Scribbles on the new album. Track by track.
Nicholas, 26 years old, Ohio.
1.) These backup vocals! Cabernet intro is fantastic, I enjoy the harsh/ sinister piano. This song is Steinman songwriting at its darkest, yet funniest. The artists are 100% comfortable with the sense of humor in the song. Meat is embodying his character with zeal. That outro... "La la laaaaa, la la la laaaaa.” Steinman and Meat at their guilty pleasure best.
-Rock and roll! 9/10
2.) Instantly more epic than the radio edit, the into and opening solo rock. The chorus is a monster from h***. The song is a triplet, the two ladies have their own sections. The transitions between movements can be jarring, hopefully I'll be more comfortable with additional listens. Becomes patchy with long sections without Meat. The piano work in the breakdown/ bridge section, which keep in mind is a large part of the song, is fantastic. The extended ending section is a chant to the gods. “How far is too far baby? Come on and take me, take me!” This line gets to me and is one of the emotional moments on the album. Everything from 6 min on is golden. “…all the golden boys and girls..." line used here. The backup vocals and Meat's emotion really sell it. If you don’t feel this way about your station in life, the people you're around, or the lover you're with, do something about it. “We’re crusaders of the heart!”
-The song is ambitious. 8/10
3.) A nice comedown after “Going All the Way.” Backup vocals and piano are doing the heavy lifting again, and I’m ok with that. Actually like the line “You’ve got the spark, I got wood.” Enjoy the emotional content of the lyric. Meat isn’t as capable of belting this out like he would have done years ago, but he can drench the lines with sentiment better than ever.
-The fire of love. 7/10
4.) Unique instrumentation for a Meat song. Begins with a musical buildup that’s positive in an 80’s soundtrack sort of way. “You’ve been drinking poisoned water from the fountain of youth.” A more mature take on a relationship than other Steinman songs can be. The duet gives the woman's perspective and analyzes the antagonist of the song as well. Meat’s voice is solid on this track.
-If you’ve been married awhile this one’s for you. 7/10
5.) The SAX is back! The “You’ve been cold to me so long I’m crying icicles instead of tears.” line from “Two Out of Three”…. and is that JIM harmonizing with Meat on this line!?! Eventually gets to a section that is exactly like “Left in the Dark” from “Bad for Good” and “Welcome to the Neighborhood.” This song may have been written before those versions. “If you’re tired of playing with yourself you can always take my toys.” The SAX solo.
-Best song on the album. 10/10
6.) Stark piano ballad. Short and sweet, with a cool end that transitions into the next song that is much harder. Young Meat would have elevated this humble song into something special.
-A modest into track. 6/10
7.) Switching musical influences into a harder, sort of goth punk style. Reminds me a bit of “The Monster is Loose” from Batt III. A few production moments I don’t enjoy, nothing particularly endearing about this. Backup vocals save the composition. This albums “Life is a Lemon” without the sense of humor.
-Not my style, but other Meat fans may enjoy this more than I do. 5/10
8.) Godz is insane in a glorious way! You wanted Steinman, you got him unfiltered on this track. “This country…” Meat sells the h*** out of this like nobody else could. Preach it to us brotha! Raging at the gods that were being prayed to in “Going all the Way.” Nice touch with the track listing, especially after “More.” The two thematically work together. Nice transition into track 9.
-Meat Loaf serving up an apocalyptic sermon. 7/10
9.) Piano intro guitar solo into rising vocals, strong start. “Turn around” line from “Total Eclipse” is a nice touch. Draws you into the guitar solo. Cian Coey can belt. Would have preferred an ending with Meat, but I can see what they were going for.
-A dark premonition. 6/10
10.) Video game intro from the 80’s. Is that JIM singing again!? Becomes something of a gospel church song which works well. Doesn’t have the gravitas of a typical ending song on a Meat album. Some neat guitar riffs toward the end. Cool country guitar outdo. Enjoyable, but disappointing for the conclusion to Meat’s studio album discography. You’ve got me Meat, what are you going to do with me? Need a more emotional end encapsulating the millions of fans journey with him over the years.
-If a gospel choir enjoyed playing Streets of Rage. 6/10
Concluding thoughts:
The album needs a more grandiose emotional wrap up. This isn’t another album, it’s Meat’s grand finale. Oddly enough, the album has one in “Souvenirs” with thematically appropriate lines like “Now it’s finally over… pack your bags… why not disappear?” It also has JIM harmonizing with Meat.
I would have enjoyed a Jim spoken word poem like in Bat I, II, and Dead Ringer.
The songwriter demo “Prize Fight Lover” is solid. Sort of a Meat Loaf Springsteen song. I know Jim didn’t write it, but it would slide into the place of “More” nicely.
The album is ambitious as h***, and I can tell Meat is giving everything he has left to make this work. Adored Jim’s songwriting as usual, although it would have been nice to get a brand new song from him instead of using only backlog material. When will they get a chance to work together like this again? Probably never.
Key tracks: “Souvenirs,” “Who Needs the Young,” and “Going All the Way.”
Notes on the Vinyl Release: The cover art is glorious at this size. Double LP gatefold with lyrics inside. Standard white paper inserts. Nothing flashy but a thick, solid pressing. I'm getting a slight popping noise during Track 9.
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- Is Discontinued By Manufacturer : No
- Language : English
- Product Dimensions : 4.88 x 5.59 x 0.51 inches; 0.71 Ounces
- Manufacturer : UNIVERSAL
- Item model number : 45628418
- Date First Available : August 28, 2016
- Label : UNIVERSAL
- ASIN : B01J95EC8W
- Number of discs : 1
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Reviewed in the United States on January 22, 2017
Reviewed in the United States on September 16, 2016
As a fan of Meat Loaf and Jim Steinman, I was ecstatic when I heard that they were teaming up once again for a full album’s worth of Steinman-penned songs. I preordered as soon as the album was available on Amazon and had been counting the days to release day. Well, here we are, and with the album now in my hands, here is my track-by-track review of this AWESOME addition to Meat’s and Steinman’s catalogue.
1. Who Needs the Young – I love this song! So Steinman-esque. It definitely has a musical-feel that doesn’t conform to the traditional timing of a rock song. So far we’re off to a pretty good start with this album!
2. Going All the Way is Just the Start – Oh. My. God. This is the Jim Steinman epic I’ve been waiting for for years! This song is right up there with classics like “I’d Do Anything for Love,” “Bat Out of Hell,” and “Bad for Good.” The melodies are ridiculously catchy, the lyrics are awesome, and it’s so excessively spectacular in every way! Meat does an awesome job in this duet with both Ellen Foley (“Paradise by the Dashboard Light”) and Karla DeVito (“Dance in My Pants”). This song alone is worth the price of the album!
3. Speaking in Tongues – “You’ve got a spark, I’ve got wood.” Jim Steinman at his lewd, humorous best! This is a classic ballad that you can’t help but repeat time and time again. The one thing I didn’t care for in this song was that Meat’s voice was drowned out in parts – he wasn’t whispering; he was just too low in the mix at times.
