January 19, 2025 • 49 mins
Big hair, big complaints and big feelings, it's Chat out of Hell!
This episode Emma brings our favourite car karaoke hit Life is a Lemon and I Want My Money Back for our intrepid pair to interpret, while Sam's Bonnie Tyler obsession continues in full swing as he tries to convince Emma that Loving You's a Dirty Job is a much neglected classic. This week's questions lack subtlety, just like these two songs:
- How generous IS John Lewis's legendary returns policy?
- What was it like being a jobbing actor in early 70s Britain?
- What do you do during the instrumentals in a funeral song?
PLUS we have a slight dig at other music review shows with only a 2-point scoring scale, some YouTube commentators look for deep meaning where there really isn't any, and we hear the best Meat Loaf Memories of all time.
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:
Life is a Lemon and I Want My Money Back by Meat Loaf from the album Bat out of Hell II: Back into Hell (1993)
Loving You's a Dirty Job (But Somebody's Got to Do It) by Bonnie Tyler and Todd Rundgren from the album Secret Dreams and Forbidden Fire (1986)
Loving You is a Dirty Job (But Somebody's Got to Do It) by Meat Loaf from the album Braver than We Are (2016)
Mark as Played
Transcript
Episode Transcript
Available transcripts are automatically generated. Complete accuracy is not guaranteed.
Sam (00:00):
What is this?
Emma (00:01):
This is Chat Out Of Hell.
The only fortnightly podcastthat continues to insist on
pulling apart Meat Loaf and JimSteinman songs like that Weird
kid at school who pulled thelegs off of Spiders.
Sam (00:15):
Who is Meat Loaf?
Emma (00:17):
Meat Loaf is a singer who in 1977, ran his operations out
of an eighth floor space oneighth Avenue and 35th Street
called The Meat Loft.
Jim Steinman had a mattressthere that he kept in a closet.
Who is Jim Steinman?
Sam (00:33):
Why has he got mattresses everywhere?
Emma (00:40):
You know that they're all crawling.
Sam (00:42):
you Awww oil stained
Emma (00:44):
Jim.
Sam (00:45):
Jim Steinman is a writer and musician who claims that his
first band, formed while he wasat Amherst College, was called
The Clitoris That Thought It WasA Puppy.
Emma (00:59):
Who are we?
Sam (01:00):
tickets to The Clitoris That Thought It Was A Puppy
tonight! Do you want to come?
Emma (01:04):
No! Who are we?
Sam (01:08):
You are Emma Crossland and I am Sam Wilkinson and we are
the brave explorers leading adoomed expedition deep into the
hearts of these two men.
I hope for all our sake thatthere's treasure at the end of
it because otherwise This is ahuge waste of time.
Emma (01:24):
Welcome to Chat Out of Hell!
Sam (01:25):
Bow now, now, now.
Good., You know how we normallymake a little bit of small talk
that I then cut to ribbons inthe edit?
Yeah.
Let's not even do
Emma (01:36):
even do that.
Okay.
Sam (01:37):
Let's barge straight in because we've got a lot to get
through.
Emma (01:40):
Okay.
Sam (01:40):
Good business.
Good business.
So yes, this is Chat Out of Hellin which we both bring a Jim
Steinman or Meat Loaf song todiscuss and analyse in our
inimitable way.
Emma, what have you brought thistime?
Emma (01:55):
I've brought Life is a Lemon and I Want My Money Back
from Bat out of Hell Two.
What have you brought?
Sam
Sam (02:03):
I have brought one of the songs that Jim Steinman wrote
for the wonderful Bonnie Tylerback in the
Emma (02:09):
your girlfriend?
Bonnie
Sam (02:11):
my girlfriend who's one year younger than my mum, Bonnie
Tyler.
Lovin You's a Dirty Job.
Brackets, But Somebody's Got toDo It So listeners, go find
yourselves Spotify, wherever youget your music from.
Find Life Is A Lemon and I WantMy Money Back from the album Bat
Out Of Hell 2.
We're going to listen to it now.
(02:32):
If you don't, that was justawkward, isn't
Music (02:35):
it's a never ending, nothing's a lie And that's a
fact There's a lemon and I wantmy cake back It's all or
nothing, it's always somethingThere's
Emma (02:53):
That was Life is a Lemon and I Want My Money Back from
Bat Out of Hell 2.
It was released as a radiosingle.
Apparently so there's no videoto it.
Okay.
But I think it was a promosingle, probably in the US
Sam (03:06):
Was it cut down from the eight minutes that we had just
listened to?
Emma (03:09):
Not as far as I can tell.
That was October the 25th, 1993.
Sam (03:15):
Can we just lay our cards on the table here and tell the
listeners we both fucking lovethis song.
Oh god, best ever.
It is the stupidest song eitherof them have ever
Emma (03:24):
but also it rocks really
Sam (03:26):
It does rock really hard, while being full of utter
Emma (03:30):
utter bullshit.
Yes, which makes it a firm
Sam (03:33):
Uh Huh,
Emma (03:33):
Do you want to hear what Jim had to say about it?
"Actually, one of my favouriteparts of the album is during
Life is a Lemon, at the middlesection where everything is
declared defective.
Yeah, I think everything isdefective, basically.
I think that's probably one ofthe premises of life if you
really look into it.
Pretty much everything isdefective, and everyone on some
(03:55):
level is incompetent.
"Once you accept that, I thinklife is much more peaceful.
That song was very much, to me,a teenager's anthem.
To me, you can still be ateenager at any age.
It's a certain sense of lack ofproportion, which I really
admire."
Sam (04:14):
Oh, I've just realised who Jim was.
He was the weird old man thatthe teenagers bought weed from.
Emma (04:23):
Yeah,
Sam (04:24):
Yeah, they'd have to have a joint in his house before he'd
sell them the full
Emma (04:28):
Yeah they, they didn't want to hang out with him, but
he made them.
that was Jim's take on it.
I've been scouring through theMeat Loaf autobiography to try
and find something relevant toany of the songs that we have
listened to and It's quite a bigbook considering there's fuck
all in it.
(04:49):
The only bit that I can findabout this song was"we"
referring to him and Jim we hadone big fight over the mix of
life is a lemon and I want mymoney back.
When I get mad, ten minuteslater, I'm the sorriest human
being on earth and I regretevery minute of it.
I just want to say I'm sorry,give you a hug, give you a kiss.
But as Leslie," his wife at thetime,"reminds me, when you blow
(05:09):
up like that, you have no ideaof the damage it can cause.
"People aren't waiting for yourhug.
It was four o'clock in themorning and I couldn't be held
responsible for anything I sayat that time.
Because I'm not a person who'sawake at four o'clock in the
morning.
Jim is.
"Jim smokes pot, listens to themixers in these specially
designed rooms.
(05:29):
He's a really unique individual.
He has a warehouse filled withamplifiers, a type Sony hasn't
made for 15 years.
Jim loves the sound of theseamps.
So, he's scooped up as many ashe could find, along with a
certain type of small speaker.
He's got them set up in theselistening rooms.
Jim gets a chair, his ashtray,sets up speakers on these plant
(05:51):
stands, hangs drapes in specialplaces around the room, and it's
an adventure in listening.
Sam (05:56):
Fucking hell
Emma (05:57):
"I listen in my car
Sam (05:59):
in ha ha ha ha
Emma (06:00):
"Because a car is what I always judge everything by.
If it's any good in a car, it'sfine.
When Jimmy listens to mixes, hedissects them.
He enters the music.
He picks this little guitarstring and that little note.
It will make you crazy.
Sam (06:19):
That is the difference between the two writ large,
isn't it?
We've been wasting our time.
We could have just read thatparagraph out and not bothered
with this.
that warehouse full of,
Emma (06:30):
Uhhuh,
Sam (06:31):
Which album was it?
One of the albums Jim sent outthe review copies
Emma (06:35):
oh, I can't remember now, but I
Sam (06:37):
his stereo and said the only way to listen to my album
is with the enclosed stereo
Emma (06:42):
Yeah.
I can't remember which
Sam (06:44):
Was it Pandora's Box
Emma (06:45):
mate, probably.
Pandora's Box seemed to be theheight of his pretension wow.
But I thought you would enjoy
Sam (06:51):
I love that Jim's got a whole warehouse full of
listening booths, whichpresumably only he is using
Because
Emma (06:58):
everybody else just listening to it in their
Sam (07:00):
in the car, wonder if warehouse is still there.
the warehouse in Indiana Jones.
All those
Emma (07:11):
wasn't it Stanley Kubrick who had a whole estate full of,
many boxes of things?
I think John Ronson was involvedin, like, the boxes of Stanley
Kubrick, where he just startedgoing through and finding all of
this stuff that he'd hoardedsort of filmmaking
Sam (07:23):
Jim's definitely got a
Emma (07:25):
Jim has a warehouse full of shit, doesn't
Sam (07:27):
he?
He absolutely does, yeah.
The Ark of the Covenant is inone box, and next to it is the t
shirt that Jim was wearing theday he wrote the first lyrics of
Bat Out
Emma (07:38):
There's the collection of mattresses.
Sam (07:40):
Oh!
Emma (07:41):
Jim's
Sam (07:42):
Jim's festering mattress pile.
Emma (07:47):
I did get a little quote from Q magazine who called it
the daftest rocking rebel songof all time, which I think sums
it up beautifully.
So talking about that, do youwant to have a little dig into
the lyrics?
So this is an angry song,
Sam (08:03):
I'm into ha ha ha ha
Emma (08:05):
but it's angry in that impotent rage of a teenager
Sam (08:08):
is Teenage Angry Song and we need to go back to this.
Meat Loaf and Jim are in theirmid forties when they released
this album.
Emma (08:16):
But as we've already said, Jim believes in the perpetual
teenager,
Sam (08:19):
Yeah, sure, Meat Loaf doesn't.
Meat Loaf believes in money.
Emma (08:24):
But yeah, looking at these lyrics.
Sam (08:25):
It's all or nothing, and nothing's all I ever get.
Emma (08:28):
Every time I turn it on, I burn it on, burn it out.
Then one of the best lines, it'salways something going wrong,
always
Sam (08:37):
something.
in this house., You go to get ascrewdriver to fix the thing,
but the screwdrivers haven'tbeen put away properly because
of somebody.
So you go and find them, butthen the Hoover's full, so you
have to empty the Hoover to getto the screwdrivers to fix the
thing.
Emma (08:52):
It's a never ending attack.
Sam (08:54):
My favorite line in this there's desperation in the air.
It leaves a stain on all yourclothes and no detergent gets it
Emma (09:02):
out, I've tried Bold, I've tried Surf
Sam (09:06):
It's pure Jim.
Emma (09:09):
gloriously daft.
Possibly even better than that
Sam (09:12):
Okay.
Emma (09:13):
is the list.
Sam (09:14):
The list, of course.
Emma (09:16):
this is the best list in a Jim Steinman song.
I reckon.
Sam (09:20):
What about love?
Emma (09:21):
It's
Sam (09:22):
Yeah.
What about sex?
Emma (09:23):
Defective.
Sam (09:24):
Family?
Friends?
Emma (09:26):
Defective.
Sam (09:27):
Hope.
Emma (09:28):
Defective.
Defective.
Your gods! Defective.
Defective.
Sam (09:34):
Defective.
Your Your school.
Emma (09:37):
Defective.
Your work.
Defective.
Your childhood Defective.
Sam (09:41):
Your future.
Emma (09:42):
Defective and you can shove it up your ass.
Of course, we're skipping someof the beautiful bits here.
Yes.
Cause each question does have aproper answer.
Not just about it beingdefective.
Sam (09:56):
you can picture Meat Loaf at the counter.
saying I'd like to return thislove.
It's defective.
It's always breaking in half.
Oh, okay.
I'm sorry.
I'm very sorry to hear that,sir.
Oh, and I see there's some sexon the table as
Emma (10:09):
Yeah, this one wasn't built to
Sam (10:11):
last.
Uh, okay.
I see Our returns policy here atJohn Lewis is
Emma (10:14):
Is that where he got all the stuff from, do you think,
John Lewis?
Yeah.
seems really teen angst to meis, What About Your School?
It's a pack of useless lies.
Yeah, they don't teach usanything
Sam (10:31):
Hey, when am I ever gonna have to work out the area of a
triangle?
The backing vocals have greatfun as well.
There's a lyric There'sdesperation.
There's
Emma (10:39):
There's desperation!
Sam (10:41):
Exactly.
Emma (10:44):
Sorry.
Sam (10:45):
It's all right.
The lead sings there'sdesperation in the air.
And then you get what is almostcertainly Rory Dodd doing his
brilliant falsetto.
There's desperation.
Emma (10:54):
It's amazing.
I think they must all getinvolved in the list chanting as
well, with the,
Sam (11:01):
What about your friends?
