Singer Michael Lee Aday and songwriter Jim Steinman began work on their band’s first album, Bat Out of Hell, in 1972. When they shopped the finished project around five years later, it was greeted with blank stares by record executives. The songs, which drew equally on broadway musicals, early 1960s pop and Wagner, performed by a 300 lb frontman with a three-octave vocal range called MeatLoaf, resembled nothing heard on mid-’70s radio. Its climax and proposed first single was an 8-minute operetta, performed by MeatLoaf and background singer Ellen Foley, with recitativo by Phil Rizziuto, about the high school dilema of “going all the way” called “Paradise by the Dashboard Light.” When he first heard the demos, Todd Rundgren said no, but its weirdness stuck in his mind, and he eventually agreed to produce and perform on Bat Out of Hell.
Despite Rundgren’s association with the project, the record found no takers, until the small Cleveland International label, having nothing more likely to hand, took a gamble and released it in 1977. The band toured heavily in support of the record. The live performance of “Paradise by the Dashboard Light,” teatured MeatLoaf and Karla DeVito acting and belting out the lover’s quarrel. ut anded with the singer lying on the stage in sweat-drenced, ruffled tuxedo shirt, gasping for breath, became a sensation. Trained in theatre and a natural actor MeatLoaf, who had recently appeared as Eddie in the The Rocky Horror Show on broadway and in its screen adaptation, The Rocky Horror Picture Show (1975), tore up the stage, lavishing vocal attention on every note and cliché. His seemingly willingness t6o risk a heart attack by pushing his out-sized body to the limits transformed his weight from a liability into an index of his commitment to his art and fans. When this take-no-prisoners approach was captured in a dramatic Saturday Night Liveappearance in 1978, the single and album went to #1. It didn’t matter that MeatLoaf didn’t sound like anything else on the radio because for the next year, Bat Out of Hell was the radio.
~Dean picks up the pieces after a devastating accident~
Dean x Reader, Sam
Warnings: Angst. Death. Blood. Implied Sexual Activity. Mostly just Dean Angst.
A/N: This is my entry for @butiaintgonnaloveem Baby’s Big 50 Writing Challenge! My song prompt was Meatloaf’s ‘Paradise By The Dashboard Light’. I went in a totally different direction than I had originally planned, I hope you like it…
For the first two days he did nothing. Bruised and concussed, Dean sat on a stool in the garage staring at the wreckage.
Sam checked on him every few hours. He brought him food at mealtimes and cold beers now and then that sat at his feet untouched. He didn’t bother him; Dean was grieving. Sam had seen it before, but this time it was worse. He didn’t speak, refused to look up when Sam entered the room. Gone was the brave front, the placations that so often peppered the elder Winchester’s vocabulary. He wasn’t fine, so he didn’t say it. Sam kept a watchful eye, but he left Dean alone to do what he had to do.
On the evening of the second day, Dean got up; he legs protested with the sudden movement and his muscles twitched, reminding him with each step of the trauma. He ignored the pain and set to work, silently walking around his Baby, deciding where best to start. His hands passed over the hood, dipping into the fresh dents; his fingers catching on the mangled metal that stuck out at odd angles.