MEAT LOAF & MARION RAVEN - IT’S ALL COMING BACK TO ME NOW

Released: October 16, 2006

Charts:  UK: #6 

“It’s All Coming Back to Me Now” is a power ballad written by Jim Steinman, inspired by “Wuthering Heights” and intended to be the most passionate, romantic song Steinman could create. Steinman considered it a woman’s song and refused to let Meat Loaf record it, despite their history of collaboration. After winning a court case to block Meat Loaf’s recording, Steinman allowed the girl group Pandora’s Box to record the song first. Later, Celine Dion’s iconic cover made the song a massive hit, frustrating Meat Loaf, who had planned to include it on his new album.

Meat Loaf claimed that “It’s All Coming Back to Me Now” was originally intended for “Bat Out of Hell II: Back into Hell” and was given to him in 1986, but he and Steinman decided to use “I’d Do Anything for Love (But I Won’t Do That)” for the album instead and save this song for “Bat Out of Hell III: The Monster Is Loose”. Steinman also considered Bonnie Tyler for the song during the production of her “Hide Your Heart” album. Despite Tyler’s confidence that it would be a hit, her record label declined, citing the high cost of having Steinman produce it.

The song was a point of contention between Meat Loaf and Jim Steinman. While Steinman was pleased with its success as performed by Celine Dion, Meat Loaf was upset, believing it was originally intended for “Bat Out of Hell II: Back Into Hell” and promised for a future “Bat Out of Hell III” project. Steinman maintained that the song was written for a female vocalist, whereas Meat Loaf always envisioned it as a duet.

In 2006, Meat Loaf recorded the song with Marion Raven for “Bat Out of Hell III: The Monster Is Loose”, produced by Desmond Child. Raven was selected because her voice contrasted sharply with Meat Loaf’s, creating a dynamic duet. Meat Loaf described their rendition as the definitive version and admitted he was moved to tears the first time he heard the song. He also joked about the emotional intensity of the song, quipping that while he loves Steinman, he wouldn’t go as far as to “French kiss” him.

The music video for Meat Loaf’s version directed by P. R. Brown, premiered on VH1 Classic on August 8, 2006. The video shares thematic similarities with Celine Dion’s version, featuring a protagonist haunted by memories of a lost lover. It employs a different narrative structure, using flashbacks to contrast moments before and after Marion Raven’s character’s death. Scenes depicting Raven alive are tinted yellow, while those after her death use a darker, blue tint. Unlike Dion’s video, where the motorcyclist dies before the first verse, Raven’s fatal crash is revealed only during the final chorus. A pivotal moment occurs at a masquerade ball, where the ghost of Raven’s former lover appears, angering Meat Loaf’s character. Some reviewers likened this scene to the film Eyes Wide Shut by Stanley Kubrick.

KOOL & THE GANG - GET DOWN ON IT 

Llançament: 24 de novembre de 1981

Llistes d’èxits: EUA: #10  Regne Unit: #3

“Get Down on It”, llançada el 1981 com a part de l’àlbum “Something Special”, es va convertir en un gran èxit per a Kool & The Gang, arribant al número 10 als Estats Units i al número 3 al Regne Unit. La cançó és un himne clàssic de la pista de ball que anima a l’autoexpressió i a participar activament en la vida. Amb una fusió d’elements de funk i disco, la lletra transcendeix el club i transmet un missatge inspirador: prendre riscos, buscar el ritme propi i viure plenament. Aquest estil d’optimisme ballable s’alinea amb bandes com Earth, Wind & Fire, Shalamar o Chic.

Kool & The Gang, liderats pels germans Ronald i Robert “Kool” Bell, escrivien les seves cançons col·laborativament. Ronald, com a director musical, era clau en el procés creatiu. Per a “Get Down on It”, es va inspirar en la música reggae per crear la línia de baix i estructurar el tema. Durant un assaig, la cançó va captar l’atenció del vocalista principal J.T. Taylor, que va contribuir al seu desenvolupament. Ronald sovint utilitzava argot popular per als títols, i així va néixer la frase “get down on it,” que es va convertir en el nucli d’aquest gran èxit.