Emma (11:02):
They're defective.
Yeah, you probably
Sam (11:03):
All the parts are out of stock.
And what I look for in a friendis somebody whose parts can
easily be replaced off theshelf.
Emma (11:12):
like a a Ford Fiesta friend.
There are lots of parts aroundvarious scrapyards in the UK.
And of course they've got lotsof generic parts because they've
been a well established car.
Sorry, friend.
Sam (11:27):
Yeah, that's true.
It's, do you know what?
It's a real arse ache, importfriends.
Emma (11:31):
you don't
Sam (11:32):
They sound, like a good idea at first, but then when
they have a breakdown, there'snothing you can do to help.
Emma (11:40):
sounds wrong.
Sam (11:41):
Yeah!
Emma (11:42):
Yeah.
Yeah.
Yeah.
Sam (11:44):
I have an import spouse, everybody.
And may I say, it was veryexpensive to import
Emma (11:55):
I'm sure she'll really appreciate that.
Sam (11:57):
She will!
Emma (11:58):
she won't listen to this shit.
Important things to do.
stuff to I found this reviewchannel.
I think they're called Rewind,Relive, and Review, and it's,
two guys that are takingrequests for songs to review,
and then they decide whetherthey sizzle or fizzle.
Spoiler, they're split on thisone.
Sam (12:19):
so they only have two tiers
Emma (12:22):
no,
Sam (12:23):
scale.
That's no Jim Steinman, JimFineman or Jim Come on,
Emma (12:27):
guys.
Step it up a bit.
But what made me chuckle was,it's a visual channel, but it
doesn't need to be, because whenthey're listening to the song,
you get two minutes of them justsitting.
staring
Sam (12:39):
we are kind enough to edit ourselves out doing
Emma (12:42):
We edit ourselves out and also you don't have to watch
Sam (12:44):
us.
Ha! Yeah,
Emma (12:45):
but if you did watch us doing it, you would see the
party that we're having becausewe dance around, we sing along,
we move pets around when
Sam (12:54):
We do.
We occasionally do bits of admin
Emma (12:58):
check a text message every now and then have a drink, do a
burp,
Sam (13:02):
a little drink.
Do a little burp.
Emma (13:05):
get down tonight.
Sam (13:07):
tonight.
Emma (13:08):
But these guys just sat there and stared.
I don't think they, they likedthe song very much, but it just
made me laugh watching otherpeople listening to music.
quote from the bit that Ilistened to was, one of the guys
said,"this song's pretty dark.
It's darker than some of thatMegadeth we had the other day."
Is
Sam (13:29):
Is it that dark?
Emma (13:30):
Well, want to dig into The Megadeth?
Sam (13:34):
not doing a Megadeth podcast, Emma.
Emma (13:38):
I just want to find the review.
Sam (13:39):
this song is from the point of view of a miserable teenager.
But I don't find it dark at all.
I just find it very
Emma (13:47):
really funny.
Obviously it resonated a littlebit with teenage Emma when she
was having her angsty moments,
Sam (13:54):
it time?
Emma (13:55):
it's not really a Meat Loaf
Sam (13:56):
Meat Loaf memory.
Meat Loaf memories.
Are not happening
Emma (14:02):
No, it's just a general angsty sort of song to listen
to, but always as a bit of agiggle you want to hear what the
people of the internet have gotto say?
Rachel Brooks 4328 said,"Thefinal song to my father in law's
send off.
Crying emoji, heart emoji." GoodGod! It's a bold
Sam (14:26):
Yeah, we've discussed Meat Loaf funeral songs before.
I don't want this at my funeral.
I don't want to bum you lot outany more than you already will
Emma (14:37):
Also, it's a long one to sit through.
eight minutes.
Quite a lot of instrumentalnoodling.
I'd hope that somebody at thefuneral wouldn't be able to
resist doing a bit of air guitarto it as well.
Sam (14:48):
Well, if you do play this at my funeral, make sure
everyone knows it's okay tocheck your phones during the
instrumental.
Emma (14:56):
If that is built in specifically for that.
So yeah, check your phone, makesure you've not got any
important messages and also havea quick look on Facebook.
So, this one's really sweet, Ithink.
Joseph O'Neill2957 said,"Thisreminds me of my mum.
I did an Al Yankovic styleversion for her about my cat
(15:16):
stealing my pillow.
I want my pillow back.
Damn, I miss her."
Sam (15:23):
Aww,
Emma (15:24):
just thought that was incredibly sweet and lovely.
Sam (15:27):
Also, I can see you doing that on your ukulele.
Emma (15:29):
Ha ha ha ha I like to make up songs for Widget all the
time.
Widget is my cat.
My favourite one to sing isWidgie, woo, how'd you do?
To the Scooby Doo theme.
that really resonated with me.
It was very sweet.
Another brilliant one.
This is meme based.
He protect, he attack, but mostimportantly, he wants his money
(15:53):
back." And that was fromSnowball, the Cat 7 5, 4 2 and
finally.
By xmeatxloafxfreakex.
What about love?
It's defective.
It's always breaking in half.
Ain't that the truth.
In fact, this whole song is thetruth.
(16:15):
Everything's a lie and that's afact.
This song is freaking amazingand sooooo true.
I could scream it to theheavens.
Meat Loaf is a god of music!"Which is a slightly different
tone to the other ones that Ichose.
There was a lot of this sort of
Sam (16:33):
Yeah, I suppose there's a lot of teenagers out there,
isn't there?
Emma (16:38):
Yeah, especially teenagers that are well and truly in their
40s.
Sam (16:43):
There's more Jim Steinmans out there than we care to
Emma (16:45):
Yes.
But that's all I've got for
Sam (16:50):
you've is it time to rate this
Emma (16:51):
I think it is time to rate this song.
And I think This is going to bean easy one
Sam (16:55):
rate.
It is, but let me do the spiel.
Of As our regular listeners willknow, we rate all of our songs
by Jim Steinman.
on the patented, trademarked,organic, grass fed, grown in my
allotment, Jim Steinman songrating scale, which runs from
Jim Steinman at the top for hisfinest works, to Jim Fineman for
(17:16):
his decent stuff, all the waydown to Jim Declineman for the
bad songs.
Emma, what's
Emma (17:24):
this?
Oh, this is Jim Steinman!Steinman! What else could it be?
Sam (17:29):
else could it be?
Emma (17:30):
be?
Sam (17:33):
Yeah, obviously it's Jim Steinman.
He's one of our favourites.
Emma (17:35):
favourites.
Yes.
Sam (17:36):
End of conversation.
And if you disagree with usabout that, let us know!
chatoutofhellatgmail.
com
Emma (17:42):
Be prepared, we will fight you.
fight you.
Sam (17:45):
you.
Emma will fight you.
Emma (17:47):
I'm quite fighty.
She
Sam (17:48):
She just, sorry, for the purposes of the tape, she just
did the sort of the fists upboxing thing but in the style of
a 1930s boarding school boy.
Lovely.
Emma (18:01):
very much the energy behind that yeah
Sam (18:05):
So that was Life is a Lemon And I Want My Money Back and now
it's my turn.
I have brought to the tabletoday the song Loving You's a
Dirty Job(But Somebody's Got toDo It), which Jim wrote for
Bonnie Tyler for the albumSecret Dreams and Forbidden Fire
back in 1986.
Meat Loaf later covered it onhis final album, Braver Than We
Are.
(18:26):
If you're only going to listento one version, please don't
listen to the Meat Loaf one.
And also the video.
Did you, have you seen thevideo?
Okay.
There is a video to this.
It's quite silly.
I love it.
I love it.
I hope you do.
We're listening to this songnow.
Music (18:45):
we took our chances.
There were times, There weretimes to redempt the dancers.
There were times when we heardall the answers In the beating
of the drummer And the riches ofthe rock and the roll I can see
right through your soul Therewere times we had it all There
were times we had it all
Sam (19:07):
so that was Loving You's a Dirty Job(But Somebody's Got to
Do It).
Emma, you've not listened tothis
Emma (19:13):
this much.
No, I haven't, and I've
Sam (19:14):
I haven't.
We've not even, we've notdiscussed your opinion of this
before the show, so hit me, howdo you feel about
Emma (19:21):
not something that I would ever
Sam (19:22):
choose to listen
Emma (19:23):
to Fair enough.
It's alright though.
It's a bit of fun.
The video helps.
Sam (19:28):
The video helps a lot, I think.
It's one of these big torridtorch songs about a big love
affair where they can't livewith each other and nobody else
can live with them either.
So it's like Richard Burton andElizabeth Taylor and the video
is that story as well of twoactors in a theatre having a
fight and then going home again.
Well, three men just constantlysit
Emma (19:50):
Burton Three window cleaners
Sam (19:52):
Yes! Follow them around the theatre doing the backing
vocals.
Emma (19:57):
of things about video that I do really like.
Number one is Bonnie's hair,which I mean, so much hairspray.
I hope she doesn't get close toany naked flames.
Sam (20:06):
That's why it had to be raining.
Emma (20:08):
Yeah, throughout the entire video it is of course
raining.
Why are they cleaning windows inthe rain?
So, I love that hair.
It's big and it's going nowhere.
That's not going to move.
It's probably still solid now.
Yeah.
The other thing that I reallylike.
is Bonnie and, despite the madhair and, overly made up and
(20:28):
things both Bonnie and, who'sthe bloke?
Do we know?
Okay, Bonnie and the bloke bothlook reassuringly like Normal
people in a way that you don'tget in music videos
Sam (20:42):
Well, they look like Early film stars.
Emma (20:46):
Yeah, who looked like normal people.
They're not, like, outrageouslybeautiful.
Sam (20:53):
Very well dressed and made up.
Yeah.
Who are in a weird torrid loveaffair.
And
Emma (20:57):
he's not like,
Sam (20:58):
nice.
he's handsome No, he's a quitenice looking man.
But he's not, yeah, he's notCary Grant.
Emma (21:06):
No, I just, I think that's,
Sam (21:09):
think is nice.
Emma (21:10):
lot.
Sam (21:10):
Yeah, I agree, you're right, I've not really picked up
on that.
But, yeah.
They are normal, everydaypeople.
Emma (21:15):
Yeah.
Sam (21:17):
So this song some facts.
like I said, it's from the 1986album, Secret Dreams and
Forbidden Fire, which is thesecond album that Jim produced
for Bonnie.
And he wrote three or four songson it as well.
So we've talked about thisbefore.
Jim turned down being thelyricist on Phantom of the Opera
because he was contractuallyobliged to do this album.
(21:37):
I think that's important tounderstand it through this lens
because one of them is about ahorny weirdo who lives in a
horrible house and makes a womanbe really good at singing
Emma (21:47):
really good at singing.
Sam (21:49):
and the other is Phantom of
Emma (21:50):
Opera, Bob.
It's
Sam (21:54):
But yes, this entire album is horny as balls.
ravishing, which I know I sprungon you last series.
song just about doing it is, isoff this album.
Every single song on this albumis filth.
Bonnie has called it a"punchy,really raunchy album".
the song as a whole, I like itbecause it's a different version
(22:16):
of Jim's theater style.
This is the other side oftheater.
This isn't opera.
This is actors who think toomuch of themselves.
Emma (22:28):
It's definitely got that vibe to it.
And of course it is a one of thegym tropes.
It's a duet.
It's a With Bonnie taking thelead.
The Meat Loaf role, as it wouldhave been.
Sam (22:42):
it's a duet.
Do you
Emma (22:43):
know
Sam (22:43):
that duet is with?
Emma (22:44):
No.
Sam (22:45):
It's with Todd Rundgren!
Emma (22:47):
Is it?
Yeah! Is he in the video aswell?
Sam (22:50):
No.
Emma (22:51):
Ah, I didn't know.
That's a shame.
I don't know what he looks
Sam (22:53):
Exactly, we still don't, I mean, you could look it up, but
we've decided not to.
It's Todd Rundgren, the Kif toJim Steinman's Zap Brannigan as
we've painted him this poor putupon figure who just has to come
up with whatever nonsense Jimwants this week.
Todd's an interesting guy hisWikipedia page is fucking
(23:14):
massive and it only mentionsMeat Loaf once.
you know, yeah, he's done loadsof shit.
Yeah.
But he's, he seems a pretty cooldude.
We've not actually mentionedthis, outside of our world of
Chat out of Hell characters,Todd was one of the big
influencers in getting Bat Outof Hell signed, he was one of
the people who really pushedColumbia Records.
(23:37):
Todd is one of the ones whoreally pushed for the whole kind
of incredible, stupid concept ofit.
So it's mildly unfair that wecreate this image of him as a
sort of put upon servant, justdoing whatever Jim asks of him.
his fault.
When it's probably all hisfault, yes.
Bonnie says this about Todd Sothis is from Bonnie's article in
Sounds Magazine, 1986, Imentioned it before the
(23:59):
recording, but this is allwritten directly in Bonnie's
voice.
