More Rock and Pop
More Rock Classics
- With a STUNNING Shootout Winning Triple Plus (A+++) side one mated to a superb Double Plus (A++) side two, this Bat Out Of Hell rocks like nothing you’ve heard
- And of course this original pressing is guaranteed to beat the pants off any modern reissue of any weight, at any speed, cut by any mastering engineer and released on any label, or your money back
- This album sold in the millions but where are they now? They’re sure not sitting in the record bins here in L.A. – we have a devil of a time finding clean copies locally
- 4 1/2 stars: “There is no other album like Bat Out of Hell…. This is Grand Guignol pop — epic, gothic, operatic, and silly, and it’s appealing because of all of this. Jim Steinman was a composer without peer, simply because nobody else wanted to make mini-epics like this. And there never could have been a singer more suited for his compositions than Meat Loaf, a singer partial to bombast, albeit shaded bombast.”
This vintage Epic pressing has the kind of Tubey Magical Midrange that modern records can barely BEGIN to reproduce. Folks, that sound is gone and it sure isn’t showing signs of coming back. If you love hearing INTO a recording, actually being able to “see” the performers, and feeling as if you are sitting in the studio with the band, this is the record for you. It’s what vintage all analog recordings are known for — this sound.
If you exclusively play modern repressings of vintage recordings, I can say without fear of contradiction that you have never heard this kind of sound on vinyl. Old records have it — not often, and certainly not always — but maybe one out of a hundred new records do, and those are some pretty long odds.
What The Best Sides Of Bat Out Of Hell Have To Offer Is Not Hard To Hear
- The biggest, most immediate staging in the largest acoustic space
- The most Tubey Magic, without which you have almost nothing. CDs give you clean and clear. Only the best vintage vinyl pressings offer the kind of Tubey Magic that was on the tapes in 1977
- Tight, note-like, rich, full-bodied bass, with the correct amount of weight down low
- Natural tonality in the midrange — with all the instruments having the correct timbre
- Transparency and resolution, critical to hearing into the three-dimensional studio space
No doubt there’s more but we hope that should do for now. Playing the record is the only way to hear all of the qualities we discuss above, and playing the best pressings against a pile of other copies under rigorously controlled conditions is the only way to find a pressing that sounds as good as this one does.
Moving Product
Classic Rock is the heart and soul of our business. Finding quiet, good sounding pressings of Classic Rock albums is what we devote the bulk of our resources (time and money) to, and if we can be indulged a self-compliment, it’s what we do best.
No one is even bothering to attempt the kind of shootouts we immerse ourselves in every day. And who can blame them? It’s hard to assemble all the resources it takes to pull it off. There are a huge number of steps a record must go through before it finds itself for sale on our site, which means there are about twenty records in the backroom for every one that can be found on the site.
If the goal is to move product this is a very bad way to go about it. Then again, we don’t care about moving product for the sake of moving product. Our focus must be on finding, cleaning and critically evaluating the best sounding pressings, of the best music, we can get our hands on.
What We’re Listening For On Bat Out Of Hell
- Energy for starters. What could be more important than the life of the music?
- Then: presence and immediacy. The vocals aren’t “back there” somewhere, lost in the mix. They’re front and center where any recording engineer worth his salt would put them.
- The Big Sound comes next — wall to wall, lots of depth, huge space, three-dimensionality, all that sort of thing.
- Then transient information — fast, clear, sharp attacks, not the smear and thickness so common to these LPs.
- Tight punchy bass — which ties in with good transient information, also the issue of frequency extension further down.
- Next: transparency — the quality that allows you to hear deep into the soundfield, showing you the space and air around all the instruments.
- Extend the top and bottom and voila, you have The Real Thing — an honest to goodness Hot Stamper.
Side One
Bat Out Of Hell
You Took The Words Right Out Of My Mouth (Hot Summer Night)
Heaven Can Wait
All Revved Up With No Place To Go
Two Out Of Three Ain’t Bad
Side Two
Two Out Of Three Ain’t Bad
Paradise By The Dash Board Light
For Crying Out Loud
AMG 4 1/2 Star Review
There is no other album like Bat Out of Hell, unless you want to count the sequel. This is Grand Guignol pop — epic, gothic, operatic, and silly, and it’s appealing because of all of this. Jim Steinman was a composer without peer, simply because nobody else wanted to make mini-epics like this. And there never could have been a singer more suited for his compositions than Meat Loaf, a singer partial to bombast, albeit shaded bombast.
The compositions are staggeringly ridiculous, yet Meat Loaf finds the emotional core in each song, bringing true heartbreak to “Two out of Three Ain’t Bad” and sly humor to “Paradise by the Dashboard Light.” There’s no discounting the production of Todd Rundgren, either, who gives Steinman’s self-styled grandiosity a production that’s staggeringly big but never overwhelming and always alluring.
While the sentiments are deliberately adolescent and filled with jokes and exaggerated clichés, there’s real (albeit silly) wit behind these compositions, not just in the lyrics but in the music, which is a savvy blend of oldies pastiche, show tunes, prog rock, Springsteen-esque narratives, and blistering hard rock (thereby sounding a bit like an extension of Rocky Horror Picture Show, which brought Meat Loaf to the national stage). It may be easy to dismiss this as ridiculous, but there’s real style and craft here and its kitsch is intentional. It may elevate adolescent passion to operatic dimensions, and that’s certainly silly, but it’s hard not to marvel at the skill behind this grandly silly, irresistible album.