Kool & The Gang va començar com un grup de jazz abans de fer la transició al funk amb el seu primer senzill, “Kool & The Gang”, el 1969. A principis dels anys 70, van assolir l’èxit durant el punt àlgid del funk, confiant més en els seus ritmes i grooves que en un vocalista principal. Tanmateix, a finals dels anys 70, durant un període de declivi, van decidir incorporar un frontman, i van fitxar J.T. Taylor. La seva primera aparició va ser a l’èxit “Ladies Night” de 1979, que va revitalitzar la seva carrera. “Get Down on It” va seguir consolidant aquest ressorgiment, abans d’una transició cap a un so més suau amb temes com “Fresh” i “Cherish”. Taylor va deixar la banda el 1988 per emprendre una carrera en solitari.

KOOL & THE GANG - GET DOWN ON IT 

Released: November 24, 1981

Charts:  US: #10  UK: #3 

“Get Down on It,” released in 1981 from the “Something Special” album, became a substantial hit for Kool & The Gang, reaching #10 in the US and #3 in the UK. The track is a classic dance anthem encouraging self-expression on the dance floor, but it also carries an inspirational message beyond the club scene. The lyrics urge listeners to actively engage in life, take chances, and find their groove. This blend of uplifting themes with infectious dance rhythms aligns with the style of other bands like Earth, Wind & Fire, Shalamar or Chic.

Kool & the Gang, led by brothers Ronald and Robert “Kool” Bell, collaborated as a group to write songs, with Ronald acting as the musical director and often leading the process. For “Get Down on It,” Ronald drew inspiration from reggae music, creating the bass groove and assembling the track. During a rehearsal, the song caught the attention of lead singer J.T. Taylor, leading to its further development. Ronald frequently used popular slang for titles and hooks, which is how the phrase “get down on it” became the foundation for this hit.

Kool & the Gang began as a jazz group but transitioned into a funk band by the time of their debut single, “Kool & the Gang,” in 1969. They thrived in the early ‘70s during funk’s peak popularity, relying on their grooves rather than a lead singer. During a downturn in the late ’70s, they decided they needed a frontman and brought in J.T. Taylor. His debut on the 1979 hit “Ladies Night” reignited their success. “Get Down On It” followed, marking another high point, after which they shifted to a softer sound with hits like “Fresh” and “Cherish.” Taylor left the band in 1988 to pursue a solo career.

 

MEAT LOAF - OBJECTS IN THE REAR VIEW MIRROR MAY APPEAR CLOSER THAN THEY ARE

Released: April 25, 1994

Charts:  US: #38   UK: #26 

“Objects in the Rear View Mirror May Appear Closer Than They Are” is a song by Meat Loaf, composed by Jim Steinman. Released in 1994, it reached #38 on the Billboard Hot 100 in the US and #26 on the UK Top 40. The title holds the record for the longest un-bracketed song title (52 characters) as of 2007. The title, derived from a car mirror warning, also serves as a metaphor for how vivid memories can distort the perception of time, making the past feel closer than it is and harder to let go.

“Objects in the Rear View Mirror May Appear Closer Than They Are” was one of the standout tracks from Meat Loaf’s 1993 album “Bat Out of Hell II: Back into Hell”, a sequel to the 1977 classic “Bat Out of Hell”. Both albums feature songs written by Jim Steinman, known for his grandiose and emotionally charged compositions. The song, written last for the album, was described by Steinman as gruesomely hard to write but also deeply passionate. He highlighted its use of religious imagery, themes of resurrection, fertility, rebirth, and sexual and automotive metaphors, making it one of the most evocative tracks on the record.

The song is a deeply personal and reflective track where Meat Loaf sings about themes of loss, memory, and time distortion. One poignant moment is his reference to the death of his “best friend Kenny,” likely a tribute to Kenney Robb, memorialized in the liner notes of the 1981 album “Dead Ringer”.

The original album version spans 10:15, making it an epic piece, while the single version was edited to 5:54 to fit radio play. The music video version was 7:42, bridging the gap between the two and retaining much of its emotional and narrative impact. It was the longest Top 40 hit of 1994, even in its shortened form.

