yeah, Rory is in on the BatOut of Hell crew from the off.
(11:00):
It's him Ellen Foley, Meat Loafand Jim Steinman, they're the
ones going around to recordlabels trying to get the album
picked up.
He was the first person to hearthe whole record, Meat Loaf
Jimmy sang it to him in therehearsal room with just the
piano.
And then if we skip ahead alittle bit, Meat Loaf loses his
voice at the end of that tour.
He's, I believe this happenedbecause I trust Rory with my
(11:24):
life.
I don't know if Meat Loaf knowsthat this happened, but
according to Rory, they justfaded Meat Loaf's vocals down
and Rory was singing his linesfrom further back on the stage
Emma (11:36):
because
Sam (11:36):
his voice was so ruined.
Emma (11:38):
Oh god!
Sam (11:39):
"They called me Icehead because I'm Canadian.
How original! Later theyshortened it to Icy.
Do you remember we had Bittonwho was the Professor as part of
the band, now we've got Icy aswell.
we've Yeah, we've got a reallycool band going together here.
Emma (11:55):
So when we do our own Meat Loaf song,
Sam (11:57):
we
Emma (11:57):
do
Sam (11:57):
We need cool nicknames, yeah.
Yeah, Talking about recordingone of the albums for 12 hours
we did this song and every timeI had to sing, at 1.
30 in the morning, Roy Bittonsaid, I'm exhausted, but I think
we can do another.
And I said, you can go fuckyourself.
Rory goes with Jim after theacrimonious breakup, and he does
(12:18):
some of the lead vocals on thisalbum.
On this song, Jim put his vocalson.
He wanted it to sound amazing.
And it came out as best as hecould, but then Jim lets Rory
come in and sing this, and hedid it in one take.
Emma (12:34):
it's just showing
Sam (12:34):
Yeah, this was recorded in the same year that Scatman John
was doing vocals on the albumAnimal Sounds by Sam Phipps.
FYI.
Yeah.
And now we get into some of thesad times for Rory.
Rory says he and Jim were bestfriends in the 80s.
I believe Rory thought Jim washis best
Emma (12:54):
But Jim didn't think that Rory was
Sam (12:57):
friend.
Let's get into this.
So Rory sang the male part onTotal Eclipse of the heart.
Yeah.
Jim told him this was a duet andthen the record comes out, his
name's not on it anywhere.
Emma (13:07):
Oh God.
What?!
Sam (13:09):
I didn't complain a lot because they had my immigration
over my head.
For me to stay, they had to dostuff for immigration.
Emma (13:17):
They've
Sam (13:17):
got his visa status over him.
They're holding him hostage Hecan't really complain.
He's going to have to go back toCanada if they don't keep
covering his visa.
So he's not in a position tocomplain about being utterly
screwed over.
He's really chill about itthough.
He's just yeah, bad shit happensand you can't hold on to that
stuff.
He's so cool and relaxed.
Emma (13:36):
I wish I could be like that.
Sam (13:37):
Yeah, me too.
I would still be seething.
He says people said I wish I hada penny or five cents every time
we hear this on the radio.
Well, So do I!
Emma (13:45):
Shit,
Sam (13:45):
I never made a penny on Eclipse.
After all the ways I gotscrewed, he says, I'd do it
again in a heartbeat.
He's he's just really happy tobe in the middle of all this
cool stuff that's been going on.
Rory is effectively JimSteinman's voice from the 80s
onwards all of the songs that hewrites He gets Rory to demo
first and there's some reallygood youtube of Rory kind of
(14:07):
testing stuff out for him.
But he just sort of exists inthe background unlike Meat Loaf
The scene stealing bellend.
He's just a nice guy, he kind ofshrugs and smiles and gets on
with life.
So we're, we're very pro RoryDodd on this podcast.
Emma (14:24):
We are.
I can get behind Rory
Sam (14:28):
So that's the Rory Dodd story.
And now let's talk about thevideo that you've just watched.
Emma (14:33):
Oh, blimey..
The first thing that struck meabout it I've thought this for a
little while watching videosthat particularly Steinman's
been involved with.
For as much sort of cool rock,God Behaviour that they both put
forward, both Meat Loaf and JimSteinman
Sam (14:53):
Steinman
Emma (14:54):
Whenever you watch any of the videos, they are just
theatre nerds playing, aren'tthey?
Sam (15:00):
Absolutely.
Emma (15:00):
nothing cool about no.
There's no.
sort of, there's this sort offaux rebellion kind of vibe, but
nah, it's just theatre kidsmucking about.
Sam (15:12):
is.
Emma (15:13):
this video is,
Sam (15:14):
right?
yes, Yeah.
Emma (15:15):
because we're
Sam (15:16):
that's who we are.
Emma (15:16):
theatre kids mucking
Sam (15:17):
Yeah.
Emma (15:19):
Oh, my lovely drama A level.
Sam (15:22):
Brecht.
Anyway, So the video is, it'svery cheap.
It's on a, soundstage that'sdressed up to look like the
album cover of Bad For
Emma (15:36):
There's, There's definitely like a post
apocalyptic vibe, which is verymuch in Jim Steinman's
wheelhouse, isn't
Sam (15:43):
It features Jim stood perfectly still on a rock at the
back of the stage, occasionallymoving his arms up and down, lip
syncing to Rory Dodd's vocals,while a shirtless male ballet
dancer dancer Oh, we get
Emma (15:56):
to watch him take his shirt off.
Sam (15:58):
Oh, sorry, yes, you're right.
man walks on, and then a womanappears, who's also skimpily
dressed.
The man takes off his shirt, andthen we have three minutes of
very weird ballet.
Emma (16:08):
But, Jim Steinman's holding onto the woman for a
bit.
He is.
Sam (16:11):
bit.
He
Emma (16:12):
really awkward way.
Sam (16:13):
like, I think he's going for a sort Garden of Eden vibe.
God.
he is God.
yeah.
He introduces
Emma (16:19):
He uses Adam,
Sam (16:20):
who who prances around.
Emma (16:22):
And then
Sam (16:22):
then creates Eve and then gives them the guitar that
represents the apple,
Emma (16:27):
is
Sam (16:28):
this is 100 percent Steinman.
But by God, it's cheap.
Emma (16:33):
Oh, so cheap.
Sam (16:34):
There's a big polystyrene rock.
Yeah.
man just spins round and roundholding.
Jim's videos all involve peoplespinning round and round really
fast.
Emma (16:45):
They're very dance heavy.
Yeah.
Theater nerds, they wanna put ona big musical.
Let's put on a show!
Sam (16:52):
put on a show! That's the Jim Steinman version.
Let's go straight on to the MeatLoaf version.
number 11 in the UK, number 13in the US, and number six in New
Zealand, 33 places higher.
Than ski-bop-ba-da-ba-bop byScatman John.
Three mentions for him thisepisode.
(17:13):
Good, isn't it?
So before I'd show you the videofor the Meat Loaf version, we've
got a quiz
Emma (17:18):
Ooh.
Sam (17:18):
Which of these things do not happen in this, Michael
Michael Bay's second stupidbombastic video for Meat Loaf's
Bat Out of Hell 2.
A, Meat Loaf plays a culturallyinsensitive gypsy fortune teller
who lives in a jukebox in anabandoned junkyard.
Is it B Meat Loaf plays anabusive father whose behaviour
(17:40):
causes his daughter to run away,but not forever?
Or is it C, Angelina Jolie playsa teenage girl who defeats non
specific baddies with her powerof making jukeboxes explode?
Emma (17:52):
They all sound very plausible for both Meat Loaf and
Michael Bay.
I'm wondering, because the othersingle from this is Objects in
the Rearview
Sam (18:04):
Yes, that's right, Michael Bay directed that video as well.
Emma (18:09):
Is it the running away one that's not
Sam (18:12):
Meat Loaf playing an abusive
Emma (18:14):
yeah, yeah.
yeah.
Sam (18:16):
daughter to run away.
Emma (18:16):
Is that not in this?
Sam (18:18):
That is true, it's in this
Emma (18:19):
Is it in this one?
one
Sam (18:20):
Yeah.
Oh
Emma (18:21):
go on, which one is it then?
Sam (18:22):
So C, Angelina Jolie does play a teenage girl.
She doesn't defeat non specificbaddies with her power of making
jukeboxes explode.
That, again, is Meat Loaf.
Emma (18:34):
Wow.
Sam (18:35):
get ready for some excitement!
Emma (18:37):
I'm really looking forward to this.
Laptop (18:39):
beat is true.
True.
When you really need it themost, That's when rock'n'roll
dreams come true.
Once upon a time was a backbeat.
Emma (19:02):
That's just mental.
Sam (19:08):
All right, let's talk the video first for this one and
then get on to the song.
What have you just seen, Emma?
Emma (19:14):
I don't know some strange fever dream
Sam (19:17):
Do you want me to run through the synopsis that I've
written for it?
Yes, directed by Michael Bay,whose subtlety allergy has
really started building up atthis point.
Angelina Jolie playsmisunderstood kid who is bullied
at school and shouted at by herdad, causing her to run away,
exactly on the line, you can'trun away forever, to a
mysterious magical oil refinery
Emma (19:39):
slash scrap ass Yeah.
Sam (19:41):
She finds a weird jukebox which for some reason has Meat
Loaf's singing head in it.
The jukebox immediately explodesbecause baddies are coming up to
attack Angelina Jolie.
Meat Loaf plays Angelina'sabusive dad and the new father
figure she finds in a magicalscrapyard.
A sort of culturally awful, veryinsensitive, gypsy fortune
(20:02):
teller.
Like in big.
It's that vibe, right?
he's not as heavily made up asin the I'd do anything for love
video.
But he's made up to look, a bitweird and wooden looking.
Emma (20:13):
Yeah, it's culturally
Sam (20:18):
Well, Dodge.
The pair become a sort of Batmanand Robin, travelling the city
on a motorbike and sidecar,saving abused and or endangered
kids with exploding jukeboxes.
The sexy women from the I DoAnything For Love video have a
brief appearance which feelscompletely inappropriate in a
story of teen liberation.
(20:38):
Rock and roll saves everyone,and at the end, Angelina returns
to her dad, who is fine now.
Emma (20:45):
Fine now?
Sorry about that, love.
Fine
Sam (20:49):
now?
Yeah.
I'll give Meat Loaf and MichaelBay, The Benefit of the Doubt on
the dad.
He's shown shouting, he couldjust be a bit grumpy in that
particular bit There's noestablished pattern of behaviour
there.
We're not meant to be surewhether he's just having a bad
day, or if he's a genuine threatto his
Emma (21:07):
Yeah.
She might be a nightmare!
Sam (21:10):
LAUGHS
Emma (21:13):
hashtag believe women, obviously, but, as teenagers.
We were all nightmares.
Sam (21:18):
teenagers are pricks.
Yeah, very weird video.
expect.
Very, very literalinterpretation of the brief, as
you'd expect from that director.
Meat Loaf's take on the song Ido think it's a kind of listen
kids, it'll all be fine, rockand roll saves everybody, it
saved me vibe.
Emma (21:39):
Yeah but then you get to like the, I treasure your
Sam (21:42):
your love.
Exactly, or even worse thanthat, in that video he's singing
to a teenage runaway, think ofhow we'd lay down
Emma (21:49):
Yep
Sam (21:49):
I treasure your love, I never want to lose it.
It's I
Emma (21:53):
want to show you how to use it.
Sam (21:56):
Big time ick factor.
Emma (21:58):
With that video, big time ick
Sam (22:00):
the song, on its own Isn't as icky as Michael Bay has
Emma (22:03):
feel like
Sam (22:04):
The sax solo version, sexy on Jim Steinman's, a dangerous
dark city on Meat
Emma (22:11):
I do like that.