4. Loving You’s a Dirty Job (But Somebody’s Gotta Do It) – Bonnie Tyler did an awesome job with this song years ago and I’ve longed to hear Meat Loaf cover the song. That time has now arrived, and Meat has certainly delivered! Hearing this as a duet with Bonnie herself would have been superb, but this duet with Stacy Michelle is still pretty darned good.
5. Souvenirs – You have to love the horn arrangements on this song. And of course there are the references to prior Steinman songs in the lyrics. Some of the vocal melodies at parts also remind me of “Left in the Dark”. Anyone else notice this, or am I hearing things?
6. Only When I Feel – This has to be one of Steinman’s shortest songs ever. Don’t let that discount the fact that it’s absolutely beautiful. I’ve listened to this song several times now and I’ve fallen in love with it more and more each listen.
7. More – Maybe it’s just me, but this song tends to drag on. To my ears, there’s nothing really catchy about this song and it doesn’t really pull me in at all. First clunker of the album (in my opinion) and contender for my least favorite song on the album.
8. Godz – It wouldn’t be a Meat/Steinman album without a little rock opera! The beat of this song really sets a dramatic tone. Despite getting older and having questionable vocals at times recently, Meat really shines on this track in my opinion.
9. Skull of Your Country – Hot on the heels of Godz, Skull of Your Country is another little catchy ballad/mid-tempo rocker. The throwbacks to “Total Eclipse of the Heart” are a welcome addition, but to me they prove to be more of a tease than anything. I would love to get a proper “Eclipse” cover by Meat before he hangs up his hat. (Wishful thinking, I know!)
10. Train of Love – If this song doesn’t get your foot tapping, I’m not sure what will! Train of Love almost sounds like a song out of the 80s, which isn’t necessarily a bad thing! I really like this song – it’s a good song to close out the album-proper.
Overall I’ve thoroughly enjoyed this album! I would definitely recommend it to anyone who is a fan of Meat Loaf and/or Jim Steinman. This album will be getting a decent rotation from me in the coming weeks, and I can see some of the songs (“Going All the Way,” “Speaking in Tongues,” etc.) topping my most-played lists in short order!
1. Who Needs the Young – I love this song! So Steinman-esque. It definitely has a musical-feel that doesn’t conform to the traditional timing of a rock song. So far we’re off to a pretty good start with this album!
2. Going All the Way is Just the Start – Oh. My. God. This is the Jim Steinman epic I’ve been waiting for for years! This song is right up there with classics like “I’d Do Anything for Love,” “Bat Out of Hell,” and “Bad for Good.” The melodies are ridiculously catchy, the lyrics are awesome, and it’s so excessively spectacular in every way! Meat does an awesome job in this duet with both Ellen Foley (“Paradise by the Dashboard Light”) and Karla DeVito (“Dance in My Pants”). This song alone is worth the price of the album!
3. Speaking in Tongues – “You’ve got a spark, I’ve got wood.” Jim Steinman at his lewd, humorous best! This is a classic ballad that you can’t help but repeat time and time again. The one thing I didn’t care for in this song was that Meat’s voice was drowned out in parts – he wasn’t whispering; he was just too low in the mix at times.
4. Loving You’s a Dirty Job (But Somebody’s Gotta Do It) – Bonnie Tyler did an awesome job with this song years ago and I’ve longed to hear Meat Loaf cover the song. That time has now arrived, and Meat has certainly delivered! Hearing this as a duet with Bonnie herself would have been superb, but this duet with Stacy Michelle is still pretty darned good.
5. Souvenirs – You have to love the horn arrangements on this song. And of course there are the references to prior Steinman songs in the lyrics. Some of the vocal melodies at parts also remind me of “Left in the Dark”. Anyone else notice this, or am I hearing things?
6. Only When I Feel – This has to be one of Steinman’s shortest songs ever. Don’t let that discount the fact that it’s absolutely beautiful. I’ve listened to this song several times now and I’ve fallen in love with it more and more each listen.
7. More – Maybe it’s just me, but this song tends to drag on. To my ears, there’s nothing really catchy about this song and it doesn’t really pull me in at all. First clunker of the album (in my opinion) and contender for my least favorite song on the album.
8. Godz – It wouldn’t be a Meat/Steinman album without a little rock opera! The beat of this song really sets a dramatic tone. Despite getting older and having questionable vocals at times recently, Meat really shines on this track in my opinion.
9. Skull of Your Country – Hot on the heels of Godz, Skull of Your Country is another little catchy ballad/mid-tempo rocker. The throwbacks to “Total Eclipse of the Heart” are a welcome addition, but to me they prove to be more of a tease than anything. I would love to get a proper “Eclipse” cover by Meat before he hangs up his hat. (Wishful thinking, I know!)
10. Train of Love – If this song doesn’t get your foot tapping, I’m not sure what will! Train of Love almost sounds like a song out of the 80s, which isn’t necessarily a bad thing! I really like this song – it’s a good song to close out the album-proper.
Overall I’ve thoroughly enjoyed this album! I would definitely recommend it to anyone who is a fan of Meat Loaf and/or Jim Steinman. This album will be getting a decent rotation from me in the coming weeks, and I can see some of the songs (“Going All the Way,” “Speaking in Tongues,” etc.) topping my most-played lists in short order!
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Truschka
4.0 out of 5 stars
Geliefert was erwartet ...... ein mehraktiges Theaterstück, was Abwechslung bietet mit kleinern Schwächen
Reviewed in Germany on September 15, 2016
Zunächst möchte ich die Ausgangslage meiner Bewertung darstellen. Ich schreibe normalerweise nie Bewertungen bei Amazon, daher bitte ich um Nachsicht. Darüber hinaus bewerte ich die Version, verkauft von Amazon (explizit).
Ich kann dieses Draufhauen auf das Album und auf Meat Loaf nicht mehr lesen, daher möchte ich meine Kritik zu dem Album und meine Sicht darlegen.
Nachdem ich vernommen habe, dass ein neues Album von ML in Verbindung mit JS erscheinen soll, habe ich mir etwas in Richtung Bat I - III erwartet. Keinesfalls wollte ich wieder ein Weltuntergangsalbum haben wie Hell in a Handbasket. Ich wollte das, wofür der Musikstil den ML immer stand, nämlich Bombast, musikalähnliche Musikstücke und ein Album was Abwechslung bietet und vor allem Spaß macht. Ich wollte bei jedem Stück etwas Neues hören. Dass es keine neues Bat out of Hell wird hätte man wissen können und auch müssen. Wer nur der Vergangenheit hinterherrennt hätte sich das Album nicht kaufen dürfen. Jeder der ein wenig Ahnung von Musik und von der Zeit hat, wird das nachvollziehen können.
Und fast genau das habe ich, mit einigen Abstrichen, auch bekommen. Mir ist egal, ob einige Stücke teilweise aus alten Produktionen übernommen und vermischt wurden (wobei sich die Frage stellt, welche Stücke zuerst da waren vgl. Meat Loaf Interview auf N-TV und Der Spiegel). Mir ist auch egal ob die Stimme nicht mehr diejenige ist, welche noch in den 70er Jahren Songs geschmettert haben.
