Meat Loaf, a name synonymous with rock and roll theatrics and powerful vocals, left an indelible mark on the music world. Known for his larger-than-life persona and operatic singing style, Meat Loaf, who sadly passed away, wasn’t just a singer; he was a performer who embodied every note and lyric. His journey began in musical theatre, leading to a vocal prowess that effortlessly spanned baritone and tenor ranges, perfectly suited for both stage and studio. This vocal dynamism made him a standout in The Rocky Horror Picture Show and the ideal interpreter for Jim Steinman’s grandiose, emotionally charged compositions. Songs like “Paradise by the Dashboard Light,” “Two Out of Three Ain’t Bad,” and “I’d Do Anything for Love (But I Won’t Do That)” became anthems, showcasing his ability to become the character within each song. Here, we explore 10 of his best performances, a testament to his enduring legacy in the realm of Meat Loaf Songs.
“What You See Is What You Get” (1971)
Before the epic Bat Out of Hell and his memorable role in Rocky Horror, Meat Loaf was part of the duo Stoney and Meatloaf. This early project, with singer Shaun Murphy (Stoney), emerged from the Detroit music scene where they’d previously collaborated in Hair. Signing with Motown’s Rare Earth label, they released a self-titled album featuring their debut single, “What You See Is What You Get.” This track is a fascinating blend of psychedelic soul, reminiscent of Hair, 70s Motown sounds akin to the Temptations’ “Papa Was a Rolling Stone” era, and even hints of the Jackson 5, all compressed into a vibrant two-minute experience. The song features traded vocals, rocking organ riffs, and a prominent tambourine, resulting in a surprisingly catchy tune. It climbed to Number 71 on the Hot 100 and reportedly includes an uncredited piano cameo by Stevie Wonder. Meat Loaf himself recounted in 2010, “One day Stevie was hanging out and they played this really corny song [of ours], and Stevie Wonder heard it and said, ‘Can I play piano on that?’ So Stevie played piano on this corny song of mine.” This early track offers a glimpse into the nascent stages of Meat Loaf’s career and his foray into meat loaf songs, showcasing his vocal talent even before his signature style fully developed. —K.G.
“Hot Patootie — Bless My Soul” (1975)
Richard O’Brien’s 1973 musical The Rocky Horror Show thrived on its farcical nature, playfully mocking Fifties sci-fi films and exploring tangled romantic relationships among its characters. Central to this was Eddie, a rebellious, Elvis-inspired character who arrives on a motorcycle and plays a saxophone. Despite limited stage time – roughly four minutes to deliver the Dion-esque rock and roll tribute “Hot Patootie” – Eddie’s brief appearance sets in motion a chain of events crucial to the narrative’s climax. In the original stage production, Meat Loaf uniquely portrayed both Eddie and Dr. Scott, Eddie’s uncle, adding another layer of camp to the performance. For the 1975 film adaptation, The Rocky Horror Picture Show, Meat Loaf solely played Eddie. His performance was a scene-stealer, even with Tim Curry’s iconic portrayal of Frank N. Furter, and the film’s cult following paved the way for the success of Bat Out of Hell. “Hot Patootie – Bless My Soul” became a staple in Meat Loaf’s live performances from the 1990s until recent years, solidifying its place as one of the most energetic and memorable meat loaf songs in his repertoire. —K.G.
“You Took the Words Right Out of My Mouth (Hot Summer Night)” (1977)
“You Took the Words Right Out of My Mouth,” released ahead of the Bat Out of Hell album in 1977, is a concise rock opera in miniature. In this track, Meat Loaf passionately croons about the awkwardness and urgency of young love on a hot summer night, singing, “There’s not another moment to waste.” Jim Steinman’s composition cleverly incorporates musical nods to classic hits: the drumbeat echoes “Be My Baby,” the powerful guitar riffs recall “Baba O’Riley,” and the background vocals hint at the Four Seasons. Yet, with Meat Loaf’s distinctive vocal delivery, especially during the chorus punchline – “You took the words right out of my mouth/It must have been while you were kissing me” – the song feels fresh and uniquely his. Steinman and Meat Loaf crafted this song during a period when Meat Loaf was an understudy for John Belushi in the National Lampoon road show. Reflecting on the song’s creation, Meat Loaf told Rolling Stone after Steinman’s passing, “My input was more arrangement, methods, a word or two here and there. My job was to make the songs focused, the same way you’d get a character focused. Every song was a character.” This song is a perfect example of how Meat Loaf transformed songs into theatrical performances, making it a standout among meat loaf songs. —K.G.
“Paradise by the Dashboard Light” (1978)
“Paradise by the Dashboard Light” encapsulates teenage romance and its potential pitfalls. Meat Loaf shared a personal anecdote with Jim Steinman about his youthful dates in his 1963 red Galaxie convertible. “We’d park somewhere,” he recounted to Rolling Stone in 2021, “and she’d, in so many words, say, ‘Stop right there.’” Steinman transformed this relatable experience into an epic, three-part, eight-minute saga of a relationship that takes a dramatic turn after a night in a car. The song features a play-by-play commentary by New York Yankees announcer Phil Rizzuto, adding a surreal and humorous dimension. Ellen Foley, Meat Loaf’s then-girlfriend, performed the female vocals on Bat Out of Hell, while Karla DeVito took over on tour, where the song became a concert highlight. A shortened, five-and-a-half-minute single version reached Number 39 on the Hot 100, boosted by a music video often shown before The Rocky Horror Picture Show. “Paradise by the Dashboard Light” remains one of the most ambitious and beloved meat loaf songs, showcasing his narrative storytelling ability within a rock song format. —A.G.
