In 1981, a recording engineer drove home after working on this album. It was late at night. His wife had just left him. He sat in a depressed fog, listened to “Left In The Dark” on repeat for about forty times, then slit open his wrists.
Jim Steinman told this dramatic tale every chance he got, as evidence of his song’s heart-juicing power…except he couldn’t keep the details straight. Sometimes the unnamed engineer’s wife had cheated on him, sometimes she’d just left him. Sometimes he’d attempted suicide by wrist-slitting. Other times he’d tried to drive his car off a cliff. The wires of fact and fiction often get crossed in our minds, and Steinman’s was a 1000 thread count. I don’t think he knew any other way to be.
Nobody played to the cheap seats so shamelessly or so well as Jim Steinman. He was a Cecil B DeMillionaire: an artist who used size the way others use paint. His music hoards the wind and marshalls the sea, unites the infernal with the divine, takes the frigid dark and effaces in with the brightest hottest fire. He electrified Wagner, mocked Odin for his puny one horsepower engine, drew inspiration both from mythic hugeness and everyday mundanity. A lot of his work finds a kind of interesting fractality, where large and small exist together. He found a way to unite the great, mythic Nordic sky and the humble, crude people who stare up at it, puncturing a throat-rending operatic ballad with what’s either a jab at Meat Loaf’s physique or a dick joke (“And can’t you see my faded Levis bursting apart”).
In 1981, Bat out of Hell was picking up steam (it had sold between six and eight million copies), and Steinman decided to make lightning strike twice, and this album is a skyscraper-sized lightning rod rigged atop the bat tombstone, with a middle finger pointing straight at God. *Bad For Good* tries to scream and bludgeon its way into greatness in a way that is both impressive and terrifying. I am not joking when I say that I fear this album. It would scalp me and chew my buttocks off if I stood between it and an RIAA platinum certificate, I just know it.
Steinman spared no expense. He reunited most the *Bat Out of Hell* personnel (Ellen Foley, Karla deVito, Todd Rundgren, Max Weinberg and Roy Bittan), tapped Richard Corben for another cover, wrote another set of agitated rockers, ballads (with a lyrical ear for fairytales and myths of all types.)
More, it ups the ante. The title track is “Bat Out of Hell” on crack cocaine and outright sounds like parody. “Love and Death and an American Guitar” is a spoken word piece that begins “I remember everything little thing as if it happened yesterday. I was barely seventeen”), but instead of being “barely dressed” the hero “once killed a boy with a Fender guitar.” And remember how Bat had Ellen Foley singing on the record and Karla deVito singing live? Bad for Good has them both together! *Bat* had several members of Bruce Springsteen’s E Street Band on it. *Bad For Good* has Bruce Springsteen’s orchestral arranger (Charles Calello, of the New York Philharmonic!)
At a certain point, you have to ask “so is this just Bat Out of Hell, but a bit louder? Is there anything new here?” To which the answer is “yes” with a pause of about one to two seconds before answering.
There’s the ferocious production. That’s new. Bad for Good is mixed so hot and sharp and bright that it cuts the ear like plasma. This is a benchmark “eighties” record and arguably where Jim Steinman came into his own as a producer and engineer. You see where he’d soon end up with Bonnie Tyler and Sisters of Mercy: gigantic gated drums, vocal tracks layered like a sediment of crushed ghosts, and samples of motorbikes and gunshots filling out dead spots in the mix.
And where *Bat* was an attempt at translating Wagnerian orchestra into a modern rock context. Bad for Good translates Wagnerian orchestra into…Wagnerian orchestra! The 62-instrument composition “The Storm” is fabulous to listen to, and unlike anything on its predecessor.
Otherwise, it colors within the lines you’d expect on a Meat Loaf album. Except it doesn’t have Meat Loaf. That’s kind of its big defining fact: he is Godot on his own album: perceptible only as a very large hole. (Which Meat Loaf spent decades trying to fill—many of its songs were later covered by him.)
*Bad for Good* was written for Meat Loaf, but wasn’t sung by Meat Loaf. It’s sung by Jim Steinman himself. I’ve heard a lot of people talking *mess* about his voice, as teens say, so I’ll just say this: his voice is *fine*. He’s a clear, fine tenor that suits the music pretty well. He only really sounds out of place on “Left in the Dark” (an oddly weak performance where he seems to have a cold). He’s no Meat Loaf, but only a small percentage of the population is (under 10%, per last data.)