So there's a lot of Welshisms inthere and you can hear Bonnie.
the backing vocals were donewith Todd Rundgren.
He arranged all the backingvocals and sang them with two
other boys".
Those other boys were Rory dodd,and, Oh shit, the other one
who's always there with RorySorry the other one, we'll get
(24:23):
to you.
Emma (24:24):
Your time will come
Sam (24:27):
So being as Todd was already working on the album
doing the backing vocals, weasked him if he'd the duet,
which he did...
even though this was the firstsingle released off the album,
it didn't make it in thiscountry, but I know for a fact
that it'll sell.
It'll be a hit.
It's one of those occasionswhere 18 months will pass after
the release, and suddenly it's ahit.
It's got to be a hit.
It's too gorgeous not to be.
He's got a beautiful voice, andthe song is gorgeous.
(24:48):
I'll eat my hat if it's not ahit here in two years." And it
did! It went to number one infive separate countries,
including the Eurodance Top 100.
Sorry, no, that's the Wikipediapage for Saturday Night by
Whigfield Loving You was not ahit.
It was number 73 in the UK andnumber 82 in the US.
(25:10):
The best it was in Portugal,where it was number 3.
I think that is an absolutedisgrace.
Emma (25:16):
way that you've just shoehorned Whigfield in was an
absolute disgrace.
Sam (25:19):
well I couldn't do it in the quiz for a reason you'll
find out later.
so yeah, it really just didn'tdo very well at all.
Before we go on to a bit moreabout the video, let's just dip
into world of Todd Rundgren,because I've got two cool Todd
Rundgren, I've got one cool ToddRundgren fact, and one heap of
bullshit.
So which would you like first?
Emma (25:37):
I would like The cool thing.
first.
Sam (25:38):
The cool thing.
Todd Rundgren has been in musicsince forever.
He's been in loads of bands.
He's made loads of cool stuffhimself.
this isn't about his musicalinvolvement though.
In 1972, he began a relationshipwith the model Bebe Buell.
they had a break in theirrelationship and Buell had a
relationship with somebody else,which resulted in an unplanned
child.
Bebe wanted to name Todd on thebirth certificate and she
(26:01):
claimed he was the biologicalfather.
He knew he wasn't, but he stillraised this child as his own.
Do you know who that child was?
Liv Tyler.
Emma (26:10):
Oh my god!
Sam (26:11):
Yeah, so Liv didn't find out she was Steven Tyler's
daughter until she was 11.
I think she knew Todd wasn't herbiological father younger than
that, but he paid to put herthrough school and yeah, they're
still, well, as of 2012,they've, they still had a very
close relationship.
So.
It's lovely, isn't it?
(26:31):
Yeah.
so that's the lovely thing.
And Todd's bullshit.
Todd and Jim belong together.
Emma (26:40):
Okay.
Sam (26:41):
The mid 1990s saw Todd Rundgren recording under the
pseudonym T.
R.
I.
Todd Rundgren Interactive.
for two albums.
The first of these, 1993's NoWorld Order, consisted of
hundreds of seconds longsnippets of music that could be
combined in various ways to suitthe listener.
(27:02):
Oh, I
Emma (27:04):
the sound of That's pure nineties bullshit interactive,
isn't
Sam (27:11):
Yes, it is bullshit interactive.
was made for the Philips CDIplatform
Emma (27:14):
Oh, that successful long lasting platform.
Sam (27:20):
so yeah, the version of Todd that exists in Chat Out of
Hell lore is both more and lessof a dingus than the Todd that
exists in real life.
Emma (27:31):
Glorious.
I like that.
I like that.
Sam (27:34):
we'll come back to Todd later on, I think, but I thought
it was nice to bring this songcause it's the first big meeting
with Todd we can have.
onto the video then.
Todd wasn't available to playhimself during the video.
So the actor Hywel Bennett playsthat role instead.
Bonnie says,"my manager and Iwere wondering about ideas for
the video for this track.
We got four different videocompanies interested in it and
(27:55):
they sent different storyboardsover to us.
I didn't like any of them,really.
Tim Pope's was the best, but Istill wasn't all that fussy on
it."
Emma (28:03):
That's the one
Sam (28:04):
that she
Emma (28:05):
went went with
Sam (28:07):
Tim did end up directing it, just because he was a bit
nicer.
he Was so helpful in every way.
He'd go through it, he'd do it,and I could see what he wanted.
Then I'd do it, and I felt muchmore comfortable doing something
after seeing somebody else do itfirst.
I'm not an actress, I'm asinger.
And then she went on to say,"Ido all the promotion.
I'm bloody hard working, I am."I'm not doing the accent.
(28:30):
But you can hear that in theaccent.
Yes.
Emma (28:32):
accent.
Sam (28:33):
I do everything but I don't mind doing it, see?
I really think I'm lucky to bedoing something that I really
enjoy doing anyway.
To turn around and say you'renot even going to work, which
isn't work because you enjoy it,you're cutting off your nose to
spite your face.
I don't think I've done my bitnow, let everyone else do
theirs.
You're not saving anyone's life,like, you're only singing for a
Emma (28:51):
right?
Ha ha ha ha.
Aw, how lovely and down to earthis that
Sam (28:57):
that's lovely.
Would you like a quiz?
Are
Emma (29:00):
you sure?
Sam (29:01):
you sure?
Okay, you hesitated there.
Hywel Bennett was a big name inacting at the time.
He'd been in Quite a lot ofstuff.
He was in a couple of big showson ITV during the mid 80s.
Kenneth Tynan described him as"the natural successor to
Olivier." To my mind, HalBennett's most important role is
as Ricky Tarr in the 1979 BBCversion of Tinker Tailor Soldier
(29:24):
Spy.
Have you seen that?
Have you seen the more recentfilm?
Okay, right.
Luckily I've summarized, ifyou've not seen it, Ricky Tarr
is a professional shaggeremployed by MI6 who seduces the
wife of a Soviet diplomat andkind of kicks off the plot.
which of these is not a rolethat Hywell Bennett played?
A.
Edwin Antony in the film Percy,1971, playing the recipient of
(29:49):
the world's first penistransplant.
Which he acquires after his ownpenis is mutilated.
When a naked man falls on himfrom the top of a tower block.
B.
The part of Mick Goonahan in thefilm Anyone for Sex?
1973, where he plays a man whosewife refuses to sleep with him
(30:10):
because they have enoughchildren already and then the au
pair mysteriously fallspregnant.
Or was it C, the part of TonyWilliams in Bums for Blighty?
1972, which is basically thesame plot as Some Like It Hot
where he dresses as a woman tojoin the England team in the
European Best Bum Championshipsto avoid a crime lord whose wife
(30:32):
he slept with.
One of those is not a role heplayed.
Emma (30:39):
I'm speechless.
Oh, they were very differenttimes, weren't They They Oof.
Oh, this is just a shot in thedark.
I've no idea.
So, I'm going to go for OptionB.
Option
Sam (30:52):
Option B.
Mick Goonan in the film Anyonefor Sex.
That was a real film.
He was in it.
Emma (30:58):
Oh, God.
Sam (31:00):
Anyone for Sex.
It was mostly known as The LoveBan, but it was also known as
Anyone for Sex, and that is
Emma (31:05):
real films, Sam?
Sam (31:07):
Well, Emma, which of the other two do you think I made
up?
Emma (31:10):
Oh,
Sam (31:10):
Bums for Britain?
Or, the one about the penistransplant.
Emma (31:15):
one about the penis transplant.
You
Sam (31:21):
I made that one up?
Emma (31:22):
I hope you made that one up.
Nope!.
you
Sam (31:29):
Wikipedia for the synopsis.
Edwin Antony, an innocent andshy young man, is hit by a nude
man falling from a high risebuilding, while carrying a
chandelier.
Edwin's penis is mutilated inthe accident and has to be
amputated.
The falling man is killed.
Edwin becomes the recipient ofthe world's first penis
transplant.
he receives the very large penisof the womanizer killed in the
(31:52):
same accident.
Edwin follows the womanizer'sfootsteps, meeting all of his
women friends before settlinghappily with the donor's
mistreated widow.
the 1970s was horrible.
Emma (32:09):
It sounds like a really bad plot for proper full on
porn,
Sam (32:15):
I don't think
Emma (32:15):
don't think
Sam (32:16):
it, it?
No, it will have been carry onlevel.
Emma (32:20):
Confessions of a window cleaner, a
Sam (32:22):
yes.
Emma (32:24):
Oh God.
Sam (32:25):
worry though, people at the time did think this was awful.
This is a review of The Love Banslash Anyone For Sex.
If, as on current form, itthoroughly deserves to, the
British film industry of theearly 70s comes to be remembered
primarily for its abysmalcomedies, then this quasi
sociological dirty joke aboutreligio sexual hang ups is
(32:45):
unlikely to be quoted as ashining exception.
Yeah, that was the quiz.
Emma (32:52):
Thanks for that.
Sam (32:53):
I just wanted to make up bums for
Emma (32:56):
blighty.
Bums for blighty?
Sam (32:58):
Anyone for sex?
Sounds like something Toast wasin.
Emma (33:02):
Anyone for sex?
Sam (33:03):
Anyone for sex?
Emma (33:06):
Oh, I hate it.
Sam (33:07):
Do you want to clean your palate by listening to Meat
Loaf's cover of
Emma (33:10):
of this.
Is that going to cleanse it, is
Sam (33:14):
Don't bother.
Emma, here we go.
Music (33:18):
There were times when our bodies glistened There were
times that we can't stop missinThere were times when we lay in
bed and listened to Thepounding, pounding chorus of our
desperate hearts Nothing couldhave torn
Sam (33:33):
we just listened to most of Meat Loaf's version of Loving
You's a Dirty Job But Somebody'sGot to Do It.
But Emma request we skip to theend halfway through, which is
the first time that has happenedon this podcast.
And we have listened to some badversions of some bad
Emma (33:47):
We've tolerated a lot, but that's just too much.
Yeah.
Sam (33:49):
it's awful, isn't it?
So this is the final albumBraver Than We Are, which is the
end of Meat Loaf's oeuvre.
I don't want to keep saying thesame things about this album.
Emma (34:02):
His voice is fucked.
Sam (34:03):
His voice is too fucked.
And
Emma (34:07):
The productions, it just, it's like eating plastic
Sam (34:11):
cheese.
It is.
You described it as Americancheese, the production on this.
There are synths and there areguitars, but they're all just,
Emma (34:18):
They're so shiny.
Sam (34:21):
yeah,
Emma (34:23):
shiny.
It is shiny.
And it shouldn't be shiny.
It should be a bit grimy.
Sam (34:26):
So we'll leave that at that.
I have one final thing to saybefore we rate this, and I
probably should have said itwhen we'd listened to the good
version.
I genuinely think if this songhad appeared later on on Bat 2
or maybe even Pandora's box, wewould be rightly remembering it
as a classic now.
if it had met Steinman's kind ofbig, massive, gothic, operatic,
(34:46):
waaaaaah sound, I think thatwould have worked really
Emma (34:51):
think that was It probably deserved better treatment.
And I think a lot of what Idon't like about some of the
Bonnie Tyler stuff is that lackof Yeah.
operatic,
Sam (35:00):
action guitar.
Yeah, it's very 80s, the
Emma (35:02):
you hear from Bonnie Tyler.
Yeah, yeah.
And I just don't really likethat
Sam (35:05):
That's fair enough.
How do you feel about holdingout for a hero?
Emma (35:09):
I do like holding out
Sam (35:10):
Good, so we've got one more that we
Emma (35:11):
can record.
Of course, I like
Sam (35:13):
time with.
I'll save that for when we'refeeling really down.
do you want to hear what thepeople of the internet think?
on the Meat Loaf version, StevenLawney 1261,"LOL, this album is
fucking hilarious."
Emma (35:27):
oh,
Sam (35:28):
People are not kind.
Emma (35:29):
No.
Sam (35:30):
And at Delona Supreme, "great song, but this version,
and I'm a Meat Loaf fan, alongwith the whole of the album, was
horrendous.
Bought the album and threw itaway after one listening.
Even worse than the Boys forPelé by Tori Amos".
I don't know it, do you?
Emma (35:47):
Er, I think I know bits of it
Sam (35:49):
Okay.
Is it that bad?
this is definitely worse thanWell yes it's worse than most
things I've listened to Over toBonnie then, for some uplifting
comments" at mtchair4me.
"Wow.
Powerful.
I gotta listen to this manytimes before I can even think of
constructing a reply.
(36:09):
I think reflection, muchreflection, has to be undertaken
before reason can start todecipher its meaning.
Thanks, Bonnie, for thismagnificent construct of
thought." Listen, I love thissong,
Emma (36:21):
not a lot of dialogue you
Sam (36:22):
but there's not a lot of deep dive you need to do into
it.
