After Meat Loaf’s two latest catastrophic albums Hang Cool Teddy Bear (2010) and Hell In A Handbasket (2011) combined with my memories of his almost as catastrophic performance at Sweden Rock Festival in 2007, I had no expectations what so ever that his new album – his first in five years – would be anything to write home about. The only small ray of I hope I had for this album to turn out at least decent was that he, once again, had teamed up with his old song writer Jim Steinman, the guy who wrote Meat’s two classic albums Bat Out Of Hell (1977) and Dead Ringer (1981). However, those two albums were produced by Todd Rundgren and this one isn’t, it’s produced by one Paul Crook, Meat’s guitar player (also earlier with Anthrax and Sebastian Bach) who was also responsible for the production on Meat Loaf’s last album, something that didn’t bode well for this one. Don’t get me wrong, I really dig some of Meat Loaf’s earlier albums, Bat Out Of Hell and Dead Ringer are both classics for a reason, brilliant albums both of them. I’m also a huge fan of the Mack produced Bad Attitude (1984), Welcome To The Neighbourhood (1995) and Couldn’t Have Said It Better (2003), three albums that just screams out classic Meat Loaf even though neither Steinman or Rundgren being involved. Also, the two Bat Out Of Hell sequels, II: Back Into Hell (1993) and III: The Monster Is Loose (2006) have both been criticized pretty heavily, something I feel is unfair as I think both of them, especially the second one, are really good records. But Meat Loaf is also responsible for a couple of real musical belly flops – other than his two latest ones, that is. Midnight At The Lost And Found (1983) and Blind Before I Stop (1986) are both horrible pieces of crap that should never have been allowed to see the light of day – or any other time of the day. That means that Meat Loaf’s career has been a roller coaster quality and sales wise so you’ll never know whether he’ll come up with a killer or a stinker every time a new record is released. At 69 years old, Marvin (now changed to Michael) Lee Aday, releases a new album that is rumoured to be his last before retiring so even if my expectations were low, I was still hoping that if this actually is his last record, he would go out with a bang.