What happened? To summarize an unsummarizable situation: the touring cycle for Bat out of Hell broke Meat Loaf’s voice, and left him unable to perform music. Except he recorded a new studio album of Steinman compositions (the rather slight but entertaining *Dead Ringer*) And despite their claims of eternal friendship later in life, the Steinman/Loaf partnership appears to have entered sharky waters through this period (evidenced, if nothing else, by the fact that they didn’t do a full record together for over a decade). It’s hard to find an interview from either man that doesn’t contain some shit-talking and passive aggression.
The songs are very, very good. “Bad for Good” is a devastatingly effective opening track, probably edging out the title track of *Bat Out of Hell* for me. It is one of the great Steinman pieces: utterly riveting from side to side. The pace flies, Todd Rundgren’s backing vocals howl it along like a demonic wind. it’s full of complex and memorable motifs and ideas, Max Weinberg’s machinegun snare-fills seem to splatter blood across the landscape. Steinman plays into his vampire role with relish, biting off lines like a man sinking teeth into flesh. *”Your love is so close that I can almost taste it!”*
“Lost Boys and Golden Girls” “Stark Raving Love” are two different ways of telling the same Peter Pan tale that was never far from Steinman’s thoughts. One is an ersatz Broadway showtune, the other an agitated high-speed rocker.
The album, while incredible, is slightly worse than *Bat Out of Hell* for me.
Part of the problem is its sheer similarity: it demands comparison to its predecessor at every turn: you can’t avoid noticing how it usually loses these head-to-head battles.
For example, “Dance in My Pants” is another humorous battle-of-the-sexes duet, but it’s about 80% as good as “Paradise by the Dashboard Light”. “Left In The Dark” is strong, yet it’s clearly “For Crying Out Loud” on cruise control mode. “All Revved Up With No Place To Go” is a more succinct “Stark Raving Love”. “Out of the Frying Pan (And Into the Fire)” has some clear issues with diminishing returns.
Steinman did little wrong in the eighties. But you can kind of hear an even better version of this album by buying “Bat Out of Hell”. The first time you hear a fairytale is always the strongest. So that’s my only misgiving on what’s otherwise a very strong record.
Some find his music gaudy and tacky. I think I get his project: tell a story right, and it gets more real as it becomes more ridiculous. The bigger the fireworks, the harder the flash pulses against the inside of your eyes. A vivid aurora-splash of color, flashing out the veins throbbing beneath your lids, and in that moment, you believe the aurora exists only for you. It’s music that can be experienced collectively, or alone. Barely dressed, or with a Fender guitar. With a car, or with a razorblade.
“You can’t run away forever, but there’s nothing wrong with getting a good head start”
The writer’s eternal quest to become a Bruce Springsteen Enjoyer continues with this record.
“Continues?” Yes, Incontinent Reader. I have been struggling in secret with Bruce Springsteen Not-A-Fan Syndrome for years. A lifetime. I don’t always tell about you my struggles, because I don’t feel we have that kind of relationship.
Basically, I was radicalized against Springsteen in my youth, and it wasn’t his fault. I used to listen to the radio show called Opie and Anthony, and co-host Anthony Cumia would do a cruelly accurate impression of the Boss’s singing voice that I have never been able to unhear (“JOY-SEY CITY, BABY! A-WAHH-WAHH!”). So that makes it tough for him.
Apparently every Bruce record is a similar story: between two and four huge irrefutable rock classics like “I’m On Fire” and “Candy’s Room”, along with many other songs that are considerably…more refutable. So refutable that they almost often seem wrapped in email forward tags with MAKES U THINK !! in the subject line. Only the mediocre are always at their best, and I agree with the hardcore fans that Bruce is not a mediocre musician.
Yet even the album’s greatest tracks, like the astonishing “Thunder Road”, have little bits where my reaction isn’t “fuck yeah!” but “…that doesn’t quite work.” He’s overworking the dials, losing the effect he’s striving for. “Well, I got this guitar, and I learned how to make it talk” followed by a cocky twangy pentatonic lick, like we don’t know what a guitar is. It’s condescending and freezes me out a bit: he becomes like a douchey guy who’s brought a guitar to a party.
But earlier, there’s a fantastic line. “Show a little faith, there’s magic in the night / You ain’t a beauty, but hey, you’re alright.” On the page this reads like an insult, but he delivers it with such charm and panache that it reads as “a guy who loves his girl so much they share a wavelength: he knows she’ll understand it’s a joke”.” This is exactly how many couples talk to each other. He totally sells his character here: Bruce could have been an actor. Maybe he is an actor. Truly, are we not all actors, on this grand proscenium called “life”? Except some of us are “townsman #45” and “choir #20” and some of us are shooting up backstage and some of us are being chased by a bear. I don’t know what your situation is, sorry.