The music video was directed by Michael Bay and portrays themes of loss, trauma, and nostalgia. Cinematographer Allen Daviau helped create a haunting visual narrative. The video follows three key stories: 

Kenny’s death: A young boy crashes a plane, devastating his father (played by Robert Patrick) and leaving the protagonist haunted by his friend’s memory. 

Abuse at home: The protagonist’s father appears as a family man but is an abusive alcoholic, driving the protagonist to run away and claim his independence. 

A transformative love: The protagonist finds solace with an older woman who teaches him about love and intimacy, depicted through a sensual car scene.

Throughout the video, Meat Loaf sings the line “Objects in the Rear View Mirror May Appear Closer Than They Are” as images of the ghostly plane, the woman, and his younger self remind the protagonist of how vivid and inescapable his past remains. 

MEAT LOAF - I’D LIE FOR YOU (AND THAT’S THE TRUTH)

Released: October 3, 1995

Charts:  US: #13   UK: #2 

Meat Loaf’s 1995 album “Welcome to the Neighbourhood” featured the standout Diane Warren-penned ballad, “I’d Lie for You (And That’s the Truth).” Released as the album’s lead single in October 1995, it reached #2 in the UK and #13 in the US. The song embodied classic Meat Loaf elements: emotional vocals, escalating drama, a false ending, and a theatrical music video. Featuring Patti Russo as his duet partner, the song captures Meat Loaf’s trademark grandiosity, as he promises his lover unconditional devotion if she would simply believe in him. 

The music video for was directed by Howard Greenhalgh with cinematography by Daniel Pearl and borrows heavily from the Indiana Jones film series. Initially resembling a continuation of Meat Loaf’s previous video for “I’d Do Anything for Love,” the storyline quickly transitions into a high-budget adventure. Meat Loaf and his female companion (played by Dana Patrick, lip-syncing Patti Russo’s vocals) are pursued into the desert by a helicopter, observed by an Indiana Jones-like relic hunter (Brett Cullen) and a military despot (Xander Berkeley).

The plot involves treasure hunts, perilous vehicle chases, and explosions. The heroine is drawn to the adventurer, creating a love triangle where Meat Loaf expresses his devotion through song. Ultimately, the adventurer chooses treasure over love, leaving Meat Loaf to reunite with the woman.

 

WINGS - MULL OF KINTYRE

Publicació: 11 de novembre de 1977

Llistes: Regne Unit: #1 (9 setmanes)

“Mull of Kintyre” ocupa un lloc especial en la discografia de Wings com una cançó escrita per Paul McCartney i Denny Laine per retre homenatge a la pintoresca península de Kintyre, a Escòcia, on McCartney posseeix la granja High Park Farm des de 1966. El single va aconseguir un èxit notable al Regne Unit, convertint-se en el hit més important de Wings al país. Va arribar al preuat número u de Nadal el 1977 i es va convertir en un dels senzills més venuts de tots els temps al Regne Unit, superant els dos milions de còpies venudes a nivell nacional.

“Mull of Kintyre” es va enregistrar el 9 d’agost de 1977 a Spirit of Ranachan Studio, situat a High Park Farm, a Escòcia. Aquesta gravació va tenir lloc durant una pausa en les sessions de l’àlbum “London Town” a causa de l’embaràs avançat de Linda McCartney. La cançó inclou el so distintiu de les gaites Great Highland, tocades per la Campbeltown Pipe Band, procedent de la propera localitat de Campbeltown. Les veus de McCartney i la seva guitarra acústica es van gravar a l’aire lliure, donant a la cançó un aire natural. Publicada com a single de doble cara A l’11 de novembre de 1977, juntament amb “Girls’ School”, la peça va aconseguir un èxit significatiu independentment de l’àlbum.

La cançó es va començar a gestar el 1974, apareixent en una maqueta inicial coneguda com “The Piano Tape”. Composada inicialment al piano, la lletra, que ja incloïa la tornada completa i alguns fragments que més tard formarien part de la versió final, ja estaven presents en aquesta etapa inicial. La primera estrofa, que també actua com a tornada recurrent, expressa admiració per la bellesa natural de la regió del Mull of Kintyre i el sentiment de llar que evoca. McCartney va explicar que la cançó era una oda d’amor a la zona on vivien, capturant la seva estima per Escòcia i el seu desig de ser-hi, fins i tot quan era lluny.