Emma (36:26):
museum a No it's it's not a thinker
Sam (36:29):
It's not! And finally, at McKinney Dermott.
"I went to New Zealand a fewyears ago, packed my Walkman.
I told you it was a few yearsago! But forgot all my tapes!
There was only one which was inthe device at the time.
Bonnie Tyler.
I thought, no, one tape for a 24hour journey?
(36:51):
It was so amazing.
I had to listen to all the songsover and over again and reflect
on them.
I learnt so much about life onthat plane.
So thank you, Bonnie Tyler.
I am no longer holding out for ahero.
Pun intended."
Emma (37:06):
Oh!
Sam (37:06):
I don't, what are people seeing in this that I am
missing?
Because it's a wonderful albumabout a lady who wants to do a
lot of sex.
That's
Emma (37:15):
Well listeners, if you've found a deeper meaning than Sam
has, why not write in to us at
Sam (37:19):
chatoutofhellatgmail.
com shall we rate this okay sothis is once again a Jim
Steinman song so Jim Steinman atthe top Jim Fineman in the
middle all the way down to JimDeclineman at the bottom
Emma (37:38):
Right, well, I'm going to say it's a Jim Fineman.
Sam (37:40):
know you are I love it no i'm not gonna disagree because
like i said if it had been mixedin the Bat out of Hell 2 style
it would be a Jim S teinman it'sa song that I love but it's not
what we're going to the JimSteinman shop for.
Yeah.
So yeah, let's call this JimFineman.
Emma (38:00):
Jim Fineman, isn't it's alright,
Sam (38:07):
that was Chat Out of Hell.
Listeners, did you enjoy slashhate either of those songs?
You probably hated one cover ofone of those songs.
Because we certainly did.
Let us know,chatoutofhellatgmail.
com.
Did you agree with our ratings?
Do you have things to say?
Do you have Meat Loaf memories?
Emma (38:26):
Like these
Sam (38:29):
Like these good people who I'm about to read emails out
from.
Thanks.
Yeah, we've got a really goodmailbag.
Let's start, Claire Moncaster.
She's been back in touch.
Hi Claire.
She says to me, now I've doneJim Steinman's voice, can I do
Meat Loaf mid tantrum?
I don't know about mid tantrum,but we didn't talk about it
(38:51):
during our Life is a Lemonsection.
Meat Loaf going Back!
Emma (38:57):
That is a staggering part of the song, isn't it?
Utterly unhinged.
Sam (39:04):
It's incredible.
Claire's also sent us in somesong and film suggestions, which
I will stick on the spreadsheet.
Thank you so much, Claire, forthose.
going back to last time wetalked about More, this is from
Eddy Thomas.
specifically, I think he'stalking about Meat Loaf's
version.
"More sounds like it's the musicfor a knockoff version of
(39:24):
Streets of Rage, with the bridgesounding like what teenagers
would play over badly made flashmovies on Newgrounds.
com in the 90s.
Emma (39:33):
Ha ha ha
Sam (39:35):
thought he'd enjoy that.
"There's a bit near the endwhere Meat Loaf shouts,'I want
more', through some synthesizerthat honestly sounds like Sam
doing a bad Meat Loaf impressionhate I hate to say it, but I
might have to go back and listento Meat Loaf doing More.
Emma (39:49):
we should,
Sam (39:50):
Thank you, Eddy.
This is from, the listener thatwe know as RL Grey.
Hello, RL.
I know your real name is now onthe email.
Because RL is gradually steppingaway from Facebook, so
Emma (40:04):
Fair
Sam (40:05):
he's switching to emails.
I'm gonna keep calling you RLGrey and give you some mystery.
RL says, enormously happy tohave you back after the break."
Thank you.
It's lovely, isn't it?
It's generally so nice whenpeople, Feed our egos.
Yes,
Emma (40:18):
Yes, and our egos are very hungry.
Sam (40:20):
And justify this.
We could be watching TheTraitors right
Emma (40:23):
now.
Oh, I know.
Sam (40:24):
Since you asked for song suggestions, I notice you
haven't yet reviewed any fromStoney and Meat Loaf Meat's pre
Steinman album debut.
I think one of the Rocky Horrorcast albums may also have come
first.
I think it's a really solidalbum." Let's cut out here.
we have two different classes oflistener.
We have the listeners who arelearning from us and the ones
(40:46):
who are watching us learn.
We've got two separate campswhich is lovely.
And I think we need names forthe two different classes of
listener.
So I know we came up withloafers for the listeners as a
whole, but, if you're learningfrom us about the stupid things
in the world of Meat Loaf andSteinman, or if you're watching
us on the journey, enjoying usas people like RL and Claire
are, let us know what group nameyou want.
(41:10):
Yeah.
Like, team names even.
The Megabastards, Or thefighting mongooses.
Yeah.
Let us know what your team nameis.
Anyway.
Yeah.
So, for the learners Meat Loafdid have a bit of a career
before he teamed up with Jim,including this album that he did
with Stoney, I've not listenedto it, but I understand it's bit
bluesy, a bit gospel
Emma (41:30):
I've only listened to a tiny little bit of it late one
night when I was doing a bit ofa deep dive.
Sam (41:36):
So yeah, I think that's a really good shout.
RL.
We'll definitely add that inrotation.
RL says you can't hear the wholething on YouTube, but you might
as well start with Heavy asJesus.
If I remember the anecdotecorrectly, this was the first
thing he sang for Steinman, whocommented,"I think you're as
heavy as three Jesuses".
Ha ha ha
Emma (41:55):
ha
Sam (41:56):
Jim.
Emma (41:57):
ago.
Oh,
Sam (41:59):
"For the record, no one calling himself Andrew Eldritch
has any business insisting he'snot at least a little goth.
Be well, R.
L." Thanks, R.
L.
Emma (42:07):
Oh, Thanks, rl.
Sam (42:09):
And then I've got one more for you, Emma.
This is from Max.
It's quite lengthy, so I'm goingto do a little bit of editing as
I go.
But Max did say this is a listof semi coherent thoughts.
So, I'm sure Max won't mind.
long time listener, first timewriter.
First, I want to sarcasticallythank you for confirming my long
held fear that I'm moderatelybrain damaged for thinking Hang
(42:31):
Cool Teddy Bear is a no skipalbum".
ha
Emma (42:37):
ha ha ha
Sam (42:39):
Thank you, Max, for taking it in such a nice,
Emma (42:41):
it
Sam (42:42):
such kind way.
That's really sweet
Emma (42:44):
some
Sam (42:44):
not here to judge anybody's tastes in God knows we both like
some shit.
if you enjoy the we think arebad, more power to you.
We're definitely not here tomake you feel bad for enjoying
stuff.
so, just because we've rated ita Jim DeKleinman, that's fine.
"Second, I want to sincerelythank you for being what I think
(43:05):
is the last platform doing anyin depth discussion of Meat Loaf
and Jim Steinman anymore.
Seriously, I once wrote a longform essay on Meat and Jim's
dynamic for a creative writingclass and this pod would have
been a treasure trove at thetime."
Emma (43:18):
Oh,
Sam (43:19):
That's very nice! That's two nice things we've heard
Emma (43:22):
that's, it makes it seem almost like we're doing
something worthwhile.
Yeah, I mean, almost, yeah, notactually, but
Sam (43:30):
Favorite Meat Slash Jim song?
probably Lost Boys and GoldenGirls, honestly.
"That's a banger.
Emma (43:35):
is a good one.
Sam (43:36):
like that one.
Emma (43:36):
Yeah.
We'll be coming to that at some
Sam (43:38):
Um, I know you've touched on Braver Than We Are before",
and again just now, this isreally interesting.
So Max found a forum post fromsomebody in contact with the
Steinman camp claiming that Jimhad no illusions about how
cooked Meat Loaf's voice is.
And saw Braver as a cynicalexercise in funding the Bat Out
of Hell musical by selling justa load of old shit that he had
(44:02):
in his basement.
Yeah.
it's quite believable.
And it sort of reframes the, theJohnny Cash thing for us a
little bit.
Because maybe Meat sees Braveras the last album and the kind
of the final swan song.
Jim is seeing, the Bat Out ofHell stage show as his final
gift to the world.
(44:22):
So of course he doesn't give ashit about Braver.
Emma (44:24):
And we'll be able to to tell you all about our thoughts
on that in April.
Sam (44:29):
will.
I'm also curious if you'velistened to Paradise Found.
The Neverland Express did acomplete re recording of Bat Out
of Hell a couple of years agowith another overweight southern
singer named Caleb Johnson."
Emma (44:39):
talked about Caleb before.
Sam (44:41):
I, yeah, I'm not sure if it made the cut, but yeah, we have
very briefly touched on Caleb.
so he was on, was he on AmericanIdol?
I think so, yeah.
Yeah.
So Max says he does a solid jobwith the material.
"They did a show near me acouple of years ago and it was
worth it if nothing else to seethe Neverland Express in action.
especially since I'm notconvinced the Bat Musical is
ever touring the U.
(45:01):
S.
again.
"Maybe it will if we buy enoughtickets in the U.
K.
"I know before he died, Meat wasactually in talks with Johnson
to do a VH1 Storytellers typething where Meat would MC slash
narrate and Johnson would do allthe singing." That is quite
interesting.
Emma (45:16):
would've been quite sweet.
Sam (45:17):
Yeah.
Max also suggests, we reviewsomething off Stoney and Meat
Loaf.
And then,"I'm much lessconfident that you've heard, but
still want you to review, Meat'sduet with Chef from South Park.
Tonight is right for love.
If only because I don't thinkanything sums up Meat Loaf as a
person more than breaking intoan inappropriate histrionic
(45:38):
tantrum mid song and needing toeat a taco to calm down"
Emma (45:41):
I Oh God
Sam (45:42):
Max suggests to catch a Yeti for the next film club and
then Max has.
A Meat Loaf memory! Strap inEmma, you're gonna love this.
Max, this is amazing.
Ahem.
I saw Meat Loaf at a grocerystore in Nashville a few years
(46:05):
ago.
I told him how cool it was tomeet him in person, but I didn't
want to be a douche and botherhim and ask him for photos or
anything.
He said,'Oh, like you're doingnow?
Emma (46:15):
rent.
Ha ha ha ha.
Ha ha ha ha ha ha ha.
Ha
Sam (46:19):
ha ha It gets better.
"I was taken aback and all Icould say was, Huh?
But he kept cutting me off andgoing,'Huh?
Huh?
Huh?' And closing his hand shutin front of my face.
I walked away and continued withmy shopping and I heard him
chuckle as I walked off.
When I came to pay for my stuffup front I saw him trying to
(46:39):
walk out the doors with like 15Milky Ways in his hands without
paying.
The girl at the counter was verynice about it and professional
and was like,'Sir, you need topay for those first.' At first
he kept pretending to be tiredand not hear her, but eventually
turned back around and broughtthem to the counter.
When she took one of the barsand started scanning it multiple
(47:02):
times, he stopped her and toldher to scan them each
individually To prevent anyelectrical inferterence.' And
then turned around and winked atme.
I don't think that's a word."
Emma (47:14):
a word.
Laughing.
Sam (47:16):
After she scanned each bar and put them in a bag and
started to say the price, hekept interrupting her by yawning
really loudly." What a powerdouche!
Emma (47:25):
Wow.
What a dick.
This is an incredible story.
I love it.
Sam (47:30):
that we've got this.
Emma (47:32):
max.
Yeah.
but a dick.
Sam (47:35):
Really does fuel our narrative version of Meat Loaf
that he turned into the ultimatebellend at the end of his life.
So
Emma (47:42):
Wow.
Sam (47:43):
if you have a Meat Loaf memory to match that, or not to
match that because What willdrop it to us,
chatoutofhellatgmail.
com.
keep your general Meat Loafthoughts and anecdotes flying in
do send them tochatoutofhellatgmail.
com or if you want to suggestany Meat Loaf or Steinman songs
or films for Film Club, sendthose in as well.
chatoutofhellatgmail.
(48:05):
com Did you see Meat Loaf atWendy's?
Perhaps he was looking at thecreepy girl in the logo,
wondering if she comes alive ofnight and does a murder.
Chat out of hell at gmail.
com I find the Wendy's logo abit weird.
Emma (48:19):
It is a bit
Sam (48:20):
It is a bit creepy, isn't it?
You tell that to the Americans,by which I mean, my wife.
And she's like, it's just agirl, isn't it?
And that's internationalrelations for you.
Emma, what songs are we doingnext time?
Emma (48:35):
for Next time I'm going to bring 45 Seconds of Ecstasy.
both the song and the substanceto our podcast recording
Sam (48:43):
That is what we need I am going to go back to the
Pandora's Box album to bring asong that nobody sings on called
Requiem Metal,
Emma (48:54):
Lovely.
