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Bat Out of Hell III: The Monster Is Loose

( 5 )

Editorial Reviews

Barnes & Noble - David Sprague
As anyone in Hollywood will tell you, creating a sequel that's successful both commercially and artistically is one of the toughest tricks to pull off -- a degree of difficulty that ramps up exponentially when trying to go to the well for a third time. Well, some three decades after bringing forth one of the biggest-selling and most cinematic albums in rock history, Meat Loaf has managed to do just that on this appropriately outsized completion of the Bat trilogy. The Monster Is Loose is clearly the fruit of the same family tree that bore Bat Out of Hell and 1993's Back into Hell, but it also conveys a sense of progression that's palpable -- in both the heaviness of ...
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Editorial Reviews

Barnes & Noble - David Sprague
As anyone in Hollywood will tell you, creating a sequel that's successful both commercially and artistically is one of the toughest tricks to pull off -- a degree of difficulty that ramps up exponentially when trying to go to the well for a third time. Well, some three decades after bringing forth one of the biggest-selling and most cinematic albums in rock history, Meat Loaf has managed to do just that on this appropriately outsized completion of the Bat trilogy. The Monster Is Loose is clearly the fruit of the same family tree that bore Bat Out of Hell and 1993's Back into Hell, but it also conveys a sense of progression that's palpable -- in both the heaviness of its sound and the feistiness of its presentation. The shift has a lot to do with the presence of songwriters other than Jim Steinman -- the man who crafted the classics on the first two discs but bowed out midway through Monster due to health reasons. Steinman's contributions, characterized by the soaring "Seize the Night," which brings a children's choir into the mix, exude all the grandeur that Meat Loaf fans have come to expect. That vibe reaches its zenith on "It's All Coming Back to Me Now," a song popularized by Celine Dion but perfected here by the Loaf and duet partner Marion Raven. It's intriguing to witness how well Meat and company manage the integration of other voices, like Nikki Sixx and White Zombie/Marilyn Manson vet John 5, who bring an industrial tinge to the gnarled title track. On the other end of the spectrum, producer Desmond Child imparts a lush Euro-styled vibe to a passel of his compositions, notably "If God Could Talk." Meat Loaf has implied that this is his swan song -- and if that's the case, it'll be one of those rare instances of an artist clearly going out on the top of his game.
All Music Guide - Stephen Thomas Erlewine
Meat Loaf's Bat Out of Hell III: The Monster Is Loose is a patchwork, pieced together from things borrowed and re-created, never quite gelling the way either of the previous BOOH albums did. Meat Loaf and producer/songwriter Desmond Child try to re-create their glory days, but they're not picky on how they get there; jarring shifts in tone are common as the album moves from song to song and within the tunes themselves, as Child's compositions chase after the grandeur of Jim Steinman's work (he wrote the first two BOOH albums) yet bear the marks of a professional playing a game without learning the rules. It's a brightly lit mess, but Meat Loaf sings his heart out as he valiantly tries to make this Bat a worthy successor.
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Product Details

  • Release Date: 10/31/2006
  • Label: Virgin Records Us
  • UPC: 094636314723
  • Catalog Number: 63147
  • Sales rank: 26,706

Tracks

Disc 1
  1. 1 The Monster Is Loose (7:11)
  2. 2 Blind as a Bat (5:50)
  3. 3 It's All Coming Back to Me Now - Marion Raven (6:05)
  4. 4 Bad for Good (7:32)
  5. 5 Cry Over Me (4:38)
  6. 6 In the Land of the Pig, The Butcher Is King (5:30)
  7. 7 Monstro (1:38)
  8. 8 Alive (4:21)
  9. 9 If God Could Talk (3:45)
  10. 10 If It Ain't Broke Break It (4:49)
  11. 11 What About Love - Patti Russo (6:04)
  12. 12 Seize the Night (9:46)
  13. 13 The Future Ain't What It Used to Be - Jennifer Hudson (7:53)
  14. 14 Cry to Heaven (2:22)
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Album Credits