Sam (22:12):
that.
yes.
Emma (22:13):
I like a dangerous dark
Sam (22:14):
Next time I'm gonna bring a song about Meat Loaf as villain
in a dangerous dark city.
little build up to that.
at the end of the show, per theformat.
Emma (22:25):
Fine.
Sam (22:26):
Ah.
You're never alone because youcan put on the phones and let
the drummer tell your heart whatto do.
I like that sentiment and Ithink it's really cool and fun.
Yeah.
But you asked me if I was allright during the song because I
was checking my pulse.
Yeah.
I was trying to work out what itwould feel like to have your
heart beat in 4 4 time.
And I think that's actually muchtoo slow.
My pulse is currently fasterthan that.
Emma (22:48):
that.
Okay,
Sam (22:50):
or maybe it's gone off a bit.
Anyway, look, if there are anymedical professionals listening
who want to tell me off for mypulse being too fast or too
slow, get fucked.
I'm rock and roll, man.
Emma (23:02):
Yes, good.
Did you do like a line of cokebefore you got here tonight?
Sam (23:06):
tonight?
Yeah, or
Emma (23:07):
in the car?
Sam (23:09):
yorkshire Tea
Emma (23:10):
able to The
Sam (23:11):
Blend.
Hashtag Dear Yorkshire TeaBedtime Blend, please send Sam
something,
Emma (23:14):
Yorkshire Tea
Sam (23:15):
know that.
The b side to this single was anacoustic version of I'd Do
Anything For Love.
Emma (23:20):
Ooh.
Sam (23:21):
That's sort of the noise I made, yeah.
I was thinking, I'd quite tohear that.
Oh, for seven minutes though.
Bit much.
I would quite like to hear thatif anybody, I'm sure I could
find it on the internet.
Emma (23:34):
I imagine so.
Sam (23:35):
it's got all sorts of shit on it, hasn't it?
Emma (23:38):
Internet?
Oh, it's full of stuff, Youshould
Sam (23:40):
You should buy it! The people of the internet have
opinions on this song.
Nathan111ism, When my life gotflushed down the toilet and I
ran, Just as I left, my wifesaid, You can't run forever.
I paused.
This song came to mind.
I replied, There's no harm ingetting a good head start.
left and closed the door.
Three years now, still haven'tcaught up yet.
Emma (24:00):
caught on to
Sam (24:02):
Nathan, you're either an arsehole or you're safe now.
I'm not sure which one.
I'm out.
But well
Emma (24:07):
done.
Well done.
Sam (24:08):
you.
And with that,
Emma (24:11):
let's
Sam (24:12):
rate this song.
This is a Jim Steinman song.
As always, we'll be using ourpatented Jim Steinman rating
scale, which from Jim Steinmanat the top for his finest songs,
Jim Fineman for his mostmiddling of works, and Jim
Declineman for the shite that hewrote.
But what is this?
Emma (24:32):
What is this,
Sam (24:33):
think I, I know And I realised what it was as we were
listening to the Meat Loafversion.
Both versions are very similar,they're similar arrangements,
just one is much betterproduced.
Yes.
And it absolutely whips.
I think it's a Jim Steinman.
Emma (24:49):
I'm with you.
I was considering a Jim Fineman.
Sam (24:52):
It's the lower tier of the Jim Steinmans, but it's still a
Jim Steinman.
Emma (24:55):
It creates a world in
Sam (24:56):
creates a world.
It's
Emma (25:00):
images.
I'd like to say the world thatit creates in my head isn't
represented in either video.
It's hard to describe what itcreates in my head, but it's not
that.
Sam (25:09):
I'll give you a Michael Bay budget, and we can find out what
it is.
Emma (25:12):
Oh, please give me a Michael Bay budget.
Sam (25:14):
Please give me a Michael Bay budget! This is a Jim
Steinman! That's an explosion,like in Michael Bay.
Emma (25:22):
I would like to introduce a hashtag at this point, please
because, you've got several now,
Sam (25:27):
I've only got one?
Oh, okay,
Emma (25:28):
you got two hashtag please give Emma a Michael Bay budget.
Sam (25:33):
Hashtag, please give Emma a Michael Bay budget.
Not Emma from the really goodpodcast, Out of Hell.
What Emma?
Which Emma?
Emma (25:41):
Emma?
I'd like it to actually getused, this one.
not.
Yours is too long,
Sam (25:49):
Cool.
So Emma, what song have youbrought today?
Emma (25:52):
I have brought song called Couldn't Have Said It Better,
which is from the album Couldn'tHave Said It Better.
Let's watch the video.
Sam (26:00):
do the listeners have to watch the video or?
Emma (26:02):
They don't have to watch the video.
They don't have to do anything.
I'm not their mum.
But I'd recommend watching thevideo just for context.
It's not a terrible video.
It's not an amazing video.
But it is something that you cando with your eyes.
Sam (26:19):
We'll see you all in a few minutes.
Laptop (26:20):
I couldn't have said it better myself Tonight the
conversation takes a fall Justlove me like you love nobody
else And I know you feel thesame You've been
Emma (26:42):
So you've just listened to Couldn't Have Said It Better.
Sam, what do you make of
Sam (26:47):
That's an absolute banger, Emma.
That's more Steinman's than someof Steinman's stuff.
Emma (26:52):
Do you know who's written it?
Would you like You've not readinto it.
That was written by a guy calledJames Michael and Nikki Sixx.
Off of Mötley Crüe.
Ha! Yep, Nikki Sixx gets heavilyinvolved in Meat Loaf from this
point onwards.
Sam (27:08):
Can I just correct your pronunciation?
There are umlauts, it'spronounced Mötley Crüe.
Ha
Emma (27:12):
Ha! I always forget about the umlauts.
Ha! Mötley Crüe.
Mötley Crüe! They've beenintroduced as Mötley Crüe
before, haven't they?
In countries that use theumlauts,
Sam (27:23):
yes.
Emma (27:24):
because they are just rock'n'roll umlauts, Mötley
Crüe.
James Michael is the lead singerof 6AM, which is one of Nikki
Sixx's bands.
He's worked on several Meat Loafalbums from this point onwards,
as does Nikki Sixx.
But he's also worked with KellyClarkson, Alanis Morissette, and
Papa Roach!
Sam (27:40):
Okay, yeah, I was feeling all those vibes.
Yep.
So I had a listen to it a coupleof times before we recorded.
I'd not heard it before.
My note says, This is so earlyaughts slash mid eighties
blended together.
Emma (27:53):
First came across this when my parents bought me the
album for Christmas.
So it came out in 2003.
So I think it must have beenChristmas 2003.
That is smack bang in the middleof my university years, when I
am attempting to be cooler thanthis.
Sam (28:09):
Ha ha ha ha Ha! Emma! There is nothing cooler than this.
Emma (28:14):
I think the album has largely
Sam (28:16):
anything else good on it?
Emma (28:17):
I didn't listen to it very much when I first got it
because, as I say, I was, I wastoo cool.
I was an indie wanker and Idon't think I came to listen to
it properly until, God this issad, until I'd finished
university and I'd been brokenup with by a boy
Sam (28:37):
Aww and music.
Oh hang on, hang on, sorry, isthis a Meat Loaf memory?
Yes,
Emma (28:45):
Yes, I think it is.
I've been broken up with by aboy and I needed some music to
listen to that didn't make methink about him.
I And so I needed to find in mycollection of stuff, I needed to
find something that just wasn'tgonna trigger memories.
so I dug this out because it wasjust the right level of emotion
to help me process a breakupwithout actually making me think
(29:05):
of him all the time.
So I have a real soft spot forthis album, but I will be honest
with you, It's not the best.
Sam (29:12):
I do love that Meat Loaf is always there for you in moments
of romantic crisis.
We've heard about how teenageEmma was pining over boys
listening to Meat Loaf,
Emma (29:25):
So
Sam (29:25):
then
Emma (29:25):
this is early 20s Emma
Sam (29:27):
Emma went back to Meat Loaf when boys had let her down.
Emma (29:30):
He's always been there for me, man.
Sam (29:32):
for you.
Emma (29:33):
Yeah, so I wouldn't cause I, I stopped paying attention to
Meat Loaf's output after thisalbum.
And I suspect that his outputwas like, post me meeting the
man that would become myhusband.
And so I didn't need meatloaf
Sam (29:48):
he decided to become God awful.
Emma (29:52):
It is a classic Meat Loaf duet.
Mm-Hmm And he's singing therewith Patti
Sam (29:57):
Okay, I wondered if it was
Emma (29:59):
Yes.
She's the
Sam (30:00):
of Meat Loaf's regular female
Emma (30:03):
Yeah.
She does loads of stuff on tourwith him throughout the sort of
nineties.
I think from 93 onwards.
She is his tour girl.
She's got a belter of a voice.
Sam (30:15):
does.
Yeah.
Emma (30:16):
She's toured with him loads but also she's got her own
solo career.
She's been the lead vocalistwith symphonic rhapsody of
queen.
So she's done a lot of queencovers and things.
Sam (30:30):
Mm hmm.
Emma (30:31):
And I just think she's got an incredible voice and she
Plays the other part in thisreally
Sam (30:37):
Yeah.
Emma (30:37):
It's lovely.
Sam (30:39):
I Do you know what?
I really, so this is a songabout how not speaking conveys
so much.
A lot of Meat Loaf's outputswould be like women don't have
to say
Emma (30:50):
anything,
Sam (30:51):
so I'm not going to have a woman say anything here.
Emma (30:53):
But in this song, the woman's got a voice.
And it could have gone the otherway.
Sam (30:58):
have, that's exactly what I was trying to
Emma (31:00):
She's got a voice.
She has agency.
Hashtag
Sam (31:04):
feminist.
Emma (31:04):
Indeed.
As feminist as this ever gets.
me Oh.
Yeah, as feminist as
Sam (31:13):
out what a good ally I
Emma (31:16):
Thanks, Sam.
We really appreciate when's
Sam (31:20):
that medal coming
Emma (31:23):
It's in the post.
There's not a lot about thissong out there which I think is
a shame because it's a classicMeat Loaf It is
Sam (31:31):
a really good belter.
Emma (31:32):
This was actually the second single from the album it
got to number one in the UK rockcharts.
That's cheating.
31 singles charts.
And it did reach the top 40 onthe USAC charts, whatever they
are.
Sam (31:47):
Where did it get to in New Zealand?
Emma (31:49):
No information is provided.
Sam (31:50):
don't believe
Emma (31:52):
I couldn't be bothered to find any more information.
Sam (31:54):
It does tick all the Steinman boxes.
It's got a central clichestretched to breaking point.
Yes.
It's got different musicalstyles awkwardly crammed
Emma (32:05):
Yes.
Sam (32:06):
And it does have a bit of a three act structure to it.
Emma (32:09):
a duet, which is
Sam (32:10):
yeah.
another,
Emma (32:11):
diamond.
I
Sam (32:11):
I feel
Emma (32:12):
like, our Steinman song should have a duet.
Sam (32:15):
Yeah.
Otherwise, one of us is gettingaway with something.
Emma (32:19):
Yeah.
Oh shit.
Yeah.
I could have away withsomething.
Sam (32:22):
Sucks to be you!
Emma (32:25):
Had this been released on the Welcome to the Neighbourhood
album, I think this song wouldhave made more of an impact.
Sam (32:30):
Hmm.
Emma (32:31):
Cause that album still had the momentum
Sam (32:33):
it.
From Bat Out of Hell 2., didthis album do that well?
Emma (32:37):
In the UK album chart it's peak position was number four.