Darauf kommt es bei Meat Loaf auch gar nicht an. Jeder, der wirklich Fan ist und ggf. auch schon auf Konzerten war wird das bestätigen können.
Meat Loaf lebt von der Inszenierung, lebt von miteinander und der Harmonie der Stimmen von Ihm und dem weiblichen Part. Meat Loaf lebt von der Abwechslung innerhalb eines Albums, und Meat Loaf lebt davon, dass eine Platte abwechslungsreich, verschieden und auch mal provokant ist.
Wenn ich eine CD von ML einlege, dann will ich überrascht werden. Ich möchte nicht solche CD's wie diese aktuell den Markt überschwemmen von der "neuen deutschen Welle" wie zum Beispiel Marc Forster, Joris, Bourani, Oerding, und wie die alle heißen. Da klingt jeder Sänger und jedes Album gleich. DAS ist langweilig und DAS nervt tierisch (übrigens auch bei dem immer gleich klingenden Lieder von Schulz, Jaehn und Guetta). Macht man heute das Radio an, kommt nichts anderes mehr. Da überrascht ja schon ein "Sound of Silence" von Disturbed.
Klar ist ML nicht mehr der ML von vor 40 Jahren. Klar ist die Stimme nicht mehr die Stimme, die 3 Tonlagen über 3 Stunden schafft. Aber ist das wirklich schlimm? Ist das wirklich das Maßgebliche? Ich glaube nein. Wenn ich in ein Konzert von ML gegangen bin, weiß ich, dass man die Stimme da auch nicht immer versteht, oder diese schwächer ist als auf einem abgemischten Album, aber das interessiert mich nicht! Ich will unterhalten werden, ich will, dass der Gesamteindruck passt. Ich möchte die Energie spüren mit der ML singt.
Und dies ist, nach meiner Überzeugung auch auf diesem Album zum Teil wirklich nochmal gelungen.
Natürlich und da stimme ich den Kritikern zu, ist die Stimme mittlerweile nicht mehr die Stärkste und kann auch keine 3 Tonlagen mehr sauber singen... aber das erwarte ich auch nicht! Das habe ich auch nicht erwartet. Aber das wusste man, wenn man die letzten drei Alben gehört hat. Da zeichnete sich ein Abbau ab. Nun so zu tun, als wäre dies die große negative Überraschung des Albums ist schlicht und ergreifend scheinheilig.
Aber bereits mit dem ersten Lied auf der Platte bietet ML das, was ich mit Überraschung meine und was genau zu ML passt. Unkonventionell, mutig und einfach mal was anderes. Klar Kritiker sagen jetzt.... erstes Lied .... Opener .... da muss was kommen wie Bat out of Hell, sonst ist das Mist. Ich finde das ist zu kurz gesprungen. Gerade das erste Lied hat mich dazu animiert das Album mit Interesse weiter zu hören.
Going all the Way ist dann wieder ein ganz ganz typischer Musicalsong alle ML und JS, welcher ML auf den Leib geschrieben wurde. 6 Akte, wechselnde Tempi, super Harmonie in den Stimmen. Klar kommt einem das alles bekannt vor, aber das ist nun einmal ML. An die Kritiker: auf der einen Seite findet Ihr experimentelle Songs wie "Who needs the young" scheiße aber Going all the Way langweilig und schon dagewesen. Ja was wollt Ihr denn dann?? Ein Best of? Fakt ist für mich, dass Lied ist genau die Art von Musik die ML groß gemacht hat und welcher er noch drauf hat. Das Lied würde ich gerne in einer Live Performance sehen, aufgeführt wie ein Theaterstück. Das stelle ich mir großartig vor.
Speaking in Tongues ..... nun gut, ist eine ruhigere Ballade, wie ML sie auf jeden Album hat (hört die alten mal durch, da merkt man das)... kann man mögen muss man nicht. Geschmackssache. Hier merkt man aber, das langsamere, ruhigere Songs ML mehr Probleme bereiten als groß inszenierte musikgewaltige Stücke.
Lovin you is a dirty job, ist einer der besten Songs auf dem Album. Man sollte den Text mal übersetzt lesen ;-) ! Aber auch hier kommt wieder das zum tragen, was ich bereits geschrieben habe. ML brilliert immer dann, wenn er ein konfrontatives Lied mit einem weiblichen Part singt! Klasse.
Dann kommt ein kleiner Hänger im Album (daher auch 4 Sterne). "When i feel" und "More" sind leider nicht sehr gut gelungen. Bei "More" finde ich dieser "böse" gesungene Stil des Liedes passt einfach nicht zu ML und daher gerät dies ein wenig in Vergessenheit. Die düstere Art passt nicht zu dem sonstigen Inszenierungsgewalt seiner Lieder. Auch die Stimme kommt daher deutlich schlechter weg, da ML gezwungener Maßen tiefer muss als das, was die Stimme hergibt. Klingt gequält. Schade.
"Godz" ist dann wieder das was ich mit Überraschung meine.... da hat man den Hänger im Album und dann kommt etwas was man nicht erwartet. Einfach mal was anderes, was im Ohr bleibt und Spaß macht. Gut gemacht mit immer mehr anwachsendem Backround Chor. Klingt einfach klasse. Wiederum wechselnde Musikstile in einem Lied und Live bestimmt auch toll.
Skull of your Country...... naja... ok.... aber das Album daran scheitern zu lassen... halte ich für nicht gerecht. Problem ist nur, dass ich jedesmal nach "Turn around" eine andere Fortsetzung des Liedes erwarte :-) und daher ein wenig aus dem Lied gerissen werde ;-) ! Aber es ist halt eine Hommage an Bonnie Tyler und jetzt auch nicht dramatisch! Aber im Ergebnis ein solides Lied. Ist es wirklich ne Katastrophe wenn man sowas macht?
Train of Love klingt für mich ein wenig zu durcheinander aber irgendwie auch wie ein Abschlusslied mit Ausklang auf Gitarrensolo. Der Abschluss einer Karriere und einer Ära? Gut möglich und auch Wahrscheinlich.
Im Ergebnis ist es halt ein Album, welches das was ich erwartet habe zum Größtenteil auch erfüllt hat. Ich höre das Album nunmehr zum bestimmt zehnten mal und habe noch Spaß. Das ist das was ich will und das habe ich bekommen.
An alle Kritiker: Sachlichkeit geht vor Beschimpfung und "getrolle". Man kann mit einem Stern bewerten, da spricht nichts dagegen, dann aber sachlich begründet und nicht polemisch im Stil vom: alles ist scheiße und der Typ ist fertig und kann nix usw. (andere Kommentar lasse ich mal aus).