Sam (48:55):
is 52 seconds long.
Emma (48:57):
So it's the Short songs
Sam (48:58):
Short Songs long podcasts.
That's what we're offering nexttime.
So yeah, if you have anyopinions on those, let us know.
ChatOutOfHellAtGmail.
com.
Can I say the email address onemore time?
ChatOutOfHellAtGmail.
com.
That's it.
Thank you as ever for listening.
Emma (49:15):
Yes, thank you, and we will see you in a fortnight!
Sam (49:19):
Oh, lovely.
Bye.
Emma (49:22):
Bye! Bing! It's finished.
What is this?
Emma (00:01):
This is Chat Out Of Hell.
The only fortnightly podcastthat continues to insist on
pulling apart Meat Loaf and JimSteinman songs like that Weird
kid at school who pulled thelegs off of Spiders.
Sam (00:15):
Who is Meat Loaf?
Emma (00:17):
Meat Loaf is a singer who in 1977, ran his operations out
of an eighth floor space oneighth Avenue and 35th Street
called The Meat Loft.
Jim Steinman had a mattressthere that he kept in a closet.
Who is Jim Steinman?
Sam (00:33):
Why has he got mattresses everywhere?
Emma (00:40):
You know that they're all crawling.
Sam (00:42):
you Awww oil stained
Emma (00:44):
Jim.
Sam (00:45):
Jim Steinman is a writer and musician who claims that his
first band, formed while he wasat Amherst College, was called
The Clitoris That Thought It WasA Puppy.
Emma (00:59):
Who are we?
Sam (01:00):
tickets to The Clitoris That Thought It Was A Puppy
tonight! Do you want to come?
Emma (01:04):
No! Who are we?
Sam (01:08):
You are Emma Crossland and I am Sam Wilkinson and we are
the brave explorers leading adoomed expedition deep into the
hearts of these two men.
I hope for all our sake thatthere's treasure at the end of
it because otherwise This is ahuge waste of time.
Emma (01:24):
Welcome to Chat Out of Hell!
Sam (01:25):
Bow now, now, now.
Good., You know how we normallymake a little bit of small talk
that I then cut to ribbons inthe edit?
Yeah.
Let's not even do
Emma (01:36):
even do that.
Okay.
Sam (01:37):
Let's barge straight in because we've got a lot to get
through.
Emma (01:40):
Okay.
Sam (01:40):
Good business.
Good business.
So yes, this is Chat Out of Hellin which we both bring a Jim
Steinman or Meat Loaf song todiscuss and analyse in our
inimitable way.
Emma, what have you brought thistime?
Emma (01:55):
I've brought Life is a Lemon and I Want My Money Back
from Bat out of Hell Two.
What have you brought?
Sam
Sam (02:03):
I have brought one of the songs that Jim Steinman wrote
for the wonderful Bonnie Tylerback in the
Emma (02:09):
your girlfriend?
Bonnie
Sam (02:11):
my girlfriend who's one year younger than my mum, Bonnie
Tyler.
Lovin You's a Dirty Job.
Brackets, But Somebody's Got toDo It So listeners, go find
yourselves Spotify, wherever youget your music from.
Find Life Is A Lemon and I WantMy Money Back from the album Bat
Out Of Hell 2.
We're going to listen to it now.
(02:32):
If you don't, that was justawkward, isn't
Music (02:35):
it's a never ending, nothing's a lie And that's a
fact There's a lemon and I wantmy cake back It's all or
nothing, it's always somethingThere's
Emma (02:53):
That was Life is a Lemon and I Want My Money Back from
Bat Out of Hell 2.
It was released as a radiosingle.
Apparently so there's no videoto it.
Okay.
But I think it was a promosingle, probably in the US
Sam (03:06):
Was it cut down from the eight minutes that we had just
listened to?
Emma (03:09):
Not as far as I can tell.
That was October the 25th, 1993.
Sam (03:15):
Can we just lay our cards on the table here and tell the
listeners we both fucking lovethis song.
Oh god, best ever.
It is the stupidest song eitherof them have ever
Emma (03:24):
but also it rocks really
Sam (03:26):
It does rock really hard, while being full of utter
Emma (03:30):
utter bullshit.
Yes, which makes it a firm
Sam (03:33):
Uh Huh,
Emma (03:33):
Do you want to hear what Jim had to say about it?
"Actually, one of my favouriteparts of the album is during
Life is a Lemon, at the middlesection where everything is
declared defective.
Yeah, I think everything isdefective, basically.
I think that's probably one ofthe premises of life if you
really look into it.
Pretty much everything isdefective, and everyone on some
(03:55):
level is incompetent.
"Once you accept that, I thinklife is much more peaceful.
That song was very much, to me,a teenager's anthem.
To me, you can still be ateenager at any age.
It's a certain sense of lack ofproportion, which I really
admire."
Sam (04:14):
Oh, I've just realised who Jim was.
He was the weird old man thatthe teenagers bought weed from.
Emma (04:23):
Yeah,
Sam (04:24):
Yeah, they'd have to have a joint in his house before he'd
sell them the full
Emma (04:28):
Yeah they, they didn't want to hang out with him, but
he made them.
that was Jim's take on it.
I've been scouring through theMeat Loaf autobiography to try
and find something relevant toany of the songs that we have
listened to and It's quite a bigbook considering there's fuck
all in it.
(04:49):
The only bit that I can findabout this song was"we"
referring to him and Jim we hadone big fight over the mix of
life is a lemon and I want mymoney back.
When I get mad, ten minuteslater, I'm the sorriest human
being on earth and I regretevery minute of it.
I just want to say I'm sorry,give you a hug, give you a kiss.
But as Leslie," his wife at thetime,"reminds me, when you blow
(05:09):
up like that, you have no ideaof the damage it can cause.
"People aren't waiting for yourhug.
It was four o'clock in themorning and I couldn't be held
responsible for anything I sayat that time.
Because I'm not a person who'sawake at four o'clock in the
morning.
Jim is.
"Jim smokes pot, listens to themixers in these specially
designed rooms.
(05:29):
He's a really unique individual.
He has a warehouse filled withamplifiers, a type Sony hasn't
made for 15 years.
Jim loves the sound of theseamps.
So, he's scooped up as many ashe could find, along with a
certain type of small speaker.
He's got them set up in theselistening rooms.
Jim gets a chair, his ashtray,sets up speakers on these plant
(05:51):
stands, hangs drapes in specialplaces around the room, and it's
an adventure in listening.
Sam (05:56):
Fucking hell
Emma (05:57):
"I listen in my car
Sam (05:59):
in ha ha ha ha
Emma (06:00):
"Because a car is what I always judge everything by.
If it's any good in a car, it'sfine.
When Jimmy listens to mixes, hedissects them.
He enters the music.
He picks this little guitarstring and that little note.
It will make you crazy.
Sam (06:19):
That is the difference between the two writ large,
isn't it?
We've been wasting our time.
We could have just read thatparagraph out and not bothered
with this.
that warehouse full of,
Emma (06:30):
Uhhuh,
Sam (06:31):
Which album was it?
One of the albums Jim sent outthe review copies
Emma (06:35):
oh, I can't remember now, but I
Sam (06:37):
his stereo and said the only way to listen to my album
is with the enclosed stereo
Emma (06:42):
Yeah.
I can't remember which
Sam (06:44):
Was it Pandora's Box
Emma (06:45):
mate, probably.
Pandora's Box seemed to be theheight of his pretension wow.
But I thought you would enjoy
Sam (06:51):
I love that Jim's got a whole warehouse full of
listening booths, whichpresumably only he is using
Because
Emma (06:58):
everybody else just listening to it in their
Sam (07:00):
in the car, wonder if warehouse is still there.
the warehouse in Indiana Jones.
All those
Emma (07:11):
wasn't it Stanley Kubrick who had a whole estate full of,
many boxes of things?
I think John Ronson was involvedin, like, the boxes of Stanley
Kubrick, where he just startedgoing through and finding all of
this stuff that he'd hoardedsort of filmmaking
Sam (07:23):
Jim's definitely got a
Emma (07:25):
Jim has a warehouse full of shit, doesn't
Sam (07:27):
he?
He absolutely does, yeah.
The Ark of the Covenant is inone box, and next to it is the t
shirt that Jim was wearing theday he wrote the first lyrics of
Bat Out
Emma (07:38):
There's the collection of mattresses.
Sam (07:40):
Oh!
Emma (07:41):
Jim's
Sam (07:42):
Jim's festering mattress pile.
Emma (07:47):
I did get a little quote from Q magazine who called it
the daftest rocking rebel songof all time, which I think sums
it up beautifully.
So talking about that, do youwant to have a little dig into
the lyrics?
So this is an angry song,
Sam (08:03):
I'm into ha ha ha ha
Emma (08:05):
but it's angry in that impotent rage of a teenager
Sam (08:08):
is Teenage Angry Song and we need to go back to this.
Meat Loaf and Jim are in theirmid forties when they released
this album.
Emma (08:16):
But as we've already said, Jim believes in the perpetual
teenager,
Sam (08:19):
Yeah, sure, Meat Loaf doesn't.
Meat Loaf believes in money.
Emma (08:24):
But yeah, looking at these lyrics.
Sam (08:25):
It's all or nothing, and nothing's all I ever get.
Emma (08:28):
Every time I turn it on, I burn it on, burn it out.
Then one of the best lines, it'salways something going wrong,
always
Sam (08:37):
something.
in this house., You go to get ascrewdriver to fix the thing,
but the screwdrivers haven'tbeen put away properly because
of somebody.
So you go and find them, butthen the Hoover's full, so you
have to empty the Hoover to getto the screwdrivers to fix the
thing.
Emma (08:52):
It's a never ending attack.
Sam (08:54):
My favorite line in this there's desperation in the air.
It leaves a stain on all yourclothes and no detergent gets it
Emma (09:02):
out, I've tried Bold, I've tried Surf
Sam (09:06):
It's pure Jim.
Emma (09:09):
gloriously daft.
Possibly even better than that
Sam (09:12):
Okay.
Emma (09:13):
is the list.
Sam (09:14):
The list, of course.
Emma (09:16):
this is the best list in a Jim Steinman song.
I reckon.
Sam (09:20):
What about love?
Emma (09:21):
It's
Sam (09:22):
Yeah.
What about sex?
Emma (09:23):
Defective.
Sam (09:24):
Family?
Friends?
Emma (09:26):
Defective.
Sam (09:27):
Hope.
Emma (09:28):
Defective.
Defective.
Your gods! Defective.
Defective.
Sam (09:34):
Defective.
Your Your school.
Emma (09:37):
Defective.
Your work.
Defective.
Your childhood Defective.
Sam (09:41):
Your future.
Emma (09:42):
Defective and you can shove it up your ass.
Of course, we're skipping someof the beautiful bits here.
Yes.
Cause each question does have aproper answer.
Not just about it beingdefective.
Sam (09:56):
you can picture Meat Loaf at the counter.
saying I'd like to return thislove.
It's defective.
It's always breaking in half.
Oh, okay.
I'm sorry.
I'm very sorry to hear that,sir.
Oh, and I see there's some sexon the table as
Emma (10:09):
Yeah, this one wasn't built to
Sam (10:11):
last.
Uh, okay.
I see Our returns policy here atJohn Lewis is
Emma (10:14):
Is that where he got all the stuff from, do you think,
John Lewis?
Yeah.
seems really teen angst to meis, What About Your School?
It's a pack of useless lies.
Yeah, they don't teach usanything
Sam (10:31):
Hey, when am I ever gonna have to work out the area of a
triangle?
The backing vocals have greatfun as well.
There's a lyric There'sdesperation.
There's
Emma (10:39):
There's desperation!
Sam (10:41):
Exactly.
Emma (10:44):
Sorry.
Sam (10:45):
It's all right.
The lead sings there'sdesperation in the air.
And then you get what is almostcertainly Rory Dodd doing his
brilliant falsetto.
There's desperation.
Emma (10:54):
It's amazing.
I think they must all getinvolved in the list chanting as
well, with the,
Sam (11:01):
What about your friends?
Emma (11:02):
They're defective.
Yeah, you probably
Sam (11:03):
All the parts are out of stock.
And what I look for in a friendis somebody whose parts can
easily be replaced off theshelf.
Emma (11:12):
like a a Ford Fiesta friend.
There are lots of parts aroundvarious scrapyards in the UK.
And of course they've got lotsof generic parts because they've
been a well established car.
Sorry, friend.
Sam (11:27):
Yeah, that's true.
It's, do you know what?
It's a real arse ache, importfriends.
Emma (11:31):
you don't
Sam (11:32):
They sound, like a good idea at first, but then when
they have a breakdown, there'snothing you can do to help.
Emma (11:40):
sounds wrong.