Born to Run is a nice little CV of an album. The two albums before have some label interference and artistic confusion. Most albums after it (particulary Nebraska and Tunnel of Love) feel like a commentary and reaction to his own massive fame.
Bruce Springsteen is interesting as a figure: he’s one of the first rockers who feels properly “native” to rock music. Most previous stars of Bruce’s luminance have their beginnings in a pre-rock style (Elvis in gospel, the Beatles in skiffle, Dylan in folk) or had other paths they could have taken. Can you imagine what David Bowie would have been, if rock hadn’t been invented? Yes, easily: he’d be jazzman, a cabaret light entertainer (with a puppet show, a mime routine, or ventriloquist act), or a Captain Beefheart cult figure. Probably all at once. But it’s hard to imagine what Bruce Springsteen would be doing in that world.
Yeah, I guess there’s some Roy Orbison in his voice. Some country and western style storytelling, too. Beyond this, he seems inseparable from rock music. No rock and roll, no Bruce Springsteen. He seems to have sprung from it as Athena did from Zeus’s forehead.
“Thunder Road” and “Night” (my personal favorite) and “Born to Run” are all great songs, partly because they close us off from the future. Where is the road go? What are we hoping to find in the night? Where do we run? No idea. Also, who cares? You sense you’re listening to a life that might be happy now, but will surely end unhappily. But that’s tomorrow’s worry. The sad part has not yet come. In real life, you have no choice but to roll through into the future. In a song, you can repeat time, hitting replay as often as the music will allow. And Bruce Springsteen’s work clearly allows it more times than most.
He is inconsistent. To literalize the rock metaphor Bruce Springsteen is not a single mountain, but a mountain range. Yes, his peaks are high. To climb the Everests and K2s of “Born to Run” etc you must navigate the base camps of “Tenth Avenue Freeze-Out” and “Meeting Across the River”. And the dull near ten-minute “Jungleland” is like being detained at riflepoint by the PLA at the China-Nepalese border while they ask questions about your visa.
“Tenth Avenue Freeze-Out” does have that amazing Clarence Clemonts intro, and lush, sensitive strings by Steven van Zandt. I wonder how many no-show jobs that one cost. How many boxes of zitis. How much gabagool and goomars and oh shut up.
It’s astonishing how ripped-off this album is. All my life I’ve been having “watching Shrek without knowing any fairytales” moment where I’m really hearing pastiches of Born to Run. The “Bat Out of Hell is a secret Born to Run parody album” feels more credible now that I’ve heard “Night”, with the same chord progression as in the “Bat Out of Hell” final movement.
But there’s a problem: rock music usually has a looseness and liberty. Springsteen’s music is drenched in totalizing perfectionism that often proves excessive, even oppressive. The thud and clank of the steel mill echoes from Born to Run‘s soul. It’s an album made of engineer-grade grade titanium, fashioned to millimeter tolerances, its pieces bolted and torqued tight. It’s both amazing and slightly oppressive in how…crafted it is. Crafted like a beartrap, you might say.
The BruceBase Wiki is loaded with wince-inducing asides like “The sax solo on “Jungleland” alone took 16 hours of work” and “The story that the song “Born To Run” took six months to complete is well known, but “Jungleland”, “Thunder Road”, and “Backstreets” all took longer.” The master tape must be so transparent that you can use it to tape broken reading glasses back together.
But if the album’s laboriousness does undercut its effect a bit (for me, anyway), there are pleasures to be had. This is one of the best produced records of the 70s. Every sound is so lush and rich and expensive. I don’t want to listen to it, I want to sprawl out on it like it’s a cabriole sofa, sinking into the rich tones of Clarence Clemons’s sax, rubbing my knuckles on Roy Bittan’s bell-like glockenspiel notes. It has a Tony Visconti-esque care to its sonic composition. But there’s fury raging under it too, tree roots cracking a sidewalk. You sense that Bruce was at war with his own work, remorselessly beating it into shape. He certainly captures Spector’s Wall of Sound, even if he often just uses it to build a prison.
Bruce’s songs about the call of the highway all feel like retreats from himself, fantasies where he’s a different, less worried man. A man who holds life with light hands, and let’s things go. I hear lightness and freedom in his words, but little in the music itself. I hear blood and sweat and grit and iron. I hear Bruce forging his monumental creative vision from what must have seemed like unbearably frustrating tools: tape and wood and microphones and fallible, exhausted musicians (he can’t have been an easy man to work with in the studio). Despite the loveliness and craft it’s often a grueling listen. You’re all too aware you’re listening to take #241, hearing another roll of tape going thud in the trash, with the E Street Band scowling and setting up for the downbeat once again, hoping The Boss will finally be happy with this one, so they can go home.