Ich würde für das Album eine Kaufempfehlung aussprechen an alle, die Abwechslung im Album wollen, darauf verzichten können das die Stimme klingt wie vor 40 Jahren, die auch mit bekannten Passagen nicht brechen und die akzeptieren, dass Musik dynamisch ist und wechselhaft ist. Alle anderen, die steif eine Bat I-III Fortsetzung wollen, werden wohl nicht ganz auf Ihre Kosten kommen.
PS: Wer Rechtsschreibfehler oder sonstiges findet darf diese behalten!
Ich kann dieses Draufhauen auf das Album und auf Meat Loaf nicht mehr lesen, daher möchte ich meine Kritik zu dem Album und meine Sicht darlegen.
Nachdem ich vernommen habe, dass ein neues Album von ML in Verbindung mit JS erscheinen soll, habe ich mir etwas in Richtung Bat I - III erwartet. Keinesfalls wollte ich wieder ein Weltuntergangsalbum haben wie Hell in a Handbasket. Ich wollte das, wofür der Musikstil den ML immer stand, nämlich Bombast, musikalähnliche Musikstücke und ein Album was Abwechslung bietet und vor allem Spaß macht. Ich wollte bei jedem Stück etwas Neues hören. Dass es keine neues Bat out of Hell wird hätte man wissen können und auch müssen. Wer nur der Vergangenheit hinterherrennt hätte sich das Album nicht kaufen dürfen. Jeder der ein wenig Ahnung von Musik und von der Zeit hat, wird das nachvollziehen können.
Und fast genau das habe ich, mit einigen Abstrichen, auch bekommen. Mir ist egal, ob einige Stücke teilweise aus alten Produktionen übernommen und vermischt wurden (wobei sich die Frage stellt, welche Stücke zuerst da waren vgl. Meat Loaf Interview auf N-TV und Der Spiegel). Mir ist auch egal ob die Stimme nicht mehr diejenige ist, welche noch in den 70er Jahren Songs geschmettert haben.
Darauf kommt es bei Meat Loaf auch gar nicht an. Jeder, der wirklich Fan ist und ggf. auch schon auf Konzerten war wird das bestätigen können.
Meat Loaf lebt von der Inszenierung, lebt von miteinander und der Harmonie der Stimmen von Ihm und dem weiblichen Part. Meat Loaf lebt von der Abwechslung innerhalb eines Albums, und Meat Loaf lebt davon, dass eine Platte abwechslungsreich, verschieden und auch mal provokant ist.
Wenn ich eine CD von ML einlege, dann will ich überrascht werden. Ich möchte nicht solche CD's wie diese aktuell den Markt überschwemmen von der "neuen deutschen Welle" wie zum Beispiel Marc Forster, Joris, Bourani, Oerding, und wie die alle heißen. Da klingt jeder Sänger und jedes Album gleich. DAS ist langweilig und DAS nervt tierisch (übrigens auch bei dem immer gleich klingenden Lieder von Schulz, Jaehn und Guetta). Macht man heute das Radio an, kommt nichts anderes mehr. Da überrascht ja schon ein "Sound of Silence" von Disturbed.
Klar ist ML nicht mehr der ML von vor 40 Jahren. Klar ist die Stimme nicht mehr die Stimme, die 3 Tonlagen über 3 Stunden schafft. Aber ist das wirklich schlimm? Ist das wirklich das Maßgebliche? Ich glaube nein. Wenn ich in ein Konzert von ML gegangen bin, weiß ich, dass man die Stimme da auch nicht immer versteht, oder diese schwächer ist als auf einem abgemischten Album, aber das interessiert mich nicht! Ich will unterhalten werden, ich will, dass der Gesamteindruck passt. Ich möchte die Energie spüren mit der ML singt.
Und dies ist, nach meiner Überzeugung auch auf diesem Album zum Teil wirklich nochmal gelungen.
Natürlich und da stimme ich den Kritikern zu, ist die Stimme mittlerweile nicht mehr die Stärkste und kann auch keine 3 Tonlagen mehr sauber singen... aber das erwarte ich auch nicht! Das habe ich auch nicht erwartet. Aber das wusste man, wenn man die letzten drei Alben gehört hat. Da zeichnete sich ein Abbau ab. Nun so zu tun, als wäre dies die große negative Überraschung des Albums ist schlicht und ergreifend scheinheilig.
Aber bereits mit dem ersten Lied auf der Platte bietet ML das, was ich mit Überraschung meine und was genau zu ML passt. Unkonventionell, mutig und einfach mal was anderes. Klar Kritiker sagen jetzt.... erstes Lied .... Opener .... da muss was kommen wie Bat out of Hell, sonst ist das Mist. Ich finde das ist zu kurz gesprungen. Gerade das erste Lied hat mich dazu animiert das Album mit Interesse weiter zu hören.
Going all the Way ist dann wieder ein ganz ganz typischer Musicalsong alle ML und JS, welcher ML auf den Leib geschrieben wurde. 6 Akte, wechselnde Tempi, super Harmonie in den Stimmen. Klar kommt einem das alles bekannt vor, aber das ist nun einmal ML. An die Kritiker: auf der einen Seite findet Ihr experimentelle Songs wie "Who needs the young" scheiße aber Going all the Way langweilig und schon dagewesen. Ja was wollt Ihr denn dann?? Ein Best of? Fakt ist für mich, dass Lied ist genau die Art von Musik die ML groß gemacht hat und welcher er noch drauf hat. Das Lied würde ich gerne in einer Live Performance sehen, aufgeführt wie ein Theaterstück. Das stelle ich mir großartig vor.
Speaking in Tongues ..... nun gut, ist eine ruhigere Ballade, wie ML sie auf jeden Album hat (hört die alten mal durch, da merkt man das)... kann man mögen muss man nicht. Geschmackssache. Hier merkt man aber, das langsamere, ruhigere Songs ML mehr Probleme bereiten als groß inszenierte musikgewaltige Stücke.
Lovin you is a dirty job, ist einer der besten Songs auf dem Album. Man sollte den Text mal übersetzt lesen ;-) ! Aber auch hier kommt wieder das zum tragen, was ich bereits geschrieben habe. ML brilliert immer dann, wenn er ein konfrontatives Lied mit einem weiblichen Part singt! Klasse.
Dann kommt ein kleiner Hänger im Album (daher auch 4 Sterne). "When i feel" und "More" sind leider nicht sehr gut gelungen. Bei "More" finde ich dieser "böse" gesungene Stil des Liedes passt einfach nicht zu ML und daher gerät dies ein wenig in Vergessenheit. Die düstere Art passt nicht zu dem sonstigen Inszenierungsgewalt seiner Lieder. Auch die Stimme kommt daher deutlich schlechter weg, da ML gezwungener Maßen tiefer muss als das, was die Stimme hergibt. Klingt gequält. Schade.
"Godz" ist dann wieder das was ich mit Überraschung meine.... da hat man den Hänger im Album und dann kommt etwas was man nicht erwartet. Einfach mal was anderes, was im Ohr bleibt und Spaß macht. Gut gemacht mit immer mehr anwachsendem Backround Chor. Klingt einfach klasse. Wiederum wechselnde Musikstile in einem Lied und Live bestimmt auch toll.