So that's not bad.
That's the highest it reached inany of these listed here.
Oh, in New Zealand, the albumreached number 17.
Sam (32:50):
Oh, it's a pity you're talking about the album because
I've no idea how well ScatmanJohn's
Emma (32:54):
well I'm doing.
I just thought you'd like that.
So yeah, not bad in the UK.
I feel like the UK.
Has always been
Sam (33:03):
prime audience.
That's right, yeah.
Ever since Bat Out of Hell.
In fact, here's something Ididn't talk about in my section.
They took out an advert in themusical press, or the industry
press, to say thank youspecifically CBS, all those who
attended our concerts, listenedto our records, and made us feel
great in Manchester and London.
(33:24):
Thank you, it's people like youwho make rock'n'roll dreams come
Emma (33:28):
Aww!
Sam (33:29):
Which is lovely, except they've done that thing of
spelling through, T H R U
Emma (33:34):
thru?
Sam (33:35):
two extra letters.
No it's not, it's three extraSort yourself out.
Emma (33:41):
Yeah.
Sam (33:42):
But yeah, and that's the first recorded use of that
phrase.
Emma (33:45):
Is it?
Sam (33:46):
That I have been able to
Emma (33:48):
find.
Yeah!
Sam (33:48):
Meat has always done much better in the UK than at home
Emma (33:53):
We just love Wagnerian
Sam (33:55):
We do love Wagnerian
Emma (33:56):
Dramatic idiots that we all
Sam (33:58):
It was the Old Grey Whistle Test.
Do you know about this?
Emma (34:03):
I'm aware of what the Old
Sam (34:05):
Yeah, that was a, music show on the BBC.
But the reason they did reallywell in the UK was they went and
performed one of the singleswhichever one I say it is,
somebody will email me and sayit wasn't that one.
They performed one of thesingles off Bat Out of Hell on
the Old Grey Whistle Test.
And then, Old Grey Whistle Testrepeated it the following week.
(34:25):
Because it was so good, peoplewho were at the pub the last
Friday deserved to see it again.
Aww! Yeah! Isn't that cool?
Emma (34:33):
Oh, BBC.
Sam (34:34):
BBC.
Emma (34:35):
Ah, that is really cool.
Sam (34:38):
It's a good
Emma (34:38):
It's a fact, isn't it?
I like
Sam (34:39):
that.
Yeah.
That's excellent.
And like all facts, it's exactlyas accurate as anything Jim
said.
I'm sure I've misrememberedsomething.
Emma (34:47):
I have got a review that was written by Frood Jonsrud
from the Metal Express Radiocouldn't have said it better
contains several songs writtenby Nikki six from Mötley Crüe
And other songwriters and it'sobvious that they're trying to
copy Steinman both the songstructures lyrical content and
(35:09):
arrangements are sounding almostlike Steinman But only almost.
They lack that little twist thatonly Steinman can muster up.
Would you agree with that?
Sam (35:18):
agree with that, but the way you've read it makes it
sound like they intended it as abad thing.
Emma (35:22):
Yeah, I think they intended it as a bad thing.
I don't think this
Sam (35:25):
got
Emma (35:26):
good reviews.
Sam (35:27):
If you are a songwriter, Steinmania is the highest level
that you can
Emma (35:32):
that you can I agree.
If we look at the video, I thinkMeat Loaf's looking pretty
Sam (35:41):
look pretty good, doesn't he?
Wow, and I
Emma (35:42):
like his coat.
Let's go through the videobecause it's not an epic
production but it does haveproduction values, unlike Jim's.
Sam (35:51):
Michael Bay was not anywhere near this, but nor Jim
Emma (35:54):
Steinman no, I can tell you who was
Sam (35:56):
near this, actually,
Emma (35:57):
I've found the information, a guy called Nigel
Dick,
Sam (35:59):
Hee hee hee hee hee hee hee Hee.
Nigel.
Emma (36:03):
was born in Catterick, so he's a Yorkshire lad.
And some of the other videosthat he has directed, Band Aid,
do they know it's Christmas?
Apparently.
And then something for S Club.
A track called Seeing Double.
Sam (36:19):
No, I don't know it.
Emma (36:20):
I don't know that.
Nickelback, Those Days.
So yeah, he's a music videodirector and is evidently still
going.
Sam (36:29):
crack.
Still having
Emma (36:31):
having a crack innit.
Live performance kind of video,but with some dramatic elements
to it, I'd
Sam (36:36):
they're in a theatre.
Emma (36:37):
Yeah, all the musicians are on stage, but you can't
really see them because of theclever lighting.
So you can't really tell whothey are, but they're not the
important ones in this,
Sam (36:45):
it's Meat Loaf and Patti Russo.
Yes.
Emma (36:49):
Yes.
Sam (36:50):
a lovely sort of
Emma (36:51):
looks incredible.
That dress is amazing.
It's a really nice shade ofblue.
Sam (36:56):
It's the same shade of blue as your hair.
Emma (36:58):
Yes.
my hair is very rock and roll.
There's a bit quite close to thebeginning where Meat Loaf is
sitting backwards on a chairlooking like he's trying to be a
cool supply teacher.
Sam (37:10):
Yes, Yes he does.
Emma (37:11):
then he flings the chair away as the song gets dramatic.
As he tells us that he's goingto guide us all the way.
Oh yeah.
I did write, presumably this isa sex thing because it's a Meat
Loaf song.
I assume he's once again goingto guide us in the ways of the
sexy
Sam (37:27):
It's not time for messages yet, but I will read out a
message related to this.
Do you remember couple ofepisodes ago, we talked about
Everything Louder thaneverything else.
RL Grey.
Emma (37:38):
Oh, lovely R.
L.
Gray.
I'm enjoying R.
L.
Gray's
Sam (37:40):
comments on Yeah, RL Grey, regarding the weapons in
Everything Louder ThanEverything Else, Yes, of course
they are penises.
Every metaphor in a Jim Steinmansong
Emma (37:50):
is exactly what
Sam (37:51):
you think and probably something
Emma (37:53):
be, and probably something LAUGHTER yep.
And
Sam (37:57):
And Steinman imitator songs.
Emma (38:02):
guess this record doesn't have much love, Which I think is
a bit of a shame
Sam (38:07):
it's a real banger.
Yeah.
Emma (38:08):
yeah
Sam (38:09):
Sing along fun.
Emma (38:11):
we'll be good in the car
Sam (38:12):
Weird phrasing now and then.
Overstretched a metaphor.
This is a Jim Steinman! Wait,no! Is it time to rate or do we
have anything else?
Emma (38:22):
I've got some quotes from the interweb.
Sam (38:25):
Of course, yes, we've not heard what the people of the
internet think.
Emma (38:28):
Jesse Sinclair 4491 said, "Oh, how I love Meat Loaf's
almost unrealistically epicsongs.
They get on the verge of sillyor cheesy because they're just
so good.
I say this because in general,nowadays, not just in music, but
in a lot, all one word, ofaspects, people are just not as
(38:51):
passionate on top of those whomspeak English.
"Elaborate expression in decay.
Seldom.
Is it that you hear a manexpressing feelings using
English in the style of Prince,Meat Loaf, Barry White, Isaac
Hayes, etc.
And it's been a steady declinein English since long before all
of them too, the Englishlanguage was designed to be more
(39:13):
direct, adaptable, and universalat the cost of emphasis.
"I believe this in turn toimpact lyricists both content
and delivery." And then NellyRingworm replies, What a load of
fucking nonsense! ha ha ha! Haha ha
Sam (39:31):
nelly Ringworm, I really hope you're listening because,
well done.
Emma (39:34):
and then I've got one here from Underture.
"Like many of Meat's songs, itsounds like a not so subtle
reference for some extremelypassionate lovemaking.
When there's one thing twolovers want, brackets sex, the
tension in the air can be sothick that mere words can
(39:55):
totally ruin the moment.
Tonight the conversation takesthe fall.
Can back this up as well as,I'll get the lights, you get
that smile.
I love Meat Loaf duets.
His ladies always have suchcharged voices."
Sam (40:10):
There is something about Meat Loaf and Jim Steinman's
refusal to stop singing aboutdoing it that attracts people
who want to take a very thinlyveiled metaphor and pull that
veil off even further.
Emma (40:30):
But that's what the people have got to say.
Sam (40:32):
Yeah, thanks the people.
But what do we have to say,Emma?
Let's rate this on our patented,trademarked, copyrighted,
handcrafted, organic
Emma (40:43):
Ethically sourced.
Sam (40:45):
Is it?
Emma (40:46):
No.
Sam (40:46):
Meat Loaf song rating scale.
Which starts at the top withMarvin Lee Aday.
In the middle we go to MarvinLee Okay.
And for his awful sexist songswe have Marvin Lee No Way.
But what's this?
Emma (41:01):
Oh, this is
Sam (41:02):
a Marvin
Emma (41:02):
Lee
Sam (41:03):
Aday.
Emma (41:05):
Day!
Sam (41:05):
Lee Aday! God that was so tuneless.
Emma (41:12):
We need to work on that if we're going to produce a rock
opera
Sam (41:14):
ha ha ha! Shall we go to this week's messages?
Emma (41:19):
Are you going to dig into the mailbag?
Sam (41:21):
I'm going to dig into the mailbag.
RL Grey has left a couple ofcomments.
I will summarize a few bits ofthem.
They've clearly been catchingup.
"Dance in My Pants is a roughone.
Started listening last week andlooking forward to getting
caught up so I can offerrejoinders and wildly angry
corrections." Now that wasbefore Anthony emailed us last
(41:42):
time, so RL wasn't jumping on abandwagon there.
No.
And I've not yet had a wildlyangry correction from them, but
looking forward to it when itdoes arrive.
And then this is a really goodone.
So last time we talked a bitabout Karla DeVito.
Yeah.
LAUGHS And her work outside ofthe Steinman I said her biggest
hit was probably Is this a CoolWorld or What?
(42:03):
Brackets.
Or what?
Emma (42:05):
Um,
Sam (42:06):
But RL points out In the US, Karla DeVito is known a bit
for contributing the song We AreNot Alone to the Breakfast Club
Emma (42:13):
Ah.
Do you I've seen The BreakfastClub numerous times.
I'll be honest with you, thatsong doesn't ring a bell.
Because the one that I alwaysget stuck in my head is the one
that everybody
Sam (42:21):
does.
Don't you forget about me.
it's that scene where, they alllock the principal in a cupboard
or something and start dancingon the desks.
so yeah.
It's where
Emma (42:29):
they bond or
Sam (42:31):
they bond.
They all bond, or, yes, R.
L.
says, I don't know how wellknown the movies of John Hughes
are in Blighty, but for many USGen Xers, Breakfast Club was
practically a holy text.
I haven't seen it since I wasexactly the kind of teenager who
would find it really deep, so Idon't know how well it holds
up".
Yeah, we are elder millennialsrather than Gen Xers, so I think
there's a bit of a divide there.
(42:52):
Have
Emma (42:52):
have you seen the breakfast
Sam (42:53):
I have seen it.
I saw it in my early 20s, Iwould guess, late at night.
I saw it in my teens.
Emma (43:00):
at night.
Sam (43:01):
I think I was probably exactly the sort of teenager who
would have found it really deep.
Yep.
Yeah.
But yeah, not quite as big overhere, I think, as it was in the
US, but still fairly well
Emma (43:13):
I think it's the most well known of the John
Sam (43:17):
RL did give us some other comments on what Jim Steinman
wanted Meat Loaf to be.
And I'm going to gather those upand put them in the next
episode, because they're on atheme that I want to discuss
next time.
Over to the emails We've got oneemail from Tim.