Sam (11:41):
Yeah!
Emma (11:42):
Yeah.
Yeah.
Yeah.
Sam (11:44):
I have an import spouse, everybody.
And may I say, it was veryexpensive to import
Emma (11:55):
I'm sure she'll really appreciate that.
Sam (11:57):
She will!
Emma (11:58):
she won't listen to this shit.
Important things to do.
stuff to I found this reviewchannel.
I think they're called Rewind,Relive, and Review, and it's,
two guys that are takingrequests for songs to review,
and then they decide whetherthey sizzle or fizzle.
Spoiler, they're split on thisone.
Sam (12:19):
so they only have two tiers
Emma (12:22):
no,
Sam (12:23):
scale.
That's no Jim Steinman, JimFineman or Jim Come on,
Emma (12:27):
guys.
Step it up a bit.
But what made me chuckle was,it's a visual channel, but it
doesn't need to be, because whenthey're listening to the song,
you get two minutes of them justsitting.
staring
Sam (12:39):
we are kind enough to edit ourselves out doing
Emma (12:42):
We edit ourselves out and also you don't have to watch
Sam (12:44):
us.
Ha! Yeah,
Emma (12:45):
but if you did watch us doing it, you would see the
party that we're having becausewe dance around, we sing along,
we move pets around when
Sam (12:54):
We do.
We occasionally do bits of admin
Emma (12:58):
check a text message every now and then have a drink, do a
burp,
Sam (13:02):
a little drink.
Do a little burp.
Emma (13:05):
get down tonight.
Sam (13:07):
tonight.
Emma (13:08):
But these guys just sat there and stared.
I don't think they, they likedthe song very much, but it just
made me laugh watching otherpeople listening to music.
quote from the bit that Ilistened to was, one of the guys
said,"this song's pretty dark.
It's darker than some of thatMegadeth we had the other day."
Is
Sam (13:29):
Is it that dark?
Emma (13:30):
Well, want to dig into The Megadeth?
Sam (13:34):
not doing a Megadeth podcast, Emma.
Emma (13:38):
I just want to find the review.
Sam (13:39):
this song is from the point of view of a miserable teenager.
But I don't find it dark at all.
I just find it very
Emma (13:47):
really funny.
Obviously it resonated a littlebit with teenage Emma when she
was having her angsty moments,
Sam (13:54):
it time?
Emma (13:55):
it's not really a Meat Loaf
Sam (13:56):
Meat Loaf memory.
Meat Loaf memories.
Are not happening
Emma (14:02):
No, it's just a general angsty sort of song to listen
to, but always as a bit of agiggle you want to hear what the
people of the internet have gotto say?
Rachel Brooks 4328 said,"Thefinal song to my father in law's
send off.
Crying emoji, heart emoji." GoodGod! It's a bold
Sam (14:26):
Yeah, we've discussed Meat Loaf funeral songs before.
I don't want this at my funeral.
I don't want to bum you lot outany more than you already will
Emma (14:37):
Also, it's a long one to sit through.
eight minutes.
Quite a lot of instrumentalnoodling.
I'd hope that somebody at thefuneral wouldn't be able to
resist doing a bit of air guitarto it as well.
Sam (14:48):
Well, if you do play this at my funeral, make sure
everyone knows it's okay tocheck your phones during the
instrumental.
Emma (14:56):
If that is built in specifically for that.
So yeah, check your phone, makesure you've not got any
important messages and also havea quick look on Facebook.
So, this one's really sweet, Ithink.
Joseph O'Neill2957 said,"Thisreminds me of my mum.
I did an Al Yankovic styleversion for her about my cat
(15:16):
stealing my pillow.
I want my pillow back.
Damn, I miss her."
Sam (15:23):
Aww,
Emma (15:24):
just thought that was incredibly sweet and lovely.
Sam (15:27):
Also, I can see you doing that on your ukulele.
Emma (15:29):
Ha ha ha ha I like to make up songs for Widget all the
time.
Widget is my cat.
My favourite one to sing isWidgie, woo, how'd you do?
To the Scooby Doo theme.
that really resonated with me.
It was very sweet.
Another brilliant one.
This is meme based.
He protect, he attack, but mostimportantly, he wants his money
(15:53):
back." And that was fromSnowball, the Cat 7 5, 4 2 and
finally.
By xmeatxloafxfreakex.
What about love?
It's defective.
It's always breaking in half.
Ain't that the truth.
In fact, this whole song is thetruth.
(16:15):
Everything's a lie and that's afact.
This song is freaking amazingand sooooo true.
I could scream it to theheavens.
Meat Loaf is a god of music!"Which is a slightly different
tone to the other ones that Ichose.
There was a lot of this sort of
Sam (16:33):
Yeah, I suppose there's a lot of teenagers out there,
isn't there?
Emma (16:38):
Yeah, especially teenagers that are well and truly in their
40s.
Sam (16:43):
There's more Jim Steinmans out there than we care to
Emma (16:45):
Yes.
But that's all I've got for
Sam (16:50):
you've is it time to rate this
Emma (16:51):
I think it is time to rate this song.
And I think This is going to bean easy one
Sam (16:55):
rate.
It is, but let me do the spiel.
Of As our regular listeners willknow, we rate all of our songs
by Jim Steinman.
on the patented, trademarked,organic, grass fed, grown in my
allotment, Jim Steinman songrating scale, which runs from
Jim Steinman at the top for hisfinest works, to Jim Fineman for
(17:16):
his decent stuff, all the waydown to Jim Declineman for the
bad songs.
Emma, what's
Emma (17:24):
this?
Oh, this is Jim Steinman!Steinman! What else could it be?
Sam (17:29):
else could it be?
Emma (17:30):
be?
Sam (17:33):
Yeah, obviously it's Jim Steinman.
He's one of our favourites.
Emma (17:35):
favourites.
Yes.
Sam (17:36):
End of conversation.
And if you disagree with usabout that, let us know!
chatoutofhellatgmail.
com
Emma (17:42):
Be prepared, we will fight you.
fight you.
Sam (17:45):
you.
Emma will fight you.
Emma (17:47):
I'm quite fighty.
She
Sam (17:48):
She just, sorry, for the purposes of the tape, she just
did the sort of the fists upboxing thing but in the style of
a 1930s boarding school boy.
Lovely.
Emma (18:01):
very much the energy behind that yeah
Sam (18:05):
So that was Life is a Lemon And I Want My Money Back and now
it's my turn.
I have brought to the tabletoday the song Loving You's a
Dirty Job(But Somebody's Got toDo It), which Jim wrote for
Bonnie Tyler for the albumSecret Dreams and Forbidden Fire
back in 1986.
Meat Loaf later covered it onhis final album, Braver Than We
Are.
(18:26):
If you're only going to listento one version, please don't
listen to the Meat Loaf one.
And also the video.
Did you, have you seen thevideo?
Okay.
There is a video to this.
It's quite silly.
I love it.
I love it.
I hope you do.
We're listening to this songnow.
Music (18:45):
we took our chances.
There were times, There weretimes to redempt the dancers.
There were times when we heardall the answers In the beating
of the drummer And the riches ofthe rock and the roll I can see
right through your soul Therewere times we had it all There
were times we had it all
Sam (19:07):
so that was Loving You's a Dirty Job(But Somebody's Got to
Do It).
Emma, you've not listened tothis
Emma (19:13):
this much.
No, I haven't, and I've
Sam (19:14):
I haven't.
We've not even, we've notdiscussed your opinion of this
before the show, so hit me, howdo you feel about
Emma (19:21):
not something that I would ever
Sam (19:22):
choose to listen
Emma (19:23):
to Fair enough.
It's alright though.
It's a bit of fun.
The video helps.
Sam (19:28):
The video helps a lot, I think.
It's one of these big torridtorch songs about a big love
affair where they can't livewith each other and nobody else
can live with them either.
So it's like Richard Burton andElizabeth Taylor and the video
is that story as well of twoactors in a theatre having a
fight and then going home again.
Well, three men just constantlysit
Emma (19:50):
Burton Three window cleaners
Sam (19:52):
Yes! Follow them around the theatre doing the backing
vocals.
Emma (19:57):
of things about video that I do really like.
Number one is Bonnie's hair,which I mean, so much hairspray.
I hope she doesn't get close toany naked flames.
Sam (20:06):
That's why it had to be raining.
Emma (20:08):
Yeah, throughout the entire video it is of course
raining.
Why are they cleaning windows inthe rain?
So, I love that hair.
It's big and it's going nowhere.
That's not going to move.
It's probably still solid now.
Yeah.
The other thing that I reallylike.
is Bonnie and, despite the madhair and, overly made up and
(20:28):
things both Bonnie and, who'sthe bloke?
Do we know?
Okay, Bonnie and the bloke bothlook reassuringly like Normal
people in a way that you don'tget in music videos
Sam (20:42):
Well, they look like Early film stars.
Emma (20:46):
Yeah, who looked like normal people.
They're not, like, outrageouslybeautiful.
Sam (20:53):
Very well dressed and made up.
Yeah.
Who are in a weird torrid loveaffair.
And
Emma (20:57):
he's not like,
Sam (20:58):
nice.
he's handsome No, he's a quitenice looking man.
But he's not, yeah, he's notCary Grant.
Emma (21:06):
No, I just, I think that's,
Sam (21:09):
think is nice.
Emma (21:10):
lot.
Sam (21:10):
Yeah, I agree, you're right, I've not really picked up
on that.
But, yeah.
They are normal, everydaypeople.
Emma (21:15):
Yeah.
Sam (21:17):
So this song some facts.
like I said, it's from the 1986album, Secret Dreams and
Forbidden Fire, which is thesecond album that Jim produced
for Bonnie.
And he wrote three or four songson it as well.
So we've talked about thisbefore.
Jim turned down being thelyricist on Phantom of the Opera
because he was contractuallyobliged to do this album.
(21:37):
I think that's important tounderstand it through this lens
because one of them is about ahorny weirdo who lives in a
horrible house and makes a womanbe really good at singing
Emma (21:47):
really good at singing.
Sam (21:49):
and the other is Phantom of
Emma (21:50):
Opera, Bob.
It's
Sam (21:54):
But yes, this entire album is horny as balls.
ravishing, which I know I sprungon you last series.
song just about doing it is, isoff this album.
Every single song on this albumis filth.
Bonnie has called it a"punchy,really raunchy album".
the song as a whole, I like itbecause it's a different version
(22:16):
of Jim's theater style.
This is the other side oftheater.
This isn't opera.
This is actors who think toomuch of themselves.
Emma (22:28):
It's definitely got that vibe to it.
And of course it is a one of thegym tropes.
It's a duet.
It's a With Bonnie taking thelead.
The Meat Loaf role, as it wouldhave been.
Sam (22:42):
it's a duet.
Do you
Emma (22:43):
know
Sam (22:43):
that duet is with?
Emma (22:44):
No.
Sam (22:45):
It's with Todd Rundgren!
Emma (22:47):
Is it?
Yeah! Is he in the video aswell?
Sam (22:50):
No.
Emma (22:51):
Ah, I didn't know.
That's a shame.
I don't know what he looks
Sam (22:53):
Exactly, we still don't, I mean, you could look it up, but
we've decided not to.
It's Todd Rundgren, the Kif toJim Steinman's Zap Brannigan as
we've painted him this poor putupon figure who just has to come
up with whatever nonsense Jimwants this week.
Todd's an interesting guy hisWikipedia page is fucking
(23:14):
massive and it only mentionsMeat Loaf once.
you know, yeah, he's done loadsof shit.
Yeah.
But he's, he seems a pretty cooldude.
We've not actually mentionedthis, outside of our world of
Chat out of Hell characters,Todd was one of the big
influencers in getting Bat Outof Hell signed, he was one of
the people who really pushedColumbia Records.
(23:37):
Todd is one of the ones whoreally pushed for the whole kind
of incredible, stupid concept ofit.
So it's mildly unfair that wecreate this image of him as a
sort of put upon servant, justdoing whatever Jim asks of him.
his fault.
When it's probably all hisfault, yes.
Bonnie says this about Todd Sothis is from Bonnie's article in
Sounds Magazine, 1986, Imentioned it before the
(23:59):
recording, but this is allwritten directly in Bonnie's
voice.
So there's a lot of Welshisms inthere and you can hear Bonnie.
the backing vocals were donewith Todd Rundgren.
He arranged all the backingvocals and sang them with two
other boys".
Those other boys were Rory dodd,and, Oh shit, the other one
who's always there with RorySorry the other one, we'll get
(24:23):
to you.
Emma (24:24):
Your time will come
Sam (24:27):
So being as Todd was already working on the album
doing the backing vocals, weasked him if he'd the duet,
which he did...
even though this was the firstsingle released off the album,
it didn't make it in thiscountry, but I know for a fact
that it'll sell.
