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Meat is wonderful at reciting the lyrics

Posted by:
rockfenris2005 01:28 am MST 02/27/17
In reply to: If Meat was going to play a role - rockfenris2005 01:26 am MST 02/27/17


Remember the "It just won't quit" recital at the SHOF. And he did it again in one of the FB videos when he was making "Braver than we are".

> Personally, I'd like to see it as some kind of godly
> disembodied voice figure, where he doesn't have to turn up
> every night, and they just record it in the studio.
>
> > MEAT'S BEEF WITH BRUCE
> > ‘Everybody’s always compared Bat Out Of Hell to
> > Springsteen, but my voice doesn’t sound anything like
> > Springsteen’s,’ says Meat Loaf.
> >
> > ‘I had to learn how to sing in a rock style. I really have
> > an operatic voice.
> >
> > ‘I had to work hard to sing Bat Out Of Hell. That’s
> > three-and-a-half octaves. People have no idea how tough
> > that is.
> >
> > ‘The one thing I know is that Max Weinberg and Roy Bittan
> > [Bruce Springsteen’s E Street Band members] played drums
> > and piano on Bat Out Of Hell, and Bruce was mad about
> > that.
> >
> > ‘So when Springsteen does his benefit stuff, or gets
> > together with a bunch of people, I’m never invited.’
> >
> > ‘The only thing that I have said to them is, “When you
> > bring it to Broadway, let me do the father [Falco]”. I’m
> > not taking anything away from the guy who’s doing the
> > father, but when it comes to Broadway, let me do that.’
> > He leaves a dramatic beat.
> > ‘We’ll just have to see if the play’s a hit.’ e
> > Jim Steinman’s ‘Bat Out Of Hell: The Musical’ previews at
> > Manchester Opera House until April 8 before moving to the
> > London Coliseum in June.
> >
> >
> > Read more:
> > http://www.dailymail.co.uk/home/event/article-4249844/Bat-Hell-Musical.html#ixzz4ZmjjAlbQ
> >
> > Follow us: @MailOnline on Twitter | DailyMail on Facebook
> >
> > > Operatic rock songs, roaring motorbikes and a starring
> > > role for Meat Loaf... maybe! Event gets exclusive access
> > > behind the scenes of Bat Out Of Hell: The Musical
> > >
> > > It’s a rarely aired fact that the Princess of Wales was a
> > > massive Meat Loaf fan. Were she still with us, Diana would
> > > have undoubtedly been making discreet enquiries about
> > > attending the premiere of Bat Out Of Hell: The Musical.
> > > It is poignant that the 20th anniversary of her death
> > > comes 40 years after the first release of the Wagnerian
> > > rock album that she so enjoyed.
> > >
> > > Meat Loaf, who isn’t yet appearing in the rock ’n’ roll
> > > opera but has been cheerleading for his songwriting friend
> > > Jim Steinman, composer of those seven songs that shook the
> > > world, takes up the story.
> > >
> > > ‘Diana had been to four of my shows,’ says Meat at his Los
> > > Angeles home. ‘She was a fan – I did not know this. They
> > > would sneak her in after the lights went out.
> > > ‘I met her at the Pavarotti and Friends concert [in
> > > 1995],’ the awestruck singer continues. ‘I was standing
> > > right with her, and she turned to me and she said, “I’m
> > > hungry,” and I said, “You know what? If you said right now
> > > to somebody, I want a chicken leg, I guarantee you’d have
> > > one in two minutes.”
> > >
> > > ‘She was so down-to-earth and funny. I really liked her.
> > > And when she told me she’d been to four shows – wow, I
> > > couldn’t believe it.’
> > >
> > > While the princess was hot on The Loaf, he’s not so sure
> > > about the Queen singing along to his operatic
> > > blood-and-thunder anthems.
> > >
> > > ‘I don’t think the Queen will come,’ he sighs. ‘She
> > > doesn’t like me because I didn’t behave properly at It’s A
> > > Royal Knockout [in 1987].
> > >
> > > ‘I told Prince Edward: “When you walk in the room, my knee
> > > hurts. I’m not standing up, dude.”
> > >
> > > ‘He said, “That’s cool. You haven’t got to,” and I said,
> > > “And I’m going to call you Ed, or Edward,” so I called all
> > > the royals by their first names. Fergie was there. She
> > > called me Meaty, and I said, “Well, if you’re going to
> > > call me Meaty, what am I going to call you?” She says,
> > > “Flower,” so I went around calling her Flower all
> > > weekend.’
> > >
> > > Bat Out Of Hell, the 43-million selling testament to
> > > creator Jim Steinman’s wild imagination, is a modern
> > > phenomenon. One of the biggest selling records of all
> > > time, it still shifts over 200,000 copies a year.
> > >
> > > ‘What’s funny is that everybody hated it to death when it
> > > first came out,’ says Meat, who is rarely given to
> > > understatement. ‘I knew nine people who liked it, and that
> > > was counting me and Jimmy.’
> > >
> > > The UK, Lady Diana included, bought into Meat Loaf’s
> > > overblown blend of Spector, Springsteen and Wagner from
> > > the start. He has enjoyed a special relationship with
> > > Britain since he first appeared on BBC2 in 1978, eyes
> > > bulging above a generously overfilled dress shirt, his
> > > lank locks and crimson hanky sodden with Texan sweat. Bat
> > > Out Of Hell remained in the UK charts for 474 weeks.
> > >
> > > It is fitting, then, that the musical will play first in
> > > Britain, opening at Manchester Opera House before swooping
> > > down to the London Coliseum in June.
> > >
> > > Bat Out Of Hell: The Musical is a tough show not to love.
> > > Steinman began developing the project 50 years ago, the
> > > teenage opera having begun as Neverland, a futurist rock
> > > retelling of Peter Pan, in the late Sixties.
> > >