Like Kubrick, Bruce Springsteen cannot be faulted for his craftsmanship or taste. But like Kubrick I often wish there was a bit more simple joy and spontanuity in his work. His world can be a dark place. Darker than the night. Even the stripped down Nebraska feels very calculated. A record that tries to get ahead of the listener’s idea of what a Bruce Springsteen record is and subverting it. There’s magic in the night. But what’s the use of it, when you can’t forget the day?
The band was nearly in their fifties when they wrote *Seven Sinners*. Fifty’s quite an age to be playing in a band called “Helloween”. That thought would probably occur to you during band fights and label disputes and twenty-hour layovers to Tokyo. “I am a fifty year old in Helloween.”
It could be worse—the German power metal scene has no shortage of embarrassing band names. You could be in Edguy. You could be in Gloryful. You could be in Pink Cream 69 (a certain Helloween alumnus actually was.) You could be in Brainstorm. Most direly, you could be in Custard. Encyclopedia Metallum advises that “Chris Klapper is the only original member still in Custard.”*Thank God, the others got away. I mean, obviously my thoughts and prayers are with Chris Klapper and I don’t mean to trivialize his suffering, but at least there’s not five or six people tied to those particular railway tracks, you know?
Helloween further standardize their modernistic sound on Seven Sinners. There’s only about two or three experiments. It’s the first Helloween ever to open with a slow track, the doomy “Where the Sinners Go”. “Raise the Noise” has a Jethro Tull flute solo. The closing track is quite unique, and unlike anything they’ve attempted yet. Otherwise, it’s a very strict remanation of their sound.
The album is also notably heavy: probably their most brutal yet. The only competition is The Dark Ride, which has some darker songs (particularly “Escalation 666”) but also a lot of light power metal. This album is consistently dark. There’s no comedy or silly business: the lyrics are about drug abuse, schizophrenia, and so on. Even the piano-led ballad, Deris’s “The Smile of the Sun” is piercingly bittersweet: the fragrant juice from a crushed flower.
I do find it less charming than *The Dark Ride*. It needs more texture and more light to balance the shade. It’s action-packed and heavy but fairly one-dimensional. Many songs just do not work that well, and a lot of this weaker material is tracklisted at the start. (And some of its greatest songs aren’t on the album at all!)
“Where the Sinners Go”, “Are You Metal?”, and “Who Is Mr. Madman?” are just not compelling song. Sorry. The first is slow and draggy. The others are fast but have weak hooks (“Who is Mr. Madman?” reuses the melody of “Perfect Gentlemen”, and has a spoken word intro by Bill Byford of Saxon. As always, “remember when?” is the dullest form of conversation). “World of Fantasy” is another dud. Just the blandest power metal I’ve ever heard. It sounds like a *Rabbit Don’t Come Easy* song: lots of flash and noise with emptiness at its core.
Weikath’s “Raise the Noise” and Deris’s “Long Live The King” redeem the album for me. Both tracks are ferocious and catchy riff monsters with great choruses—Bauerfeind’s relentless guitar-focused mix makes them as muscular as steroid-pumped gorillas. Deris’s vocals are in top form as well.
“The Smile of the Sun” is another excellent song, then we’re back in fillertown. Sascha’s “My Sacrifice” and Deris’s “Not Yet Today”/”Far in the Future” end the album in good order.
“Far in the Future” is just insane, the song “Who Is Mr Madman?” wishes it was. A seven minute quiet/loud game with guillotine-suspended-by-a-thread tense sections punctuated by explosive steeplechase thrash sections. There’s an energetic Jimi Hendrix-evocative riff section in the middle that evokes *Chameleon* (of all things to evoke!), along with Gamma Ray. A great song.
The bonus tracks for Japan are surprisingly incredible! This has the best bonus material of any Helloween track yet. “I’m Free” and “Aiming High” in particular are blazingly fast and memorable power metal albums. They honestly could have bumped one or two lesser album tracks, like “World of Fantasy” and “If A Mountain Could Talk”, for one or both of them.
The album is a regress from the one before it, but it’s nowhere near actively bad. I cannot get offended by *Seven Sinners* when there are actual tragedies in the world, like innocent humans playing in a band called Custard. I just wish Helloween had changed their sound by adding things instead of removing them. But it’s dark and nasty and heavy enough: sometimes Halloween candy has razorblades in it.
