| Paradise By The Dashboard Light |
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| CATEGORIES ABOUT PARADISE BY THE DASHBOARD LIGHT | |
| 1978 singles | |
| meat loaf songs | |
| jim steinman songs | |
| rock operas | |
| vocal duets | |
"Paradise By the Dashboard Light" is the second hit single by the American Musician Meat Loaf , after " Two Out Of Three Ain't Bad ". It is a track off his 1977 album '' Bat Out Of Hell '', which was written and composed by Jim Steinman . The song is unabashedly operatic, weaving several melodies throughout the duet, and treats its subject with lighthearted humor. THREE PARTS Paradise This three-part epic opens with part one "Paradise", Ellen Foley and Meat Loaf reminiscing their days as a young high school couple on a date, going for a drive to the lake. Everything is well, and they are getting along just fine. ''"And now our bodies are oh so close and tight/It never felt so good it never felt so right..."'' However, as the song progresses it's clear that the boy has a bit more on his mind than just holding his girlfriend. ''"Baby don't you hear my heart/You've got it drowning out the radio/I've been waiting so long for you to come along and have some fun/And I gotta let you know, no you're never gonna regret it/So open up your eyes I've got a big surprise, it'll feel all right/ Yeah I wanna make your motor run".'' He continues to push the matter, and makes some progress, mirrored by ) Things are looking up, and it appears the boy is going to 'score': "''Here he comes, squeeze play/ It's gonna be close/ Here's the throw, here's the play at the plate/ Holy cow, I think he's gonna make it"'' when suddenly Ellen Foley bursts to life telling him to "Stop right there!" Let Me Sleep On It The girl begins refusing to go any further unless the boy promises that he will marry her, love her forever, and stay faithful to her. Part two "Let Me Sleep On It" begins, as the boy can't make up his mind, begging her to continue on for the time being and he'll tell her in the morning. This answer doesn't satisfy the girl and a song/argument takes place. Finally, everything gives way for the boy and he begins ''"I couldn't take it any longer/ Lord, I was crazed / When the feeling came upon me like a tidal wave / Started swearing to my God/ And on my mother's grave/ That I would love you till the end of time / I swore I would love you till the end of time"'' Praying For The End Of Time As part three "Praying For The End Of Time" begins, things snap back to the present instead of reminiscing the long-ago date. Ironically, things are no longer perfect, but the boy and the girl are sticking to their vows, despite wanting everything to be over and done with. ''So now I'm praying for the end of time / To hurry up and arrive / 'cause if I got to spend another minute with you I don't think that I can really survive/ I'll never break my promise / Or forget my vow / But God only knows what I can do right now/ Praying for the end of time / It's all that I can do! / Praying for the end of time / So I can end my time with you!'' doing Paradise Live at Melbourne with their Orchestra ]] ''It was long ago and it was far away and it was so much better than it is today...repeat...repeat as the song fades out.'' VIDEO Although Ellen Foley is recorded on the album, another woman, Karla DeVito , was used for the video and for performances.1 This would also happen for Meat Loaf's 1993 hit " I'd Do Anything For Love (but I Won't Do That) ", where Dana Patrick mimed to Lorraine Crosby 's vocals.2 SUCCESS The single had limited success in the US, peaking at number 39 in the Billboard Hot 100. In the UK, it didn't chart at all. However, in The Netherlands, the single became Meat Loaf's biggest all time hit, reaching number one at the end of 1978. The single had flopped intitially, but its fortunes changed after the video clip was shown during half time of a televised soccer game. 'Paradise' became a hit again in 1988 and is still a huge party favourite in The Netherlands. In various all time charts, such as the Radio 2 Top 2000 or Radio Veronica's All Time Top 1000, it constantly charts inside the top ten. All this despite a review published in 1978 in the pop weekly 'Hitkrant' stating that it was "a good song, but without much potential. It's simply too long for DJ's...". The reviewer was proven wrong. REFERENCES FURTHER READING |
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