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Bat Out of Hell
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This article is about the album. For the title track, see Bat Out of Hell (song). For the British television series, see Bat Out of Hell (TV series). For the musical, see Bat Out of Hell The Musical.
Bat Out of Hell
Studio album by Meat Loaf
Released
September 1977
Recorded
1975–1976
Studio
Various[show]
8 Bearsville Studios, Woodstock, NY
Utopia Sound, Lake Hill, NY
The Hit Factory, New York, NY
House of Music, West Orange, NJ
Genre
Hard rock
glam rock
pop
heavy metal
Length
46:33
Label
Cleveland International/Epic
Producer
Todd Rundgren
Meat Loaf chronology
Stoney & Meatloaf
(1971) Bat Out of Hell
(1977) Dead Ringer
(1981)
Singles from Bat Out of Hell
"You Took the Words Right Out of My Mouth (Hot Summer Night)"
Released: October 1977
"Two Out of Three Ain't Bad"
Released: February 1978
"Paradise by the Dashboard Light"
Released: August 1978
Bat Out of Hell is the debut studio album by American rock singer Meat Loaf, as well as his first collaboration with composer Jim Steinman and producer Todd Rundgren. The album was released in September 1977 on Cleveland International/Epic Records. It is one of the best-selling albums of all time, having sold over 43 million copies worldwide.[1] Rolling Stone Magazine ranked it at number 343 on its list of the 500 greatest albums of all time in 2003[2].
Its musical style is influenced by Steinman's appreciation of Richard Wagner, Phil Spector, Bruce Springsteen and The Who. Bat Out of Hell has been certified 14 times platinum by the Recording Industry Association of America.[3] As of May 2015, it has spent 485 weeks in the UK Charts.[4] The album went on to become one of the most influential and iconic albums of all time and its songs have remained classic rock staples.
"Bat Out of Hell" has spawned two additional Meat Loaf sequel albums: Bat Out of Hell II: Back into Hell and Bat Out of Hell III: The Monster Is Loose.
A musical based on the album, staged by Jay Scheib, opened at the Manchester Opera House on February 17, 2017 before transferring to the London Coliseum and Toronto, Canada's Ed Mirvish Theatre in late 2017.[5] Since April 2, 2018 it has been running at the Dominion Theatre, London[6], with plans to run the show in parallel in Germany[7] and in a tour of the United States in 2019[8].
Contents
1 Pre-production
2 Production
3 Composition
4 Cover
5 Title
6 Reception
7 Dispute between Cleveland International and Sony
8 Track listing
8.1 Versions
9 Personnel
9.1 Arrangements
9.2 Band
10 Charts
11 Certifications
12 See also
13 References
Pre-production[edit]
The album was developed from a musical, Neverland, a futuristic rock version of Peter Pan, which Steinman wrote for a workshop in 1974, and performed at the Kennedy Center Music Theatre Lab in 1977.[9][10] Steinman and Meat Loaf, who were touring with the National Lampoon show, felt that three songs were "exceptional" and Steinman began to develop them as part of a seven-song set they wanted to record as an album.[11] The three songs were "Bat Out of Hell", "Heaven Can Wait" and "The Formation of the Pack", which was later retitled "All Revved Up with No Place to Go".
Bat Out of Hell is often compared to the music of Bruce Springsteen, particularly the album Born to Run. Steinman says he finds that "puzzling, musically", although they share influences; "Springsteen was more an inspiration than an influence."[10] A BBC article added "that Max Weinberg and Roy Bittan from Springsteen's E Street Band played on the album only helped reinforce the comparison."[12]
Steinman and Meat Loaf had immense difficulty finding a record company willing to sign them. According to Meat Loaf's autobiography, the band spent most of 1975 writing and recording material, and two and a half years auditioning the record and being rejected.[13] Manager David Sonenberg jokes that they were creating record companies just so they could be rejected.[14] They performed the album live in 1976, with Steinman on piano, Meat Loaf singing, and sometimes Ellen Foley joining them for "Paradise." Steinman says that it was a "medley of the most brutal rejections you could imagine."[15] Meat Loaf "almost cracked" when CBS executive Clive Davis rejected the project.[11] According to Meat Loaf's autobiography. Davis commented that "actors don't make records" and challenged Steinman's writing abilities and knowledge of rock music:
Do you know how to write a song? Do you know anything about writing? If you're going to write for records, it goes like this: A, B, C, B, C, C. I don't know what you're doing. You're doing A, D, F, G, B, D, C. You don't know how to write a song.... Have you ever listened to pop music? Have you ever heard any rock-and-roll music.... You should go downstairs when you leave here...and buy some rock-and-roll records.[16]
Meat Loaf asserts "Jim, at the time, knew every record ever made. [He] is a walking rock encyclopedia." Although Steinman laughed off the insults, the singer screamed "Fuck you, Clive!" from the street up to his building.[17]
In one 1989 interview with Classic Rock magazine, Steinman labeled Meat Loaf "the only genuine genius I've ever worked with."[11] In a 1989 interview with Redbeard for the In the Studio with Redbeard episode on the making of the album, Meat Loaf revealed that Jimmy Iovine and Andy Johns were potential candidates for producing Bat Out of Hell before being rejected by the singer and Steinman in favor of Todd Rundgren, whom Meat Loaf initially found cocky but grew to like. Rundgren found the album hilarious, thinking it was a parody of Springsteen.[18] The singer quotes him as saying: "I've 'got' to do this album. It's just so 'out' there." They told the producer that they had previously been signed to RCA.[13]
Production[edit]
