February 2, 2025 • 46 mins
We open every episode of Chat out of Hell by asking "what is this" and it's never been more apt. Two baffling track choices hit the table today as we interrogate some of the shortest and least interesting songs in the Loaf / Steinman catalogue. We do learn a few things on the way, though. Things like:
- What do Jim Steinman and Giuseppe Verdi have in common?
- How long is 45 seconds? Is it 66 seconds?
- What's cooler than Gene Pitney?
PLUS a conversation about merch, a listener isn't sure how young we sound and assorted sundry nonsense. The live video of 45 Seconds Emma mentions is here at https://www.youtube.com/watch?v=j8VML3nVXgs.
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:
45 Seconds of Ecstasy by Meat Loaf from the album Welcome to the Neighbourhood (1996)
Requiem Metal by Pandora's Box from the album Original Sin (1989)
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 leading Meat Loaf and Jim
Steinman podcast being recordedat this point in time.
Probably.
Sam (00:11):
who is Meat Loaf.
Emma (00:13):
Oh, Meat Loaf.
He is a singer who nearly had afight with Prince Andrew in the
80s while appearing on It's aRoyal Knockout.
Sam (00:22):
Meat Loaf was in It's a Royal Knockout! Yep.
Amazing.
Emma (00:25):
Apparently, Andrew's then wife, Sarah Ferguson, had taken
a bit of a shine to Meat, andAndy wasn't going to stand for
it.
Meat Loaf said,"Fergie wasn'texactly flirting with me, but
she was paying attention to me,and I think Andrew got a little,
I could be wrong, I'm justreading into this, I think he
got a little jealous.
(00:45):
"Anyway.
he tried to push me in the moat,so I turned around and I grabbed
him and he goes,'You can't touchme, I'm royal.' And I said,
'Well, you tried to push me inthe moat, Jack.
I don't give a shit who you are,you're going in the moat'."
Sam (01:02):
Sorry, is this still the intro?
Emma (01:03):
Yeah.
Sam (01:05):
I mean, that's amazing.
Who's
Emma (01:06):
know.
Who's Jim Steinman?
Sam (01:09):
Steinman?
Jim Steinman was a composer andmusician who Q Magazine called
the lord of excess hyperbole."
Emma (01:17):
Which I think is very accurate.
Sam (01:19):
It's not as good as your
Emma (01:23):
who are we?
Sam (01:23):
I am Sam Wilkinson and you are Emma Crossland and we are
retired fishermen from NovaScotia and liars.
Emma (01:31):
Okay.
Sam (01:33):
Welcome to Chat Out of Hell! Bow now, now, now.
Emma (01:38):
Ding.
Sam (01:38):
Syouhe found something good in his autobiography then
Emma (01:42):
even in the autobiography.
Sam (01:44):
what?
Where was it?
Emma (01:45):
I found it on the internet when I just searched for weird
Meat Loaf facts this afternoon.
And fell down this rabbit hole.
Sam (01:55):
Does that mean we have to add
Emma (01:56):
we have to add, it's a
Sam (01:58):
it's a royal
Emma (01:58):
it's a royal knockout.
Sam (02:00):
Show some respect.
Emma (02:01):
Sorry.
Sam, sorry.
I've forgotten you are a staunchroyalist.
Sam (02:05):
even to that one.
So yeah, that's going inFilmClub, is it?
Emma (02:11):
I think it probably is.
Film Club is getting nearly aslong as the list of songs we've
still got to
Sam (02:16):
cover.
Yeah, we've got more suggestionsfor FilmClub on the spreadsheet
than we do for songs.
Emma, you're wearing a lovelyhat.
That
Emma (02:24):
Thank you.
I am.
you like my hat?
It is relevant to the podcast.
that's
Sam (02:30):
tell the listeners about your noggin topper.
Emma (02:32):
I've been trying to find this for ages, and I finally
managed to dig it out of a boxin my parents house.
But atop my head is a baseballcap from the Meat Loaf gig that
I went to when I was 10 that mymum bought for me while we were
there.
Sam (02:46):
How exciting! And may I say, with your baseball cap on,
and your big headphones on topof it, You've never looked more
like you're on the Joe Rogan
Emma (02:56):
Oh God, that's not what I was going
Sam (03:00):
That's what they do, the men.
Emma (03:02):
I'm not even one of the men.
The hat is something that I didinsist on wearing to school a
bit while I was ten.
And it was met with theappropriate levels of derision.
He he he he he he he
Sam (03:16):
I
Emma (03:17):
I'm delighted to have it back in my life
Sam (03:21):
and it fits your head perfectly as a 41 year old
woman.
Emma (03:25):
Yeah.
Sam (03:26):
So what was going on for 10 year old Emma?
Emma (03:29):
Very much sort of a lollipop
Sam (03:31):
Rattling around in
Emma (03:33):
It is adjustable the back, there are snaps.
Sam (03:38):
Obviously I've not worn a 30 years, so I remember these
facts.
Emma (03:42):
You can try this one on if you like, I promise I have a
very clean head.
Sam (03:47):
That's a Crossland guarantee.
So this is Chat out of Hellwhere you and I both delve into
the Meat Loaf slash Jim Steinmanback catalogue every fortnight
to see what treasure we come upwith and then dissect that
treasure on a scientific table.
Really went weird that,
Emma (04:07):
Treasure can be very hard to dissect.
Sam (04:09):
It can, and that's why we sometimes do quite badly at
Emma (04:12):
at it.
What have you brought this time,Sam?
Sam (04:16):
Emma, this time I have fallen into the Pandora's Box
Emma (04:20):
that could be a dangerous thing to
Sam (04:21):
dangerous thing to do.
Well, this one is especiallydangerous, because I've brought
the track Requiem Metal.
Yeah.
we'll talk about that later on,let's talk about your song
first, Emma.
What have you got?
Emma (04:32):
well, I have brought 45 Seconds of Ecstasy
Sam (04:35):
well.
Yeah,
Emma (04:36):
and I brought a song as well.
Sam (04:38):
you did that joke last time.
Emma (04:39):
Yeah, I know.
Sam (04:41):
had to listen to you do it about four or five times during
the edit.
Emma (04:45):
I brought 45 Seconds of Ecstasy from the Welcome to the
Neighborhood album.
I'd suggest you go away andlisten to it, because it's not
going to take very long.
Which is a welcome relief inthis podcast.
Sam (04:57):
That's certainly true.
Yeah.
So listeners go away, find yourYouTubes or your Spotifies or
your mini disc.
Listen to 45 Seconds of Ecstasyfrom the album Welcome to the
Neighbourhood.
And then join us in ourcomplaint that it's 66 seconds
long.
Never mind.
We're gonna listen to it now.
Music (05:15):
Forty five seconds of ecstasy How it comes right back
to me Fly so high and feel sofree
Emma (05:30):
that was 45 Seconds of Ecstasy.
it came from the Welcome to theNeighborhood album.
It's an album track, as I said,and it came out on October the
30th, 1995.
So I was 11.
As you said before it comes inat one minute and seven seconds.
According to Apple Music,
Sam (05:49):
Oh, that version on YouTube was one minute and six.
I feel
Emma (05:51):
second show you've been robbed of, I don't know, a
little bit of sex noise,probably.
Because there's a bit of sexnoise in
Sam (05:59):
in there.
Do you mean to tell me that thissong is about doing it?
Emma (06:02):
Well, I don't usually leap to the people of the internet
first, but
Sam (06:07):
Ha ha ha ha
Emma (06:08):
You're gonna like this.
Mouse said,"Are you sure thisisn't a Jim Steinman song?
He's the only person I know whostretches 45 seconds to over a
minute."
Sam (06:20):
a minute.
Well done, Flying Mouse.
Absolutely brilliant.
Emma (06:25):
Absolutely
Sam (06:26):
You are one of us.
Emma (06:28):
The people of songmeanings.
Sam (06:30):
com have
Emma (06:31):
this to say.
Selvy666 said"anyone else thinkthis song's about orgasms?" And
then xmeatxloafxfreakex, who Ithink we've quoted before, said,
"Yeah, I think it's aboutorgasms." But then Collino, or
Collino, who I think
Sam (06:51):
Collino,
Emma (06:52):
Said, not just about orgasms.
It's from Welcome to theNeighbourhood, which is a
concept album about life, fromfirst love to death.
Circular as he dies, he sees hisfirst love again in the song
Martha.
45 seconds of ecstasy is about abrief affair his wife, brackets,
(07:13):
or her husband, was having, andwhether the 45 seconds of
pleasure was worth thesacrifice.
The second line can beinterpreted two ways.
one, it was not complex at thetime, second verse, but it came
back to haunt them.
or two, how the enjoyment of sexcomes back after being married
for so long.
"It's great how a song can sayso much in so few words and
(07:37):
shows how great and overlookedan album Welcome to the
Neighborhood is.
I don't know if he was listeningto a different
Sam (07:42):
song.
I don't think a comment isallowed to be longer than the
song.
Yeah.
out there.
Yeah, that's just
Emma (07:49):
Yeah.
But I would like to say toColino that no, it's just about
orgasms.
It is just about orgasms.
Sam (07:58):
People who wang on about concept albums.
I know, We've both been thatwanker in our own youths, but
fuck it, give it a rest, man.
Emma (08:09):
But also, there is nothing in here to imply any of that.
It is literally a song abouthaving a lovely orgasm.
A lovely orgasm.
A lovely orgasm.
Yeah, I think that comment is abig load of bollocks by somebody
that's trying to read something.
Sam (08:22):
It's very try hard for this.
So just to re contextualise thealbum, shall we this is the one
that came out after Bat Out ofHell 2 and is still alright in
some ways but has quite a bit ofwank on it.
Emma (08:35):
Yeah.
The song is not performed byMeat Loaf.
It's not written by him or Jim.
It's got nothing to do witheither of them really, it's just
on the album.
It's written by a woman calledMartha Minter Bailey, who only
seems to have actually writtenthis one song.
I can't find anything else abouther online.
(08:56):
There is a Martha Bailey who Idiscovered who was a singer
songwriter, but I don't know ifshe's the same one.
So there's very little about thewriter that I can find but it
was sung by a woman called SusanWood.
Which brings me to anotheronline comment that I found from
Matt Fitch 3460, who said, MeatLoaf wouldn't sing this song,
(09:19):
but Susan would.
Sam (09:24):
What?
Emma (09:25):
So it was sung by a woman called Susan Wood.
Sam (09:28):
No, I'm not following
Emma (09:30):
Meat Loaf wouldn't sing this song, but Susan would.
Sam (09:33):
Fuck you! Fuck you! Fuck you! Okay, I'll, I'll fess up to
what was happening there, whichis that I've quickly been
opening an anagram finder justto see if Martha Minter Bailey
is an anagram for somebody else.
Emma (09:46):
And is it?
Sam (09:47):
I don't know, because you distracted me by doing the
podcast.
Emma (09:50):
You should have just told me.
Sam (09:53):
Oh, I wanted to surprise you.
No answers found.
No.
No.
So I, don't think Didn't seemlike an easy one.
But Susan Wood! Ho, ho, ho,
Emma (10:04):
Off you fuck.
Sam (10:07):
So, what else has Susan Wood sung?
Is she elsewhere on the album?
Okay.
Emma (10:12):
but I did find her Instagram.
and she doesn't use it much.
She's very family oriented.
It seems.
Which is nice, and she's done alot of, like, musical theatre.
So she was in the 1994 Broadwayrevival of Grease.
Sandy.
So, that's pretty that's themain one, yeah in the
Sam (10:33):
Grease.
Uh,
Emma (10:34):
Yeah, that's the main one who I have feminist problems
with.
That's Grease as a whole.
We're not doing Greasecast.
We're not doing Greasecast, sowe'll leave that.
But no, seems like a nice lady.
And Meat Loaf died, she did poston her Instagram,"I was
fortunate enough to be able tosing solo on Meat Loaf's Welcome
to the Neighbourhood album.
(10:54):
It's called 45 Seconds ofEcstasy and it's literally only
45 seconds long."" It's not,Susan! It's not!
Sam (11:01):
All
Emma (11:02):
Having grown up a fan of his music, this is such an
honor.
