Bat Out of Hell II: Back into Hell [Import] [from UK]

ディスク：1
1. I'd Do Anything For Love (But I Won't Do That)
2. Life Is A Lemon And I Want My Money Back
3. Rock And Roll Dreams Come Through
4. It Just Won't Quit
5. Out Of The Frying Pan (And Into The Fire)
6. Objects In The Rear View Mirror May Appear Closer Than They Are
7. Wasted Youth
8. Everything Louder Than Everything Else
9. Good Girls Go To Heaven (Bad Girls Go Everywhere)
10. Back Into Hell
全11曲を見る
ディスク：2
1. Objects In The Rear View Mirror May Appear Closer Than They Are
2. I'd Do Anything For Love (But I Won't Do That) (single edit)
3. Rock And Roll Dreams Come Through (radio edit)
4. Life Is A Lemon And I Want My Money Back (radio edit)
5. Objects In The Rear View Mirror May Appear Closer Than They Are (Wild
6. I'd Do Anything For Love (But I Won't Do That) (longer edit)
7. Life Is A Lemon And I Want My Money Back (Ty Cobb edit)
8. Objects In The Rear View Mirror May Appear Closer Than They Are (Wild
9. Rock And Roll Dreams Come Through (Knute Rockne edit)
10. Life Is A Lemon And I Want My Money Back (1998 remix)

From Amazon.com
At a certain point, bad taste and bombast become so excessive and so grandiose that they're no longer an easily dismissed irritation but an astonishing monument to warped imagination. Such a monument is Meat Loaf's Bat out of Hell II: Back into Hell, the long-delayed sequel to 1977's Bat out of Hell. Once again songwriter-producer Jim Steinman has isolated high-school parking-lot aphorisms and inflated them to Wagner-on-Broadway proportions, casting Mr. Loaf as a heavy-metal Ezio Pinza. Typical of the album's strategy is its big hit single, "I'd Do Anything for Love (But I Won't Do That)." Steinman piles on the guitars, drums, synthesizers, and choral voices as if he were Phil Spector producing Kiss playing the Who songbook. The rest of the album tackles the themes of teenage lust, frustration, and rock & roll fantasies in similar fashion. It's somehow beside the point to complain about the puerile lyrics, the leaden rhythms, the derivative melodies, the histrionic vocals, or the overblown arrangements. Steinman knows how to push his audience's buttons, and with Meat Loaf's help, he hits those buttons with a sledgehammer. --Geoffrey Himes

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