“Two Out of Three Ain’t Bad” (1978)
“Two Out of Three Ain’t Bad” is a masterclass in emotional delivery, subtly influenced by Elvis Presley. Jim Steinman, inspired by Elvis’ “I Want You, I Need You, I Love You,” envisioned Meat Loaf bringing his signature booming heartbreak to a similar melancholic tune. This song became Meat Loaf’s highest-charting hit until “I’d Do Anything for Love” in 1993. Meat Loaf was acutely aware of the song’s iconic status, passionately defending it in a Rolling Stone interview. He refuted claims that Bat Out of Hell was derivative of Bruce Springsteen’s Born to Run, pointedly asking, “Where does Springsteen have a ‘Two Out of Three’?” This song’s enduring appeal lies in its raw emotion and Meat Loaf’s ability to convey vulnerability amidst his powerful vocal delivery, cementing its place as one of the essential meat loaf songs. —A.M.
“Heaven Can Wait” (1978)
Nestled on Bat Out of Hell between the energetic “You Took the Words Right Out of My Mouth” and “All Revved Up With No Place to Go,” “Heaven Can Wait” offers a moment of respite and tenderness. Jim Steinman originally conceived it for Neverland, his Peter Pan rock musical (from which Bat Out of Hell originated), aiming for a music box-like melody. Steinman explained that it was intended as a song for Wendy after she chooses to marry Peter. Prior to Bat Out of Hell, “Heaven Can Wait” was recorded by Alaina Reed Hall and even Bette Midler, who delivered a unique country-rock interpretation. However, Meat Loaf’s rendition is widely considered definitive. A particularly memorable performance is his 1995 duet with Luciano Pavarotti, where Meat Loaf, clutching a red scarf, pours his heart into the ballad, his powerful voice tenderly embracing the melody. This song highlights the softer side of meat loaf songs, showcasing his ability to handle ballads with as much passion as his rock anthems. —A.M.
“Dead Ringer for Love” (1981)
Despite featuring Cher as a guest vocalist, “Dead Ringer for Love” and the album Dead Ringer, Meat Loaf’s 1981 follow-up to Bat Out of Hell, didn’t achieve the same level of success. Nevertheless, the song itself is far from a failure. It’s a dynamic track that blends elements of “Summertime Blues” and “Mony Mony” with a distinct Meat Loaf twist. Prior to recording the album, Meat Loaf had suffered vocal issues due to touring and exhaustion. However, the song’s strength lies in the raw intensity of his performance. In a 1981 interview, Meat Loaf described the song’s narrative: “’Dead Ringer for Love’ is about a teenage boy, and he’s got a fake ID. And he goes to this bar every night … and he sees this older woman. She must be at least 19 and he must be at least 16. Finally he gets the nerve up to make his move, and she scares him half to death and backs him into a corner, and winds up taking him home anyway. But it’s very animalistic. … It’s a very basic emotion. It’s like, ‘Your place or mine.’” “Dead Ringer for Love,” though perhaps less commercially successful than other meat loaf songs, remains a powerful example of his dramatic vocal style and stage presence. —K.G.
“I’d Do Anything for Love (But I Won’t Do That)” (1993)
The concept of a Bat Out of Hell sequel lingered for a decade before materializing in 1993. During the grunge era, a Meat Loaf comeback seemed improbable. However, against expectations, Meat Loaf and Jim Steinman returned with “I’d Do Anything for Love (But I Won’t Do That),” a song that resonated deeply with audiences. This epic 12-minute track (edited to 6:36 for radio) is quintessential Steinman, complete with motorcycle sound effects, a lengthy piano introduction by Roy Bittan of the E Street Band, and arguably Meat Loaf’s most impassioned vocal performance. It became an unexpected global hit, topping charts worldwide and re-establishing Meat Loaf in the pop culture landscape after a period away from the mainstream. “I’d Do Anything for Love (But I Won’t Do That)” is a testament to the enduring appeal of meat loaf songs, proving his ability to connect with audiences across generations. —A.G.
“I’d Lie for You (And That’s the Truth)” (1995)
Meat Loaf’s 1995 album, Welcome to the Neighbourhood, was eclectic, featuring his interpretations of songs by Tom Waits and Sammy Hagar alongside Jim Steinman compositions. “I’d Lie for You (And That’s the Truth),” a Diane Warren ballad, emerged as the standout track. It encompassed classic Meat Loaf elements: an oxymoronic parenthetical title, escalating drama, a false ending around the five-minute mark, and an over-the-top music video. Meat Loaf’s fervent vocals, enhanced by a duet with Patti Russo, anchored the song. Similar to “Paradise by the Dashboard Light,” it features grand promises of devotion contingent on reciprocated faith. “I’d walk on the wild for you,” he powerfully declares, “if you’d just believe in me.” Meat Loaf’s performance made such belief effortless for his listeners, further solidifying his reputation for delivering emotionally charged meat loaf songs. —J.H.
“It’s All Coming Back to Me Now” (2006)
Jim Steinman initially wrote “It’s All Coming Back to Me Now” for his group Pandora’s Box in 1989, but it gained wider recognition through Celine Dion’s 1996 rendition on Falling Into You. When Meat Loaf embarked on Bat Out of Hell III in 2006, without Steinman’s direct involvement, he chose to record his version as a duet with Norwegian singer Marion Raven. Meat Loaf viewed the song beyond romantic love, stating, “To me it wasn’t a song about romance. It was about me and Jim Steinman.” While matching Celine Dion’s iconic version was a challenge, and Bat III faced commercial disappointment, Meat Loaf’s rendition of “It’s All Coming Back to Me Now” is a noteworthy addition to his discography. Despite Meat Loaf later expressing his dissatisfaction with Bat III, his take on this song offers a unique perspective and stands as a testament to his continued exploration of dramatic and emotionally resonant meat loaf songs. —A.G.