He was a true gentleman with aheart of gold, and his immense
talent and epic songs will beremembered forever.
Keep shining your light, Meat".
I thought that was quite sweet.
Yeah, it's a little
Sam (11:17):
grew up on his music and then appeared on.
A recording.
Emma (11:20):
Yeah.
Sam (11:21):
You, you seem to have a but.
I sent
Emma (11:23):
sent you a video.
Sam (11:24):
Okay.
So this is a live version.
Emma (11:28):
I don't know if this is her.
Listeners, we will pop a link tothat in the write up of this
particular episode, but don'twatch it, please.
Watching Sam's face while hewatched that was tremendous.
I don't think that's Susan Wood.
I don't think it sounds
Sam (11:43):
So just for the listener's benefit, it's a very low res
video that somebody's tried toupscale slightly of a, looks
like an afternoon festival gigwherein the female singer.
He's singing the number, andMeat Loaf is creepily walking
towards her, and then there'ssome grinding, and
Emma (12:06):
He spends a fair bit of time with his head buried in her
chest, which is, but sheencouraged
Sam (12:14):
It's, it's, Emma.
Sensual.
The choreographer on that didnot put in a lot of effort,
Emma (12:19):
No, no.
No.
Sam (12:23):
It was during the Casa de Carne tour, apparently.
Emma (12:25):
lovely.
Sam (12:29):
Bit weird.
Yeah.
Uncomfortable.
Bit uncomfortable.
Yeah, so this is late, this is2008, so it's, er
Emma (12:36):
Oh, it's like over a decade
Sam (12:37):
after Late era
Emma (12:39):
Yeah.
Sam (12:39):
that's a bit
Emma (12:40):
creepo It's uncomfortable.
I didn't like
Sam (12:43):
it.
I find it.
weird that that's still in thetour set ten years later.
Emma (12:50):
I don't remember seeing that at any of the live gigs.
But maybe it was there and Ijust don't remember or have,
repressed it.
Sam (12:59):
Push it
Emma (13:02):
there's not much else to talk about with this song.
Sam (13:05):
it's a song about doing it.
Emma (13:07):
It's a song about doing it, but more specifically, I
think it's a song about orgasms.
Sam (13:11):
Yeah, no arguments here.
Emma (13:14):
it.
It's not a sophisticated track,
Sam (13:16):
It's not as
Emma (13:17):
what Colino thinks.
Sam (13:19):
Ha ha What's it doing there,
Emma (13:22):
well, it's in a weird spot.
It's sandwiched between OriginalSin and Running for the Red
Light.
Okay.
On the album.
Are you familiar with Runningfor the Red Light?
It's quite an upbeat
Sam (13:34):
I am with Original Sin, but they're both quite smashy,
upbeat, numbers.
then we've got this song about Alady havin a good time!
Emma (13:45):
I found an interview on YouTube with Meat Loaf about
Welcome to the Neighbourhood andhis words are"Welcome to the
Neighborhood is DivineIntervention, and I actually
believe that." I don't know whatthat means, but that's what Meat
Loaf said
Sam (14:00):
Oh.
I suppose because he's so usedto doing interviews with Jim
Steinman, who doesn't believe aword he says
Emma (14:06):
he said the entire album is a period piece set in the 30s
and 40s and it all revolvesaround these true detective
magazines and true detectivenovels.
So it's that kind of pulp.
Yeah.
We've not actually talked aboutthis, but there is a cool kind
of piece of pulp artwork foreach song Yes.
In the liner there is.
And they are really cool.
Sam (14:24):
cool.
Yeah.
Yeah.
I think they're all takes onsort of pulp films or,
Emma (14:27):
Yeah.
Cause one of them is the classicLolita with lollipop, Which is
creepy but they are.
Cool.
impressive pieces of that styleof art.
I think the idea behind thealbum is that the first track is
supposed to be the beginning ofa love life.
And the end is the end of a lifeand the end of a love life.
And so it's different loves andstuff throughout all different
(14:51):
parts of a relationship.
So evidently this is about thethe more upbeat parts The
shagging.
Sam (14:58):
Thank you for clarifying.
Emma (15:00):
welcome.
Sam (15:01):
In my head I'm setting this sort of 1930s pulp tale in the
New York City of The Shadow.
The Shadow!
Emma (15:11):
Yep, I think it could be there but I also think it could
possibly be the Jim Steinmanesque city in Streets of fire.
Sam (15:19):
yeah, no, that's true.
The timeless, The timeless Is itthe 20s?
Is it the 80s?
Yeah.
Who knows?
It's
Emma (15:25):
both and also neither.
So yes, it's a funny littlesong.
Lots of people don't know whyit's there.
Yeah.
Sam (15:31):
Do you know?
Emma (15:33):
No there's a lot of sex noises and basically it's just a
very horny song.
It's a horny song about beinghorny.
That's it.
Sam (15:43):
Okay.
Emma (15:44):
That's it.
Sam (15:46):
Any other business on this song?
Emma (15:48):
No other business.
Sam (15:49):
Emma, is it time to rate this song?
okay.
So listeners, as always, we'llbe using our government
certified Meat Loaf song
Emma (15:57):
don't know if it's still a valid system for this because
he's not involved in it.
Sam (16:03):
well, give me 10 seconds.
Right.
Got it.
So Emma, we're gonna rate thistwice.
We're gonna rate it on the MeatLoaf certified Song Rating
Scale.
Yeah.
Of Marvin Lee Aday for the GoodSongs.
Marvin Lee Okay for the middlingnumbers and Marvin Lee No Way
(16:24):
for Meat Loaf's shitter songs.
And then we're also going torate it on the scale of Susan
Wood to Susan Should I KeepListening to This, or Susan No
Good
Emma (16:36):
So
Sam (16:37):
So what's this?
Emma (16:38):
thought you were going to go for Susan Wouldn't.
Sam (16:40):
for Susan Wood.
Emma (16:41):
damn it!
Sam (16:47):
if you like.
Emma (16:47):
If you want.
Sam (16:48):
Yeah, okay.
So what is it on the Meat Loafscale?
Emma (16:53):
On the Meat Loaf scale, it's not catastrophically
Sam (16:58):
what's it for?
Why is it
Emma (17:01):
is it there?
Sam (17:01):
Why is it in his festival set 15 years later?
Other than so that he can get anattractive young woman to grind
on
Emma (17:09):
Do you think it's a Marvin Lee No Way
Sam (17:11):
is A waste of, a bit of CD to me, I'd
Emma (17:16):
It would be forgivable if it was 45 seconds.
Sam (17:21):
also that! Because
Emma (17:21):
Because that really winds me
Sam (17:23):
up.
Okay, so, I think it's a MarvinLee No Way.
You are welcome
Emma (17:27):
no, I think I'll go with the Marvin Lee.
Sam (17:29):
Lee No way.
Okay, and is it a Susan Wood, aSusan Should I Keep Listening,
or a Susan Wouldn't?
Emma (17:36):
It's a Susan Wouldn't.
Sam (17:38):
Oh, okay.
Emma (17:39):
It's all you.
Well, I think
Sam (17:41):
I'm gonna say this is the best Susan Wood song
Emma (17:43):
the best Susan Wood song ever.
Wood from you that is it?
Sam (17:48):
Yeah, I'm gonna say this is a Susan Wood.
She performs admirably.
Emma (17:53):
She does well with what she's given.
Okay I'll reconsider.
Sam (17:57):
Like to hear more 1930s pulp songs sung by Susan Wood
But I'd like them to be long andnot just an excuse for Meat Loaf
to rub his face in a girl'stits.
Emma (18:10):
Cool.
Sam (18:12):
So that's a Marvin Lee No Way! Susan Wood?
Emma (18:17):
So Sam, what did you bring this time?
Sam (18:19):
I brought Requiem Metal, which is a 52 second track from
the Pandora's Box album OriginalSin.
Emma (18:28):
Why did you bring that
Sam (18:29):
I just looked down the track listing.
And thought it would besomething other than it is.
But listeners, go away and findit on your YouTubes or your
Spotifies.
It won't take you very long.
You'll think you know it, butyou don't, We're gonna listen to
it now.
Emma (19:02):
I managed to pull quite a lot out of my arse for that
nothing song that I've just gonethrough.
I can't wait to hear what you'vegot to say about
Sam (19:09):
The first thing I want to say is, when we were choosing
our songs last time, Imisremembered this as being,
like An electric guitar cover ofVerdi's Requiem, because Jim and
Meat Loaf have done some modernrock covers of classical music
on other recordings.
There's a version of Bolero thatthey do.
So I assumed it would be that,but what we have, Emma, is an
(19:32):
excerpt from Verdi's Requiem,just like, slightly cut up in a
jarring way
Emma (19:37):
yeah, it's been butchered, hasn't
Sam (19:38):
Yeah, just banged in the middle of the album.
For some reason.
And I'm working towards whatthat reason is.
I've found the shape of it,perhaps.
But we'll get there.
song facts, that's track 6 of 14on the album.
It sits after Good Girls Go ToHeaven, which we've not covered
(19:59):
on the podcast yet, but prettygood song.
And then before, I've BeenDreaming Up A Storm Lately
Emma (20:05):
which is one of the weird monologues,
Sam (20:07):
creepy monologue.
My notes say, Why have you donethis, Jimmy?
This is the B side to some ofthe singles.
If you went out and bought theIt's All Coming Back To Me Now
single, Which you should havedone, because it's probably the
best song off the album.
Emma (20:26):
Yeah,
Sam (20:27):
Possibly.
This would have been the B-sideyou got.
Emma (20:31):
a rip off! Back
Sam (20:33):
Back to my notes.
Why?
Why have you done it,
Emma (20:35):
though?
It's baffling, right?
Sam (20:37):
right Yes.
liner notes don't really help,they say this was arranged by
Jim Steinman, excerpt from Messadi Requiem composed by, Giuseppe
Verdi, which we already knew.
We've talked about this in thepast, I think.
When Jim was young, he wouldlisten to classical music and
rock and roll records back toback and not see any distinction
between them.
(20:58):
I'd listen to an entire Wagneropera and be totally paralysed
by it.
I literally wouldn't move aninch because I was afraid I
might upset something.
I was somewhat insane in thosedays",
Emma (21:10):
It's good that he grew out of that.
Yeah.
Sam (21:12):
"So I'd be virtually paralyzed there listening to
these five hour operas incomplete form.
Then when it was over I'd sit inawe for an hour or so and then
I'd put Little Richard on and itwould be a magnificent
combination.
The more I listened the more Iwas convinced that Wagner and
Little Richard came from thesame place".
Emma (21:29):
I just wonder what Jim's parents made
Sam (21:31):
ha ha ha ha ha ha ha Well, at least he's not out taking
Emma (21:35):
drugs
Sam (21:35):
he
Emma (21:36):
he he
Sam (21:37):
he he yet that feeds He he he Obviously that feeds into the
big operatic rock opera stuffthat we know and love from Jim
later on in life.
The other thing I really likeabout that is that it's the sort
of thing you get when you don'tknow what's cool.
Emma (21:55):
Yeah.
Sam (21:56):
Like when I was a kid This isn't quite a Meat Loaf memory,
but my siblings and I weregiven, they weren't Walkmans,
because we weren't that rich,they would have been Goodman's
brand personal stereo device anda tape each that would have
been, you know, a coolcompilation of the time.
But we didn't really, Icertainly didn't have any other
tapes, so I would just gothrough my mum's tape collection
(22:19):
and, and, I had no idea aboutmusic, I'd just pull something
off the shelf and listen to it.
Emma (22:22):
Yeah, I did very similar things with my mum's
Sam (22:27):
But what I didn't realize was the cool one to have grabbed
was the Jeff Wayne's adaptationof the War of the Worlds,
whereas I grabbed Gene Pitney.
So I would go from listening toNow92 to Gene Pitney until my
older brother was like, oh, GenePitney, you loser.
And there's something quitesweet in that when you're so
(22:48):
unaware of what's cool that youcan kind of just throw stuff
together.
And there's the stages ofcoolness that go like.
I don't know what's cool.
Other people tell me what'scool.
Actually, I now decide what'scool.
Oh, no, I was wrong.
Other people tell me what'scool.