Skull of your Country...... naja... ok.... aber das Album daran scheitern zu lassen... halte ich für nicht gerecht. Problem ist nur, dass ich jedesmal nach "Turn around" eine andere Fortsetzung des Liedes erwarte :-) und daher ein wenig aus dem Lied gerissen werde ;-) ! Aber es ist halt eine Hommage an Bonnie Tyler und jetzt auch nicht dramatisch! Aber im Ergebnis ein solides Lied. Ist es wirklich ne Katastrophe wenn man sowas macht?
Train of Love klingt für mich ein wenig zu durcheinander aber irgendwie auch wie ein Abschlusslied mit Ausklang auf Gitarrensolo. Der Abschluss einer Karriere und einer Ära? Gut möglich und auch Wahrscheinlich.
Im Ergebnis ist es halt ein Album, welches das was ich erwartet habe zum Größtenteil auch erfüllt hat. Ich höre das Album nunmehr zum bestimmt zehnten mal und habe noch Spaß. Das ist das was ich will und das habe ich bekommen.
An alle Kritiker: Sachlichkeit geht vor Beschimpfung und "getrolle". Man kann mit einem Stern bewerten, da spricht nichts dagegen, dann aber sachlich begründet und nicht polemisch im Stil vom: alles ist scheiße und der Typ ist fertig und kann nix usw. (andere Kommentar lasse ich mal aus).
Ich würde für das Album eine Kaufempfehlung aussprechen an alle, die Abwechslung im Album wollen, darauf verzichten können das die Stimme klingt wie vor 40 Jahren, die auch mit bekannten Passagen nicht brechen und die akzeptieren, dass Musik dynamisch ist und wechselhaft ist. Alle anderen, die steif eine Bat I-III Fortsetzung wollen, werden wohl nicht ganz auf Ihre Kosten kommen.
PS: Wer Rechtsschreibfehler oder sonstiges findet darf diese behalten!
Mandrek Larl
2.0 out of 5 stars
You can put lipstick on a pig but it's still a pig ...
Reviewed in the United Kingdom on January 29, 2022
.. and like that painted pig the artwork on "Braver Than We Are" is wonderful in the best Bat Out of Hell tradition with the two old warriors, Steinman "axe" in hand, alone facing the four motorcyclists of the apocalypse, superb; but behind the metaphorical lipstick the music is so far off the mark. Where the alignment of Steinman and Meat Loaf for one last time should have been big, bloated, bombastic, over-the-top, ornately adorned baroque 'n' roll opera this is mostly limp and lame. Meat Loaf has lost his range, power and speed of delivery, and Steinman's songs, many recycled from before BooH lack his usual clever wit and dynamics. A sad ending in a Neverland where the future really was not what it used to be.
I had every intention of never buying "Braver Than We Are" for fear of being disappointed having been put-off by other reviewers. But following the deaths within the last year of both Meat Loaf and Steinman, rock 'n' roll's dynamic duo, it seemed perhaps churlish not to give their last hurrah a spin, so head-phones on, volume up and ...
... ooh I hadn't expected that, where I expected a big rock-tastic kick-ass opening "Who Needs The Young" shambles in with weak and weedy blues chords that morph into a quirky fairground rhythm of bam-la-las and Acker Bilk horns before Meat Loaf sings "my voice isn't just what it was" never was a truer word half sung. This is horrible and not at all what I expected or wanted [with a little digging I discover that this was originally, as it so horribly sounds, a show-tune Steinman wrote for his first and long before BooH musical theatre work "The Dream Engine" and that explains, but doesn't forgive, a lot].
The eleven minute "Going All the Way" subtitled a "Song in 6 Movements featuring Ellen Foley and Karla DeVito" is also a bit of a disappointment although it does pick-up from around the seventh minute; but end-to-end this could have been so much more powerful, it's classic Meat Loaf/Steinman territory but someone's metaphorically let the air out of its tyres and what's left is a bit flat. The same can be said of the ballad "Speaking in Tongues" in which Meat's voice sounds wrecked and breathless, gone it seems is his range, power and speed of delivery, even Steinman's usually clever lyrics lack their sparkle; and while backing vocalist Stacy Mitchell makes a valiant attempt to save it once heard is enough for me; and that's two out of three misses so far.
Fourth track is a cover of "Loving You Is a Dirty Job (But Somebody's Gotta Do It)" that was first heard coming from Bonnie Tyler's leather-coated larynx but this flat-packed offering doesn't stand comparison with Miss Tyler and Bat Out of Hell guitarist/producer Todd Rundgren's cut leaving you to imagine what it could once have been in Meat Loaf's big hands. At last in the power-ballad "Souvenirs" the strength of Steinman's song-writing starts to shine through [a little research tells me that this was also originally written in the early '70s for another Steinman musical but not used, it includes the original outing for immortal line "I'm crying icicles instead of tears" later recycled in "Two Out Of Three Ain't Bad" which I find a bit spooky]. But Meat is initially unable to deliver Steinman's lyrics as he once would have, although towards the end there are signs of vitality as he finally starts to rev it up but it's all a bit too late for me.
At less than two minutes the piano driven ballad "Only When I Feel" is disappointingly short [that's the first, and probably the last time I'll write that about anything on this this album], it's trademark Steinman piano pounding but it's still only developing when it segues into the Sisters of Mercy cover "More" that's way, way more Sisters of Mercy electro-gothic than Steinman baroque n roll opera. This is not just an interesting change of direction but perhaps surprisingly it's the best song here suiting Meat Loaf's now half-spoken/half-sung vocals better than many of the other tracks. But with its synth sound it's certainly not classic Steinman/Loaf, it may work for me, but it's way out of place here on this album [note to self: buy more SoM(tick)].
The bolero rhythm of "Godz" could have made this a great song but it's another that's wrapped-up in show-tune finery coming from Steinman's early '70s "Rheingold" musical, I don't like show tunes and it really doesn't work for me. "Skull of Your Country" like opener "Who Needs The Young" saw the light of day in the "The Dream Engine" musical but its been cut back for inclusion here. Confusingly it includes the use of the "Turn Around Bright Eyes" refrain that's so familiar from it's recycling in Tyler's "Total Eclipse of the Heart" that it sounds out of place in this its original setting, but putting that aside this is a much better song than much of what's gone before and with repeated listenings is growing on me. I also strangely like the closer, the rocking soul "Train of Love", it's not classic Steinman baroque opera but at last Meat Loaf kicks into gear.
And that's it, sorry guys but this is mostly very disappointing and I should have stuck to my guns and not bought it, there's a few I might play again but it's not a pretender to the Bat Out of Hell throne.
I had every intention of never buying "Braver Than We Are" for fear of being disappointed having been put-off by other reviewers. But following the deaths within the last year of both Meat Loaf and Steinman, rock 'n' roll's dynamic duo, it seemed perhaps churlish not to give their last hurrah a spin, so head-phones on, volume up and ...
