Jim Steinman's Long-Lost Solo Adventure: A Classic Album Review
When you think of Jim Steinman, grandiose theatrical rock, operatic crescendos, and sweeping ballads likely come to mind. He's best known as the architect behind Meat Loaf's legendary Bat Out of Hell, but in 1981, Steinman took a daring leap into the spotlight himself with his solo album, Bad for Good. This project, originally intended to be the follow-up to Bat Out of Hell, became Steinman’s personal expression of his epic, bombastic vision of rock and roll.
The story of Bad for Good begins in the late 1970s, in the aftermath of Bat Out of Hell's enormous success. Steinman, brimming with creativity, was ready to craft another album with his signature sound: larger-than-life arrangements, poetic lyrics, and a fusion of rock, pop, and classical influences. However, Meat Loaf, whose booming voice powered Bat Out of Hell, faced severe vocal issues at the time and was unable to record.
Rather than shelving the material, Steinman decided to release the album himself. This decision was both bold and risky. Jim Steinman had always been known as a behind-the-scenes genius, a master songwriter and producer, but he was not a traditional frontman. His voice, more suited for speaking than belting, would now carry the weight of his intricate compositions.
Bad for Good is quintessential Steinman: sweeping, over-the-top, and unapologetically melodramatic. The album is more than just a collection of songs—it's a rock opera packed with passion, humor, and wild imagination.
The musical stylism of Jim Steinman is a towering edifice in the landscape of rock music—a gothic cathedral built from the soaring arches of operatic grandeur and the stained glass of teenage angst. His compositions are not merely songs but sprawling epics that traverse the tumultuous landscapes of love, desire, and existential yearning. Steinman's work is a confluence of theatrical extravagance and rock 'n' roll fervor, a fusion that creates a sound both timeless and immediate, ethereal yet grounded in raw emotion.
At the heart of Steinman's musical identity is his penchant for melodrama and grandiosity. He draws heavily from Wagnerian opera, not just in scale but in the thematic depth of his compositions. Like Richard Wagner, Steinman employs leitmotifs—recurring musical themes associated with particular characters or ideas—to weave complex narratives within his albums. This is most evident in his magnum opus, Bat Out of Hell, performed by Meat Loaf, where each track serves as a chapter in an overarching saga of youthful rebellion and unbridled passion.
Steinman's songs are often characterized by their intricate structures and extended lengths, defying the conventional formats of popular music. He eschews the typical verse-chorus-verse arrangement in favor of multi-part compositions that evolve organically, much like a symphonic movement. For instance, "Paradise by the Dashboard Light" is an eight-and-a-half-minute odyssey that seamlessly melds rock, balladry, and even a mock baseball commentary to explore the complexities of teenage romance and lust.
The theatricality in Steinman's work is not merely an aesthetic choice but a fundamental aspect of his storytelling. His lyrics are richly poetic, imbued with vivid imagery and allegorical nuances that elevate the songs beyond mere entertainment. Lines like "Every night I grab some money and I go down to the bar" from "Dead Ringer for Love" evoke a sense of routine escapism, while "You took the words right out of my mouth, it must have been while you were kissing me" captures the exhilarating loss of self in a romantic encounter. His words are the script to his musical theater, each song a one-act play that delves deep into the human psyche.
Steinman's production techniques further amplify the dramatic impact of his music. He was a disciple of Phil Spector's "Wall of Sound," employing layers upon layers of instrumentation to create a dense, immersive sonic environment. This is coupled with his use of powerful, often operatic vocals that demand a performer capable of conveying the emotional intensity of his compositions. Meat Loaf, with his expansive vocal range and theatrical delivery, was the perfect vessel for Steinman's grand visions.
Moreover, Steinman's influence extends into the realm of timbre and harmonic progression. He frequently utilizes minor keys and modal interchange to evoke a sense of longing and tension. His chord progressions are adventurous, often incorporating unexpected shifts that keep the listener in a state of anticipation. This harmonic complexity adds layers of emotional depth, making the cathartic climaxes of his songs all the more impactful.
In addition to his work with Meat Loaf, Steinman's collaborations with artists like Bonnie Tyler and Celine Dion further showcase his versatility and ability to adapt his stylistic elements to different voices. "Total Eclipse of the Heart" is a quintessential Steinman ballad—its haunting piano intro, escalating to a thunderous chorus, encapsulates his mastery in building musical narratives. The song's dramatic ebb and flow mirrors the tumultuous emotions of the lyrics, creating a unified artistic expression.
Steinman's fascination with the themes of youth, love, and mortality is a recurring motif that gives his work a cohesive philosophical underpinning. His songs often portray love as an all-consuming force, simultaneously destructive and redemptive. This duality is a reflection of Romantic literature, echoing the works of poets like Byron and Shelley, whom Steinman admired. By infusing his music with these literary influences, he elevates pop and rock into the realm of high art without sacrificing accessibility.
The theatrical nature of Steinman's music also finds a literal manifestation in his forays into musical theater. His musical Dance of the Vampires and the stage adaptation of Bat Out of Hell translate his bombastic style into the live performance arena, where the visual elements can match the grandeur of his compositions. These productions highlight his understanding of Gesamtkunstwerk, or "total work of art," a concept championed by Wagner that advocates for the synthesis of all artistic mediums.