Tim.
Hello Tim.
Hey guys, love the show,brackets, genuinely do.
(43:39):
See, those brackets make mefeel, why would you add the
brackets?
Do you know what I mean?
Emma (43:45):
Maybe he thinks that we get like loads of mail
Sam (43:47):
and, we get a lot of insincere people who write to
him.
But no, that's really nice ofyou, thank you genuinely nice
that people who don't know uspersonally are listening to this
codswallop.
No! Tim says, Anthony soundslike a right laugh.
I'm I'm having a party soon,would love for him to be there
so you can pass on his deetsthat'd be swell." Now, I do have
(44:09):
to be the grown up here and saywe're not having Anthony be the
villain of this
Emma (44:14):
Oh god no, that's not what this is
Sam (44:16):
to be about.
No, but that was very funny,thank you, Tim.
And if you do have some goodbantz about Anthony What?
No, shut up!"I'm also lookingforward to the song you are
making, so that's at least threepeople." People haven't
forgotten Emma.
Emma (44:30):
Shit!"I have
Sam (44:32):
a nomination for a very random song for you to review.
Los Angeloser.
"I hated it the first 12 times Iheard it, then it grew on me,
and now rather like it assomething original.
So interested to know what youwould think, given it's
different to anything he's donebefore.
Or is it complete pants?
You may need to listen many,many, many times.
(44:52):
So there's something to lookforward to." I've not heard Los
Angeloser, or I remember
Emma (44:56):
from the album Hang Cool, Teddy Bear.
Which is
Sam (45:01):
2010s album, isn't it?
Okay, yeah.
Emma (45:04):
and I've heard very little from
Sam (45:07):
this.
We've never delved into HangCool Teddy Bear.
Emma (45:11):
we've had a request so
Sam (45:12):
yeah, it needs to go into the rotation.
Emma (45:14):
yep
Sam (45:15):
Yep, so we're committed for the last episode of this series
and then the first of seriesthree, but Los Angeloser
slotting in for episode two ofseries three.
And we can argue about who hasto cover it.
I'm sure it'll be great.
With a name like that, it'seither going to be amazing or
fucking awful, Yeah.
So yeah, thank you, Tim, so muchfor writing in and really glad
(45:36):
that people out there areenjoying this.
It is
Emma (45:39):
lovely.
Thanks Tim.
Sam (45:41):
So that is the end of this episode.
Anything we want to say?
Emma (45:45):
Come to our shows in Nottingham?
Sam (45:48):
please do come to our shows.
We are stand up comics, I nearlysaid in our day jobs, and that's
a that's the funniest thing I'veever said We are stand up
comics.
We have a show at the NottinghamComedy Festival on November the
10th So especially our newlisteners if you do live near or
in Nottingham and you wanted tocome down see us That would be
(46:08):
amazing
Emma (46:09):
Please please do
Sam (46:10):
you just want to share our posts on the old socials and try
and
Emma (46:17):
Draw up
Sam (46:17):
drum up an audience.
Drum up more of an audience.
That would be fantastic.
just search for Crossland andWilkinson on Facebook where you
can find out about our show,which is, it's a sort of
induction into a weird evilMegacorporation.
Emma (46:33):
is.
We're part cult, part
Sam (46:35):
Yeah.
Emma (46:36):
all weird.
Sam (46:37):
Both wankers.
so please do come to that ortell people about it, that would
be fantastic.
We do have a website,crosslandandwilkinson.
com.
It is not up to date.
Emma (46:46):
But I'm sure it will be soon.
Sam (46:48):
Yes, it I think that's all the plugs.
Do you want to plug anything?
Emma (46:51):
If you happen to be in Leeds, come down to Big Duck
Energy, which is the comedynight that I run on the third
Wednesday of every month theBridge End Social.
We are a female and non binarycomedy night, but everybody's
welcome in the audience and evenif I it's fucking brilliant
Sam (47:07):
It is fucking brilliant so emma, what song are you going to
bring next time?
Emma (47:11):
Next time I'm going to bring Bad For Good from Jim
Steinman's album of the samename and also by Meat Loaf on
Bat Out of Hell 3.
Sam (47:21):
You're really keen on bringing the title tracks of
albums.
Emma (47:24):
It's just what keeps
Sam (47:26):
Yes, fair enough.
And Next time is the finalepisode of series two, and then
we're gonna go for a shortbreak, but in the interim we
will have another film club.
So to tee us up for that filmclub, I'm going to bring the
song Original
Emma (47:39):
Ah, ha.
Sam (47:40):
which Meat Loaf did on Welcome to the Neighbourhood.
Jim Steinman did it withPandora's
Emma (47:47):
He did.
Sam (47:48):
And Taylor Dayne sang it as the soundtrack to the movie The
Shadow.
Emma (47:53):
Ooooooh.
Sam (47:54):
that's all gonna be really good, innit?
It is! Good! As always, keepyour general Meat Loaf thoughts
and anecdotes flying in.
Did you see Meat Loaf at theKeswick Pencil Museum, admiring
one of the world's biggestcolouring pencils?
It's eight metres long and it'syellow.
Let us know, chat out of hell atgmail.
com.
Keep sending in your Meat Loafmemories.
Emma (48:14):
Memories.
Sam (48:15):
And corrections to trivial things that we've got wrong.
Or massive things that we've gotwrong.
Emma (48:20):
Notice we've not got a jingle for the corrections yet.
Sam (48:23):
Nor will
Emma (48:24):
Ha ha ha!
Sam (48:25):
much for listening
Emma (48:27):
Yes, thank
Sam (48:28):
see you all again in two more weeks time for the last in
this series of Chat Out of Hell.
Bye everybody! Bye!
What is this?
Sam (00:01):
This is Chat Out of Hell, the UK's most downloaded
fortnightly podcast about theworks of Meat Loaf and his best
pal Jim Steinman.
Now guaranteed to contain asmuch truth as anything Jim
Steinman says.
Who is Meat Loaf?
Emma (00:15):
Meat Loaf is the undoubted star of the definitely not at
all shit sci fi horror show,Ghost Wars.
Currently available on Netflix.
I've watched it, so you shouldhave to as well.
Who's Jim Steinman?
Sam (00:30):
I don't care Tell me more about Ghost Wars
Emma (00:34):
It's so bad, but it's good.
It's good bad.
It's very serious.
And I giggled all the waythrough it.
Sam (00:43):
Well, To answer your original question, Jim Steinman
is some guy who got into collegeby lying about writing an opera
based on a James Joyce novel.
Because of course he
Emma (00:53):
he did.
Who are we?
Sam (00:55):
I'm Sam Wilkinson and you're Emma Crossand and we are
stand up comedians, glasseswearers and fans of Banana Man,
the spin off cartoon from theBeano.
Emma (01:05):
Welcome to Chat Out of Hell.
Sam (01:07):
Bow dow dow dow.
I was worried you weren'tjoining in that time.
Emma (01:17):
No, I'm joining in.
So we're recording this on the1st of October.
Last Friday, the 27th ofSeptember, would have been Meat
Loaf's 77th birthday.
yeah, there's that.
that.
Do you
Sam (01:29):
There is that.
Do you know what would have beenbetter?
What?
If you'd told me that for theepisode that we recorded before
last Friday.
Emma (01:36):
I only know about that because I've been browsing
through the Meat Loaf Facebookpage this evening.
Sam (01:42):
Oh, the loaf
Emma (01:43):
the loaf archives.
yeah.
Sam (01:47):
Happy retroactive birthday Meat
Emma (01:50):
What did you do to celebrate?
Sam (01:51):
Last Thursday was it?
Friday.
Oh, last Friday.
Oh, actually last Friday I droveto a house in the Midlands to
spend a weekend playing boardgames with 20 other massive
nerds.
It's exactly what he would havewanted.
Emma (02:03):
Yeah.
I got drunk in a bar with afriend.
Sam (02:05):
He would have liked
Emma (02:06):
that I think he would have liked
Sam (02:07):
that.
Wonderful.
So this podcast, the way itworks, we both bring a Meat Loaf
and or Jim Steinman song to thetable every two weeks.
We do.
We watch the video, we listen tothe song, we chat shit about it,
and then we rate it on ourpatented song rating scales.
So what have you brought thistime?
Emma (02:27):
I have brought a song from the album Couldn't Have Said It
Better and I've brought thetitle track, Couldn't Have Said
It Better, and I think I couldhave said that better.
Sam (02:39):
I was about to make the very same joke.
But it's crueler if I do it, sowell done you.
Thanks! And I've And I'vebrought Rock and Roll Dreams
Come Through, which is from theMeat Loaf album Bat Out of Hell
2, and Jim Steinman's solo albumBad For Good.
So listeners, go away, get onYouTube, Spotify, wherever you
(03:00):
find your music.
8 track, God, I've got to getone more in before the end of
the
Emma (03:07):
series.
Sam (03:09):
Go find those two
Emma (03:11):
you done Minidisc yet?
Sam (03:12):
Oh, that's good.
Thank you.
Find those two songs whereveryou get your music from.
Start with Rock and Roll DreamsCome Through.
Meat Loaf and Jim Steinman haveboth recorded versions of this
song.
You don't have to listen to themboth, they're functionally
identical except one has betterproduction values.
The Meat Loaf one has a crazymusic video, as they often do,
(03:35):
so if you want to look atsomething stupid, watch that.
Oh, and the Jim Steinman onealso has a much cheaper, crazier
music video, so pick one to goto listen to.
We're going to start with JimSteinman, and then we're going
to punish ourselves and listento Meat Loaf afterwards.
See you all in a few minutes.
Laptop (03:49):
Think of how we'd lay down together We'd be listening
to the radio so loud and sostrong Every golden nugget
coming like a gift of the godsSomeone must have blessed us
when he gave us those songs
Sam (04:06):
We've just listened to Jim Steinman's version of Rock and
Roll Dreams Come Through.
I know you want to talk aboutthe video.
We do have to talk about thesong first.
This was from the 1981 album BadFor Good, which as previously
established Was his solo albumthat he did when Meat Loaf's
voice was all fucked up in Thisversion went to number 52 in the
(04:26):
uk.
It was released as a single.
Okay.
52 in the uk, number 32 in theus, and number six in New
Zealand.
Ooh.
Yeah.
Which was 33 places higher thanScatman(Ski-Ba-Bop-Ba-Dop-Bop)
Emma (04:35):
ah, John.
Getting in early.
Sam (04:39):
It's from Bad For Good album, but it wasn't originally
on the album disc.
The album was packaged with a 7inch single, which had this on
it, and the instrumental TheStorm.
So The Storm was supposed to bethe prelude to the album.
Yeah.
So you'd play the Storm, thenswap the LP in, listen to the
(04:59):
album, then you'd swap it backout to listen to this as the
epilogue.
Yeah, I think that's why my CDjust has it in the middle
Emma (05:08):
quite
Sam (05:09):
it's quite a nice song, I like it.
Emma (05:11):
Yeah, it's a brilliant song.
It's a good song.
my first encounter with it wason Bat Out of Hell 2, And we
will come to that version goodtime, I'm sure.
It's a little bit daft butthere's a nice sentiment I think
Sam (05:23):
Yeah, so this, this one is the song of a young man being
like, yeah, rock and roll, it'sgonna get me through.
And then when Meat Loaf sings itlater on, he's A middle aged man
lecturing the kids on why theyneed some more rock and roll in
Emma (05:35):
in
Sam (05:35):
Yeah.
Yeah.
There's a sort of weirdly tinnypiano on it.
It's a bit honky tonk.
Yeah.
There's a very sexy sax solo inthe
Emma (05:44):
the middle.