... ooh I hadn't expected that, where I expected a big rock-tastic kick-ass opening "Who Needs The Young" shambles in with weak and weedy blues chords that morph into a quirky fairground rhythm of bam-la-las and Acker Bilk horns before Meat Loaf sings "my voice isn't just what it was" never was a truer word half sung. This is horrible and not at all what I expected or wanted [with a little digging I discover that this was originally, as it so horribly sounds, a show-tune Steinman wrote for his first and long before BooH musical theatre work "The Dream Engine" and that explains, but doesn't forgive, a lot].
The eleven minute "Going All the Way" subtitled a "Song in 6 Movements featuring Ellen Foley and Karla DeVito" is also a bit of a disappointment although it does pick-up from around the seventh minute; but end-to-end this could have been so much more powerful, it's classic Meat Loaf/Steinman territory but someone's metaphorically let the air out of its tyres and what's left is a bit flat. The same can be said of the ballad "Speaking in Tongues" in which Meat's voice sounds wrecked and breathless, gone it seems is his range, power and speed of delivery, even Steinman's usually clever lyrics lack their sparkle; and while backing vocalist Stacy Mitchell makes a valiant attempt to save it once heard is enough for me; and that's two out of three misses so far.
Fourth track is a cover of "Loving You Is a Dirty Job (But Somebody's Gotta Do It)" that was first heard coming from Bonnie Tyler's leather-coated larynx but this flat-packed offering doesn't stand comparison with Miss Tyler and Bat Out of Hell guitarist/producer Todd Rundgren's cut leaving you to imagine what it could once have been in Meat Loaf's big hands. At last in the power-ballad "Souvenirs" the strength of Steinman's song-writing starts to shine through [a little research tells me that this was also originally written in the early '70s for another Steinman musical but not used, it includes the original outing for immortal line "I'm crying icicles instead of tears" later recycled in "Two Out Of Three Ain't Bad" which I find a bit spooky]. But Meat is initially unable to deliver Steinman's lyrics as he once would have, although towards the end there are signs of vitality as he finally starts to rev it up but it's all a bit too late for me.
At less than two minutes the piano driven ballad "Only When I Feel" is disappointingly short [that's the first, and probably the last time I'll write that about anything on this this album], it's trademark Steinman piano pounding but it's still only developing when it segues into the Sisters of Mercy cover "More" that's way, way more Sisters of Mercy electro-gothic than Steinman baroque n roll opera. This is not just an interesting change of direction but perhaps surprisingly it's the best song here suiting Meat Loaf's now half-spoken/half-sung vocals better than many of the other tracks. But with its synth sound it's certainly not classic Steinman/Loaf, it may work for me, but it's way out of place here on this album [note to self: buy more SoM(tick)].
The bolero rhythm of "Godz" could have made this a great song but it's another that's wrapped-up in show-tune finery coming from Steinman's early '70s "Rheingold" musical, I don't like show tunes and it really doesn't work for me. "Skull of Your Country" like opener "Who Needs The Young" saw the light of day in the "The Dream Engine" musical but its been cut back for inclusion here. Confusingly it includes the use of the "Turn Around Bright Eyes" refrain that's so familiar from it's recycling in Tyler's "Total Eclipse of the Heart" that it sounds out of place in this its original setting, but putting that aside this is a much better song than much of what's gone before and with repeated listenings is growing on me. I also strangely like the closer, the rocking soul "Train of Love", it's not classic Steinman baroque opera but at last Meat Loaf kicks into gear.
And that's it, sorry guys but this is mostly very disappointing and I should have stuck to my guns and not bought it, there's a few I might play again but it's not a pretender to the Bat Out of Hell throne.
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David Robb
3.0 out of 5 stars
A Sad Farewell...
Reviewed in the United Kingdom on September 10, 2016
I watched Meat Loaf being interviewed on the BBC's Breakfast Show a few days ago. He was there to speak about his new record and his longstanding, magical and fractious collaborations with Jim Steinman. It was very sadly apparent that he has suffered some serious health issue as his speech was laboured and about 200mph slower than it ever used to be. He was asked about health problems during the course of the interview but, would only really admit to ongoing nerve pain in his back. No acknowledgement of the heavily rumoured stroke he allegedly suffered and which has left his speech drastically altered.
Unfortunately, whatever the truth of his health is, the reality is now that his singing voice is, as other reviewers have already mentioned, vastly diminished. He has lost the awesome power and any sense of range that he once enjoyed. His capacity to hit and to sustain notes is really almost gone. Who knows what technological wizardry has been employed during the recording of this record to make his voice sound the way it does on these 'new' songs. This, more than anything else, is the tragedy behind and on this record.
The record is not unlistenable as some others have suggested. Indeed, for long time Meat and Steinman fans, there are a few things to savour. 'Going All The Way...' is classic Steinman. Ellen Foley, Meat, wonderful soaring melodies, multiple parts and ludicrously outlandish lyrics make this a hugely enjoyable eleven and a half minutes. There are similarly enjoyable moments on other songs too.
The biggest problems with listening to this record for me anyway, lie not with the poor state of Meat's voice but, in the poor production of it, especially when compared to Meat and Steinman's key collaborations. There is no huge, bombastic production and playing on this record. It suffers critically from Steinman having no studio involvement and hands on its production. He gets a credit for co-arrangements which, in addition to donating the songs, appears to be the full extent of his participation. The band sound weak and too distant in the mix when compared to Steinman's own productions of his music. Also notable in this regard, is that there are none of the distinguished and excellent 'house' musicians that Steinman and Meat have used over the decades. So, no Todd Rundgren, Roy Bittan, Max Weinberg or Kasim Sultan, etc,etc. Another major problem and Meat more or less said as much in his BBC interview, is that it is almost certain that none of these Steinman songs are actually new. Meat referenced one which had been around since before the first 'Bat Out of Hell' album was released.
Having said all that, as a fan, i'm still pleased to be able to hear these songs. It's just desperately sad that we can't hear them as we would have liked to. With Meat at full force, in great health, with Steinman actively involved in the production of them and a five star band to do them justice. A sad farewell to one of the greatest rock singers of all time. Enjoy this album for what it represents and remember with great fondness the brilliance of both singer and songwriter and the magic they once made together. 'Rock n' Roll Dreams Come True'!
Unfortunately, whatever the truth of his health is, the reality is now that his singing voice is, as other reviewers have already mentioned, vastly diminished. He has lost the awesome power and any sense of range that he once enjoyed. His capacity to hit and to sustain notes is really almost gone. Who knows what technological wizardry has been employed during the recording of this record to make his voice sound the way it does on these 'new' songs. This, more than anything else, is the tragedy behind and on this record.
The record is not unlistenable as some others have suggested. Indeed, for long time Meat and Steinman fans, there are a few things to savour. 'Going All The Way...' is classic Steinman. Ellen Foley, Meat, wonderful soaring melodies, multiple parts and ludicrously outlandish lyrics make this a hugely enjoyable eleven and a half minutes. There are similarly enjoyable moments on other songs too.