Emma (23:06):
And then of course there's the stage that we're now at,
which is cool doesn't reallymatter anymore.
We are irrelevant.
Sam (23:17):
Yeah.
Fair enough.
So I do see where Jim is comingfrom and wanting to include
these influences of his inPandora's box, Newer listeners
might not be up to speed onPandora's Box.
It's mostly a female led groupthat sings a lot of his best
songs that Meat Loaf later picksup on Bat out of Hell 2.
(23:38):
But what's it doing there?
Why is it there?
Why is it cut up in the way thatit is?
Unsurprisingly, nobody hasanything to say about this.
Critics don't really mention it.
Jim's never to my knowledge,talked about it or written
anything about what he's donehere.
He does recycle it though.
Emma (23:57):
Oh!
Sam (23:58):
We've talked about the recycled version already.
Emma (24:01):
Have we?
Sam (24:03):
This appears as the backdrop to Wasted Youth on Bat
Out of Hell 2.
Your face! Yeah.
Emma (24:12):
I, yeah, I can hear that now.
It's in the weird mix in thebackground,
Sam (24:16):
in the background of the monologue when it starts
reaching a peak and he's aboutto bring the guitar crashing
down upon my parents' bed.
But it still doesn't answer whyhe did this in 1989 and what it
was for, other than, and I'mfairly certain this is the
answer, there were 55 seconds
Emma (24:32):
left on the CD.
And he's been playing at cuttingsomething
Sam (24:36):
Yes.
Tower Records magazine callsthis"keyboard insanity." And
there is one quote from Jim thatsays,"my version of Verdi", and
that's all I can find.
The recording itself is creditedto the Warsaw National
Philharmonic conducted byKazimierz Kord.
Shout out to Kazimierz Kord.
(24:56):
I didn't look up anything to dowith Kazimierz Kord.
He might be an arsehole.
I'm hoping he's lovely.
The same article says that Jimpaid for the music video for
It's All Coming Back to Me Now.
erotic filth.
By selling this to Ford for anadvert.
Why didn't Ford just go straightto the source?
(25:18):
I don't get it.
Which idiot at Ford paid forthis when you could have just
got and bought a CD of
Emma (25:25):
Oh my God!
Sam (25:28):
But also, relevant to a conversation we have been having
for a while on and off thispodcast.
As of the writing of thisarticle, Jim Steinman confirmed
he couldn't drive.
The evidence for Jim neverhaving owned a motorbike is
starting to build.
Emma (25:46):
He couldn't drive.
Sam (25:47):
Couldn't drive as of 1989.
He definitely never owned amotorbike, Emma.
Emma (25:53):
He didn't own a motorbike, did He
Sam (25:55):
own a motorbike.
He
Emma (25:56):
He just liked to think of them having sex with each other
in back
Sam (26:01):
doesn't Hee hee hee hee and who doesn't love that?.
Emma (26:05):
do you think he thought that they were actual creatures?
Sam (26:09):
Like horsies?
Emma (26:10):
Yes, like horses.
Like horses.
driving is a useful skill.
Not everybody needs to have it.
It's fine.
But I feel like for an American,it's different.
It's much harder in the U.
S.
to get about without a car.
Sam (26:24):
He spent a lot of time living in New York City.
Emma (26:26):
I suppose
Sam (26:27):
that's At some point he does move out to rural
Massachusetts.
Presumably he's able to drive bythen.
Or, well, he's also rich enoughto be able to afford a driver, I
guess.
Yeah.
You know, perhaps he had somemedical condition that stopped
him from being able to drive.
I don't know.
But yes, it is very hard to getaround in Massachusetts without
a car, certainly.
Emma (26:45):
And all that stuff written about cars and bikes
Sam (26:50):
Yeah.
Emma (26:51):
Feels like such a fraud.
He probably never evenexperienced any paradise by the
dashboard light.
Sam (26:59):
He never even saw a dashboard.
Emma (27:01):
I feel cheated, Sam.
Who knew that this would be thetrack that brought all of this
up?
Sam (27:09):
This is an excerpt from Verdi's Requiem.
It's the Dies Irae, and I havemangled the Latin there.
So, any ancient Romans who wantto shout at me, do email in.
chatoutofhellatgmail.
com Dies Irae is the day ofwrath.
It's about when Jesus will comeback.
And, ascend the righteous toheaven and have a word with the
sinners.
Emma (27:29):
It's about Rapture Day.
Sam (27:30):
It is about Rapture Day, if you want to put it in your
modern Baptist terms.
But this is Catholic, Emma.
sorry.
which is about sins.
What's the name of the album?
Original Sin.
That's as good a link as I canfind.
Except there is some good stuffgoing on with Verdi this is
Verdi's version of the RequiemMass, which few classical
(27:54):
composers have taken on.
The mass itself has been set tomusic going back to at least the
15th century.
many people have done it.
Verdi's version was consideredtoo operatic to be performed in
a liturgical setting.
The Requiem is usually given inconcert form, taking around 90
minutes to perform.
Much longer than other Requiemversions.
(28:16):
Too operatic!
Emma (28:18):
Starting to ring a bell, yeah?
Yep.
Sam (28:22):
This was first performed on May the 22nd, 1874.
Some sample lyrics from the DiesIrae section.
the famous bit that we all know,which I don't have the range to
sing, but you're hearing it inyour head.
The day of wrath, that day willdissolve the world in ashes as
David prophesied with the Sybil.
How great a terror there will bewhen the judge shall come who
(28:43):
will thresh out everythingthoroughly.
I feel the air is getting hot,like you baby, I'll make you
mine, you know I'll take you tothe top, what?
ha
Emma (28:55):
I think some of those lyrics might not have been
Sam (29:00):
All of that was from the Latin, Emma, if you translate
it.
Was Yeah! Whigfield's SaturdayNight was a version of the
Requiem Mass.
Emma (29:09):
Oh god, I wondered how you were gonna do it and here we go
and every Yeah, it hurt a littlebit more.
Sam (29:18):
I had real difficulty working out how to link Electro
pop dancehall hits SaturdayNight with Giuseppe Verdi's
Requiem for the Dead.
But I think I did it, so Goodstuff.
Yeah,
Emma (29:35):
Do you got anything else to
Sam (29:36):
I do.
Yes Verdi is very much the JimSteinman of his day He
revolutionized the world ofopera in
Emma (29:44):
Did he sleep on a mattress in a pantry?
Sam (29:50):
Have not researched where Verdi slept, but I do have some
quotes for you for our quiz OhGod.
So I've got two quotes fromGiuseppe Verdi and one from Jim
Steinman.
I've updated the language inVerdi's to match Jim's
vernacular.
Okay.
But it's very much the moderntake on what he said.
Emma (30:10):
So it's a case of spot the Jim.
Sam (30:11):
Spot the Jim here..
Is it a,"I like to tell thetruth, but I like to make up the
truth more".
Is it, B,"criticism is stupid,but praise is even stupider", or
is it c?
Music and theatre are together.
The same thing.
True theatre is not beingcautious."
Emma (30:34):
They all sound like pure Steinman, don't they?
So this is tough.
I have no idea.
So I'm just going to go with A.
Sam (30:42):
"I like to tell the truth, but I like to make up the truth
even more".
Giuseppe Verdi.
Emma (30:48):
But that could be so Steinman.
I know.
Sam (30:50):
It
Emma (30:51):
Go on, which one was it then?
Sam (30:52):
"music and theatre are together.
The same thing.
True theatre is not beingcautious." That is Jim Steinman.
The other two were the 19thcentury Jim Steinman.
Giuseppe Verdi.
Emma (31:04):
Magnificent.
Yes.
Bravo.
Well done.
Sam (31:06):
Thank you.
Just to quickly point out, we'retalking about Giuseppe Verdi and
it gives the music a level ofcachet.
His name translates to Englishas Joe Green, which rather ruins
the mystique, I
Emma (31:19):
of a bit.
Old Joe.
Sam (31:22):
Old Joe Green's requiem mass.
Obviously it's a brilliant pieceof classical music.
Why is it there, Jim?
What have you done with it?
What, what, nobody has it.
Confused.
Do you want to hear what thepeople of the internet think?
Emma (31:38):
Yeah! Are there any that think anything?
There
Sam (31:41):
are no comments on the Pandora's box version So I I had
to find something that peoplesaid on the proper Verdi
versions.
At Simon Bartles dash Y4G,"Thisis one of the best pieces of
music ever composed.
But nothing beats the CantinaBand from Star Wars
Emma (32:02):
God,
Sam (32:03):
You don't get that on Jim
Emma (32:05):
Steinman videos.
Sam (32:07):
Shall we rate this we'll call it a song.
Emma (32:09):
Yeah.
Sam (32:10):
we we rate whatever this is, Emma?
Emma (32:12):
Yeah.
Okay.
Sam (32:12):
so we're also gonna double rate this one.
We're gonna rate it on ourtraditional Jim Steinman rating
scale, which runs from JimSteinman at the top to Jim
Fineman in the middle, all theway down to Jim Declineman for
the mysterious baffling wastesof a CD that sometimes come up.
Emma (32:30):
Oh, I wonder what this one
Sam (32:31):
And we're also going to rate this on the scale of
Giuseppe Verdi to GiuseppeV-uh-di?
All the way down to GuiseppiBleurghdi is this?
Emma (32:45):
What is this?
What is this?
What is this?
For me it is a Jim Declineman
Sam (32:50):
it's absolutely a Jim Declineman.
It's Jim farting about
Emma (32:55):
Filling space
Sam (32:56):
If I'd known what I was getting into when I chose this,
I wouldn't have chosen it andI'd have saved it for later, but
Emma (33:03):
least, it's outta the way.
Sam (33:04):
out of the way now.
Thank you, Jim Declineman.
And obviously it's a GiuseppeVerdi, right?
It's an absolutely lovely pieceof classical music that Jim has,
for no reason, taken a scalpelto.
Emma (33:18):
Oh, this has felt like struggle this week.
pick some better songs nexttime.
Chatter Out
Sam (33:28):
So that was Chat out of Hell.
Emma (33:30):
Lovely
Sam (33:30):
did you agree with our ratings?
Let us know,chatoutofhellatgmail.
com.
Do you have any explanation forwhat Jim was up to there?
Please do tell us,chatoutofhellatgmail.
com.
Emma (33:41):
or indeed what Meat Loaf was up to with that
Sam (33:43):
yeah, email any thoughts on those to chatoutofhellatgmail.
com.
Just like these people havehere.
This is from Kayleigh.
Emma (33:52):
Kayleigh.
Sam (33:53):
Hi, Sam and Emma.
Emma (33:54):
Aw,
Sam (33:55):
My name is Kayleigh.
I'm the person who commented onSpotify that you two should
watch Roadie on the most recentepisode and may I say Kayleigh,
thank you for telling me thatthere are comments on Spotify
because I had no idea up untilthat point and we've got a few
so I'll get on to them in a
Emma (34:11):
in a minute.
Some sent me a text with ascreenshot.
It was a revelation! We're goodat
Sam (34:16):
I'm a chronically ill and autistic 23 year old who, like
Emma, went to college for mediastudies.
When I got sick in June of 2023with the chronic illness, I
started really getting into 70smusic.
I don't know why, your guess isas good as mine, because it's
better than modern music.
Meat Loaf really stuck out to meas I had yet to see someone with
(34:36):
his body type in the world ofrock and roll.
He's like a male version of MamaCass.
She also had a really weirdlife, but that's unimportant.
We'll go back to Meat Loaf'sbody type in a second, but it's
not unimportant that Mama Casshad an amazing and fascinating
life.
I Mama Cass.
Loaf's body type, we've notreally mentioned it, have we?
(34:56):
I mean, obviously, It comes up alot in passing, yeah, he's a
mountain of a man who dominatesthe stage and a big part of his
success as a performer, I think,does come from the way he uses
his size as a, tool.
Emma (35:13):
I guess.
It's not something that everheld him back.
We have the Meat Loaf ratingsystem, which is the Marvin Lee
Aday thing, but he did actuallychange his name to Michael Lee
Aday because way back, there wasa Levi's advertising campaign,
and he talks about this in hisbiography.