A saxy
Sam (05:46):
Sax y solo.
Do you remember Garth Marenghi'sDarkplace?
In the last episode of that,they break into song for no
apparent reason.
Garth Marenghi plays the sax inalmost exactly the same way in a
little solo at the end.
was inspired?
I hope so, because pretty muchthe
Emma (06:03):
the same Yes, yes,
Sam (06:07):
So I've described this as a Jim Steinman song.
Of is it It isn't, no.
This is one of three songs onthe album that aren't actually
sung by Jim, but by Rory Doddinstead.
the liner notes don't evencredit Rory for this song.
Well, we'll get on to that,because yeah, poor Rory.
you can tell this isn't a JimSteinman song, because the
(06:28):
singing's alright.
Emma (06:31):
Yeah, it's no Meat Loaf.
Sam (06:33):
no meat loaf
Emma (06:34):
it's
Sam (06:34):
No
Emma (06:34):
tombstone.
Sam (06:34):
Steinman.
Steinman.
Lord bless him.
He tries his best as aperformer.
But It's
Emma (06:41):
He's an awkward bugger, isn't he?
Sam (06:42):
it?
Awkward is exactly the rightterm, yeah.
This is his only top 40 hit asan artist.
Aww.
Which must really sting that hedidn't even sing on it.
So let's learn about Rory Dodd.
Okay.
The Salieri to Meat Loaf'sMozart.
That's the angle I wanted to goin with.
But I've not seen Amadeus.
I've seen the episode of TheSimpsons where they parody
(07:03):
Amadeus.
Have you seen Amadeus?
Of
Emma (07:06):
I haven't!
Sam (07:06):
haven't! Okay.
My understanding is that inthat, Salieri is portrayed as
like really jealous and enviousof Mozart's success and wanting
him to fail.
And less talented.
But if we apply the Amadeusthinking to this, I think Meat
Loaf is actually the Salieri toRory Dodd's Mozart.
Emma (07:25):
Do you?
Sam (07:26):
Rory Dodd is a lovely man.
Emma (07:28):
Okay.
Sam (07:29):
Meat Loaf, as we know.
Bit of a cock! Rory Dodd some ofour listeners will know this,
because we've attracted someSteinman Mega fans to our lovely
podcast.
Some of them just listen for thesound of us blathering on at
each other.
is wonderful
Emma (07:44):
I like
Sam (07:45):
all for listening.
Rory Dodd sang backing on BatOut of Hell when Meat Loaf and
Steinman had their break up inthe early 80s.
He went with Dad.
He went with Dad.
Emma (07:55):
Dad.
He went with Dad.
Jim
Sam (07:58):
Steinman took him with him.
He's performed on almosteverything Steinman's
Emma (08:01):
worked on since.
What I like is in that analogy,Meat Loaf is Mum.
Sam (08:04):
Oh absolutely,
Emma (08:04):
Oh
Sam (08:04):
Meat Loaf's mum.
Rory performed on both albumswith Bonnie Tyler, he performed
with Air Supply, Streets ofFire.
Pandora's Box, Celine Dion, Rorywas there for all of it.
At one moment he was singing onthe number one, number two and
number three singles all at thesame time.
Emma (08:22):
a delightful
Sam (08:23):
Yeah.
Well done.
So he had Total Eclipse of theHeart at number one.
Making Love out of Nothing AtAll at number two, and he sang
on Tell Her About It by BillyJoel.
Wow.
Yeah! I've watched a few videosof him, I've really fallen for
this guy.
He's this, he's very quiet, wellspoken, kind Canadian man.
And he looks like this perfectcross between the cowboy in Big
(08:44):
Lebowski and Earl in My Name IsEarl.
Do
Emma (08:48):
I want to see a picture!
Sam (08:49):
There he is.
Emma (08:51):
Aww.
Yeah that's a good description.
Sam (08:54):
exactly him.
He's done a few interviews andstuff.
He's very willing to talk aboutthe stuff he's done.
Because he's sung witheverybody.
He did a couple of solo albums,but he's not really known for
that.
He's just this incrediblesession singer that everybody
wants.
He sang for James Taylor andCarly Simon.
while they were in the middle ofa divorce on the same day.
(09:17):
That's how
Emma (09:17):
That's how in demand
Sam (09:18):
he was.
Emma (09:20):
You can picture the arguments
Sam (09:21):
James Taylor called up and asked for him 12 o'clock, and he
was like, yeah, brilliant, I'mgonna sit with James Taylor.
And then a few hours later,Carly Simon's manager calls up
and says, Can we get you at 12o'clock on Thursday?
And he says, No, can you do six?
And they said yes! It's amazing!His story starts in a Canadian
touring production of a musicalstage show called Rockabye
(09:44):
Hamlet.
Emma (09:45):
Okay!
Sam (09:45):
Which, as you might imagine, it's a cool rock
musical version of Hamlet.
That transfers to Broadway in1976 Rory Dodd is playing the
part of Horatio, who is Hamlet'sbest friend.
When he arrives at Broadway,he's chatting to the writer, and
the writer says,"There's allthese people here, there's a guy
called Meat Loaf." And I'm like,"Huh, that's interesting".
(10:06):
And they meet, and neither ofthem are interested in doing the
press junket that they'resupposed to be doing.
So they skive off to arestaurant called Beefsteak
Charlie's.
Emma (10:15):
Oh, hello!
Sam (10:16):
Yeah, Beefsteak Charlies.
Sounds amazing.
while they're there, Meat Loafstarts singing Wake Up Little
Susie by the Everly Brothers.
And Rory Dodd harmonises higherthan him.
And Meat Loaf says,'Nobody singshigher than me! You've gotta
meet Jimmy! I think this is thefirst appearance on the pod of
Meat Loaf calling Jim SteinmanJimmy.
He He calls him Jimmy.
(10:37):
I find it adorable, Jimmy.
So yeah, he takes Rory off to gomeet Jimmy.
Meanwhile, Rockabye Hamletcloses after seven performances.
Maybe they should have done thatpress junket, I don't know.
The show was briefly revivedunder the name Something Rockin
in the State of Denmark, which,much better, Much better title.
But yeah, Rory is in on the BatOut of Hell crew from the off.
(11:00):
It's him Ellen Foley, Meat Loafand Jim Steinman, they're the
ones going around to recordlabels trying to get the album
picked up.
He was the first person to hearthe whole record, Meat Loaf
Jimmy sang it to him in therehearsal room with just the
piano.
And then if we skip ahead alittle bit, Meat Loaf loses his
voice at the end of that tour.
He's, I believe this happenedbecause I trust Rory with my
(11:24):
life.
I don't know if Meat Loaf knowsthat this happened, but
according to Rory, they justfaded Meat Loaf's vocals down
and Rory was singing his linesfrom further back on the stage
Emma (11:36):
because
Sam (11:36):
his voice was so ruined.
Emma (11:38):
Oh god!
Sam (11:39):
"They called me Icehead because I'm Canadian.
How original! Later theyshortened it to Icy.
Do you remember we had Bittonwho was the Professor as part of
the band, now we've got Icy aswell.
we've Yeah, we've got a reallycool band going together here.
Emma (11:55):
So when we do our own Meat Loaf song,
Sam (11:57):
we
Emma (11:57):
do
Sam (11:57):
We need cool nicknames, yeah.
Yeah, Talking about recordingone of the albums for 12 hours
we did this song and every timeI had to sing, at 1.
30 in the morning, Roy Bittonsaid, I'm exhausted, but I think
we can do another.
And I said, you can go fuckyourself.
Rory goes with Jim after theacrimonious breakup, and he does
(12:18):
some of the lead vocals on thisalbum.
On this song, Jim put his vocalson.
He wanted it to sound amazing.
And it came out as best as hecould, but then Jim lets Rory
come in and sing this, and hedid it in one take.
Emma (12:34):
it's just showing
Sam (12:34):
Yeah, this was recorded in the same year that Scatman John
was doing vocals on the albumAnimal Sounds by Sam Phipps.
FYI.
Yeah.
And now we get into some of thesad times for Rory.
Rory says he and Jim were bestfriends in the 80s.
I believe Rory thought Jim washis best
Emma (12:54):
But Jim didn't think that Rory was
Sam (12:57):
friend.
Let's get into this.
So Rory sang the male part onTotal Eclipse of the heart.
Yeah.
Jim told him this was a duet andthen the record comes out, his
name's not on it anywhere.
Emma (13:07):
Oh God.
What?!
Sam (13:09):
I didn't complain a lot because they had my immigration
over my head.
For me to stay, they had to dostuff for immigration.
Emma (13:17):
They've
Sam (13:17):
got his visa status over him.
They're holding him hostage Hecan't really complain.
He's going to have to go back toCanada if they don't keep
covering his visa.
So he's not in a position tocomplain about being utterly
screwed over.
He's really chill about itthough.
He's just yeah, bad shit happensand you can't hold on to that
stuff.
He's so cool and relaxed.
Emma (13:36):
I wish I could be like that.
Sam (13:37):
Yeah, me too.
I would still be seething.
He says people said I wish I hada penny or five cents every time
we hear this on the radio.
Well, So do I!
Emma (13:45):
Shit,
Sam (13:45):
I never made a penny on Eclipse.
After all the ways I gotscrewed, he says, I'd do it
again in a heartbeat.
He's he's just really happy tobe in the middle of all this
cool stuff that's been going on.
Rory is effectively JimSteinman's voice from the 80s
onwards all of the songs that hewrites He gets Rory to demo
first and there's some reallygood youtube of Rory kind of
(14:07):
testing stuff out for him.
But he just sort of exists inthe background unlike Meat Loaf
The scene stealing bellend.
He's just a nice guy, he kind ofshrugs and smiles and gets on
with life.
So we're, we're very pro RoryDodd on this podcast.
Emma (14:24):
We are.
I can get behind Rory
Sam (14:28):
So that's the Rory Dodd story.
And now let's talk about thevideo that you've just watched.
Emma (14:33):
Oh, blimey..
The first thing that struck meabout it I've thought this for a
little while watching videosthat particularly Steinman's
been involved with.
For as much sort of cool rock,God Behaviour that they both put
forward, both Meat Loaf and JimSteinman
Sam (14:53):
Steinman
Emma (14:54):
Whenever you watch any of the videos, they are just
theatre nerds playing, aren'tthey?
Sam (15:00):
Absolutely.
Emma (15:00):
nothing cool about no.
There's no.
sort of, there's this sort offaux rebellion kind of vibe, but
nah, it's just theatre kidsmucking about.
Sam (15:12):
is.
Emma (15:13):
this video is,
Sam (15:14):
right?
yes, Yeah.
Emma (15:15):
because we're
Sam (15:16):
that's who we are.
Emma (15:16):
theatre kids mucking
Sam (15:17):
Yeah.
Emma (15:19):
Oh, my lovely drama A level.
Sam (15:22):
Brecht.
Anyway, So the video is, it'svery cheap.
It's on a, soundstage that'sdressed up to look like the
album cover of Bad For
Emma (15:36):
There's, There's definitely like a post
apocalyptic vibe, which is verymuch in Jim Steinman's
wheelhouse, isn't
Sam (15:43):
It features Jim stood perfectly still on a rock at the
back of the stage, occasionallymoving his arms up and down, lip
syncing to Rory Dodd's vocals,while a shirtless male ballet
dancer dancer Oh, we get
Emma (15:56):
to watch him take his shirt off.
Sam (15:58):
Oh, sorry, yes, you're right.
man walks on, and then a womanappears, who's also skimpily
dressed.
The man takes off his shirt, andthen we have three minutes of
very weird ballet.
Emma (16:08):
But, Jim Steinman's holding onto the woman for a
bit.
