Recorded at Bearsville Sound, Bearsville, New York; Utopia Sound, Lake Hill, New York; The Hit Factory, New York, New York; House Of Music, West Orange, New Jersey; and Nassau Colliseum, Hempstead, New York.

Pomp and circumstance of the grandest order for the multi-platinum Meat Loaf and his songwriting mentor, Jim Steinman. The grandiose intro to the title track was indication enough of the tone of the album, with songs stretching out over what at times seemed like musical infinity. Steinman set his songs in evocative wastelands populated by full orchestras and small-town weirdos, 'Paradise By The Dashboard Light' an entire two-handed play in itself, and 'Two Out Of Three Ain't Bad', an overblown symphony of regret and unrequited love. Between them, they pretty much provided the balance of the album. A huge success, only to be repeated by its follow-up in 1993.

Pomp and circumstance of the grandest order for the multi-platinum Meat Loaf and his songwriting mentor, Jim Steinman. The grandiose intro to the title track was indication enough of the tone of the album, with songs stretching out over what at times seemed like musical infinity. Steinman set his songs in evocative wastelands populated by full orchestras and small-town weirdos, 'Paradise By The Dashboard Light' an entire two-handed play in itself, and 'Two Out Of Three Ain't Bad', an overblown symphony of regret and unrequited love. Between them, they pretty much provided the balance of the album. A huge success, only to be repeated by its follow-up in 1993.

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. ~ Stephen Thomas Erlewine

Pomp and circumstance of the grandest order for the multi-platinum Meat Loaf and his songwriting mentor, Jim Steinman. The grandiose intro to the title track was indication enough of the tone of the album, with songs stretching out over what at times seemed like musical infinity. Steinman set his songs in evocative wastelands populated by full orchestras and small-town weirdos, 'Paradise By The Dashboard Light' an entire two-handed play in itself, and 'Two Out Of Three Ain't Bad', an overblown symphony of regret and unrequited love. Between them, they pretty much provided the balance of the album. A huge success, only to be repeated by its follow-up in 1993.