The advertising campaign was,Poor Fat Marvin Can't Wear
(35:34):
Levi's.
Whoever this Marvin kid was, andof course, it rang true for Meat
Loaf.
And speaking as a fat womanfuckin yeah!
Sam (35:45):
And also, fuck you Levi's
Emma (35:46):
Yeah! It is always good to see different body types
represented.
It should go without saying.
Humans come in all shapes andsizes.
And Along with those shapes andsizes come various talents, and
your worth as a human is notdefined by your size.
And the fact that Meat Loaf wassuch a fucking legend, despite
(36:09):
not being chiseled and bodysculpted and, a generically
handsome bloke is fuckingbrilliant, as far as I'm
concerned.
So yay for that.
Yeah!
Sam (36:23):
might play some applause in
Emma (36:24):
ha ha ha
Sam (36:28):
Back to Kayleigh.
Also, for a man who said he wasonly friends with his voice, Jim
really seemed to like theattention he got from being
around Meat.
Or at least it looks that way inmost of the photos of the two
men together.
Yes, absolutely.
Can't wait to listen to the newepisode when it comes out, as I
have binged listened to theentire series within the space
of a week.
Bye!
Emma (36:48):
Aw, Kayleigh, that's lovely, thank
Sam (36:49):
That is lovely.
Thank you so much for listening,Kayleigh.
And thank you for writing in.
And let me just go back to yourcomment.
some other comments fromSpotify.
So Kaylee's pitched Roadie for.
Film Club.
It's a 1980 movie where MeatLoaf plays the titular roadie
and wants to get with an AliceCooper crazed 16 year old.
And no, we never find out howold Meat Loaf's character is".
(37:12):
Good
Emma (37:12):
Yay.
Sam (37:13):
to
Emma (37:14):
Looking forward to that one.
Alright,
Sam (37:15):
that Kayleigh has pitched that as part of a double bill
with Dead Ringer.
Yeah.
I don't want to be too bummedout in one Film Club So I don't
know if Dead Ringer is
Emma (37:26):
well maybe we do that the same time as we do Spice World.
Sam (37:29):
that good call.
Emma (37:31):
Ha And then some
Sam (37:32):
And then some other comments on Spotify Thank you to
these people.
Living After Midnight.
This is on our Christmas Horror.
Emma (37:38):
on Ahhh And
Sam (37:39):
I was listening to this while packing in my parents'
house and was laughing so hardthat they had to come and check
on me and that's in differentlevels of the house.
Emma (37:47):
you haven't listened to the Christmas Horror if you're
feeling brave, give it a shot.
But don't listen to it incompany.
Certainly don't listen to itwith family.
Okay.
Sam (37:58):
And then from Jacob's Davies or possibly Jacob S
Davies comment on the firstepisode,"this podcast seems to
have been tailor made for me.
Massive fan of Meat and Jim, andhaving spoke with both of them
while they were alive, I reckonthey'd love it".
Oh, it's so
Emma (38:13):
nice, Thank you! That might just be based on the first
episode when we were probablystill being quite nice.
Sam (38:21):
Another email?
is This is from Chris Matts.
Emma (38:24):
Hi Chris.
Sam (38:25):
Hey guys, I discovered the pod about a week or so ago, and
I'm slowly working through it.
I'm roughly around the same ageas Emma.
And I just want to cut in here,because I'm also roughly around
the same age as you, but Chrishas assumed I'm not.
Emma (38:39):
I wonder if Chris has assumed that you are MUCH older!
Sam (38:42):
let's imagine that's happened.
Thank you, Chris, for theimplied compliment to my
youthful voice.
I'm roughly around the same ageas Emma and seem to have gone
through a similar introductionto Meat Loaf.
heard Bat Out of Hell 2 oncassette and then saw Meat Loaf
when I was 8 years old on theWelcome to the Neighbourhood
tour.
So actually that does put Chrisbang on my age rather than
(39:04):
yours.
No, Welcome to theNeighbourhood, that was 96?
Emma (39:08):
You're only a year younger than
Sam (39:09):
me.
Yeah, I'm a year younger thanyou, Chris is three years
younger than me.
So actually, massive complimentto you! Yeah! Thank you! I saw
on socials that you're lookingfor songs to cover, and looking
ahead at the episodedescriptions, I don't think
you've covered Good Girls Go toHeaven.
We have not.
Or, I'm Gonna Love Her for Bothof Us.
Emma (39:27):
That's from Dead Ringer.
Sam (39:28):
Thank you, Chris, for those.
And then Chris has dropped anincredible question for us.
I'd love to know what songs youwould have liked to hear Meat
Loaf tackle.
For me, it would be the Steinmanslash Fire Inc.
song, Tonight Is What It MeansTo Be Young.
Or, Always by Bon Jovi.
His voice would suit Always,I'll grant you that.
Emma (39:47):
I have said right from the first time I heard it, that I
would have loved to have heardthe Meat Loaf version of Tonight
Is What It Means To Be Young.
Sam (39:54):
Yes.
Emma (39:55):
Of course, there is the Meat Loaf version of the other
song from that, which is NowhereFast, which the Meat Loaf
version is far inferior the FireInc.
version, and I am a massive fanof the Fire Inc.
stuff, and Tonight Is What ItMeans To Be Young is a proper
belter song.
Sam (40:13):
Yeah, I do have to go on the record.
So when we rated Nowhere Fast, Irated the Meat Loaf version
higher and I do want to rescindthat now and tell you that
having listened to the Fire Incone a few more times, that one
absolutely whips.
Emma (40:27):
it's so good.
It's such an upbeat song.
It's the kind of song that Iwould put on while getting ready
to go out.
For a big night out.
Oh,
Sam (40:35):
not Saturday Night by
Emma (40:36):
not Saturday Night by Whigfield, no.
Tonight is What it Means to beYoung.
And nowhere fast.
Sam (40:43):
So what do you want Meat Loaf to cover, Emma?
What are your suggestions?
I've got a few.
Emma (40:48):
I've given this some thought, and I've gone into two
different camps.
Okay.
one is songs that I think hewould do a really good job of.
Yep.
And for that, I've got If ICould Turn Back Time by Cher.
Sam (40:59):
Oh, hello!
Emma (41:00):
I think that would be really good.
Nice, okay.
And also, In the Air Tonight byPhil Collins.
Sam (41:06):
can hear that.
Nice.
That's good.
Emma (41:09):
big.
Sam (41:10):
A booming in the air
Emma (41:11):
And then there's the ones that I think he would cover
later in his career when he'sdoing terrible things.
Uh, the two most hilarious onesthat I could come up with were
You Outta Know.
By Alanis Morissette.
Of
Sam (41:25):
he
Emma (41:25):
think he would really butcher that.
Sam (41:27):
Okay, hang on, what era Meat Loaf is this?
Emma (41:29):
Oh, this is like end of
Sam (41:31):
Ravage voice Meat Loaf.
Emma (41:32):
yeah.
Sam (41:34):
So when he can't even carry a tune, you want him to do You
Oughta Know.
Emma (41:38):
But more than that, I want him to do Gangster's Paradise.
Sam (41:45):
We think on very similar lines.
Do we?
Yeah, I've taken a slightlydifferent take.
I've split Meat Loaf into threesections.
Okay.
So I've got early Meat Loaf,like 70s through to mid 90s.
Yup.
And I would like to hear himgoing back to his musical
theatre roots.
I want him play Javert in LesMis.
He's got the perfect voice forJavert.
(42:06):
Have you seen the Hollywood film
Emma (42:08):
I have not.
I'm not overly familiar with LesMis.
Okay.
I was put off it at school bymusical theatre
Sam (42:14):
Which is fine.
thing that really ruins the filmof Les Mis.
Everything else about it isbrilliant, but Russell Crowe
plays the role of Javert.
So Javert is meant to have avery deep, he's a big booming
threat who follows the maincharacter around doesn't sound
anything like Brian Blessed, buthe's supposed to have this big
(42:35):
deep booming voice and beconstantly stalking the and,
Russell Crowe has the weediestvoice you can imagine.
He utterly ruins it.
So I think Meat Loaf would haveplayed that part I feel like
I've complained to you about thefilm of Les Mis on a podcast
before.
I must have done it on my otherpodcast Inform, Educate,
entertain.
Anyway, um, that's my early MeatLoaf in his prime.
(42:58):
Then mid level Meat Loaf, solate 90s to mid 2000s.
Emma (43:02):
Yeah.
Sam (43:03):
This is Hang Cool Teddy Bear era, when he's singing
skater punk songs.
Let's lean into that.
I want him to cover Heaven is aHalf Pipe by OPM.
Emma (43:12):
Ha ha ha.
Yep, love it.
Sam (43:14):
And United States of Whatever by Liam Lynch
Emma (43:17):
Oh, brilliant call.
Fucking hell.
Oh, I've not even thought aboutthat song in forever.
Sam (43:24):
That's what I'm here for.
Emma (43:25):
for.
Oh no.
Sam (43:28):
And then if you go fast forward to the end, Heroic
Ravaged Voice era Meat Loaf.
We've talked a lot about how Hischoices for Braver Than We Are
were dreadful.
His voice was right to go backto Tom Waits.
Yeah.
Something like Diamonds on MyWindshield or Looking for the
Heart of Saturday Night.
Yeah.
Something from the, kind of, TomWaits most bluesy, 1930s y, rain
(43:52):
drenched cityscapes.
Era Listeners, This is a reallygreat question that Chris has
asked.
If you've got an answer to whatyou would like Meat Loaf to have
covered, let us know.
Chat out of hell@gmail.com.
One more email from comedyfriend of the show.
Silky.
Emma (44:09):
Hi, silky.
Sam (44:10):
Hi, silky.
Hi Silky.
He says, I've had a few daysaway and I've immersed myself in
the meaty verse.
And I'm now caught And yeah, mayI second that we're not having
this be the meaty verse.
Emma (44:23):
the meat of this.
Sam (44:25):
enjoying it hugely despite not having listened to any Meat
Loaf or Jim Steinman other thanthe clips and the episodes.
So that's the mailbag.
Emma, what songs are we coveringnext time
Emma (44:36):
I'm going to dig back into the Dead Ringer album, and I'm
going to cover I'll Kill You IfYou Don't Come Back.
Sam (44:41):
And I am going to return to Bat Out Of Hell to cover the
fourth song on that one, allrevved up with No Place To Go.
And we're also going to dosomething else next time.
Yeah, you're looking at me.
We made a promise to ourlisteners at the start of this
series to give them an update onthe Jim Steinman style songs
that we're working on, so we doowe them something.
(45:02):
And Emma just to give you someinspiration, I've got this
little quote from Jim foraspiring songwriters.
Emma (45:10):
Okay, I'm sure this will really
Sam (45:11):
help First, stop trying to imitate what you hear on the
radio.
Next, experiment with my method.
Try to envision a scene, likeone from a movie or a play.
See the characters, thesituation, the setting,
everything you can.
"Then, at the peak, visualizethe singer of the song standing
on a pitch dark stage, right ina column of intense blue light,
(45:34):
with 5, 000 people in theaudience.
The song has got to hold thosepeople completely at that point.
The audience should becompletely captured." Now that
does ask a lot of us.
Yeah.
The first half is, is, I nearlysaid good advice.
Interesting advice.
(45:54):
Picture it
Emma (45:55):
advice, yeah.
Some of advice.
Sam (45:59):
And then the second half of the advice is, make it be good.
So yeah, we do owe our audienceperhaps an update on some lyrics
Emma (46:07):
some Then we should do that.
Sam (46:11):
Yes, we should and we will do that.
for the last episode in thisthird series.
Emma (46:17):
series.
Because what I need is morehomework.
Sam (46:20):
You're the one who promised this about four episodes ago.
As always, everyone, please dokeep your Meat Loaf thoughts and
memories flying in.
Did you see Meat Loaf at FiveGuys wondering who eats the
peanuts and forgetting that youalways get too many fries?
So why did I order a medium?
I could've just got a small andthere's still too many fries.
Why did I get a medium?
(46:41):
Let us know.
chatoutofhell@gmail.Com.
As always, thank you so much forlistening.
We'll see you again in two weekstime for another Chat Out of
Hell! Bow now now now! The end.