He is.
Sam (16:11):
bit.
He
Emma (16:12):
really awkward way.
Sam (16:13):
like, I think he's going for a sort Garden of Eden vibe.
God.
he is God.
yeah.
He introduces
Emma (16:19):
He uses Adam,
Sam (16:20):
who who prances around.
Emma (16:22):
And then
Sam (16:22):
then creates Eve and then gives them the guitar that
represents the apple,
Emma (16:27):
is
Sam (16:28):
this is 100 percent Steinman.
But by God, it's cheap.
Emma (16:33):
Oh, so cheap.
Sam (16:34):
There's a big polystyrene rock.
Yeah.
man just spins round and roundholding.
Jim's videos all involve peoplespinning round and round really
fast.
Emma (16:45):
They're very dance heavy.
Yeah.
Theater nerds, they wanna put ona big musical.
Let's put on a show!
Sam (16:52):
put on a show! That's the Jim Steinman version.
Let's go straight on to the MeatLoaf version.
number 11 in the UK, number 13in the US, and number six in New
Zealand, 33 places higher.
Than ski-bop-ba-da-ba-bop byScatman John.
Three mentions for him thisepisode.
(17:13):
Good, isn't it?
So before I'd show you the videofor the Meat Loaf version, we've
got a quiz
Emma (17:18):
Ooh.
Sam (17:18):
Which of these things do not happen in this, Michael
Michael Bay's second stupidbombastic video for Meat Loaf's
Bat Out of Hell 2.
A, Meat Loaf plays a culturallyinsensitive gypsy fortune teller
who lives in a jukebox in anabandoned junkyard.
Is it B Meat Loaf plays anabusive father whose behaviour
(17:40):
causes his daughter to run away,but not forever?
Or is it C, Angelina Jolie playsa teenage girl who defeats non
specific baddies with her powerof making jukeboxes explode?
Emma (17:52):
They all sound very plausible for both Meat Loaf and
Michael Bay.
I'm wondering, because the othersingle from this is Objects in
the Rearview
Sam (18:04):
Yes, that's right, Michael Bay directed that video as well.
Emma (18:09):
Is it the running away one that's not
Sam (18:12):
Meat Loaf playing an abusive
Emma (18:14):
yeah, yeah.
yeah.
Sam (18:16):
daughter to run away.
Emma (18:16):
Is that not in this?
Sam (18:18):
That is true, it's in this
Emma (18:19):
Is it in this one?
one
Sam (18:20):
Yeah.
Oh
Emma (18:21):
go on, which one is it then?
Sam (18:22):
So C, Angelina Jolie does play a teenage girl.
She doesn't defeat non specificbaddies with her power of making
jukeboxes explode.
That, again, is Meat Loaf.
Emma (18:34):
Wow.
Sam (18:35):
get ready for some excitement!
Emma (18:37):
I'm really looking forward to this.
Laptop (18:39):
beat is true.
True.
When you really need it themost, That's when rock'n'roll
dreams come true.
Once upon a time was a backbeat.
Emma (19:02):
That's just mental.
Sam (19:08):
All right, let's talk the video first for this one and
then get on to the song.
What have you just seen, Emma?
Emma (19:14):
I don't know some strange fever dream
Sam (19:17):
Do you want me to run through the synopsis that I've
written for it?
Yes, directed by Michael Bay,whose subtlety allergy has
really started building up atthis point.
Angelina Jolie playsmisunderstood kid who is bullied
at school and shouted at by herdad, causing her to run away,
exactly on the line, you can'trun away forever, to a
mysterious magical oil refinery
Emma (19:39):
slash scrap ass Yeah.
Sam (19:41):
She finds a weird jukebox which for some reason has Meat
Loaf's singing head in it.
The jukebox immediately explodesbecause baddies are coming up to
attack Angelina Jolie.
Meat Loaf plays Angelina'sabusive dad and the new father
figure she finds in a magicalscrapyard.
A sort of culturally awful, veryinsensitive, gypsy fortune
(20:02):
teller.
Like in big.
It's that vibe, right?
he's not as heavily made up asin the I'd do anything for love
video.
But he's made up to look, a bitweird and wooden looking.
Emma (20:13):
Yeah, it's culturally
Sam (20:18):
Well, Dodge.
The pair become a sort of Batmanand Robin, travelling the city
on a motorbike and sidecar,saving abused and or endangered
kids with exploding jukeboxes.
The sexy women from the I DoAnything For Love video have a
brief appearance which feelscompletely inappropriate in a
story of teen liberation.
(20:38):
Rock and roll saves everyone,and at the end, Angelina returns
to her dad, who is fine now.
Emma (20:45):
Fine now?
Sorry about that, love.
Fine
Sam (20:49):
now?
Yeah.
I'll give Meat Loaf and MichaelBay, The Benefit of the Doubt on
the dad.
He's shown shouting, he couldjust be a bit grumpy in that
particular bit There's noestablished pattern of behaviour
there.
We're not meant to be surewhether he's just having a bad
day, or if he's a genuine threatto his
Emma (21:07):
Yeah.
She might be a nightmare!
Sam (21:10):
LAUGHS
Emma (21:13):
hashtag believe women, obviously, but, as teenagers.
We were all nightmares.
Sam (21:18):
teenagers are pricks.
Yeah, very weird video.
expect.
Very, very literalinterpretation of the brief, as
you'd expect from that director.
Meat Loaf's take on the song Ido think it's a kind of listen
kids, it'll all be fine, rockand roll saves everybody, it
saved me vibe.
Emma (21:39):
Yeah but then you get to like the, I treasure your
Sam (21:42):
your love.
Exactly, or even worse thanthat, in that video he's singing
to a teenage runaway, think ofhow we'd lay down
Emma (21:49):
Yep
Sam (21:49):
I treasure your love, I never want to lose it.
It's I
Emma (21:53):
want to show you how to use it.
Sam (21:56):
Big time ick factor.
Emma (21:58):
With that video, big time ick
Sam (22:00):
the song, on its own Isn't as icky as Michael Bay has
Emma (22:03):
feel like
Sam (22:04):
The sax solo version, sexy on Jim Steinman's, a dangerous
dark city on Meat
Emma (22:11):
I do like that.
Sam (22:12):
that.
yes.
Emma (22:13):
I like a dangerous dark
Sam (22:14):
Next time I'm gonna bring a song about Meat Loaf as villain
in a dangerous dark city.
little build up to that.
at the end of the show, per theformat.
Emma (22:25):
Fine.
Sam (22:26):
Ah.
You're never alone because youcan put on the phones and let
the drummer tell your heart whatto do.
I like that sentiment and Ithink it's really cool and fun.
Yeah.
But you asked me if I was allright during the song because I
was checking my pulse.
Yeah.
I was trying to work out what itwould feel like to have your
heart beat in 4 4 time.
And I think that's actually muchtoo slow.
My pulse is currently fasterthan that.
Emma (22:48):
that.
Okay,
Sam (22:50):
or maybe it's gone off a bit.
Anyway, look, if there are anymedical professionals listening
who want to tell me off for mypulse being too fast or too
slow, get fucked.
I'm rock and roll, man.
Emma (23:02):
Yes, good.
Did you do like a line of cokebefore you got here tonight?
Sam (23:06):
tonight?
Yeah, or
Emma (23:07):
in the car?
Sam (23:09):
yorkshire Tea
Emma (23:10):
able to The
Sam (23:11):
Blend.
Hashtag Dear Yorkshire TeaBedtime Blend, please send Sam
something,
Emma (23:14):
Yorkshire Tea
Sam (23:15):
know that.
The b side to this single was anacoustic version of I'd Do
Anything For Love.
Emma (23:20):
Ooh.
Sam (23:21):
That's sort of the noise I made, yeah.
I was thinking, I'd quite tohear that.
Oh, for seven minutes though.
Bit much.
I would quite like to hear thatif anybody, I'm sure I could
find it on the internet.
Emma (23:34):
I imagine so.
Sam (23:35):
it's got all sorts of shit on it, hasn't it?
Emma (23:38):
Internet?
Oh, it's full of stuff, Youshould
Sam (23:40):
You should buy it! The people of the internet have
opinions on this song.
Nathan111ism, When my life gotflushed down the toilet and I
ran, Just as I left, my wifesaid, You can't run forever.
I paused.
This song came to mind.
I replied, There's no harm ingetting a good head start.
left and closed the door.
Three years now, still haven'tcaught up yet.
Emma (24:00):
caught on to
Sam (24:02):
Nathan, you're either an arsehole or you're safe now.
I'm not sure which one.
I'm out.
But well
Emma (24:07):
done.
Well done.
Sam (24:08):
you.
And with that,
Emma (24:11):
let's
Sam (24:12):
rate this song.
This is a Jim Steinman song.
As always, we'll be using ourpatented Jim Steinman rating
scale, which from Jim Steinmanat the top for his finest songs,
Jim Fineman for his mostmiddling of works, and Jim
Declineman for the shite that hewrote.
But what is this?
Emma (24:32):
What is this,
Sam (24:33):
think I, I know And I realised what it was as we were
listening to the Meat Loafversion.
Both versions are very similar,they're similar arrangements,
just one is much betterproduced.
Yes.
And it absolutely whips.
I think it's a Jim Steinman.
Emma (24:49):
I'm with you.
I was considering a Jim Fineman.
Sam (24:52):
It's the lower tier of the Jim Steinmans, but it's still a
Jim Steinman.
Emma (24:55):
It creates a world in
Sam (24:56):
creates a world.
It's
Emma (25:00):
images.
I'd like to say the world thatit creates in my head isn't
represented in either video.
It's hard to describe what itcreates in my head, but it's not
that.
Sam (25:09):
I'll give you a Michael Bay budget, and we can find out what
it is.
Emma (25:12):
Oh, please give me a Michael Bay budget.
Sam (25:14):
Please give me a Michael Bay budget! This is a Jim
Steinman! That's an explosion,like in Michael Bay.
Emma (25:22):
I would like to introduce a hashtag at this point, please
because, you've got several now,
Sam (25:27):
I've only got one?
Oh, okay,
Emma (25:28):
you got two hashtag please give Emma a Michael Bay budget.
Sam (25:33):
Hashtag, please give Emma a Michael Bay budget.
Not Emma from the really goodpodcast, Out of Hell.
What Emma?
Which Emma?
Emma (25:41):
Emma?
I'd like it to actually getused, this one.
not.
Yours is too long,
Sam (25:49):
Cool.
So Emma, what song have youbrought today?
Emma (25:52):
I have brought song called Couldn't Have Said It Better,
which is from the album Couldn'tHave Said It Better.
Let's watch the video.
Sam (26:00):
do the listeners have to watch the video or?
Emma (26:02):
They don't have to watch the video.
They don't have to do anything.
I'm not their mum.
But I'd recommend watching thevideo just for context.
It's not a terrible video.
It's not an amazing video.
But it is something that you cando with your eyes.
Sam (26:19):
We'll see you all in a few minutes.
Laptop (26:20):
I couldn't have said it better myself Tonight the
conversation takes a fall Justlove me like you love nobody
else And I know you feel thesame You've been
Emma (26:42):
So you've just listened to Couldn't Have Said It Better.
Sam, what do you make of
Sam (26:47):
That's an absolute banger, Emma.
That's more Steinman's than someof Steinman's stuff.
Emma (26:52):
Do you know who's written it?
Would you like You've not readinto it.
That was written by a guy calledJames Michael and Nikki Sixx.
Off of Mötley Crüe.
Ha! Yep, Nikki Sixx gets heavilyinvolved in Meat Loaf from this
point onwards.