The biggest problems with listening to this record for me anyway, lie not with the poor state of Meat's voice but, in the poor production of it, especially when compared to Meat and Steinman's key collaborations. There is no huge, bombastic production and playing on this record. It suffers critically from Steinman having no studio involvement and hands on its production. He gets a credit for co-arrangements which, in addition to donating the songs, appears to be the full extent of his participation. The band sound weak and too distant in the mix when compared to Steinman's own productions of his music. Also notable in this regard, is that there are none of the distinguished and excellent 'house' musicians that Steinman and Meat have used over the decades. So, no Todd Rundgren, Roy Bittan, Max Weinberg or Kasim Sultan, etc,etc. Another major problem and Meat more or less said as much in his BBC interview, is that it is almost certain that none of these Steinman songs are actually new. Meat referenced one which had been around since before the first 'Bat Out of Hell' album was released.
Having said all that, as a fan, i'm still pleased to be able to hear these songs. It's just desperately sad that we can't hear them as we would have liked to. With Meat at full force, in great health, with Steinman actively involved in the production of them and a five star band to do them justice. A sad farewell to one of the greatest rock singers of all time. Enjoy this album for what it represents and remember with great fondness the brilliance of both singer and songwriter and the magic they once made together. 'Rock n' Roll Dreams Come True'!
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Sebastian Möller
4.0 out of 5 stars
Zweierlei Maß
Reviewed in Germany on September 12, 2016
Servus.
Beim Lesen der Reviews bekomm ich das Gefühl, dass manche Leute mit falschen Erwartungen an die Sache ran gegangen sind.
Ich wusste von Anfang an, dass Meat Loaf's Stimme nicht mehr das ist was sie war.
Nach dem ersten Hören der Mp3s dachte ich naja, nicht wirklich der Knaller.
Aber mit jedem Hören wurde es besser. Die Songs beginnen im Ohr zu bleiben.
Das man einige Songs von Früher kennt und hier und da andere verwurstet werden, wie Left in the Dark, ist im Grunde nichts neues.
Wenn man sich Bat Out Of Hell 2 anschaut, waren 7 der Songs "recycelt" von Bad For Good und von Pandora's Box. Und gerade mal 4 Songs neu komponiert. Wieso sollte es jetzt anders sein? Wenn man sich die Werke von Steinman mal anschaut, sei es Streisand, Manilow oder Celine Dion, Tanz der Vampire, etc. dann merkt man schnell, dass dieser ein Recycler vor dem Herrn ist. Mich stört es nicht.
Zur Meat Loaf's Stimme: ja sie ist nicht mehr das was sie mal war. Akzeptiert es, der Mann ist 69 und schwer Herzkrank. Das blühende Leben schaut anderster aus. Genauso die Produktion: Crook ist kein Steinman, Child oder George Martin.
Aber was mich dann doch sehr verwunderte: Auf Vinyl klingt die Produktion richtig gut, der Gesang klingt wesentlich besser als auf den Mp3's. Ich weiß nicht wieso. Eventuell ist es eine andere Abmischung die nicht so zu tote Komprimiert ist wie die anderen Formate? Keine Ahnung. Aber dass tut den Songs und der Stimme von Meat wirklich gut. Und Meat schaft es noch immer Gefühl und Drama rüberzubringen.
Wer also mit der Tatsache klarkommt, dass die Stimme nicht mehr die eines 20Jährigen ist, dass einige Songs sehr bekannt klingen, kann durchaus mit der Scheibe seinen Spass haben. :)
Anbei noch mal der Klangvergleich Mp3 vs Vinyl. Dazu wurde die Mp3 von Amazon auf Cd gebrannt, und Cd und Platte ausgepegelt.
1.Who Needs The Young: unentschieden, nicht wirklich ein Unterschied ausmachbatr
2.Going All the Way: Vinyl ist wesentlich dynamischer, Raumabbildung ist wesentlich besser, Stimmen klingen besser. Eindeutig Vinyl
3.Speaking in Tongues: wie Track 2
4. Loving You's A Dirty Job: Auch hier ist die Raumabbildung besser, allerdings wesentlich weniger Unterschiede als bei Track 2
5. Souveniers: Stimmen klingen besser, Feinfühliger, stimmiger auf Vinyl
6. Only When I Feel: Auf Mp3 nicht anhörbar, weil so laut aufgenommen, das es ins Klipping gerät, das Problem hat man auf Vinyl nicht.
7. More: Auf Mp3 wesentlich dumpfer, fehlt im Hochton einiges.
8. Godz: Stellenweise zu Kratzig auf Vinyl, hier würde ich der Mp3/CD den Vorzug geben.
9. Skull Of Your Country: Toller Song, genauso wie bei Track 2 Vinyl klingt besser
10. Train Of Love: Dito.
Vinylpressung klingt also definitv besser als die CD. Es spricht einiges dafür, das hier ein anders Master als Grundlage genommen wurde und mit weniger Kompression gearbeitet wurde.
Beim Lesen der Reviews bekomm ich das Gefühl, dass manche Leute mit falschen Erwartungen an die Sache ran gegangen sind.
Ich wusste von Anfang an, dass Meat Loaf's Stimme nicht mehr das ist was sie war.
Nach dem ersten Hören der Mp3s dachte ich naja, nicht wirklich der Knaller.
Aber mit jedem Hören wurde es besser. Die Songs beginnen im Ohr zu bleiben.
Das man einige Songs von Früher kennt und hier und da andere verwurstet werden, wie Left in the Dark, ist im Grunde nichts neues.
Wenn man sich Bat Out Of Hell 2 anschaut, waren 7 der Songs "recycelt" von Bad For Good und von Pandora's Box. Und gerade mal 4 Songs neu komponiert. Wieso sollte es jetzt anders sein? Wenn man sich die Werke von Steinman mal anschaut, sei es Streisand, Manilow oder Celine Dion, Tanz der Vampire, etc. dann merkt man schnell, dass dieser ein Recycler vor dem Herrn ist. Mich stört es nicht.
Zur Meat Loaf's Stimme: ja sie ist nicht mehr das was sie mal war. Akzeptiert es, der Mann ist 69 und schwer Herzkrank. Das blühende Leben schaut anderster aus. Genauso die Produktion: Crook ist kein Steinman, Child oder George Martin.
Aber was mich dann doch sehr verwunderte: Auf Vinyl klingt die Produktion richtig gut, der Gesang klingt wesentlich besser als auf den Mp3's. Ich weiß nicht wieso. Eventuell ist es eine andere Abmischung die nicht so zu tote Komprimiert ist wie die anderen Formate? Keine Ahnung. Aber dass tut den Songs und der Stimme von Meat wirklich gut. Und Meat schaft es noch immer Gefühl und Drama rüberzubringen.
Wer also mit der Tatsache klarkommt, dass die Stimme nicht mehr die eines 20Jährigen ist, dass einige Songs sehr bekannt klingen, kann durchaus mit der Scheibe seinen Spass haben. :)
Anbei noch mal der Klangvergleich Mp3 vs Vinyl. Dazu wurde die Mp3 von Amazon auf Cd gebrannt, und Cd und Platte ausgepegelt.