In terms of rhythm and tempo, Steinman's compositions are dynamic, often shifting gears within a single piece. He masterfully balances ballad-like passages with explosive rock segments, using tempo changes to heighten emotional contrasts. This technique keeps the listener engaged, as the songs are unpredictable yet cohesive, each moment serving the narrative arc.
Jim Steinman's musical stylism is a testament to his belief that music should be an experience—grand, immersive, and transformative. His ability to blend the theatrical with the musical, the poetic with the raw, creates a soundscape that is both unique and profoundly affecting. In a world where music often conforms to commercial expectations, Steinman's work stands as a bold proclamation of artistic vision, unrestrained by convention and fueled by an unrelenting passion for storytelling.
The title track, "Bad for Good," kicks things off with a galloping rhythm and classic Steinman lyrics about love, rebellion, and danger. The song encapsulates Steinman's flair for dramatic storytelling, where every note feels like it's leading up to some larger-than-life climax.
Then there’s “Lost Boys and Golden Girls,” a wistful ode to eternal youth and romanticized freedom, reminiscent of Peter Pan in its themes. Steinman’s nostalgic, poetic lyricism is on full display here, capturing a sense of longing for a never-ending adolescence.
One of the album's highlights is "Rock and Roll Dreams Come Through," which, like many tracks on the album, was later re-recorded by Meat Loaf for his Bat Out of Hell II album. The song’s swelling choruses and anthemic melody reflect Steinman’s belief in the transformative power of rock music. It’s one of his best songs, seamlessly blending his penchant for bombastic production with genuine emotional resonance.
Another notable track, “Stark Raving Love,” is a frenetic, fast-paced rocker with pounding piano lines and explosive energy, reminiscent of Bat Out of Hell's title track. Steinman’s sense of humor comes out in the lyrics, which are full of wild metaphors and tongue-in-cheek bravado.
One of the more unusual aspects of Bad for Good is the use of spoken-word sections. On "Love and Death and an American Guitar," Steinman delivers a theatrical monologue about a boy smashing his guitar and dreaming of ultimate freedom. This is peak Steinman: surreal, absurd, and drenched in symbolism. The track blends rock and theatre in a way that almost feels like a precursor to modern rock musicals.
I remember everything
I remember every little thing as if it happened only yesterday
I was barely 17 and I once killed a boy with a fender guitar
I don't remember if it was a Telecaster or a Stratocaster
but I do remember that it had a heart of chrome
and a voice like a horny angel
I don't remember if it was a Telecaster or a Stratocaster
but I do remember
that it wasn't at all easy
It required the perfect combination of the right powerchords
and the precise angle from which to strike
The guitar bled for about a week afterwards and the blood was
ooh...
dark and rich like wild berries
The blood of the guitar was Chuck Berry red
The guitar bled for about a week afterwards and it rung out beautifully,
and I was able to play notes that I had never even heard before.
So I took my guitar and I smashed it against the wall
I smashed it against the floor
I smashed it against the body of a varsity cheerleader
I smashed it against the hood of a car
I smashed it against a 1981-Harley Davidson
The Harley howled in pain, the guitar howled in heat!
I ran up the stairs to my parents bedroom
Mommy and Daddy were sleeping in the moonlight
Slowly I opened the door creeping in the shadows right up to the foot of the bed
I raised my guitar high above my head
and just as I was about to bring the guitar crashing down upon the center of the bed
my father woke up screaming:
"Stop... wait a minute.stop it, boy
What do you think you're doing?
That's no way to treat an expensive musical instrument"
And I said "God damn it, Daddy, you know I love you
But you got a hell of a lot to learn about rock and roll"
Throughout the album, Steinman uses orchestration to elevate the drama. String arrangements soar above the guitars, and choirs join in to create a wall of sound that feels both intimate and colossal. This is especially true in tracks like “Out of the Frying Pan (And Into the Fire),” where orchestral flourishes help build the sense of impending adventure and chaos.
When Bad for Good was released in 1981, it received mixed reviews. Critics praised Steinman’s ambition and the album’s impressive scope, but some questioned whether he was the right person to sing these songs. His vocals, while serviceable, didn’t possess the raw power of Meat Loaf’s voice, which many felt the material required.
Commercially, the album didn’t reach the heights of Bat Out of Hell, though it performed decently, peaking at #63 on the Billboard 200. The lead single, "Rock and Roll Dreams Come Through," managed to chart as well, and the album has since gained a cult following.
While Bad for Good didn’t achieve the same legendary status as Bat Out of Hell, it remains an essential chapter in Jim Steinman’s career. The album is a testament to his creative genius, showcasing his unique ability to blend rock with operatic drama, literary storytelling, and an almost mythic sense of scale. Many of the songs on Bad for Good were later reinterpreted and recorded by other artists, especially Meat Loaf, giving them a second life.
More than 40 years later, Bad for Good stands as a curious and compelling artifact of 1980s rock, as well as a fascinating insight into Steinman’s artistic vision. It’s a record that feels simultaneously timeless and very much of its era, an operatic rock fantasy that only Jim Steinman could have crafted.
In the end, Bad for Good is Jim Steinman at his most uninhibited. It's an album that demands to be heard with the volume cranked up, where the melodies soar, the stories unfold in epic proportions, and rock and roll dreams really do come true.
Note: Jim Steinman passed away in April 2021, leaving behind a legacy of music that defined a unique era of rock. His influence on theatrical rock continues to resonate with musicians and fans alike.