Customer Reviews for

Bat Out of Hell III: The Monster Is Loose

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  • Anonymous

    Posted October 1, 2010

    Just not BAT worthy

    I love Meatloaf. I love the other two Bat Out of Hell albums. I loved Welcome to the Neighborhood. I loved his live albums. I love, love, love to catch the show everytime he is in town. I love his voice, love the style of the collaborations with Steinman. I do like it when he reinvents his style. I think it is great that he is growing and expanding his music,,,,,,most of the time. :-( This album just didn't do it for me. I was SO SAD. We went out and got it on Halloween, the release date. My daughter and I just didn't find it BAT worthy and honestly not Meat's best. Too bad. We'll certainly still watch for the next one.

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  • Anonymous

    Posted October 1, 2010

    Meat Loaf does it again.

    In a world where artists re-invent themselves,and change their style of music, MeatLoaf stays true to the music that made him a icon. When you listen to his music, you feel like he believes what he is singing about. It dosen't matter who wrote the song, when MeatLoaf sings,it is from the heart. One does not only hear the music, but one feels the music. You don't get that from a lot of artist's today. If you want my opinion, Get this CD. You won't be disappointed. Classic Meat Loaf.

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  • Anonymous

    Posted October 1, 2010

    A monster of an album

    In 1977, just as the rock world was being shaken to its foundations by the punk uprising, along comes this overweight overwrought stage actor/singer and a songwriter (Jim Steinman) who wrote songs like he was the bastard son of Bruce Springsteen and Andrew Lloyd Webber, who put together an overblown, pompous rock album of epic, almost cinematic proportions. The unlikely result, an album called Bat Out Of Hell, was everything punk wasn't. It was the rock and roll equvalent of a monster movie. And went on to sell 30 million copies. In 1992, just as the rock world was being decimated by the grunge movement, taking nearly all of the 80's metal bands out in one foul swoop, a familiar monster re-appeared from the deep. The antithesis of grunge, Meat and Steinman's Bat Out Of Hell II: Back Into Hell surprised everyone by skyrocketing to number 1 on the charts and selling 15 million copies. And now, in the age of vapid hip-hop production, faceless, personality-less rock bands, and the rise of the mp3 download sounding the death knell of the very idea of the "rock album" itself, the earth shakes again with the sound of loud, heavy footprints and a monsterous shreek. As if on cue, just when we need it, along comes Bat Out Of Hell III: The Monster Is Loose...louder and prouder than previous. Look out, Tokyo. There are two schools of thought with this album, just like the previous two discs. If you didn't like either of the other albums, there's nothing here that's bound to change your mind. It's heavy-handed, overblown, bombastic, overwrought, overly dramatic, pompous, WAY over-produced, grandiose, damned near cringe-inducing and borderline laughable. In other words, everything you'd expect, and love to hate, from a Bat album. On the flip side, the fact that it is so over-the-top makes the album work on its own terms, and make it endearing. It's everything you'd expect, demand and love about a Bat album. Indeed, there is nothing else like this Monster. That being said, this isn't your father's Bat disc. Jim Steinman's involvement in this album is reduced, either by health issues of legal entanglements (depending on who you speak to), and replacement producer/songwriter Desmond Child (Aerosmith, Bon Jovi, Ricky Martin) spends a lot of time trying to make it sound like a Jim Steinman production. Overall, Child succeeds well, but there does seem to be a little something missing. Still, Loaf and Child stack the deck with enough old friends (Bat I's original producer Todd Rundgren, drummer Kenny Aronoff, bassist Kasim Sulton and vocalist Patti Russo) and more-than-willing new partners (Queen's Brian May, Nikki Sixx of Motley Crue, John 5 of Marilyn Manson and Rob Zombie's band, Steve Vai, Eric Bazilian, Chris Vrenna) to give a fresh perspective on the classic feel. The album kicks off with the "title" track, opening with more than appropriate haunted sound effects (especially given its Halloween release date) before crashing into a ragged nu-metal riff with full orchestra in tow. Just as you start wondering what the hell is going on, Meat Loaf unleashes his voice and suddenly everything clicks into place. From there, it just plugs along, careening from heavy metal overload to stage musical dramatics, from Wagnerian blasts to fist-pumping rock anthems, giving you exactly what you'd expect until it's huge, Broadway-esque ending and "epilogue". Subtlety is just not part of the Bat world. And suddenly your realize where both Evanessence and My Chemical Romance got their influences. Along the way, Loaf manages to steal back Steinman's "It's All Coming Back To Me Now" from Celine Dion, and render it virtually unrecognizable, and far superior from its former MOR hell. Although it takes a bit to get past Meat, who is fast approaching 60, duetting with Marion Raven who is maybe 20, you do get past it. This is this album's "I Would Do Anything For Love" or "Two Out of Thr

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  • Anonymous

    Posted February 19, 2009

    No text was provided for this review.

  • Anonymous

    Posted January 10, 2010

    No text was provided for this review.

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