What is this?
Emma (00:01):
This is Chat Out of Hell, the leading Meat Loaf and Jim
Steinman podcast being recordedat this point in time.
Probably.
Sam (00:11):
who is Meat Loaf.
Emma (00:13):
Oh, Meat Loaf.
He is a singer who nearly had afight with Prince Andrew in the
80s while appearing on It's aRoyal Knockout.
Sam (00:22):
Meat Loaf was in It's a Royal Knockout! Yep.
Amazing.
Emma (00:25):
Apparently, Andrew's then wife, Sarah Ferguson, had taken
a bit of a shine to Meat, andAndy wasn't going to stand for
it.
Meat Loaf said,"Fergie wasn'texactly flirting with me, but
she was paying attention to me,and I think Andrew got a little,
I could be wrong, I'm justreading into this, I think he
got a little jealous.
(00:45):
"Anyway.
he tried to push me in the moat,so I turned around and I grabbed
him and he goes,'You can't touchme, I'm royal.' And I said,
'Well, you tried to push me inthe moat, Jack.
I don't give a shit who you are,you're going in the moat'."
Sam (01:02):
Sorry, is this still the intro?
Emma (01:03):
Yeah.
Sam (01:05):
I mean, that's amazing.
Who's
Emma (01:06):
know.
Who's Jim Steinman?
Sam (01:09):
Steinman?
Jim Steinman was a composer andmusician who Q Magazine called
the lord of excess hyperbole."
Emma (01:17):
Which I think is very accurate.
Sam (01:19):
It's not as good as your
Emma (01:23):
who are we?
Sam (01:23):
I am Sam Wilkinson and you are Emma Crossland and we are
retired fishermen from NovaScotia and liars.
Emma (01:31):
Okay.
Sam (01:33):
Welcome to Chat Out of Hell! Bow now, now, now.
Emma (01:38):
Ding.
Sam (01:38):
Syouhe found something good in his autobiography then
Emma (01:42):
even in the autobiography.
Sam (01:44):
what?
Where was it?
Emma (01:45):
I found it on the internet when I just searched for weird
Meat Loaf facts this afternoon.
And fell down this rabbit hole.
Sam (01:55):
Does that mean we have to add
Emma (01:56):
we have to add, it's a
Sam (01:58):
it's a royal
Emma (01:58):
it's a royal knockout.
Sam (02:00):
Show some respect.
Emma (02:01):
Sorry.
Sam, sorry.
I've forgotten you are a staunchroyalist.
Sam (02:05):
even to that one.
So yeah, that's going inFilmClub, is it?
Emma (02:11):
I think it probably is.
Film Club is getting nearly aslong as the list of songs we've
still got to
Sam (02:16):
cover.
Yeah, we've got more suggestionsfor FilmClub on the spreadsheet
than we do for songs.
Emma, you're wearing a lovelyhat.
That
Emma (02:24):
Thank you.
I am.
you like my hat?
It is relevant to the podcast.
that's
Sam (02:30):
tell the listeners about your noggin topper.
Emma (02:32):
I've been trying to find this for ages, and I finally
managed to dig it out of a boxin my parents house.
But atop my head is a baseballcap from the Meat Loaf gig that
I went to when I was 10 that mymum bought for me while we were
there.
Sam (02:46):
How exciting! And may I say, with your baseball cap on,
and your big headphones on topof it, You've never looked more
like you're on the Joe Rogan
Emma (02:56):
Oh God, that's not what I was going
Sam (03:00):
That's what they do, the men.
Emma (03:02):
I'm not even one of the men.
The hat is something that I didinsist on wearing to school a
bit while I was ten.
And it was met with theappropriate levels of derision.
He he he he he he he
Sam (03:16):
I
Emma (03:17):
I'm delighted to have it back in my life
Sam (03:21):
and it fits your head perfectly as a 41 year old
woman.
Emma (03:25):
Yeah.
Sam (03:26):
So what was going on for 10 year old Emma?
Emma (03:29):
Very much sort of a lollipop
Sam (03:31):
Rattling around in
Emma (03:33):
It is adjustable the back, there are snaps.
Sam (03:38):
Obviously I've not worn a 30 years, so I remember these
facts.
Emma (03:42):
You can try this one on if you like, I promise I have a
very clean head.
Sam (03:47):
That's a Crossland guarantee.
So this is Chat out of Hellwhere you and I both delve into
the Meat Loaf slash Jim Steinmanback catalogue every fortnight
to see what treasure we come upwith and then dissect that
treasure on a scientific table.
Really went weird that,
Emma (04:07):
Treasure can be very hard to dissect.
Sam (04:09):
It can, and that's why we sometimes do quite badly at
Emma (04:12):
at it.
What have you brought this time,Sam?
Sam (04:16):
Emma, this time I have fallen into the Pandora's Box
Emma (04:20):
that could be a dangerous thing to
Sam (04:21):
dangerous thing to do.
Well, this one is especiallydangerous, because I've brought
the track Requiem Metal.
Yeah.
we'll talk about that later on,let's talk about your song
first, Emma.
What have you got?
Emma (04:32):
well, I have brought 45 Seconds of Ecstasy
Sam (04:35):
well.
Yeah,
Emma (04:36):
and I brought a song as well.
Sam (04:38):
you did that joke last time.
Emma (04:39):
Yeah, I know.
Sam (04:41):
had to listen to you do it about four or five times during
the edit.
Emma (04:45):
I brought 45 Seconds of Ecstasy from the Welcome to the
Neighborhood album.
I'd suggest you go away andlisten to it, because it's not
going to take very long.
Which is a welcome relief inthis podcast.
Sam (04:57):
That's certainly true.
Yeah.
So listeners go away, find yourYouTubes or your Spotifies or
your mini disc.
Listen to 45 Seconds of Ecstasyfrom the album Welcome to the
Neighbourhood.
And then join us in ourcomplaint that it's 66 seconds
long.
Never mind.
We're gonna listen to it now.
Music (05:15):
Forty five seconds of ecstasy How it comes right back
to me Fly so high and feel sofree
Emma (05:30):
that was 45 Seconds of Ecstasy.
it came from the Welcome to theNeighborhood album.
It's an album track, as I said,and it came out on October the
30th, 1995.
So I was 11.
As you said before it comes inat one minute and seven seconds.
According to Apple Music,
Sam (05:49):
Oh, that version on YouTube was one minute and six.
I feel
Emma (05:51):
second show you've been robbed of, I don't know, a
little bit of sex noise,probably.
Because there's a bit of sexnoise in
Sam (05:59):
in there.
Do you mean to tell me that thissong is about doing it?
Emma (06:02):
Well, I don't usually leap to the people of the internet
first, but
Sam (06:07):
Ha ha ha ha
Emma (06:08):
You're gonna like this.
Mouse said,"Are you sure thisisn't a Jim Steinman song?
He's the only person I know whostretches 45 seconds to over a
minute."
Sam (06:20):
a minute.
Well done, Flying Mouse.
Absolutely brilliant.
Emma (06:25):
Absolutely
Sam (06:26):
You are one of us.
Emma (06:28):
The people of songmeanings.
Sam (06:30):
com have
Emma (06:31):
this to say.
Selvy666 said"anyone else thinkthis song's about orgasms?" And
then xmeatxloafxfreakex, who Ithink we've quoted before, said,
"Yeah, I think it's aboutorgasms." But then Collino, or
Collino, who I think
Sam (06:51):
Collino,
Emma (06:52):
Said, not just about orgasms.
It's from Welcome to theNeighbourhood, which is a
concept album about life, fromfirst love to death.
Circular as he dies, he sees hisfirst love again in the song
Martha.
45 seconds of ecstasy is about abrief affair his wife, brackets,
(07:13):
or her husband, was having, andwhether the 45 seconds of
pleasure was worth thesacrifice.
The second line can beinterpreted two ways.
one, it was not complex at thetime, second verse, but it came
back to haunt them.
or two, how the enjoyment of sexcomes back after being married
for so long.
"It's great how a song can sayso much in so few words and
(07:37):
shows how great and overlookedan album Welcome to the
Neighborhood is.
I don't know if he was listeningto a different
Sam (07:42):
song.
I don't think a comment isallowed to be longer than the
song.
Yeah.
out there.
Yeah, that's just
Emma (07:49):
Yeah.
But I would like to say toColino that no, it's just about
orgasms.
It is just about orgasms.
Sam (07:58):
People who wang on about concept albums.
I know, We've both been thatwanker in our own youths, but
fuck it, give it a rest, man.
Emma (08:09):
But also, there is nothing in here to imply any of that.
It is literally a song abouthaving a lovely orgasm.
A lovely orgasm.
A lovely orgasm.
Yeah, I think that comment is abig load of bollocks by somebody
that's trying to read something.
Sam (08:22):
It's very try hard for this.
So just to re contextualise thealbum, shall we this is the one
that came out after Bat Out ofHell 2 and is still alright in
some ways but has quite a bit ofwank on it.
Emma (08:35):
Yeah.
The song is not performed byMeat Loaf.
It's not written by him or Jim.
It's got nothing to do witheither of them really, it's just
on the album.
It's written by a woman calledMartha Minter Bailey, who only
seems to have actually writtenthis one song.
I can't find anything else abouther online.
(08:56):
There is a Martha Bailey who Idiscovered who was a singer
songwriter, but I don't know ifshe's the same one.
So there's very little about thewriter that I can find but it
was sung by a woman called SusanWood.
Which brings me to anotheronline comment that I found from
Matt Fitch 3460, who said, MeatLoaf wouldn't sing this song,
(09:19):
but Susan would.
Sam (09:24):
What?
Emma (09:25):
So it was sung by a woman called Susan Wood.
Sam (09:28):
No, I'm not following
Emma (09:30):
Meat Loaf wouldn't sing this song, but Susan would.
Sam (09:33):
Fuck you! Fuck you! Fuck you! Okay, I'll, I'll fess up to
what was happening there, whichis that I've quickly been
opening an anagram finder justto see if Martha Minter Bailey
is an anagram for somebody else.
Emma (09:46):
And is it?
Sam (09:47):
I don't know, because you distracted me by doing the
podcast.
Emma (09:50):
You should have just told me.
Sam (09:53):
Oh, I wanted to surprise you.
No answers found.
No.
No.
So I, don't think Didn't seemlike an easy one.
But Susan Wood! Ho, ho, ho,
Emma (10:04):
Off you fuck.
Sam (10:07):
So, what else has Susan Wood sung?
Is she elsewhere on the album?
Okay.
Emma (10:12):
but I did find her Instagram.
and she doesn't use it much.
She's very family oriented.
It seems.
Which is nice, and she's done alot of, like, musical theatre.
So she was in the 1994 Broadwayrevival of Grease.
Sandy.
So, that's pretty that's themain one, yeah in the
Sam (10:33):
Grease.
Uh,
Emma (10:34):
Yeah, that's the main one who I have feminist problems
with.
That's Grease as a whole.
We're not doing Greasecast.
We're not doing Greasecast, sowe'll leave that.
But no, seems like a nice lady.
And Meat Loaf died, she did poston her Instagram,"I was
fortunate enough to be able tosing solo on Meat Loaf's Welcome
to the Neighbourhood album.
(10:54):
It's called 45 Seconds ofEcstasy and it's literally only
45 seconds long."" It's not,Susan! It's not!
Sam (11:01):
All
Emma (11:02):
Having grown up a fan of his music, this is such an
honor.
He was a true gentleman with aheart of gold, and his immense
talent and epic songs will beremembered forever.
Keep shining your light, Meat".
I thought that was quite sweet.
Yeah, it's a little
Sam (11:17):
grew up on his music and then appeared on.
A recording.
Emma (11:20):
Yeah.
Sam (11:21):
You, you seem to have a but.
I sent
Emma (11:23):
sent you a video.
Sam (11:24):
Okay.
So this is a live version.
Emma (11:28):
I don't know if this is her.
Listeners, we will pop a link tothat in the write up of this
particular episode, but don'twatch it, please.
Watching Sam's face while hewatched that was tremendous.
I don't think that's Susan Wood.