It'll be a hit.
It's one of those occasionswhere 18 months will pass after
the release, and suddenly it's ahit.
It's got to be a hit.
It's too gorgeous not to be.
He's got a beautiful voice, andthe song is gorgeous.
(24:48):
I'll eat my hat if it's not ahit here in two years." And it
did! It went to number one infive separate countries,
including the Eurodance Top 100.
Sorry, no, that's the Wikipediapage for Saturday Night by
Whigfield Loving You was not ahit.
It was number 73 in the UK andnumber 82 in the US.
(25:10):
The best it was in Portugal,where it was number 3.
I think that is an absolutedisgrace.
Emma (25:16):
way that you've just shoehorned Whigfield in was an
absolute disgrace.
Sam (25:19):
well I couldn't do it in the quiz for a reason you'll
find out later.
so yeah, it really just didn'tdo very well at all.
Before we go on to a bit moreabout the video, let's just dip
into world of Todd Rundgren,because I've got two cool Todd
Rundgren, I've got one cool ToddRundgren fact, and one heap of
bullshit.
So which would you like first?
Emma (25:37):
I would like The cool thing.
first.
Sam (25:38):
The cool thing.
Todd Rundgren has been in musicsince forever.
He's been in loads of bands.
He's made loads of cool stuffhimself.
this isn't about his musicalinvolvement though.
In 1972, he began a relationshipwith the model Bebe Buell.
they had a break in theirrelationship and Buell had a
relationship with somebody else,which resulted in an unplanned
child.
Bebe wanted to name Todd on thebirth certificate and she
(26:01):
claimed he was the biologicalfather.
He knew he wasn't, but he stillraised this child as his own.
Do you know who that child was?
Liv Tyler.
Emma (26:10):
Oh my god!
Sam (26:11):
Yeah, so Liv didn't find out she was Steven Tyler's
daughter until she was 11.
I think she knew Todd wasn't herbiological father younger than
that, but he paid to put herthrough school and yeah, they're
still, well, as of 2012,they've, they still had a very
close relationship.
So.
It's lovely, isn't it?
(26:31):
Yeah.
so that's the lovely thing.
And Todd's bullshit.
Todd and Jim belong together.
Emma (26:40):
Okay.
Sam (26:41):
The mid 1990s saw Todd Rundgren recording under the
pseudonym T.
R.
I.
Todd Rundgren Interactive.
for two albums.
The first of these, 1993's NoWorld Order, consisted of
hundreds of seconds longsnippets of music that could be
combined in various ways to suitthe listener.
(27:02):
Oh, I
Emma (27:04):
the sound of That's pure nineties bullshit interactive,
isn't
Sam (27:11):
Yes, it is bullshit interactive.
was made for the Philips CDIplatform
Emma (27:14):
Oh, that successful long lasting platform.
Sam (27:20):
so yeah, the version of Todd that exists in Chat Out of
Hell lore is both more and lessof a dingus than the Todd that
exists in real life.
Emma (27:31):
Glorious.
I like that.
I like that.
Sam (27:34):
we'll come back to Todd later on, I think, but I thought
it was nice to bring this songcause it's the first big meeting
with Todd we can have.
onto the video then.
Todd wasn't available to playhimself during the video.
So the actor Hywel Bennett playsthat role instead.
Bonnie says,"my manager and Iwere wondering about ideas for
the video for this track.
We got four different videocompanies interested in it and
(27:55):
they sent different storyboardsover to us.
I didn't like any of them,really.
Tim Pope's was the best, but Istill wasn't all that fussy on
it."
Emma (28:03):
That's the one
Sam (28:04):
that she
Emma (28:05):
went went with
Sam (28:07):
Tim did end up directing it, just because he was a bit
nicer.
he Was so helpful in every way.
He'd go through it, he'd do it,and I could see what he wanted.
Then I'd do it, and I felt muchmore comfortable doing something
after seeing somebody else do itfirst.
I'm not an actress, I'm asinger.
And then she went on to say,"Ido all the promotion.
I'm bloody hard working, I am."I'm not doing the accent.
(28:30):
But you can hear that in theaccent.
Yes.
Emma (28:32):
accent.
Sam (28:33):
I do everything but I don't mind doing it, see?
I really think I'm lucky to bedoing something that I really
enjoy doing anyway.
To turn around and say you'renot even going to work, which
isn't work because you enjoy it,you're cutting off your nose to
spite your face.
I don't think I've done my bitnow, let everyone else do
theirs.
You're not saving anyone's life,like, you're only singing for a
Emma (28:51):
right?
Ha ha ha ha.
Aw, how lovely and down to earthis that
Sam (28:57):
that's lovely.
Would you like a quiz?
Are
Emma (29:00):
you sure?
Sam (29:01):
you sure?
Okay, you hesitated there.
Hywel Bennett was a big name inacting at the time.
He'd been in Quite a lot ofstuff.
He was in a couple of big showson ITV during the mid 80s.
Kenneth Tynan described him as"the natural successor to
Olivier." To my mind, HalBennett's most important role is
as Ricky Tarr in the 1979 BBCversion of Tinker Tailor Soldier
(29:24):
Spy.
Have you seen that?
Have you seen the more recentfilm?
Okay, right.
Luckily I've summarized, ifyou've not seen it, Ricky Tarr
is a professional shaggeremployed by MI6 who seduces the
wife of a Soviet diplomat andkind of kicks off the plot.
which of these is not a rolethat Hywell Bennett played?
A.
Edwin Antony in the film Percy,1971, playing the recipient of
(29:49):
the world's first penistransplant.
Which he acquires after his ownpenis is mutilated.
When a naked man falls on himfrom the top of a tower block.
B.
The part of Mick Goonahan in thefilm Anyone for Sex?
1973, where he plays a man whosewife refuses to sleep with him
(30:10):
because they have enoughchildren already and then the au
pair mysteriously fallspregnant.
Or was it C, the part of TonyWilliams in Bums for Blighty?
1972, which is basically thesame plot as Some Like It Hot
where he dresses as a woman tojoin the England team in the
European Best Bum Championshipsto avoid a crime lord whose wife
(30:32):
he slept with.
One of those is not a role heplayed.
Emma (30:39):
I'm speechless.
Oh, they were very differenttimes, weren't They They Oof.
Oh, this is just a shot in thedark.
I've no idea.
So, I'm going to go for OptionB.
Option
Sam (30:52):
Option B.
Mick Goonan in the film Anyonefor Sex.
That was a real film.
He was in it.
Emma (30:58):
Oh, God.
Sam (31:00):
Anyone for Sex.
It was mostly known as The LoveBan, but it was also known as
Anyone for Sex, and that is
Emma (31:05):
real films, Sam?
Sam (31:07):
Well, Emma, which of the other two do you think I made
up?
Emma (31:10):
Oh,
Sam (31:10):
Bums for Britain?
Or, the one about the penistransplant.
Emma (31:15):
one about the penis transplant.
You
Sam (31:21):
I made that one up?
Emma (31:22):
I hope you made that one up.
Nope!.
you
Sam (31:29):
Wikipedia for the synopsis.
Edwin Antony, an innocent andshy young man, is hit by a nude
man falling from a high risebuilding, while carrying a
chandelier.
Edwin's penis is mutilated inthe accident and has to be
amputated.
The falling man is killed.
Edwin becomes the recipient ofthe world's first penis
transplant.
he receives the very large penisof the womanizer killed in the
(31:52):
same accident.
Edwin follows the womanizer'sfootsteps, meeting all of his
women friends before settlinghappily with the donor's
mistreated widow.
the 1970s was horrible.
Emma (32:09):
It sounds like a really bad plot for proper full on
porn,
Sam (32:15):
I don't think
Emma (32:15):
don't think
Sam (32:16):
it, it?
No, it will have been carry onlevel.
Emma (32:20):
Confessions of a window cleaner, a
Sam (32:22):
yes.
Emma (32:24):
Oh God.
Sam (32:25):
worry though, people at the time did think this was awful.
This is a review of The Love Banslash Anyone For Sex.
If, as on current form, itthoroughly deserves to, the
British film industry of theearly 70s comes to be remembered
primarily for its abysmalcomedies, then this quasi
sociological dirty joke aboutreligio sexual hang ups is
(32:45):
unlikely to be quoted as ashining exception.
Yeah, that was the quiz.
Emma (32:52):
Thanks for that.
Sam (32:53):
I just wanted to make up bums for
Emma (32:56):
blighty.
Bums for blighty?
Sam (32:58):
Anyone for sex?
Sounds like something Toast wasin.
Emma (33:02):
Anyone for sex?
Sam (33:03):
Anyone for sex?
Emma (33:06):
Oh, I hate it.
Sam (33:07):
Do you want to clean your palate by listening to Meat
Loaf's cover of
Emma (33:10):
of this.
Is that going to cleanse it, is
Sam (33:14):
Don't bother.
Emma, here we go.
Music (33:18):
There were times when our bodies glistened There were
times that we can't stop missinThere were times when we lay in
bed and listened to Thepounding, pounding chorus of our
desperate hearts Nothing couldhave torn
Sam (33:33):
we just listened to most of Meat Loaf's version of Loving
You's a Dirty Job But Somebody'sGot to Do It.
But Emma request we skip to theend halfway through, which is
the first time that has happenedon this podcast.
And we have listened to some badversions of some bad
Emma (33:47):
We've tolerated a lot, but that's just too much.
Yeah.
Sam (33:49):
it's awful, isn't it?
So this is the final albumBraver Than We Are, which is the
end of Meat Loaf's oeuvre.
I don't want to keep saying thesame things about this album.
Emma (34:02):
His voice is fucked.
Sam (34:03):
His voice is too fucked.
And
Emma (34:07):
The productions, it just, it's like eating plastic
Sam (34:11):
cheese.
It is.
You described it as Americancheese, the production on this.
There are synths and there areguitars, but they're all just,
Emma (34:18):
They're so shiny.
Sam (34:21):
yeah,
Emma (34:23):
shiny.
It is shiny.
And it shouldn't be shiny.
It should be a bit grimy.
Sam (34:26):
So we'll leave that at that.
I have one final thing to saybefore we rate this, and I
probably should have said itwhen we'd listened to the good
version.
I genuinely think if this songhad appeared later on on Bat 2
or maybe even Pandora's box, wewould be rightly remembering it
as a classic now.
if it had met Steinman's kind ofbig, massive, gothic, operatic,
(34:46):
waaaaaah sound, I think thatwould have worked really
Emma (34:51):
think that was It probably deserved better treatment.
And I think a lot of what Idon't like about some of the
Bonnie Tyler stuff is that lackof Yeah.
operatic,
Sam (35:00):
action guitar.
Yeah, it's very 80s, the
Emma (35:02):
you hear from Bonnie Tyler.
Yeah, yeah.
And I just don't really likethat
Sam (35:05):
That's fair enough.
How do you feel about holdingout for a hero?
Emma (35:09):
I do like holding out
Sam (35:10):
Good, so we've got one more that we
Emma (35:11):
can record.
Of course, I like
Sam (35:13):
time with.
I'll save that for when we'refeeling really down.
do you want to hear what thepeople of the internet think?
on the Meat Loaf version, StevenLawney 1261,"LOL, this album is
fucking hilarious."
Emma (35:27):
oh,
Sam (35:28):
People are not kind.
Emma (35:29):
No.
Sam (35:30):
And at Delona Supreme, "great song, but this version,
and I'm a Meat Loaf fan, alongwith the whole of the album, was
horrendous.
Bought the album and threw itaway after one listening.
Even worse than the Boys forPelé by Tori Amos".
I don't know it, do you?
Emma (35:47):
Er, I think I know bits of it
Sam (35:49):
Okay.
Is it that bad?
this is definitely worse thanWell yes it's worse than most
things I've listened to Over toBonnie then, for some uplifting
comments" at mtchair4me.
"Wow.
Powerful.
I gotta listen to this manytimes before I can even think of
constructing a reply.
(36:09):
I think reflection, muchreflection, has to be undertaken
before reason can start todecipher its meaning.
Thanks, Bonnie, for thismagnificent construct of
thought." Listen, I love thissong,
Emma (36:21):
not a lot of dialogue you
Sam (36:22):
but there's not a lot of deep dive you need to do into
it.
Emma (36:26):
museum a No it's it's not a thinker
Sam (36:29):
It's not! And finally, at McKinney Dermott.
"I went to New Zealand a fewyears ago, packed my Walkman.
I told you it was a few yearsago! But forgot all my tapes!
There was only one which was inthe device at the time.
Bonnie Tyler.
I thought, no, one tape for a 24hour journey?
(36:51):
It was so amazing.
I had to listen to all the songsover and over again and reflect
on them.
I learnt so much about life onthat plane.
So thank you, Bonnie Tyler.
I am no longer holding out for ahero.