> > > It’s been through some changes since then. ‘I’ve got at
> > > least four drafts sitting here in my drawer,’ Meat Loaf
> > > guffaws.
> > >
> > > The latest version features 17 celebrated Meat Loaf songs,
> > > including You Took The Words Right Out Of My Mouth, Bat
> > > Out Of Hell, Two Out Of Three Ain’t Bad and I Would Do
> > > Anything For Love (But I Won’t Do That).
> > >
> > > Event has been given exclusive access as the spectacular
> > > revs up, to experience the sights and sounds, and speak to
> > > its key players.
> > >
> > > The lead characters, Raven and Strat, will be played by
> > > Belfast-born Christina Bennington, 25, and Andrew Polec,
> > > 28, a high baritone from Pennsylvania.
> > >
> > > Cast together in a mind-warping wasteland, love for our
> > > latter-day Romeo and Juliet, will not come easy.
> > >
> > > Blond and gym-honed, Polec bares scant resemblance to the
> > > well-nourished chap with the perspiration issues who
> > > toured Bat Out Of Hell in the late Seventies. In his time,
> > > Meat Loaf was as unlikely a sex symbol as Jeremy Corbyn.
> > >
> > > ‘You never thought, “Everybody’s going to want to sleep
> > > with that guy,”’ agrees Polec. ‘Until you saw the power
> > > and passion he brought. He didn’t have a six-pack but he
> > > still took his shirt off and rolled around on stage. I
> > > wish I’d been old enough to see those shows.’
> > >
> > > Bennington recollects hearing Bat Out Of Hell as a child,
> > > her father bellowing along in the car. ‘He won’t be doing
> > > that during the shows,’ she promises.
> > > The behind the scenes personnel on Bat Out Of Hell are no
> > > less impressive than the leading players. Canadian
> > > choreographer Emma Portner recently worked with Justin
> > > Bieber, having starred in his Life Is Worth Living video.
> > > Lighting design is by the legendary Patrick Woodroffe, who
> > > has illuminated the Rolling Stones’ stages for the past 35
> > > years. Among the group of prestigious producers is Tony
> > > Smith, who has managed both Genesis and Pink Floyd.
> > >
> > > Director Jay Scheib, 47, a professor of music and theatre
> > > arts at the Massachusetts Institute of Technology admits
> > > that Bat Out Of Hell wasn’t in his musical sphere as a
> > > teen. He was ‘heavily into The Cure and Joy Division’ but
> > > acknowledges that the Meat Loaf album was the soundtrack
> > > for a lot of people growing up.
> > >
> > > ‘It’s all about these songs,’ Scheib explains. ‘I want to
> > > get to the heart of what they’re expressing and then put
> > > that on stage. Although the music is 40 years old, the
> > > story still speaks to us all today.’
> > >
> > > The script tells the tale of the never-ageing Strat and
> > > his wayward gang The Lost, who roam the streets of a
> > > dystopian Manhattan under the rule of the ruthless Falco.
> > >
> > > The temperature rises when Strat falls for Falco’s
> > > daughter Raven. Cue a slew of chest-beating paeans to
> > > love, rebellion and destiny.
> > >
> > > Visually, the show will combine live and video
> > > performances with state-of-the-art lighting. With live
> > > motorcycles and that relentless rock ’n’ roll rhythm, it’s
> > > a full-throttle ride with a sidecar-full of social
> > > conscience, as epic but intimate an experience as the
> > > songs themselves.
> > >
> > > Steinman, who has suffered a heart attack and two strokes
> > > in recent years, and has been too unwell to travel,
> > > watches rehearsals on Skype then rewatches the videos each
> > > evening, prior to a weekly telephone conference with
> > > Scheib. ‘They can be long conversations,’ Scheib says,
> > > rather pointedly.
> > >
> > > Scheib is more than aware of the opera world’s snobbery
> > > towards rock operas and musicals, and the disdain this
> > > project may attract from the high-art crowd. ‘There’s the
> > > feeling that some musicals aren’t “serious”,’ he says.
> > > ‘It’s not considered fine art. It’s “commercial” and
> > > “spectacle” without the content of some operas, whereas
> > > some opera can be wildly lacking in content.’
> > >
> > > Yet musicals are notoriously high-risk. Even with songs by
> > > U2’s Bono and The Edge, Spider-Man: Turn Off The Dark, the
> > > most expensive Broadway production in history, closed
> > > after two-and-a-half years in 2014, enmeshed in a tangled
> > > web of technical problems, financial woes and health
> > > setbacks.
> > > ‘Of course it is high-risk,’ breezes Scheib. ‘But crossing
> > > the street – particularly for an American in London – is
> > > high-risk.’
> > >
> > > ‘If you thought about the risk all the time then you would
> > > just be trying to please those people who don’t want it to
> > > work,’ adds Bennington.
> > >
> > > ‘I wrote Jimmy an email,’ recalls Meat. ‘“How’s the play
> > > going?”. He writes back: “Well, I’m seeing it every day
> > > but it may close in two weeks”, and then he put “LOL”.
> > >
> > > ‘I wrote back, and made the letters giant, really huge: ‘I
> > > don’t think it’s going to close in two weeks. LOL.’
> > >
> > > The laughter stops and he suddenly turns deathly serious.
> > > ‘For Jimmy’s sake, I hope it’s a huge hit because it’s
> > > been literally 50 years and… it could kill him. I’m not
> > > kidding. If it fails, I dread the day.
> > >
> > >
> > > http://www.dailymail.co.uk/home/event/article-4249844/Bat-Hell-Musical.html
> > >
> > >


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Next: Meat as FALCO? - Jsteinfan 08:06 am MST 02/26/17

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