I don't think it sounds
Sam (11:43):
So just for the listener's benefit, it's a very low res
video that somebody's tried toupscale slightly of a, looks
like an afternoon festival gigwherein the female singer.
He's singing the number, andMeat Loaf is creepily walking
towards her, and then there'ssome grinding, and
Emma (12:06):
He spends a fair bit of time with his head buried in her
chest, which is, but sheencouraged
Sam (12:14):
It's, it's, Emma.
Sensual.
The choreographer on that didnot put in a lot of effort,
Emma (12:19):
No, no.
No.
Sam (12:23):
It was during the Casa de Carne tour, apparently.
Emma (12:25):
lovely.
Sam (12:29):
Bit weird.
Yeah.
Uncomfortable.
Bit uncomfortable.
Yeah, so this is late, this is2008, so it's, er
Emma (12:36):
Oh, it's like over a decade
Sam (12:37):
after Late era
Emma (12:39):
Yeah.
Sam (12:39):
that's a bit
Emma (12:40):
creepo It's uncomfortable.
I didn't like
Sam (12:43):
it.
I find it.
weird that that's still in thetour set ten years later.
Emma (12:50):
I don't remember seeing that at any of the live gigs.
But maybe it was there and Ijust don't remember or have,
repressed it.
Sam (12:59):
Push it
Emma (13:02):
there's not much else to talk about with this song.
Sam (13:05):
it's a song about doing it.
Emma (13:07):
It's a song about doing it, but more specifically, I
think it's a song about orgasms.
Sam (13:11):
Yeah, no arguments here.
Emma (13:14):
it.
It's not a sophisticated track,
Sam (13:16):
It's not as
Emma (13:17):
what Colino thinks.
Sam (13:19):
Ha ha What's it doing there,
Emma (13:22):
well, it's in a weird spot.
It's sandwiched between OriginalSin and Running for the Red
Light.
Okay.
On the album.
Are you familiar with Runningfor the Red Light?
It's quite an upbeat
Sam (13:34):
I am with Original Sin, but they're both quite smashy,
upbeat, numbers.
then we've got this song about Alady havin a good time!
Emma (13:45):
I found an interview on YouTube with Meat Loaf about
Welcome to the Neighbourhood andhis words are"Welcome to the
Neighborhood is DivineIntervention, and I actually
believe that." I don't know whatthat means, but that's what Meat
Loaf said
Sam (14:00):
Oh.
I suppose because he's so usedto doing interviews with Jim
Steinman, who doesn't believe aword he says
Emma (14:06):
he said the entire album is a period piece set in the 30s
and 40s and it all revolvesaround these true detective
magazines and true detectivenovels.
So it's that kind of pulp.
Yeah.
We've not actually talked aboutthis, but there is a cool kind
of piece of pulp artwork foreach song Yes.
In the liner there is.
And they are really cool.
Sam (14:24):
cool.
Yeah.
Yeah.
I think they're all takes onsort of pulp films or,
Emma (14:27):
Yeah.
Cause one of them is the classicLolita with lollipop, Which is
creepy but they are.
Cool.
impressive pieces of that styleof art.
I think the idea behind thealbum is that the first track is
supposed to be the beginning ofa love life.
And the end is the end of a lifeand the end of a love life.
And so it's different loves andstuff throughout all different
(14:51):
parts of a relationship.
So evidently this is about thethe more upbeat parts The
shagging.
Sam (14:58):
Thank you for clarifying.
Emma (15:00):
welcome.
Sam (15:01):
In my head I'm setting this sort of 1930s pulp tale in the
New York City of The Shadow.
The Shadow!
Emma (15:11):
Yep, I think it could be there but I also think it could
possibly be the Jim Steinmanesque city in Streets of fire.
Sam (15:19):
yeah, no, that's true.
The timeless, The timeless Is itthe 20s?
Is it the 80s?
Yeah.
Who knows?
It's
Emma (15:25):
both and also neither.
So yes, it's a funny littlesong.
Lots of people don't know whyit's there.
Yeah.
Sam (15:31):
Do you know?
Emma (15:33):
No there's a lot of sex noises and basically it's just a
very horny song.
It's a horny song about beinghorny.
That's it.
Sam (15:43):
Okay.
Emma (15:44):
That's it.
Sam (15:46):
Any other business on this song?
Emma (15:48):
No other business.
Sam (15:49):
Emma, is it time to rate this song?
okay.
So listeners, as always, we'llbe using our government
certified Meat Loaf song
Emma (15:57):
don't know if it's still a valid system for this because
he's not involved in it.
Sam (16:03):
well, give me 10 seconds.
Right.
Got it.
So Emma, we're gonna rate thistwice.
We're gonna rate it on the MeatLoaf certified Song Rating
Scale.
Yeah.
Of Marvin Lee Aday for the GoodSongs.
Marvin Lee Okay for the middlingnumbers and Marvin Lee No Way
(16:24):
for Meat Loaf's shitter songs.
And then we're also going torate it on the scale of Susan
Wood to Susan Should I KeepListening to This, or Susan No
Good
Emma (16:36):
So
Sam (16:37):
So what's this?
Emma (16:38):
thought you were going to go for Susan Wouldn't.
Sam (16:40):
for Susan Wood.
Emma (16:41):
damn it!
Sam (16:47):
if you like.
Emma (16:47):
If you want.
Sam (16:48):
Yeah, okay.
So what is it on the Meat Loafscale?
Emma (16:53):
On the Meat Loaf scale, it's not catastrophically
Sam (16:58):
what's it for?
Why is it
Emma (17:01):
is it there?
Sam (17:01):
Why is it in his festival set 15 years later?
Other than so that he can get anattractive young woman to grind
on
Emma (17:09):
Do you think it's a Marvin Lee No Way
Sam (17:11):
is A waste of, a bit of CD to me, I'd
Emma (17:16):
It would be forgivable if it was 45 seconds.
Sam (17:21):
also that! Because
Emma (17:21):
Because that really winds me
Sam (17:23):
up.
Okay, so, I think it's a MarvinLee No Way.
You are welcome
Emma (17:27):
no, I think I'll go with the Marvin Lee.
Sam (17:29):
Lee No way.
Okay, and is it a Susan Wood, aSusan Should I Keep Listening,
or a Susan Wouldn't?
Emma (17:36):
It's a Susan Wouldn't.
Sam (17:38):
Oh, okay.
Emma (17:39):
It's all you.
Well, I think
Sam (17:41):
I'm gonna say this is the best Susan Wood song
Emma (17:43):
the best Susan Wood song ever.
Wood from you that is it?
Sam (17:48):
Yeah, I'm gonna say this is a Susan Wood.
She performs admirably.
Emma (17:53):
She does well with what she's given.
Okay I'll reconsider.
Sam (17:57):
Like to hear more 1930s pulp songs sung by Susan Wood
But I'd like them to be long andnot just an excuse for Meat Loaf
to rub his face in a girl'stits.
Emma (18:10):
Cool.
Sam (18:12):
So that's a Marvin Lee No Way! Susan Wood?
Emma (18:17):
So Sam, what did you bring this time?
Sam (18:19):
I brought Requiem Metal, which is a 52 second track from
the Pandora's Box album OriginalSin.
Emma (18:28):
Why did you bring that
Sam (18:29):
I just looked down the track listing.
And thought it would besomething other than it is.
But listeners, go away and findit on your YouTubes or your
Spotifies.
It won't take you very long.
You'll think you know it, butyou don't, We're gonna listen to
it now.
Emma (19:02):
I managed to pull quite a lot out of my arse for that
nothing song that I've just gonethrough.
I can't wait to hear what you'vegot to say about
Sam (19:09):
The first thing I want to say is, when we were choosing
our songs last time, Imisremembered this as being,
like An electric guitar cover ofVerdi's Requiem, because Jim and
Meat Loaf have done some modernrock covers of classical music
on other recordings.
There's a version of Bolero thatthey do.
So I assumed it would be that,but what we have, Emma, is an
(19:32):
excerpt from Verdi's Requiem,just like, slightly cut up in a
jarring way
Emma (19:37):
yeah, it's been butchered, hasn't
Sam (19:38):
Yeah, just banged in the middle of the album.
For some reason.
And I'm working towards whatthat reason is.
I've found the shape of it,perhaps.
But we'll get there.
song facts, that's track 6 of 14on the album.
It sits after Good Girls Go ToHeaven, which we've not covered
(19:59):
on the podcast yet, but prettygood song.
And then before, I've BeenDreaming Up A Storm Lately
Emma (20:05):
which is one of the weird monologues,
Sam (20:07):
creepy monologue.
My notes say, Why have you donethis, Jimmy?
This is the B side to some ofthe singles.
If you went out and bought theIt's All Coming Back To Me Now
single, Which you should havedone, because it's probably the
best song off the album.
Emma (20:26):
Yeah,
Sam (20:27):
Possibly.
This would have been the B-sideyou got.
Emma (20:31):
a rip off! Back
Sam (20:33):
Back to my notes.
Why?
Why have you done it,
Emma (20:35):
though?
It's baffling, right?
Sam (20:37):
right Yes.
liner notes don't really help,they say this was arranged by
Jim Steinman, excerpt from Messadi Requiem composed by, Giuseppe
Verdi, which we already knew.
We've talked about this in thepast, I think.
When Jim was young, he wouldlisten to classical music and
rock and roll records back toback and not see any distinction
between them.
(20:58):
I'd listen to an entire Wagneropera and be totally paralysed
by it.
I literally wouldn't move aninch because I was afraid I
might upset something.
I was somewhat insane in thosedays",
Emma (21:10):
It's good that he grew out of that.
Yeah.
Sam (21:12):
"So I'd be virtually paralyzed there listening to
these five hour operas incomplete form.
Then when it was over I'd sit inawe for an hour or so and then
I'd put Little Richard on and itwould be a magnificent
combination.
The more I listened the more Iwas convinced that Wagner and
Little Richard came from thesame place".
Emma (21:29):
I just wonder what Jim's parents made
Sam (21:31):
ha ha ha ha ha ha ha Well, at least he's not out taking
Emma (21:35):
drugs
Sam (21:35):
he
Emma (21:36):
he he
Sam (21:37):
he he yet that feeds He he he Obviously that feeds into the
big operatic rock opera stuffthat we know and love from Jim
later on in life.
The other thing I really likeabout that is that it's the sort
of thing you get when you don'tknow what's cool.
Emma (21:55):
Yeah.
Sam (21:56):
Like when I was a kid This isn't quite a Meat Loaf memory,
but my siblings and I weregiven, they weren't Walkmans,
because we weren't that rich,they would have been Goodman's
brand personal stereo device anda tape each that would have
been, you know, a coolcompilation of the time.
But we didn't really, Icertainly didn't have any other
tapes, so I would just gothrough my mum's tape collection
(22:19):
and, and, I had no idea aboutmusic, I'd just pull something
off the shelf and listen to it.
Emma (22:22):
Yeah, I did very similar things with my mum's
Sam (22:27):
But what I didn't realize was the cool one to have grabbed
was the Jeff Wayne's adaptationof the War of the Worlds,
whereas I grabbed Gene Pitney.
So I would go from listening toNow92 to Gene Pitney until my
older brother was like, oh, GenePitney, you loser.
And there's something quitesweet in that when you're so
(22:48):
unaware of what's cool that youcan kind of just throw stuff
together.
And there's the stages ofcoolness that go like.
I don't know what's cool.
Other people tell me what'scool.
Actually, I now decide what'scool.
Oh, no, I was wrong.
Other people tell me what'scool.
Emma (23:06):
And then of course there's the stage that we're now at,
which is cool doesn't reallymatter anymore.
We are irrelevant.
Sam (23:17):
Yeah.
Fair enough.
So I do see where Jim is comingfrom and wanting to include
these influences of his inPandora's box, Newer listeners
might not be up to speed onPandora's Box.
It's mostly a female led groupthat sings a lot of his best
songs that Meat Loaf later picksup on Bat out of Hell 2.
(23:38):
But what's it doing there?
Why is it there?
Why is it cut up in the way thatit is?
Unsurprisingly, nobody hasanything to say about this.
Critics don't really mention it.
Jim's never to my knowledge,talked about it or written
anything about what he's donehere.
He does recycle it though.