Pun intended."
Emma (37:06):
Oh!
Sam (37:06):
I don't, what are people seeing in this that I am
missing?
Because it's a wonderful albumabout a lady who wants to do a
lot of sex.
That's
Emma (37:15):
Well listeners, if you've found a deeper meaning than Sam
has, why not write in to us at
Sam (37:19):
chatoutofhellatgmail.
com shall we rate this okay sothis is once again a Jim
Steinman song so Jim Steinman atthe top Jim Fineman in the
middle all the way down to JimDeclineman at the bottom
Emma (37:38):
Right, well, I'm going to say it's a Jim Fineman.
Sam (37:40):
know you are I love it no i'm not gonna disagree because
like i said if it had been mixedin the Bat out of Hell 2 style
it would be a Jim S teinman it'sa song that I love but it's not
what we're going to the JimSteinman shop for.
Yeah.
So yeah, let's call this JimFineman.
Emma (38:00):
Jim Fineman, isn't it's alright,
Sam (38:07):
that was Chat Out of Hell.
Listeners, did you enjoy slashhate either of those songs?
You probably hated one cover ofone of those songs.
Because we certainly did.
Let us know,chatoutofhellatgmail.
com.
Did you agree with our ratings?
Do you have things to say?
Do you have Meat Loaf memories?
Emma (38:26):
Like these
Sam (38:29):
Like these good people who I'm about to read emails out
from.
Thanks.
Yeah, we've got a really goodmailbag.
Let's start, Claire Moncaster.
She's been back in touch.
Hi Claire.
She says to me, now I've doneJim Steinman's voice, can I do
Meat Loaf mid tantrum?
I don't know about mid tantrum,but we didn't talk about it
(38:51):
during our Life is a Lemonsection.
Meat Loaf going Back!
Emma (38:57):
That is a staggering part of the song, isn't it?
Utterly unhinged.
Sam (39:04):
It's incredible.
Claire's also sent us in somesong and film suggestions, which
I will stick on the spreadsheet.
Thank you so much, Claire, forthose.
going back to last time wetalked about More, this is from
Eddy Thomas.
specifically, I think he'stalking about Meat Loaf's
version.
"More sounds like it's the musicfor a knockoff version of
(39:24):
Streets of Rage, with the bridgesounding like what teenagers
would play over badly made flashmovies on Newgrounds.
com in the 90s.
Emma (39:33):
Ha ha ha
Sam (39:35):
thought he'd enjoy that.
"There's a bit near the endwhere Meat Loaf shouts,'I want
more', through some synthesizerthat honestly sounds like Sam
doing a bad Meat Loaf impressionhate I hate to say it, but I
might have to go back and listento Meat Loaf doing More.
Emma (39:49):
we should,
Sam (39:50):
Thank you, Eddy.
This is from, the listener thatwe know as RL Grey.
Hello, RL.
I know your real name is now onthe email.
Because RL is gradually steppingaway from Facebook, so
Emma (40:04):
Fair
Sam (40:05):
he's switching to emails.
I'm gonna keep calling you RLGrey and give you some mystery.
RL says, enormously happy tohave you back after the break."
Thank you.
It's lovely, isn't it?
It's generally so nice whenpeople, Feed our egos.
Yes,
Emma (40:18):
Yes, and our egos are very hungry.
Sam (40:20):
And justify this.
We could be watching TheTraitors right
Emma (40:23):
now.
Oh, I know.
Sam (40:24):
Since you asked for song suggestions, I notice you
haven't yet reviewed any fromStoney and Meat Loaf Meat's pre
Steinman album debut.
I think one of the Rocky Horrorcast albums may also have come
first.
I think it's a really solidalbum." Let's cut out here.
we have two different classes oflistener.
We have the listeners who arelearning from us and the ones
(40:46):
who are watching us learn.
We've got two separate campswhich is lovely.
And I think we need names forthe two different classes of
listener.
So I know we came up withloafers for the listeners as a
whole, but, if you're learningfrom us about the stupid things
in the world of Meat Loaf andSteinman, or if you're watching
us on the journey, enjoying usas people like RL and Claire
are, let us know what group nameyou want.
(41:10):
Yeah.
Like, team names even.
The Megabastards, Or thefighting mongooses.
Yeah.
Let us know what your team nameis.
Anyway.
Yeah.
So, for the learners Meat Loafdid have a bit of a career
before he teamed up with Jim,including this album that he did
with Stoney, I've not listenedto it, but I understand it's bit
bluesy, a bit gospel
Emma (41:30):
I've only listened to a tiny little bit of it late one
night when I was doing a bit ofa deep dive.
Sam (41:36):
So yeah, I think that's a really good shout.
RL.
We'll definitely add that inrotation.
RL says you can't hear the wholething on YouTube, but you might
as well start with Heavy asJesus.
If I remember the anecdotecorrectly, this was the first
thing he sang for Steinman, whocommented,"I think you're as
heavy as three Jesuses".
Ha ha ha
Emma (41:55):
ha
Sam (41:56):
Jim.
Emma (41:57):
ago.
Oh,
Sam (41:59):
"For the record, no one calling himself Andrew Eldritch
has any business insisting he'snot at least a little goth.
Be well, R.
L." Thanks, R.
L.
Emma (42:07):
Oh, Thanks, rl.
Sam (42:09):
And then I've got one more for you, Emma.
This is from Max.
It's quite lengthy, so I'm goingto do a little bit of editing as
I go.
But Max did say this is a listof semi coherent thoughts.
So, I'm sure Max won't mind.
long time listener, first timewriter.
First, I want to sarcasticallythank you for confirming my long
held fear that I'm moderatelybrain damaged for thinking Hang
(42:31):
Cool Teddy Bear is a no skipalbum".
ha
Emma (42:37):
ha ha ha
Sam (42:39):
Thank you, Max, for taking it in such a nice,
Emma (42:41):
it
Sam (42:42):
such kind way.
That's really sweet
Emma (42:44):
some
Sam (42:44):
not here to judge anybody's tastes in God knows we both like
some shit.
if you enjoy the we think arebad, more power to you.
We're definitely not here tomake you feel bad for enjoying
stuff.
so, just because we've rated ita Jim DeKleinman, that's fine.
"Second, I want to sincerelythank you for being what I think
(43:05):
is the last platform doing anyin depth discussion of Meat Loaf
and Jim Steinman anymore.
Seriously, I once wrote a longform essay on Meat and Jim's
dynamic for a creative writingclass and this pod would have
been a treasure trove at thetime."
Emma (43:18):
Oh,
Sam (43:19):
That's very nice! That's two nice things we've heard
Emma (43:22):
that's, it makes it seem almost like we're doing
something worthwhile.
Yeah, I mean, almost, yeah, notactually, but
Sam (43:30):
Favorite Meat Slash Jim song?
probably Lost Boys and GoldenGirls, honestly.
"That's a banger.
Emma (43:35):
is a good one.
Sam (43:36):
like that one.
Emma (43:36):
Yeah.
We'll be coming to that at some
Sam (43:38):
Um, I know you've touched on Braver Than We Are before",
and again just now, this isreally interesting.
So Max found a forum post fromsomebody in contact with the
Steinman camp claiming that Jimhad no illusions about how
cooked Meat Loaf's voice is.
And saw Braver as a cynicalexercise in funding the Bat Out
of Hell musical by selling justa load of old shit that he had
(44:02):
in his basement.
Yeah.
it's quite believable.
And it sort of reframes the, theJohnny Cash thing for us a
little bit.
Because maybe Meat sees Braveras the last album and the kind
of the final swan song.
Jim is seeing, the Bat Out ofHell stage show as his final
gift to the world.
(44:22):
So of course he doesn't give ashit about Braver.
Emma (44:24):
And we'll be able to to tell you all about our thoughts
on that in April.
Sam (44:29):
will.
I'm also curious if you'velistened to Paradise Found.
The Neverland Express did acomplete re recording of Bat Out
of Hell a couple of years agowith another overweight southern
singer named Caleb Johnson."
Emma (44:39):
talked about Caleb before.
Sam (44:41):
I, yeah, I'm not sure if it made the cut, but yeah, we have
very briefly touched on Caleb.
so he was on, was he on AmericanIdol?
I think so, yeah.
Yeah.
So Max says he does a solid jobwith the material.
"They did a show near me acouple of years ago and it was
worth it if nothing else to seethe Neverland Express in action.
especially since I'm notconvinced the Bat Musical is
ever touring the U.
(45:01):
S.
again.
"Maybe it will if we buy enoughtickets in the U.
K.
"I know before he died, Meat wasactually in talks with Johnson
to do a VH1 Storytellers typething where Meat would MC slash
narrate and Johnson would do allthe singing." That is quite
interesting.
Emma (45:16):
would've been quite sweet.
Sam (45:17):
Yeah.
Max also suggests, we reviewsomething off Stoney and Meat
Loaf.
And then,"I'm much lessconfident that you've heard, but
still want you to review, Meat'sduet with Chef from South Park.
Tonight is right for love.
If only because I don't thinkanything sums up Meat Loaf as a
person more than breaking intoan inappropriate histrionic
(45:38):
tantrum mid song and needing toeat a taco to calm down"
Emma (45:41):
I Oh God
Sam (45:42):
Max suggests to catch a Yeti for the next film club and
then Max has.
A Meat Loaf memory! Strap inEmma, you're gonna love this.
Max, this is amazing.
Ahem.
I saw Meat Loaf at a grocerystore in Nashville a few years
(46:05):
ago.
I told him how cool it was tomeet him in person, but I didn't
want to be a douche and botherhim and ask him for photos or
anything.
He said,'Oh, like you're doingnow?
Emma (46:15):
rent.
Ha ha ha ha.
Ha ha ha ha ha ha ha.
Ha
Sam (46:19):
ha ha It gets better.
"I was taken aback and all Icould say was, Huh?
But he kept cutting me off andgoing,'Huh?
Huh?
Huh?' And closing his hand shutin front of my face.
I walked away and continued withmy shopping and I heard him
chuckle as I walked off.
When I came to pay for my stuffup front I saw him trying to
(46:39):
walk out the doors with like 15Milky Ways in his hands without
paying.
The girl at the counter was verynice about it and professional
and was like,'Sir, you need topay for those first.' At first
he kept pretending to be tiredand not hear her, but eventually
turned back around and broughtthem to the counter.
When she took one of the barsand started scanning it multiple
(47:02):
times, he stopped her and toldher to scan them each
individually To prevent anyelectrical inferterence.' And
then turned around and winked atme.
I don't think that's a word."
Emma (47:14):
a word.
Laughing.
Sam (47:16):
After she scanned each bar and put them in a bag and
started to say the price, hekept interrupting her by yawning
really loudly." What a powerdouche!
Emma (47:25):
Wow.
What a dick.
This is an incredible story.
I love it.
Sam (47:30):
that we've got this.
Emma (47:32):
max.
Yeah.
but a dick.
Sam (47:35):
Really does fuel our narrative version of Meat Loaf
that he turned into the ultimatebellend at the end of his life.
So
Emma (47:42):
Wow.
Sam (47:43):
if you have a Meat Loaf memory to match that, or not to
match that because What willdrop it to us,
chatoutofhellatgmail.
com.
keep your general Meat Loafthoughts and anecdotes flying in
do send them tochatoutofhellatgmail.
com or if you want to suggestany Meat Loaf or Steinman songs
or films for Film Club, sendthose in as well.
chatoutofhellatgmail.
(48:05):
com Did you see Meat Loaf atWendy's?
Perhaps he was looking at thecreepy girl in the logo,
wondering if she comes alive ofnight and does a murder.
Chat out of hell at gmail.
com I find the Wendy's logo abit weird.
Emma (48:19):
It is a bit
Sam (48:20):
It is a bit creepy, isn't it?
You tell that to the Americans,by which I mean, my wife.
And she's like, it's just agirl, isn't it?
And that's internationalrelations for you.
Emma, what songs are we doingnext time?
Emma (48:35):
for Next time I'm going to bring 45 Seconds of Ecstasy.
both the song and the substanceto our podcast recording
Sam (48:43):
That is what we need I am going to go back to the
Pandora's Box album to bring asong that nobody sings on called
Requiem Metal,
Emma (48:54):
Lovely.
Sam (48:55):
is 52 seconds long.
Emma (48:57):
So it's the Short songs
Sam (48:58):
Short Songs long podcasts.
That's what we're offering nexttime.
So yeah, if you have anyopinions on those, let us know.
ChatOutOfHellAtGmail.
com.
Can I say the email address onemore time?
ChatOutOfHellAtGmail.
com.
That's it.
Thank you as ever for listening.
Emma (49:15):
Yes, thank you, and we will see you in a fortnight!
Sam (49:19):
Oh, lovely.
Bye.
Emma (49:22):
Bye! Bing! It's finished.
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