El videoclip oficial va ser dirigit per Michael Lindsay-Hogg i filmat a Saddell Bay, al costat est de la península de Kintyre. La ubicació estava a uns set quilòmetres de High Park Farm, on es va enregistrar la cançó, i el vídeo es va rodar uns dos mesos després de la gravació. Al vídeo, Paul McCartney, Linda McCartney i Denny Laine interpreten la cançó amb el paisatge escènic de Saddell Bay de fons. La Campbeltown Pipe Band hi apareix, marxant i tocant a la platja. El vídeo acaba amb una cantada al voltant d’una foguera, amb la participació d’extres de Campbeltown. Aquesta representació visual va augmentar l’atractiu de la cançó i es va emetre en nou edicions regulars de Top of the Pops mentre “Mull of Kintyre” ocupava la primera posició.

Per atendre les preferències del públic nord-americà, Paul McCartney va incloure “Girls’ School”, una cançó rock de to semi-pornogràfic, com a cara B del senzill. Malgrat que “Mull of Kintyre” es va convertir en un èxit massiu en diverses parts del món, no va aconseguir el mateix nivell d’èxit als Estats Units. Tot i això, “Girls’ School” va aconseguir arribar al Top 40 nord-americà.

WINGS - MULL OF KINTYRE

Released : November 11, 1977

Charts:  UK: #1 (9 weeks)  

"Mull of Kintyre" holds a special place in Wings' discography as a song written by Paul McCartney and Denny Laine to pay homage to the picturesque Kintyre peninsula in Scotland, where McCartney has owned High Park Farm since 1966. The single achieved remarkable success in the UK, becoming Wings' most significant hit in the country. It secured the coveted Christmas number one spot in 1977 and went on to become one of the best-selling singles of all time in the United Kingdom, surpassing two million copies in sales nationwide.

"Mull of Kintyre" was recorded on August 9, 1977, at Spirit of Ranachan Studio, located at High Park Farm in Scotland. This recording took place during a break in the sessions for the London Town album due to Linda McCartney's advanced pregnancy. The song featured the distinctive sound of Great Highland bagpipes played by the Campbeltown Pipe Band from the nearby town of Campbeltown. Paul McCartney's vocals and acoustic guitar were recorded outdoors, adding to the song's organic and natural feel. Released as a double A-sided single on November 11, 1977, alongside "Girls' School," the track became a significant success independently of the album.

"Mull of Kintyre" originated in 1974, featuring on an early home demo known as "The Piano Tape." Initially composed on the piano, the song's lyrics, primarily the completed chorus and some fragments that would later be part of the final version, were already present at this early stage. The first verse, which also serves as the recurring chorus, expresses admiration for the natural beauty of the Mull of Kintyre region and the sense of home it evokes. McCartney shared that the song was a love ode to the area where they lived, capturing his appreciation for Scotland and his desire to be there, even when away.

The official music video was directed by Michael Lindsay-Hogg and filmed at Saddell Bay on the eastern side of the Kintyre peninsula. The location was approximately seven miles from High Park Farm, where the song was recorded, and the video was shot about two months after the song's recording. In the video, Paul McCartney, Linda McCartney, and Denny Laine perform the song against the scenic backdrop of Saddell Bay. The Campbeltown Pipe Band is featured, marching and playing on the beach. The video concludes with a bonfire singalong, including extras from Campbeltown. This visual representation added to the song's appeal and was showcased on nine regular editions of Top of the Pops when "Mull of Kintyre" held the number one position.

In an effort to cater to the American audience's potential preference, Paul McCartney included "Girl's School", a semi-pornographic rocker, as the B-side of the single. Despite the success of "Mull of Kintyre" becoming a massive hit in various parts of the world, it did not achieve the same level of success in the United States. However, "Girl's School" did manage to crack the US top 40.