Emma (23:57):
Oh!
Sam (23:58):
We've talked about the recycled version already.
Emma (24:01):
Have we?
Sam (24:03):
This appears as the backdrop to Wasted Youth on Bat
Out of Hell 2.
Your face! Yeah.
Emma (24:12):
I, yeah, I can hear that now.
It's in the weird mix in thebackground,
Sam (24:16):
in the background of the monologue when it starts
reaching a peak and he's aboutto bring the guitar crashing
down upon my parents' bed.
But it still doesn't answer whyhe did this in 1989 and what it
was for, other than, and I'mfairly certain this is the
answer, there were 55 seconds
Emma (24:32):
left on the CD.
And he's been playing at cuttingsomething
Sam (24:36):
Yes.
Tower Records magazine callsthis"keyboard insanity." And
there is one quote from Jim thatsays,"my version of Verdi", and
that's all I can find.
The recording itself is creditedto the Warsaw National
Philharmonic conducted byKazimierz Kord.
Shout out to Kazimierz Kord.
(24:56):
I didn't look up anything to dowith Kazimierz Kord.
He might be an arsehole.
I'm hoping he's lovely.
The same article says that Jimpaid for the music video for
It's All Coming Back to Me Now.
erotic filth.
By selling this to Ford for anadvert.
Why didn't Ford just go straightto the source?
(25:18):
I don't get it.
Which idiot at Ford paid forthis when you could have just
got and bought a CD of
Emma (25:25):
Oh my God!
Sam (25:28):
But also, relevant to a conversation we have been having
for a while on and off thispodcast.
As of the writing of thisarticle, Jim Steinman confirmed
he couldn't drive.
The evidence for Jim neverhaving owned a motorbike is
starting to build.
Emma (25:46):
He couldn't drive.
Sam (25:47):
Couldn't drive as of 1989.
He definitely never owned amotorbike, Emma.
Emma (25:53):
He didn't own a motorbike, did He
Sam (25:55):
own a motorbike.
He
Emma (25:56):
He just liked to think of them having sex with each other
in back
Sam (26:01):
doesn't Hee hee hee hee and who doesn't love that?.
Emma (26:05):
do you think he thought that they were actual creatures?
Sam (26:09):
Like horsies?
Emma (26:10):
Yes, like horses.
Like horses.
driving is a useful skill.
Not everybody needs to have it.
It's fine.
But I feel like for an American,it's different.
It's much harder in the U.
S.
to get about without a car.
Sam (26:24):
He spent a lot of time living in New York City.
Emma (26:26):
I suppose
Sam (26:27):
that's At some point he does move out to rural
Massachusetts.
Presumably he's able to drive bythen.
Or, well, he's also rich enoughto be able to afford a driver, I
guess.
Yeah.
You know, perhaps he had somemedical condition that stopped
him from being able to drive.
I don't know.
But yes, it is very hard to getaround in Massachusetts without
a car, certainly.
Emma (26:45):
And all that stuff written about cars and bikes
Sam (26:50):
Yeah.
Emma (26:51):
Feels like such a fraud.
He probably never evenexperienced any paradise by the
dashboard light.
Sam (26:59):
He never even saw a dashboard.
Emma (27:01):
I feel cheated, Sam.
Who knew that this would be thetrack that brought all of this
up?
Sam (27:09):
This is an excerpt from Verdi's Requiem.
It's the Dies Irae, and I havemangled the Latin there.
So, any ancient Romans who wantto shout at me, do email in.
chatoutofhellatgmail.
com Dies Irae is the day ofwrath.
It's about when Jesus will comeback.
And, ascend the righteous toheaven and have a word with the
sinners.
Emma (27:29):
It's about Rapture Day.
Sam (27:30):
It is about Rapture Day, if you want to put it in your
modern Baptist terms.
But this is Catholic, Emma.
sorry.
which is about sins.
What's the name of the album?
Original Sin.
That's as good a link as I canfind.
Except there is some good stuffgoing on with Verdi this is
Verdi's version of the RequiemMass, which few classical
(27:54):
composers have taken on.
The mass itself has been set tomusic going back to at least the
15th century.
many people have done it.
Verdi's version was consideredtoo operatic to be performed in
a liturgical setting.
The Requiem is usually given inconcert form, taking around 90
minutes to perform.
Much longer than other Requiemversions.
(28:16):
Too operatic!
Emma (28:18):
Starting to ring a bell, yeah?
Yep.
Sam (28:22):
This was first performed on May the 22nd, 1874.
Some sample lyrics from the DiesIrae section.
the famous bit that we all know,which I don't have the range to
sing, but you're hearing it inyour head.
The day of wrath, that day willdissolve the world in ashes as
David prophesied with the Sybil.
How great a terror there will bewhen the judge shall come who
(28:43):
will thresh out everythingthoroughly.
I feel the air is getting hot,like you baby, I'll make you
mine, you know I'll take you tothe top, what?
ha
Emma (28:55):
I think some of those lyrics might not have been
Sam (29:00):
All of that was from the Latin, Emma, if you translate
it.
Was Yeah! Whigfield's SaturdayNight was a version of the
Requiem Mass.
Emma (29:09):
Oh god, I wondered how you were gonna do it and here we go
and every Yeah, it hurt a littlebit more.
Sam (29:18):
I had real difficulty working out how to link Electro
pop dancehall hits SaturdayNight with Giuseppe Verdi's
Requiem for the Dead.
But I think I did it, so Goodstuff.
Yeah,
Emma (29:35):
Do you got anything else to
Sam (29:36):
I do.
Yes Verdi is very much the JimSteinman of his day He
revolutionized the world ofopera in
Emma (29:44):
Did he sleep on a mattress in a pantry?
Sam (29:50):
Have not researched where Verdi slept, but I do have some
quotes for you for our quiz OhGod.
So I've got two quotes fromGiuseppe Verdi and one from Jim
Steinman.
I've updated the language inVerdi's to match Jim's
vernacular.
Okay.
But it's very much the moderntake on what he said.
Emma (30:10):
So it's a case of spot the Jim.
Sam (30:11):
Spot the Jim here..
Is it a,"I like to tell thetruth, but I like to make up the
truth more".
Is it, B,"criticism is stupid,but praise is even stupider", or
is it c?
Music and theatre are together.
The same thing.
True theatre is not beingcautious."
Emma (30:34):
They all sound like pure Steinman, don't they?
So this is tough.
I have no idea.
So I'm just going to go with A.
Sam (30:42):
"I like to tell the truth, but I like to make up the truth
even more".
Giuseppe Verdi.
Emma (30:48):
But that could be so Steinman.
I know.
Sam (30:50):
It
Emma (30:51):
Go on, which one was it then?
Sam (30:52):
"music and theatre are together.
The same thing.
True theatre is not beingcautious." That is Jim Steinman.
The other two were the 19thcentury Jim Steinman.
Giuseppe Verdi.
Emma (31:04):
Magnificent.
Yes.
Bravo.
Well done.
Sam (31:06):
Thank you.
Just to quickly point out, we'retalking about Giuseppe Verdi and
it gives the music a level ofcachet.
His name translates to Englishas Joe Green, which rather ruins
the mystique, I
Emma (31:19):
of a bit.
Old Joe.
Sam (31:22):
Old Joe Green's requiem mass.
Obviously it's a brilliant pieceof classical music.
Why is it there, Jim?
What have you done with it?
What, what, nobody has it.
Confused.
Do you want to hear what thepeople of the internet think?
Emma (31:38):
Yeah! Are there any that think anything?
There
Sam (31:41):
are no comments on the Pandora's box version So I I had
to find something that peoplesaid on the proper Verdi
versions.
At Simon Bartles dash Y4G,"Thisis one of the best pieces of
music ever composed.
But nothing beats the CantinaBand from Star Wars
Emma (32:02):
God,
Sam (32:03):
You don't get that on Jim
Emma (32:05):
Steinman videos.
Sam (32:07):
Shall we rate this we'll call it a song.
Emma (32:09):
Yeah.
Sam (32:10):
we we rate whatever this is, Emma?
Emma (32:12):
Yeah.
Okay.
Sam (32:12):
so we're also gonna double rate this one.
We're gonna rate it on ourtraditional Jim Steinman rating
scale, which runs from JimSteinman at the top to Jim
Fineman in the middle, all theway down to Jim Declineman for
the mysterious baffling wastesof a CD that sometimes come up.
Emma (32:30):
Oh, I wonder what this one
Sam (32:31):
And we're also going to rate this on the scale of
Giuseppe Verdi to GiuseppeV-uh-di?
All the way down to GuiseppiBleurghdi is this?
Emma (32:45):
What is this?
What is this?
What is this?
For me it is a Jim Declineman
Sam (32:50):
it's absolutely a Jim Declineman.
It's Jim farting about
Emma (32:55):
Filling space
Sam (32:56):
If I'd known what I was getting into when I chose this,
I wouldn't have chosen it andI'd have saved it for later, but
Emma (33:03):
least, it's outta the way.
Sam (33:04):
out of the way now.
Thank you, Jim Declineman.
And obviously it's a GiuseppeVerdi, right?
It's an absolutely lovely pieceof classical music that Jim has,
for no reason, taken a scalpelto.
Emma (33:18):
Oh, this has felt like struggle this week.
pick some better songs nexttime.
Chatter Out
Sam (33:28):
So that was Chat out of Hell.
Emma (33:30):
Lovely
Sam (33:30):
did you agree with our ratings?
Let us know,chatoutofhellatgmail.
com.
Do you have any explanation forwhat Jim was up to there?
Please do tell us,chatoutofhellatgmail.
com.
Emma (33:41):
or indeed what Meat Loaf was up to with that
Sam (33:43):
yeah, email any thoughts on those to chatoutofhellatgmail.
com.
Just like these people havehere.
This is from Kayleigh.
Emma (33:52):
Kayleigh.
Sam (33:53):
Hi, Sam and Emma.
Emma (33:54):
Aw,
Sam (33:55):
My name is Kayleigh.
I'm the person who commented onSpotify that you two should
watch Roadie on the most recentepisode and may I say Kayleigh,
thank you for telling me thatthere are comments on Spotify
because I had no idea up untilthat point and we've got a few
so I'll get on to them in a
Emma (34:11):
in a minute.
Some sent me a text with ascreenshot.
It was a revelation! We're goodat
Sam (34:16):
I'm a chronically ill and autistic 23 year old who, like
Emma, went to college for mediastudies.
When I got sick in June of 2023with the chronic illness, I
started really getting into 70smusic.
I don't know why, your guess isas good as mine, because it's
better than modern music.
Meat Loaf really stuck out to meas I had yet to see someone with
(34:36):
his body type in the world ofrock and roll.
He's like a male version of MamaCass.
She also had a really weirdlife, but that's unimportant.
We'll go back to Meat Loaf'sbody type in a second, but it's
not unimportant that Mama Casshad an amazing and fascinating
life.
I Mama Cass.
Loaf's body type, we've notreally mentioned it, have we?
(34:56):
I mean, obviously, It comes up alot in passing, yeah, he's a
mountain of a man who dominatesthe stage and a big part of his
success as a performer, I think,does come from the way he uses
his size as a, tool.
Emma (35:13):
I guess.
It's not something that everheld him back.
We have the Meat Loaf ratingsystem, which is the Marvin Lee
Aday thing, but he did actuallychange his name to Michael Lee
Aday because way back, there wasa Levi's advertising campaign,
and he talks about this in hisbiography.
The advertising campaign was,Poor Fat Marvin Can't Wear
(35:34):
Levi's.
Whoever this Marvin kid was, andof course, it rang true for Meat
Loaf.
And speaking as a fat womanfuckin yeah!
Sam (35:45):
And also, fuck you Levi's
Emma (35:46):
Yeah! It is always good to see different body types
represented.
It should go without saying.
Humans come in all shapes andsizes.
And Along with those shapes andsizes come various talents, and
your worth as a human is notdefined by your size.
And the fact that Meat Loaf wassuch a fucking legend, despite
(36:09):
not being chiseled and bodysculpted and, a generically
handsome bloke is fuckingbrilliant, as far as I'm
concerned.
So yay for that.
Yeah!
