Jim Steinman's OTHER Lost Solo Project, "Pandora's Box"
Jim Steinman's "Pandora's Box: Original Sin" is perhaps one of rock's most lavishly over-the-top albums that somehow slipped through the cracks of mainstream recognition. It's as if Steinman took every theatrical impulse he ever had, sprinkled in some forbidden desires, and packaged it all with a wink and a nod—like a rock opera that got lost backstage at a Broadway burlesque show.
Steinman, the mastermind behind Meat Loaf's "Bat Out of Hell," doesn't just dip his toes into grandiosity here; he cannonballs into it. The songwriting is quintessential Steinman: epic narratives, melodramatic emotions, and enough metaphoric content to fuel a thousand English essays. Each track is a rollercoaster ride through themes of love, loss, and lust—often all at once. His production is lush and intricate, layering instruments and vocals in a way that makes Phil Spector's Wall of Sound look like a modest picket fence.
"Pandora's Box: Original Sin" is an ambitious and richly layered album that showcases Jim Steinman's flair for dramatic storytelling and grandiose musical arrangements. Released in 1989, this project represents Steinman's attempt to craft a rock opera that melds his theatrical inclinations with the pop and rock sensibilities of the late 20th century. While it didn't achieve significant commercial success upon its release, the album has since garnered a cult following and is appreciated for its intricate compositions and emotional depth.
From the outset, the album immerses the listener in Steinman's signature world of heightened emotions and epic narratives. The opening track, "Original Sin (The Natives Are Restless Tonight)," sets the tone with its sweeping melodies and powerful vocals by Elaine Caswell. The song combines rock and classical elements, creating a soundscape that is both contemporary and timeless. Steinman's use of dramatic crescendos and intricate orchestration immediately signals that this is not just a collection of songs but a cohesive work intended to be experienced as a whole.
Musically, the album is a tapestry of styles and influences. Steinman masterfully blends rock, pop, and classical motifs, creating songs that are complex yet accessible. "Twentieth Century Fox" is a high-energy track that fuses rock rhythms with theatrical flair, while "Good Girls Go to Heaven (Bad Girls Go Everywhere)" employs catchy hooks and robust arrangements that highlight Steinman's knack for crafting memorable melodies. The album's production is lush and layered, with meticulous attention to detail in the instrumentation and vocal arrangements.
One of the standout tracks is "It's All Coming Back to Me Now," sung with heartfelt intensity by Elaine Caswell. This song epitomizes Steinman's ability to write deeply emotional music that resonates on a universal level. The ballad builds slowly, starting with a gentle piano introduction before swelling into a full orchestral and choral climax. The lyrics explore themes of memory, loss, and the resurgence of past emotions, delivered with a sincerity that is both poignant and powerful.
However, the album is not without its shortcomings. The ambitious scope sometimes leads to an overindulgence in production, with certain tracks feeling cluttered due to the dense layering of instruments and vocals. For example, "The Invocation" and "Requiem Metal" serve as atmospheric interludes but can disrupt the album's pacing. These pieces, while thematically linked to the overall concept, may come across as superfluous to some listeners, adding to the album's already considerable runtime.
Vocally, the album features a roster of talented female singers, including Elaine Caswell, Gina Taylor, and Deliria Wilde. Their performances are exceptional, each bringing a unique quality to the songs they interpret. Caswell's emotive delivery on tracks like "Original Sin" and "It's All Coming Back to Me Now" adds depth to Steinman's compositions. Gina Taylor's rendition of "Safe Sex" infuses the song with a sultry energy, exploring themes of desire and vulnerability with nuance.
Lyrically, Steinman delves into themes of sin, redemption, love, and the human condition. His writing is rich with imagery and metaphor, often drawing on mythological and literary references. The songs are narratives in themselves, telling stories that are both personal and universal. However, the complexity of the lyrics may require multiple listens to fully appreciate, as the dense language can be challenging to unpack.
One of the album's strengths is its cohesiveness. Despite the diversity of musical styles, there is a unifying thread that runs through the tracks, tied together by Steinman's thematic focus and production style. The use of recurring musical motifs and thematic reprises gives the album a sense of continuity, reinforcing the idea that it is meant to be experienced as a complete work rather than a collection of individual songs.
From a critical perspective, "Pandora's Box: Original Sin" can be seen as both a bold artistic statement and a reflection of Steinman's uncompromising vision. The album's elaborate production and ambitious scope may not align with mainstream tastes, which perhaps contributed to its limited commercial success. However, these same qualities are what make the album stand out as a unique and significant work in Steinman's catalog.
The production, handled by Steinman along with Steven Rinkoff and Roy Bittan, is meticulous, but at times it verges on excessive. The wall-of-sound approach creates a rich and immersive listening experience but can also be overwhelming. In some instances, the intricate arrangements overshadow the vocals, making it difficult to focus on the lyrics and emotional nuances of the performances.