Performance Credits
Meat Loaf Primary Artist
Stephanie Bennett Harp
Todd Rundgren Background Vocals
Steve Vai Guitar, Soloist
Matt Rollings Organ, Piano
Brian May Guitar, Soloist
Desmond Child Background Vocals
Bruce Dukov Violin
Maria Vidal Background Vocals
Kasim Sulton Bass, Background Vocals
Sid Page Violin
John Fumo Trumpet
Mark Alexander Organ, Piano
Rusty Anderson Guitar, Soloist
Kenny Aronoff Percussion, Drums
Rick Baptist Trumpet
Eric Bazilian Guitar, Soloist
Cheryl Brown Choir, Chorus
Denyse Buffum Viola
David Campbell Conductor
Darius Campo Violin
Larry Corbett Cello
Brett Cullen Background Vocals
Brian Dembow Viola
Joel Derouin Violin
Earl Dumler Oboe
Chuck Findley Trumpet
Marti Frederiksen Background Vocals
Berj Garabedian Violin
Endre Granat Violin
Gary Grant Trumpet
Diana Grasselli Background Vocals
Victor Indrizzo Drums
Jessica Jones Choir, Chorus
Alan Kaplan Trombone
Peter Kent Violin
Lee Levin Percussion
Steve Madaio Trumpet
Joe Meyer French Horn
Joseph Powell Choir, Chorus
Bettie Ross Pipe organ
Tom Saviano Tenor Saxophone
Haim Shtrum Violin
Eric Troyer Background Vocals
Josefina Vergara Violin
Brad Warnaar French Horn
Evan Wilson Viola
John Wittenberg Violin
Ken Yerke Violin
Eric Rigler Irish Flute
John Miceli Drums
Daniel Smith Cello
Suzie Katayama Cello
Dan Warner Guitar
William Frank "Bill" Reichenbach Jr. Trombone, Bass Trombone
John Shanks Guitar, Soloist
Wayne Bergeron Trumpet
Natalie Leggett Violin
Nico Abondolo Bass
Barbara Allen Choir, Chorus
Andreas Carlsson Background Vocals
John A. Reynolds French Horn
Roberto Cani Violin
Eric Sardinas Slide Guitar, Soloist
Michael Valerio Bass
Patti Russo Background Vocals
John 5 Guitar, Soloist
James Michael Background Vocals
Clint Walsh Guitar
Camille Saviola Background Vocals
Jeanette Olsson Background Vocals
Corky James Guitar
David Levita Guitar
Philip Vaiman Violin
Becky Baeling Background Vocals
Alyssa Park Violin
Andrew Duckles Viola
John Gregory Background Vocals
Jason Paige Background Vocals
Bonita Brisco Choir, Chorus
Sonya Byous Choir, Chorus
Marda Todd Viola
Keely Pressly Background Vocals
Storm Lee Background Vocals
Steve Richards Cello
Randy Flowers Guitar, Soloist
Michele Richards Violin
Tereza Stanislav Violin
Vernon Keith Allen Choir, Chorus
Esther Marie Austin Choir, Chorus
Carolyn Caletti Jablonski "CC" Background Vocals
Graham Phillips Soprano (Vocal)
Sandra Stokes Choir, Chorus
Roshuan Stovall Choir, Chorus
Steven Holtman Trombone
Steven Becknell French Horn
Mario de León Violin
Matthew Funes Viola
Jon Lewis Trumpet
Paul Crook Guitar
M.B. Gordy Orchestral Percussion
Technical Credits
Todd Rundgren Arranger
Steve Vai Engineer
Russ Irwin Composer
Desmond Child Composer, Producer, Vocal Arrangements
Holly Knight Composer, Programming
Jim Steinman Composer
David Campbell Horn Arrangements, Orchestral Arrangements
Randy Cantor Programming
Steve Churchyard Engineer
Dave Dale Engineer
Doug Emery Programming
Marti Frederiksen Composer, Engineer
Chris Garcia Engineer
Stephen Marcussen Mastering
Kevin Mills Engineer
Diane Warren Composer
Nikki Sixx Composer
Dan Warner Engineer
Chris Vrenna Programming
Allen Kovac Executive Producer
C. Winston Simone Executive Producer
Harry "Slick" Sommerdahl Programming, Engineer
Dino Hermann Engineer
Jules Gondar Engineer, Production Chief
Greg Collins Engineer
David Simoné Executive Producer
James Michael Composer
Nathan Malki Engineer
Andy Ackland Engineer
Corky James Engineer
Jeff Rothschild Engineer
Ghian Wright Engineer
Jay Ruston Engineer
Eric Vetro Vocal Coach
Carlos Alvarez Engineer
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Customer Reviews

Average Rating 4
( 5 )
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Sort by: Showing all of 5 Customer Reviews
  • 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.

Sort by: Showing all of 5 Customer Reviews