Sam (36:23):
might play some applause in
Emma (36:24):
ha ha ha
Sam (36:28):
Back to Kayleigh.
Also, for a man who said he wasonly friends with his voice, Jim
really seemed to like theattention he got from being
around Meat.
Or at least it looks that way inmost of the photos of the two
men together.
Yes, absolutely.
Can't wait to listen to the newepisode when it comes out, as I
have binged listened to theentire series within the space
of a week.
Bye!
Emma (36:48):
Aw, Kayleigh, that's lovely, thank
Sam (36:49):
That is lovely.
Thank you so much for listening,Kayleigh.
And thank you for writing in.
And let me just go back to yourcomment.
some other comments fromSpotify.
So Kaylee's pitched Roadie for.
Film Club.
It's a 1980 movie where MeatLoaf plays the titular roadie
and wants to get with an AliceCooper crazed 16 year old.
And no, we never find out howold Meat Loaf's character is".
(37:12):
Good
Emma (37:12):
Yay.
Sam (37:13):
to
Emma (37:14):
Looking forward to that one.
Alright,
Sam (37:15):
that Kayleigh has pitched that as part of a double bill
with Dead Ringer.
Yeah.
I don't want to be too bummedout in one Film Club So I don't
know if Dead Ringer is
Emma (37:26):
well maybe we do that the same time as we do Spice World.
Sam (37:29):
that good call.
Emma (37:31):
Ha And then some
Sam (37:32):
And then some other comments on Spotify Thank you to
these people.
Living After Midnight.
This is on our Christmas Horror.
Emma (37:38):
on Ahhh And
Sam (37:39):
I was listening to this while packing in my parents'
house and was laughing so hardthat they had to come and check
on me and that's in differentlevels of the house.
Emma (37:47):
you haven't listened to the Christmas Horror if you're
feeling brave, give it a shot.
But don't listen to it incompany.
Certainly don't listen to itwith family.
Okay.
Sam (37:58):
And then from Jacob's Davies or possibly Jacob S
Davies comment on the firstepisode,"this podcast seems to
have been tailor made for me.
Massive fan of Meat and Jim, andhaving spoke with both of them
while they were alive, I reckonthey'd love it".
Oh, it's so
Emma (38:13):
nice, Thank you! That might just be based on the first
episode when we were probablystill being quite nice.
Sam (38:21):
Another email?
is This is from Chris Matts.
Emma (38:24):
Hi Chris.
Sam (38:25):
Hey guys, I discovered the pod about a week or so ago, and
I'm slowly working through it.
I'm roughly around the same ageas Emma.
And I just want to cut in here,because I'm also roughly around
the same age as you, but Chrishas assumed I'm not.
Emma (38:39):
I wonder if Chris has assumed that you are MUCH older!
Sam (38:42):
let's imagine that's happened.
Thank you, Chris, for theimplied compliment to my
youthful voice.
I'm roughly around the same ageas Emma and seem to have gone
through a similar introductionto Meat Loaf.
heard Bat Out of Hell 2 oncassette and then saw Meat Loaf
when I was 8 years old on theWelcome to the Neighbourhood
tour.
So actually that does put Chrisbang on my age rather than
(39:04):
yours.
No, Welcome to theNeighbourhood, that was 96?
Emma (39:08):
You're only a year younger than
Sam (39:09):
me.
Yeah, I'm a year younger thanyou, Chris is three years
younger than me.
So actually, massive complimentto you! Yeah! Thank you! I saw
on socials that you're lookingfor songs to cover, and looking
ahead at the episodedescriptions, I don't think
you've covered Good Girls Go toHeaven.
We have not.
Or, I'm Gonna Love Her for Bothof Us.
Emma (39:27):
That's from Dead Ringer.
Sam (39:28):
Thank you, Chris, for those.
And then Chris has dropped anincredible question for us.
I'd love to know what songs youwould have liked to hear Meat
Loaf tackle.
For me, it would be the Steinmanslash Fire Inc.
song, Tonight Is What It MeansTo Be Young.
Or, Always by Bon Jovi.
His voice would suit Always,I'll grant you that.
Emma (39:47):
I have said right from the first time I heard it, that I
would have loved to have heardthe Meat Loaf version of Tonight
Is What It Means To Be Young.
Sam (39:54):
Yes.
Emma (39:55):
Of course, there is the Meat Loaf version of the other
song from that, which is NowhereFast, which the Meat Loaf
version is far inferior the FireInc.
version, and I am a massive fanof the Fire Inc.
stuff, and Tonight Is What ItMeans To Be Young is a proper
belter song.
Sam (40:13):
Yeah, I do have to go on the record.
So when we rated Nowhere Fast, Irated the Meat Loaf version
higher and I do want to rescindthat now and tell you that
having listened to the Fire Incone a few more times, that one
absolutely whips.
Emma (40:27):
it's so good.
It's such an upbeat song.
It's the kind of song that Iwould put on while getting ready
to go out.
For a big night out.
Oh,
Sam (40:35):
not Saturday Night by
Emma (40:36):
not Saturday Night by Whigfield, no.
Tonight is What it Means to beYoung.
And nowhere fast.
Sam (40:43):
So what do you want Meat Loaf to cover, Emma?
What are your suggestions?
I've got a few.
Emma (40:48):
I've given this some thought, and I've gone into two
different camps.
Okay.
one is songs that I think hewould do a really good job of.
Yep.
And for that, I've got If ICould Turn Back Time by Cher.
Sam (40:59):
Oh, hello!
Emma (41:00):
I think that would be really good.
Nice, okay.
And also, In the Air Tonight byPhil Collins.
Sam (41:06):
can hear that.
Nice.
That's good.
Emma (41:09):
big.
Sam (41:10):
A booming in the air
Emma (41:11):
And then there's the ones that I think he would cover
later in his career when he'sdoing terrible things.
Uh, the two most hilarious onesthat I could come up with were
You Outta Know.
By Alanis Morissette.
Of
Sam (41:25):
he
Emma (41:25):
think he would really butcher that.
Sam (41:27):
Okay, hang on, what era Meat Loaf is this?
Emma (41:29):
Oh, this is like end of
Sam (41:31):
Ravage voice Meat Loaf.
Emma (41:32):
yeah.
Sam (41:34):
So when he can't even carry a tune, you want him to do You
Oughta Know.
Emma (41:38):
But more than that, I want him to do Gangster's Paradise.
Sam (41:45):
We think on very similar lines.
Do we?
Yeah, I've taken a slightlydifferent take.
I've split Meat Loaf into threesections.
Okay.
So I've got early Meat Loaf,like 70s through to mid 90s.
Yup.
And I would like to hear himgoing back to his musical
theatre roots.
I want him play Javert in LesMis.
He's got the perfect voice forJavert.
(42:06):
Have you seen the Hollywood film
Emma (42:08):
I have not.
I'm not overly familiar with LesMis.
Okay.
I was put off it at school bymusical theatre
Sam (42:14):
Which is fine.
thing that really ruins the filmof Les Mis.
Everything else about it isbrilliant, but Russell Crowe
plays the role of Javert.
So Javert is meant to have avery deep, he's a big booming
threat who follows the maincharacter around doesn't sound
anything like Brian Blessed, buthe's supposed to have this big
(42:35):
deep booming voice and beconstantly stalking the and,
Russell Crowe has the weediestvoice you can imagine.
He utterly ruins it.
So I think Meat Loaf would haveplayed that part I feel like
I've complained to you about thefilm of Les Mis on a podcast
before.
I must have done it on my otherpodcast Inform, Educate,
entertain.
Anyway, um, that's my early MeatLoaf in his prime.
(42:58):
Then mid level Meat Loaf, solate 90s to mid 2000s.
Emma (43:02):
Yeah.
Sam (43:03):
This is Hang Cool Teddy Bear era, when he's singing
skater punk songs.
Let's lean into that.
I want him to cover Heaven is aHalf Pipe by OPM.
Emma (43:12):
Ha ha ha.
Yep, love it.
Sam (43:14):
And United States of Whatever by Liam Lynch
Emma (43:17):
Oh, brilliant call.
Fucking hell.
Oh, I've not even thought aboutthat song in forever.
Sam (43:24):
That's what I'm here for.
Emma (43:25):
for.
Oh no.
Sam (43:28):
And then if you go fast forward to the end, Heroic
Ravaged Voice era Meat Loaf.
We've talked a lot about how Hischoices for Braver Than We Are
were dreadful.
His voice was right to go backto Tom Waits.
Yeah.
Something like Diamonds on MyWindshield or Looking for the
Heart of Saturday Night.
Yeah.
Something from the, kind of, TomWaits most bluesy, 1930s y, rain
(43:52):
drenched cityscapes.
Era Listeners, This is a reallygreat question that Chris has
asked.
If you've got an answer to whatyou would like Meat Loaf to have
covered, let us know.
Chat out of hell@gmail.com.
One more email from comedyfriend of the show.
Silky.
Emma (44:09):
Hi, silky.
Sam (44:10):
Hi, silky.
Hi Silky.
He says, I've had a few daysaway and I've immersed myself in
the meaty verse.
And I'm now caught And yeah, mayI second that we're not having
this be the meaty verse.
Emma (44:23):
the meat of this.
Sam (44:25):
enjoying it hugely despite not having listened to any Meat
Loaf or Jim Steinman other thanthe clips and the episodes.
So that's the mailbag.
Emma, what songs are we coveringnext time
Emma (44:36):
I'm going to dig back into the Dead Ringer album, and I'm
going to cover I'll Kill You IfYou Don't Come Back.
Sam (44:41):
And I am going to return to Bat Out Of Hell to cover the
fourth song on that one, allrevved up with No Place To Go.
And we're also going to dosomething else next time.
Yeah, you're looking at me.
We made a promise to ourlisteners at the start of this
series to give them an update onthe Jim Steinman style songs
that we're working on, so we doowe them something.
(45:02):
And Emma just to give you someinspiration, I've got this
little quote from Jim foraspiring songwriters.
Emma (45:10):
Okay, I'm sure this will really
Sam (45:11):
help First, stop trying to imitate what you hear on the
radio.
Next, experiment with my method.
Try to envision a scene, likeone from a movie or a play.
See the characters, thesituation, the setting,
everything you can.
"Then, at the peak, visualizethe singer of the song standing
on a pitch dark stage, right ina column of intense blue light,
(45:34):
with 5, 000 people in theaudience.
The song has got to hold thosepeople completely at that point.
The audience should becompletely captured." Now that
does ask a lot of us.
Yeah.
The first half is, is, I nearlysaid good advice.
Interesting advice.
(45:54):
Picture it
Emma (45:55):
advice, yeah.
Some of advice.
Sam (45:59):
And then the second half of the advice is, make it be good.
So yeah, we do owe our audienceperhaps an update on some lyrics
Emma (46:07):
some Then we should do that.
Sam (46:11):
Yes, we should and we will do that.
for the last episode in thisthird series.
Emma (46:17):
series.
Because what I need is morehomework.
Sam (46:20):
You're the one who promised this about four episodes ago.
As always, everyone, please dokeep your Meat Loaf thoughts and
memories flying in.
Did you see Meat Loaf at FiveGuys wondering who eats the
peanuts and forgetting that youalways get too many fries?
So why did I order a medium?
I could've just got a small andthere's still too many fries.
Why did I get a medium?
(46:41):
Let us know.
chatoutofhell@gmail.Com.
As always, thank you so much forlistening.
We'll see you again in two weekstime for another Chat Out of
Hell! Bow now now now! The end.
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On Purpose with Jay Shetty
I’m Jay Shetty host of On Purpose the worlds #1 Mental Health podcast and I’m so grateful you found us. I started this podcast 5 years ago to invite you into conversations and workshops that are designed to help make you happier, healthier and more healed. I believe that when you (yes you) feel seen, heard and understood you’re able to deal with relationship struggles, work challenges and life’s ups and downs with more ease and grace. I interview experts, celebrities, thought leaders and athletes so that we can grow our mindset, build better habits and uncover a side of them we’ve never seen before. New episodes every Monday and Friday. Your support means the world to me and I don’t take it for granted — click the follow button and leave a review to help us spread the love with On Purpose. I can’t wait for you to listen to your first or 500th episode!