Despite these criticisms, the album's influence and legacy are notable. Several songs from "Pandora's Box: Original Sin" were later re-recorded by other artists, achieving greater commercial success. Most prominently, "It's All Coming Back to Me Now" became a worldwide hit when covered by Celine Dion in 1996, bringing Steinman's songwriting to a broader audience and highlighting the timeless quality of his compositions.
But what truly brings this album to life are the four formidable female vocalists who, together, form Pandora's Box. Each one brings her own unique flair to the project, creating a vocal tapestry that's as rich and varied as the themes Steinman explores.
Elaine Caswell, the primary vocalist on the album, wields her voice like a finely tuned instrument. With a background in session work, she's lent her pipes to artists ranging from Cyndi Lauper to Michael Bolton. Caswell's vocals on "Original Sin" are nothing short of electrifying. She navigates Steinman's complex melodies with ease, her voice soaring one moment and tender the next. It's like she's driving a high-speed car through a maze—dangerous but thrilling, and you can't help but go along for the ride.
Then there's Ellen Foley, a name that might ring a bell—or perhaps a gong—for classic rock fans. Foley is best known for her duet with Meat Loaf on "Paradise by the Dashboard Light," where her powerful vocals held their own against Meat Loaf's theatrical bombast. In "Original Sin," Foley adds a layer of depth and experience. Her career spans music, Broadway, and television, including roles in "Hair," "Into the Woods," and even a stint on "Night Court." Her voice carries the weight of those experiences, adding a smoky richness to the album's vocal palette.
Gina Taylor brings a soulful edge to the ensemble. Before joining Pandora's Box, she was part of the German pop group The Weather Girls—yes, the ones who declared "It's Raining Men" with such gusto. Taylor's gospel and R&B roots shine through, infusing the rock-heavy tracks with a dose of soulful fervor. Her voice is like velvet draped over steel—smooth yet unyielding. She adds a touch of sultry warmth, the kind that could melt butter—or hearts—on a cold day.
Lastly, we have Deliria Wilde, whose very name suggests a flirtation with the untamed. Wilde, also known as Vicki Vickham, is something of an enigma. With a background shrouded in mystery, she embodies the Pandora's Box persona perfectly. Her vocals are ethereal and haunting, adding a layer of mystique to the album. It's like she's the whisper in the dark urging you to take that midnight gamble—what's the worst that could happen?
Together, these four women elevate Steinman's already lofty compositions to stratospheric heights. Their harmonies are tight, their solos compelling. They handle the material with both reverence and a knowing wink, fully embracing the theatricality without ever tipping into parody—though they dance provocatively close to that line, and isn't that half the fun?
The production vibe of "Original Sin" is unapologetically grand. Steinman employs everything from roaring guitars to sweeping orchestral arrangements. The percussion doesn't just keep time; it announces itself with the subtlety of a peacock in mating season. The album is drenched in reverb and layered with enough backing vocals to populate a small choir. It's maximalist to the core—a sonic feast that leaves you both sated and somehow craving more.
Tracks like the titular "Original Sin" and "Good Girls Go to Heaven (Bad Girls Go Everywhere)" encapsulate the album's blend of earnestness and cheekiness. The latter, with its playful nod to duality and temptation, feels like a mission statement. It's as if Steinman is saying, "Why settle for walking the straight and narrow when you can dance on the razor's edge?" After all, life's too short for half measures—or half notes.
Lyrically, Steinman is in fine form, weaving tales that are equal parts epic romance and late-night confessionals. He has a knack for turning a phrase that can make you chuckle one moment and contemplate the mysteries of the universe the next. Lines blur between high art and kitsch, but that's the beauty of it. It's like he's crafted a tapestry from threads of Shakespeare, dime-store novels, and rock 'n' roll rebellion.
Listening to "Original Sin" is an immersive experience. It's not background music; it's foreground music. It demands attention, much like a diva refusing to go on stage without the spotlight squarely on her. And rightly so. The album doesn't just play; it performs.
In the grand theater of rock music, "Pandora's Box: Original Sin" is the elaborate set piece that got left behind when the curtain fell. It's a hidden gem waiting to be rediscovered, dusted off, and appreciated for all its gaudy glory. Jim Steinman didn't just push the envelope with this one; he licked it, sealed it, and sent it first-class to the edge of excess.
So, if you're in the mood for something bold, something that doesn't shy away from its own audacity, give "Original Sin" a spin. Just be prepared: once you open this particular box, you might find that curiosity isn't the only thing it satisfies. After all, as Steinman and his quartet of vocal vixens might suggest, good girls may go to heaven, but this album proves that bad girls—and boys—have all the fun.