1.Who Needs The Young: unentschieden, nicht wirklich ein Unterschied ausmachbatr
2.Going All the Way: Vinyl ist wesentlich dynamischer, Raumabbildung ist wesentlich besser, Stimmen klingen besser. Eindeutig Vinyl
3.Speaking in Tongues: wie Track 2
4. Loving You's A Dirty Job: Auch hier ist die Raumabbildung besser, allerdings wesentlich weniger Unterschiede als bei Track 2
5. Souveniers: Stimmen klingen besser, Feinfühliger, stimmiger auf Vinyl
6. Only When I Feel: Auf Mp3 nicht anhörbar, weil so laut aufgenommen, das es ins Klipping gerät, das Problem hat man auf Vinyl nicht.
7. More: Auf Mp3 wesentlich dumpfer, fehlt im Hochton einiges.
8. Godz: Stellenweise zu Kratzig auf Vinyl, hier würde ich der Mp3/CD den Vorzug geben.
9. Skull Of Your Country: Toller Song, genauso wie bei Track 2 Vinyl klingt besser
10. Train Of Love: Dito.
Vinylpressung klingt also definitv besser als die CD. Es spricht einiges dafür, das hier ein anders Master als Grundlage genommen wurde und mit weniger Kompression gearbeitet wurde.
C. Burton
5.0 out of 5 stars
A fitting, mould-breaking, challenging yet glorious conclusion to a rock nd roll musical legacy
Reviewed in the United Kingdom on September 11, 2016
Meat said this would divide people into those who love it, those who hate it, just as Bat Out of Hell did so many years ago. I am one who loves it.
This isn't a conventional album, a collection of songs. True, Meat never approaches an album in this way, but nonetheless many will have bought and loved his albums as a number of songs, comparing and contrasting them and liking some more than others. But this is to me one musical piece, a vocal concerto, a night at the theatre, stage darkened, a man standing in a spotlight, joined at times by others, baring his heart, his emotions, his soul in one huge performance .. at times with force, at times with anger, at times beaten with pain, but always with courage. Sometimes that voice we have loved for so many decades is what we remember, at times it is hardly more than a hoarse whisper of pain, but this just serves to enhance the poignancy of the lyrics. If you understand and love it, were it a book you'd not say "It was a good read" .. you'd say that it was one that had touched you profoundly, left you emotionally drained, the feelings it evoked staying with you long after you read it, and it would be one you'd be drawn to again and again. If it were a painting it would be one in which you'd continue to discover new aspects, and would constantly make you feel joy at times, great sadness at others, but always make you feel an emotional response. It is a work of art, perhaps the greatest one Jim has drawn and Meat painted; some lines strong, some fine, and the colours many hued.
The lyrics are uncompromisingly both beautiful and brutal, striking an at times unpolitically correct cord that conveys all the anger and confusion of youth with the perspective of experience, the arrangements serve to enhance this, and Meat's vocals deliver all the emotion, the depth of feeling to carry those lyrics straight to the soul. His voice is lower in timbre, as one would expect after so many decades but even more so, yet to me it remains strong, passionate, and rich, reaching out to me still as no other artist has ever done. He always says as a performer he is about finding the truth, and he wrests every last scruple of truth from every word in every lyric, sometimes in a low growl, sometimes in the voice we expect; if in doing this he has not sought some kind of vocal perfection but has conveyed the true feelings of every line, therein for me lies the heroism to which Steinman refers, therein lies the power, truth, courage and perfection that is Braver.
It is as far from Bat Out of Hell as that was from anything around when they delivered it to us, but how fitting that to conclude their legacy they have given us something which again breaks the mould, defies expectations, challenges us as it paints a vivid picture of the angry frustrations of youth, the hope, the disillusionment an despair, yet the continuing hope of finding oneself and love. An extraordinary musical tour de force. Some songs you will find playing in your head, you will be singing, but all have their place in the whole, each leads seamlessly to the next.
Most importantly, I listened to it the first time with no expectations, preconceptions, or comparisons; I think this is vital to embracing it. It held me spellbound from start to finish, and still does as each time I find new layers and it evokes more emotions. I hope you can do the same and are rewarded as I was. If not .. don't give up. For some, like Bat Out of Hell this may take time to find its place in your heart .. but that's where it should belong, and I trust it will.
This isn't a conventional album, a collection of songs. True, Meat never approaches an album in this way, but nonetheless many will have bought and loved his albums as a number of songs, comparing and contrasting them and liking some more than others. But this is to me one musical piece, a vocal concerto, a night at the theatre, stage darkened, a man standing in a spotlight, joined at times by others, baring his heart, his emotions, his soul in one huge performance .. at times with force, at times with anger, at times beaten with pain, but always with courage. Sometimes that voice we have loved for so many decades is what we remember, at times it is hardly more than a hoarse whisper of pain, but this just serves to enhance the poignancy of the lyrics. If you understand and love it, were it a book you'd not say "It was a good read" .. you'd say that it was one that had touched you profoundly, left you emotionally drained, the feelings it evoked staying with you long after you read it, and it would be one you'd be drawn to again and again. If it were a painting it would be one in which you'd continue to discover new aspects, and would constantly make you feel joy at times, great sadness at others, but always make you feel an emotional response. It is a work of art, perhaps the greatest one Jim has drawn and Meat painted; some lines strong, some fine, and the colours many hued.
The lyrics are uncompromisingly both beautiful and brutal, striking an at times unpolitically correct cord that conveys all the anger and confusion of youth with the perspective of experience, the arrangements serve to enhance this, and Meat's vocals deliver all the emotion, the depth of feeling to carry those lyrics straight to the soul. His voice is lower in timbre, as one would expect after so many decades but even more so, yet to me it remains strong, passionate, and rich, reaching out to me still as no other artist has ever done. He always says as a performer he is about finding the truth, and he wrests every last scruple of truth from every word in every lyric, sometimes in a low growl, sometimes in the voice we expect; if in doing this he has not sought some kind of vocal perfection but has conveyed the true feelings of every line, therein for me lies the heroism to which Steinman refers, therein lies the power, truth, courage and perfection that is Braver.
It is as far from Bat Out of Hell as that was from anything around when they delivered it to us, but how fitting that to conclude their legacy they have given us something which again breaks the mould, defies expectations, challenges us as it paints a vivid picture of the angry frustrations of youth, the hope, the disillusionment an despair, yet the continuing hope of finding oneself and love. An extraordinary musical tour de force. Some songs you will find playing in your head, you will be singing, but all have their place in the whole, each leads seamlessly to the next.
Most importantly, I listened to it the first time with no expectations, preconceptions, or comparisons; I think this is vital to embracing it. It held me spellbound from start to finish, and still does as each time I find new layers and it evokes more emotions. I hope you can do the same and are rewarded as I was. If not .. don't give up. For some, like Bat Out of Hell this may take time to find its place in your heart .. but that's where it should belong, and I trust it will.
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