Sam (27:08):
Can I just correct your pronunciation?
There are umlauts, it'spronounced Mötley Crüe.
Ha
Emma (27:12):
Ha! I always forget about the umlauts.
Ha! Mötley Crüe.
Mötley Crüe! They've beenintroduced as Mötley Crüe
before, haven't they?
In countries that use theumlauts,
Sam (27:23):
yes.
Emma (27:24):
because they are just rock'n'roll umlauts, Mötley
Crüe.
James Michael is the lead singerof 6AM, which is one of Nikki
Sixx's bands.
He's worked on several Meat Loafalbums from this point onwards,
as does Nikki Sixx.
But he's also worked with KellyClarkson, Alanis Morissette, and
Papa Roach!
Sam (27:40):
Okay, yeah, I was feeling all those vibes.
Yep.
So I had a listen to it a coupleof times before we recorded.
I'd not heard it before.
My note says, This is so earlyaughts slash mid eighties
blended together.
Emma (27:53):
First came across this when my parents bought me the
album for Christmas.
So it came out in 2003.
So I think it must have beenChristmas 2003.
That is smack bang in the middleof my university years, when I
am attempting to be cooler thanthis.
Sam (28:09):
Ha ha ha ha Ha! Emma! There is nothing cooler than this.
Emma (28:14):
I think the album has largely
Sam (28:16):
anything else good on it?
Emma (28:17):
I didn't listen to it very much when I first got it
because, as I say, I was, I wastoo cool.
I was an indie wanker and Idon't think I came to listen to
it properly until, God this issad, until I'd finished
university and I'd been brokenup with by a boy
Sam (28:37):
Aww and music.
Oh hang on, hang on, sorry, isthis a Meat Loaf memory?
Yes,
Emma (28:45):
Yes, I think it is.
I've been broken up with by aboy and I needed some music to
listen to that didn't make methink about him.
I And so I needed to find in mycollection of stuff, I needed to
find something that just wasn'tgonna trigger memories.
so I dug this out because it wasjust the right level of emotion
to help me process a breakupwithout actually making me think
(29:05):
of him all the time.
So I have a real soft spot forthis album, but I will be honest
with you, It's not the best.
Sam (29:12):
I do love that Meat Loaf is always there for you in moments
of romantic crisis.
We've heard about how teenageEmma was pining over boys
listening to Meat Loaf,
Emma (29:25):
So
Sam (29:25):
then
Emma (29:25):
this is early 20s Emma
Sam (29:27):
Emma went back to Meat Loaf when boys had let her down.
Emma (29:30):
He's always been there for me, man.
Sam (29:32):
for you.
Emma (29:33):
Yeah, so I wouldn't cause I, I stopped paying attention to
Meat Loaf's output after thisalbum.
And I suspect that his outputwas like, post me meeting the
man that would become myhusband.
And so I didn't need meatloaf
Sam (29:48):
he decided to become God awful.
Emma (29:52):
It is a classic Meat Loaf duet.
Mm-Hmm And he's singing therewith Patti
Sam (29:57):
Okay, I wondered if it was
Emma (29:59):
Yes.
She's the
Sam (30:00):
of Meat Loaf's regular female
Emma (30:03):
Yeah.
She does loads of stuff on tourwith him throughout the sort of
nineties.
I think from 93 onwards.
She is his tour girl.
She's got a belter of a voice.
Sam (30:15):
does.
Yeah.
Emma (30:16):
She's toured with him loads but also she's got her own
solo career.
She's been the lead vocalistwith symphonic rhapsody of
queen.
So she's done a lot of queencovers and things.
Sam (30:30):
Mm hmm.
Emma (30:31):
And I just think she's got an incredible voice and she
Plays the other part in thisreally
Sam (30:37):
Yeah.
Emma (30:37):
It's lovely.
Sam (30:39):
I Do you know what?
I really, so this is a songabout how not speaking conveys
so much.
A lot of Meat Loaf's outputswould be like women don't have
to say
Emma (30:50):
anything,
Sam (30:51):
so I'm not going to have a woman say anything here.
Emma (30:53):
But in this song, the woman's got a voice.
And it could have gone the otherway.
Sam (30:58):
have, that's exactly what I was trying to
Emma (31:00):
She's got a voice.
She has agency.
Hashtag
Sam (31:04):
feminist.
Emma (31:04):
Indeed.
As feminist as this ever gets.
me Oh.
Yeah, as feminist as
Sam (31:13):
out what a good ally I
Emma (31:16):
Thanks, Sam.
We really appreciate when's
Sam (31:20):
that medal coming
Emma (31:23):
It's in the post.
There's not a lot about thissong out there which I think is
a shame because it's a classicMeat Loaf It is
Sam (31:31):
a really good belter.
Emma (31:32):
This was actually the second single from the album it
got to number one in the UK rockcharts.
That's cheating.
31 singles charts.
And it did reach the top 40 onthe USAC charts, whatever they
are.
Sam (31:47):
Where did it get to in New Zealand?
Emma (31:49):
No information is provided.
Sam (31:50):
don't believe
Emma (31:52):
I couldn't be bothered to find any more information.
Sam (31:54):
It does tick all the Steinman boxes.
It's got a central clichestretched to breaking point.
Yes.
It's got different musicalstyles awkwardly crammed
Emma (32:05):
Yes.
Sam (32:06):
And it does have a bit of a three act structure to it.
Emma (32:09):
a duet, which is
Sam (32:10):
yeah.
another,
Emma (32:11):
diamond.
I
Sam (32:11):
I feel
Emma (32:12):
like, our Steinman song should have a duet.
Sam (32:15):
Yeah.
Otherwise, one of us is gettingaway with something.
Emma (32:19):
Yeah.
Oh shit.
Yeah.
I could have away withsomething.
Sam (32:22):
Sucks to be you!
Emma (32:25):
Had this been released on the Welcome to the Neighbourhood
album, I think this song wouldhave made more of an impact.
Sam (32:30):
Hmm.
Emma (32:31):
Cause that album still had the momentum
Sam (32:33):
it.
From Bat Out of Hell 2., didthis album do that well?
Emma (32:37):
In the UK album chart it's peak position was number four.
So that's not bad.
That's the highest it reached inany of these listed here.
Oh, in New Zealand, the albumreached number 17.
Sam (32:50):
Oh, it's a pity you're talking about the album because
I've no idea how well ScatmanJohn's
Emma (32:54):
well I'm doing.
I just thought you'd like that.
So yeah, not bad in the UK.
I feel like the UK.
Has always been
Sam (33:03):
prime audience.
That's right, yeah.
Ever since Bat Out of Hell.
In fact, here's something Ididn't talk about in my section.
They took out an advert in themusical press, or the industry
press, to say thank youspecifically CBS, all those who
attended our concerts, listenedto our records, and made us feel
great in Manchester and London.
(33:24):
Thank you, it's people like youwho make rock'n'roll dreams come
Emma (33:28):
Aww!
Sam (33:29):
Which is lovely, except they've done that thing of
spelling through, T H R U
Emma (33:34):
thru?
Sam (33:35):
two extra letters.
No it's not, it's three extraSort yourself out.
Emma (33:41):
Yeah.
Sam (33:42):
But yeah, and that's the first recorded use of that
phrase.
Emma (33:45):
Is it?
Sam (33:46):
That I have been able to
Emma (33:48):
find.
Yeah!
Sam (33:48):
Meat has always done much better in the UK than at home
Emma (33:53):
We just love Wagnerian
Sam (33:55):
We do love Wagnerian
Emma (33:56):
Dramatic idiots that we all
Sam (33:58):
It was the Old Grey Whistle Test.
Do you know about this?
Emma (34:03):
I'm aware of what the Old
Sam (34:05):
Yeah, that was a, music show on the BBC.
But the reason they did reallywell in the UK was they went and
performed one of the singleswhichever one I say it is,
somebody will email me and sayit wasn't that one.
They performed one of thesingles off Bat Out of Hell on
the Old Grey Whistle Test.
And then, Old Grey Whistle Testrepeated it the following week.
(34:25):
Because it was so good, peoplewho were at the pub the last
Friday deserved to see it again.
Aww! Yeah! Isn't that cool?
Emma (34:33):
Oh, BBC.
Sam (34:34):
BBC.
Emma (34:35):
Ah, that is really cool.
Sam (34:38):
It's a good
Emma (34:38):
It's a fact, isn't it?
I like
Sam (34:39):
that.
Yeah.
That's excellent.
And like all facts, it's exactlyas accurate as anything Jim
said.
I'm sure I've misrememberedsomething.
Emma (34:47):
I have got a review that was written by Frood Jonsrud
from the Metal Express Radiocouldn't have said it better
contains several songs writtenby Nikki six from Mötley Crüe
And other songwriters and it'sobvious that they're trying to
copy Steinman both the songstructures lyrical content and
(35:09):
arrangements are sounding almostlike Steinman But only almost.
They lack that little twist thatonly Steinman can muster up.
Would you agree with that?
Sam (35:18):
agree with that, but the way you've read it makes it
sound like they intended it as abad thing.
Emma (35:22):
Yeah, I think they intended it as a bad thing.
I don't think this
Sam (35:25):
got
Emma (35:26):
good reviews.
Sam (35:27):
If you are a songwriter, Steinmania is the highest level
that you can
Emma (35:32):
that you can I agree.
If we look at the video, I thinkMeat Loaf's looking pretty
Sam (35:41):
look pretty good, doesn't he?
Wow, and I
Emma (35:42):
like his coat.
Let's go through the videobecause it's not an epic
production but it does haveproduction values, unlike Jim's.
Sam (35:51):
Michael Bay was not anywhere near this, but nor Jim
Emma (35:54):
Steinman no, I can tell you who was
Sam (35:56):
near this, actually,
Emma (35:57):
I've found the information, a guy called Nigel
Dick,
Sam (35:59):
Hee hee hee hee hee hee hee Hee.
Nigel.
Emma (36:03):
was born in Catterick, so he's a Yorkshire lad.
And some of the other videosthat he has directed, Band Aid,
do they know it's Christmas?
Apparently.
And then something for S Club.
A track called Seeing Double.
Sam (36:19):
No, I don't know it.
Emma (36:20):
I don't know that.
Nickelback, Those Days.
So yeah, he's a music videodirector and is evidently still
going.
Sam (36:29):
crack.
Still having
Emma (36:31):
having a crack innit.
Live performance kind of video,but with some dramatic elements
to it, I'd
Sam (36:36):
they're in a theatre.
Emma (36:37):
Yeah, all the musicians are on stage, but you can't
really see them because of theclever lighting.
So you can't really tell whothey are, but they're not the
important ones in this,
Sam (36:45):
it's Meat Loaf and Patti Russo.
Yes.
Emma (36:49):
Yes.
Sam (36:50):
a lovely sort of
Emma (36:51):
looks incredible.
That dress is amazing.
It's a really nice shade ofblue.
Sam (36:56):
It's the same shade of blue as your hair.
Emma (36:58):
Yes.
my hair is very rock and roll.
There's a bit quite close to thebeginning where Meat Loaf is
sitting backwards on a chairlooking like he's trying to be a
cool supply teacher.
Sam (37:10):
Yes, Yes he does.
Emma (37:11):
then he flings the chair away as the song gets dramatic.
As he tells us that he's goingto guide us all the way.
Oh yeah.
I did write, presumably this isa sex thing because it's a Meat
Loaf song.
I assume he's once again goingto guide us in the ways of the
sexy
Sam (37:27):
It's not time for messages yet, but I will read out a
message related to this.
Do you remember couple ofepisodes ago, we talked about
Everything Louder thaneverything else.
RL Grey.
Emma (37:38):
Oh, lovely R.
L.
Gray.
I'm enjoying R.
L.
Gray's
Sam (37:40):
comments on Yeah, RL Grey, regarding the weapons in
Everything Louder ThanEverything Else, Yes, of course
they are penises.
Every metaphor in a Jim Steinmansong
Emma (37:50):
is exactly what
Sam (37:51):
you think and probably something
Emma (37:53):
be, and probably something LAUGHTER yep.
And
Sam (37:57):
And Steinman imitator songs.
Emma (38:02):
guess this record doesn't have much love, Which I think is
a bit of a shame
Sam (38:07):
it's a real banger.
Yeah.
Emma (38:08):
yeah
Sam (38:09):
Sing along fun.
Emma (38:11):
we'll be good in the car
Sam (38:12):
Weird phrasing now and then.
Overstretched a metaphor.
This is a Jim Steinman! Wait,no! Is it time to rate or do we
have anything else?
Emma (38:22):
I've got some quotes from the interweb.
Sam (38:25):
Of course, yes, we've not heard what the people of the
internet think.
Emma (38:28):
Jesse Sinclair 4491 said, "Oh, how I love Meat Loaf's
almost unrealistically epicsongs.
They get on the verge of sillyor cheesy because they're just
so good.
I say this because in general,nowadays, not just in music, but
in a lot, all one word, ofaspects, people are just not as
(38:51):
passionate on top of those whomspeak English.
"Elaborate expression in decay.
Seldom.
Is it that you hear a manexpressing feelings using
English in the style of Prince,Meat Loaf, Barry White, Isaac
Hayes, etc.
And it's been a steady declinein English since long before all
of them too, the Englishlanguage was designed to be more
(39:13):
direct, adaptable, and universalat the cost of emphasis.
"I believe this in turn toimpact lyricists both content
and delivery." And then NellyRingworm replies, What a load of
fucking nonsense! ha ha ha! Haha ha
Sam (39:31):
nelly Ringworm, I really hope you're listening because,
well done.
Emma (39:34):
and then I've got one here from Underture.
"Like many of Meat's songs, itsounds like a not so subtle
reference for some extremelypassionate lovemaking.
When there's one thing twolovers want, brackets sex, the
tension in the air can be sothick that mere words can
(39:55):
totally ruin the moment.
Tonight the conversation takesthe fall.
Can back this up as well as,I'll get the lights, you get
that smile.
I love Meat Loaf duets.
His ladies always have suchcharged voices."
Sam (40:10):
There is something about Meat Loaf and Jim Steinman's
refusal to stop singing aboutdoing it that attracts people
who want to take a very thinlyveiled metaphor and pull that
veil off even further.
Emma (40:30):
But that's what the people have got to say.
Sam (40:32):
Yeah, thanks the people.
But what do we have to say,Emma?
Let's rate this on our patented,trademarked, copyrighted,
handcrafted, organic
Emma (40:43):
Ethically sourced.
Sam (40:45):
Is it?
Emma (40:46):
No.
Sam (40:46):
Meat Loaf song rating scale.
Which starts at the top withMarvin Lee Aday.
In the middle we go to MarvinLee Okay.
And for his awful sexist songswe have Marvin Lee No Way.
But what's this?
Emma (41:01):
Oh, this is
Sam (41:02):
a Marvin
Emma (41:02):
Lee
Sam (41:03):
Aday.
Emma (41:05):
Day!
Sam (41:05):
Lee Aday! God that was so tuneless.
Emma (41:12):
We need to work on that if we're going to produce a rock
opera
Sam (41:14):
ha ha ha! Shall we go to this week's messages?
Emma (41:19):
Are you going to dig into the mailbag?
Sam (41:21):
I'm going to dig into the mailbag.
RL Grey has left a couple ofcomments.
I will summarize a few bits ofthem.
They've clearly been catchingup.
"Dance in My Pants is a roughone.
Started listening last week andlooking forward to getting
caught up so I can offerrejoinders and wildly angry
corrections." Now that wasbefore Anthony emailed us last
(41:42):
time, so RL wasn't jumping on abandwagon there.
No.
And I've not yet had a wildlyangry correction from them, but
looking forward to it when itdoes arrive.
And then this is a really goodone.
So last time we talked a bitabout Karla DeVito.
Yeah.
LAUGHS And her work outside ofthe Steinman I said her biggest
hit was probably Is this a CoolWorld or What?
(42:03):
Brackets.
Or what?
Emma (42:05):
Um,
Sam (42:06):
But RL points out In the US, Karla DeVito is known a bit
for contributing the song We AreNot Alone to the Breakfast Club
Emma (42:13):
Ah.
Do you I've seen The BreakfastClub numerous times.
I'll be honest with you, thatsong doesn't ring a bell.
Because the one that I alwaysget stuck in my head is the one
that everybody
Sam (42:21):
does.
Don't you forget about me.
it's that scene where, they alllock the principal in a cupboard
or something and start dancingon the desks.
so yeah.
It's where
Emma (42:29):
they bond or
Sam (42:31):
they bond.
They all bond, or, yes, R.
L.
says, I don't know how wellknown the movies of John Hughes
are in Blighty, but for many USGen Xers, Breakfast Club was
practically a holy text.
I haven't seen it since I wasexactly the kind of teenager who
would find it really deep, so Idon't know how well it holds
up".
Yeah, we are elder millennialsrather than Gen Xers, so I think
there's a bit of a divide there.
(42:52):
Have
Emma (42:52):
have you seen the breakfast
Sam (42:53):
I have seen it.
I saw it in my early 20s, Iwould guess, late at night.
I saw it in my teens.
Emma (43:00):
at night.
Sam (43:01):
I think I was probably exactly the sort of teenager who
would have found it really deep.
Yep.
Yeah.
But yeah, not quite as big overhere, I think, as it was in the
US, but still fairly well
Emma (43:13):
I think it's the most well known of the John
Sam (43:17):
RL did give us some other comments on what Jim Steinman
wanted Meat Loaf to be.
And I'm going to gather those upand put them in the next
episode, because they're on atheme that I want to discuss
next time.
Over to the emails We've got oneemail from Tim.
Tim.
Hello Tim.
Hey guys, love the show,brackets, genuinely do.
(43:39):
See, those brackets make mefeel, why would you add the
brackets?
Do you know what I mean?
Emma (43:45):
Maybe he thinks that we get like loads of mail
Sam (43:47):
and, we get a lot of insincere people who write to
him.
But no, that's really nice ofyou, thank you genuinely nice
that people who don't know uspersonally are listening to this
codswallop.
No! Tim says, Anthony soundslike a right laugh.
I'm I'm having a party soon,would love for him to be there
so you can pass on his deetsthat'd be swell." Now, I do have
(44:09):
to be the grown up here and saywe're not having Anthony be the
villain of this
Emma (44:14):
Oh god no, that's not what this is
Sam (44:16):
to be about.
No, but that was very funny,thank you, Tim.
And if you do have some goodbantz about Anthony What?
No, shut up!"I'm also lookingforward to the song you are
making, so that's at least threepeople." People haven't
forgotten Emma.
Emma (44:30):
Shit!"I have
Sam (44:32):
a nomination for a very random song for you to review.
Los Angeloser.
"I hated it the first 12 times Iheard it, then it grew on me,
and now rather like it assomething original.
So interested to know what youwould think, given it's
different to anything he's donebefore.
Or is it complete pants?
You may need to listen many,many, many times.
(44:52):
So there's something to lookforward to." I've not heard Los
Angeloser, or I remember
Emma (44:56):
from the album Hang Cool, Teddy Bear.
Which is
Sam (45:01):
2010s album, isn't it?
Okay, yeah.
Emma (45:04):
and I've heard very little from
Sam (45:07):
this.
We've never delved into HangCool Teddy Bear.
Emma (45:11):
we've had a request so
Sam (45:12):
yeah, it needs to go into the rotation.
Emma (45:14):
yep
Sam (45:15):
Yep, so we're committed for the last episode of this series
and then the first of seriesthree, but Los Angeloser
slotting in for episode two ofseries three.
And we can argue about who hasto cover it.
I'm sure it'll be great.
With a name like that, it'seither going to be amazing or
fucking awful, Yeah.
So yeah, thank you, Tim, so muchfor writing in and really glad
(45:36):
that people out there areenjoying this.
It is
Emma (45:39):
lovely.
Thanks Tim.
Sam (45:41):
So that is the end of this episode.
Anything we want to say?
Emma (45:45):
Come to our shows in Nottingham?
Sam (45:48):
please do come to our shows.
We are stand up comics, I nearlysaid in our day jobs, and that's
a that's the funniest thing I'veever said We are stand up
comics.
We have a show at the NottinghamComedy Festival on November the
10th So especially our newlisteners if you do live near or
in Nottingham and you wanted tocome down see us That would be
(46:08):
amazing
Emma (46:09):
Please please do
Sam (46:10):
you just want to share our posts on the old socials and try
and
Emma (46:17):
Draw up
Sam (46:17):
drum up an audience.
Drum up more of an audience.
That would be fantastic.
just search for Crossland andWilkinson on Facebook where you
can find out about our show,which is, it's a sort of
induction into a weird evilMegacorporation.
Emma (46:33):
is.
We're part cult, part
Sam (46:35):
Yeah.
Emma (46:36):
all weird.
Sam (46:37):
Both wankers.
so please do come to that ortell people about it, that would
be fantastic.
We do have a website,crosslandandwilkinson.
com.
It is not up to date.
Emma (46:46):
But I'm sure it will be soon.
Sam (46:48):
Yes, it I think that's all the plugs.
Do you want to plug anything?
Emma (46:51):
If you happen to be in Leeds, come down to Big Duck
Energy, which is the comedynight that I run on the third
Wednesday of every month theBridge End Social.
We are a female and non binarycomedy night, but everybody's
welcome in the audience and evenif I it's fucking brilliant
Sam (47:07):
It is fucking brilliant so emma, what song are you going to
bring next time?
Emma (47:11):
Next time I'm going to bring Bad For Good from Jim
Steinman's album of the samename and also by Meat Loaf on
Bat Out of Hell 3.
Sam (47:21):
You're really keen on bringing the title tracks of
albums.
Emma (47:24):
It's just what keeps
Sam (47:26):
Yes, fair enough.
And Next time is the finalepisode of series two, and then
we're gonna go for a shortbreak, but in the interim we
will have another film club.
So to tee us up for that filmclub, I'm going to bring the
song Original
Emma (47:39):
Ah, ha.
Sam (47:40):
which Meat Loaf did on Welcome to the Neighbourhood.
Jim Steinman did it withPandora's
Emma (47:47):
He did.
Sam (47:48):
And Taylor Dayne sang it as the soundtrack to the movie The
Shadow.
Emma (47:53):
Ooooooh.
Sam (47:54):
that's all gonna be really good, innit?
It is! Good! As always, keepyour general Meat Loaf thoughts
and anecdotes flying in.
Did you see Meat Loaf at theKeswick Pencil Museum, admiring
one of the world's biggestcolouring pencils?
It's eight metres long and it'syellow.
Let us know, chat out of hell atgmail.
com.
Keep sending in your Meat Loafmemories.
Emma (48:14):
Memories.
Sam (48:15):
And corrections to trivial things that we've got wrong.
Or massive things that we've gotwrong.
Emma (48:20):
Notice we've not got a jingle for the corrections yet.
Sam (48:23):
Nor will
Emma (48:24):
Ha ha ha!
Sam (48:25):
much for listening
Emma (48:27):
Yes, thank
Sam (48:28):
see you all again in two more weeks time for the last in
this series of Chat Out of Hell.
Bye everybody! Bye!
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