Recording started in late 1975 in Bearsville Studios, Woodstock, New York. Roy Bittan and Max Weinberg, the pianist and drummer from Bruce Springsteen's E Street Band played on the album, in addition to members of Rundgren's group Utopia: Kasim Sulton, Roger Powell and John "Willie" Wilcox. Edgar Winter played the saxophone on "All Revved Up".[13] Rundgren himself played guitar, including the "motorcycle solo" on "Bat Out of Hell."[19] Both Steinman and Rundgren were influenced by Phil Spector and his "wall of sound."[13] According to Meat Loaf, Rundgren put all the arrangements together because although "Jim could hear all the instruments" in his head, Steinman hummed rather than orchestrating.[19]
When Rundgren discovered that the deal with RCA did not actually exist, Albert Grossman, who had been Bob Dylan's manager, offered to put it on his Bearsville label but needed more money.[20] Rundgren had essentially paid for the album himself.[15] Mo Ostin at Warner Bros. was impressed, but other senior people rejected them after they performed live. Steinman had offended them a few years earlier by auditioning with a song named "Who Needs the Young," which contains the lyric "Is there anyone left who can fuck? Screw 'em!"[21]
Another E Street Band member, Steve Van Zandt, and Sonenberg arranged to contact Cleveland International Records, a subsidiary of Epic Records. After listening to the spoken word intro to "You Took the Words Right Out of My Mouth" ("Hot Summer Night"), founder Steve Popovich accepted the album for Cleveland.[21][22]
Rundgren mixed the record in one night. However, the mixes were not suitable to the extent that Meat Loaf did not want "Paradise by the Dashboard Light" on the album. Jimmy Iovine, who had mixed Springsteen's Born to Run, remixed some of the tracks. After several attempts by several people, John Jansen mixed the version of "Paradise by the Dashboard Light" that is on the album. According to Meat Loaf, he, Jansen and Steinman mixed the title track.[20]
Phil Rizzuto's baseball play-by-play call for "Paradise by the Dashboard Light" was recorded in 1976 at The Hit Factory in New York City by Rundgren, Meat Loaf and Steinman. As an Italian Catholic, Rizzuto publicly maintained he was unaware that his contribution would be equated with sex in the finished song. However, Meat Loaf asserts that Rizzuto only claimed ignorance to stifle criticism and was fully aware of the context of what he was recording.[23]
Composition[edit]
"Bat Out of Hell"
This sample contains the beginning of the chorus.
Problems playing this file? See media help.
Todd Rundgren acknowledges that Steinman was highly influenced by the "rural suburban teenage angst" of Bruce Springsteen.[24] According to manager David Sonenberg, "Jim would always come up with these great titles and then he would write a song that would try to justify the greatness of the title."[14]
Since 1968[25], Jim Steinman had been working on a magnum opus, which finally opened in 2017 in the form of Bat Out Of Hell The Musical. The first incarnation of his work was a musical called The Dream Engine when he was in college at Amherst. The qualities of teenage rebellion and a girl joining a "tribe" led by a charismatic leader are present in all versions of Steinman's work. The Dream Engine is where the spoken word piece "Hot Summer Night" originates[26], and is the earliest work that appears on the Meat Loaf album, where it is performed by Jim Steinman and actress Marcia McClain[27].
The next incarnation of Steinman's magnum opus, during the 1970s, was a musical called "Neverland," which contained many of the same scenes and themes as The Dream Engine but was now largely depoliticized and contained many Peter Pan references. Some scenes in "Neverland," such as the parents feeding their imprisoned daughter "dream suppressant" drugs[28][29], are still present in Bat Out Of Hell The Musical, but overall Neverland was of a much darker tone. This musical contained the songs Heaven Can Wait, Bat Out Of Hell, and All Revved Up With No Place To Go[30]. On the 25th anniversary version of the album Bat Out Of Hell, one of the bonus live tracks, "Great Boleros Of Fire," is an instrumental version of another song from Neverland titled "Gods." (Meat Loaf finally recorded and released this song under the title "Godz" on his 2016 album Braver Than We Are).
When staged in 1977, the cast of "Neverland" included Ellen Foley as Wendy[31] - who performs the lead female vocal on "Paradise By The Dashboard Light" on the album. The music for "Neverland" was performed by Orchestra Luna, and one of their members at the time was Karla DeVito. Ellen Foley was not available when it came time to go on tour for the album, so Karla DeVito took her place. In the various promotional music videos for the songs on the album Bat Out Of Hell Karla DeVito's lips are synced to Ellen Foley's album vocals.
The opening track "Bat Out of Hell" is the result of Steinman's desire to write the "most extreme crash song of all time."[15]
"You Took The Words Right Out Of My Mouth" is musically inspired by the rock chords of The Who's "Baba O'Riley" with a Phil Spector style melody on top[32]. In Jim Steinman's "Neverland" and "Bat Out Of Hell The Musical," the spoken word "Hot Summer Night" and this song are used as an exchange of wedding vows, and to celebrate a wedding.
The song "Two Out of Three Ain't Bad" was written in direct response to actress Mimi Kennedy asking Jim Steinman whether he could write a simple song like Elvis Presley's "I Want You, I Need You, I Love You"[33]. Todd Rundgren identifies how the song was influenced by the Eagles, who were successful at the time. The producer also highlights the "underlying humor in the lyrics," citing the line "There ain't no Coupe de Ville hiding at the bottom of a Cracker Jack box." He says you could only "get away" with that lyric "in a Meat Loaf song."[24]
Ellen Foley, who appears on "Paradise by the Dashboard Light", first met Meat Loaf and Jim Steinman while they were all working together on the National Lampoon Road Tour[34], so they had a history of performing over-the-top musical comedy sketches together[35]. The baseball commentary make-out section performed by New York Yankees announcer Phil Rizzuto was written with the announcer in mind, using phrases he would actually say during commentary[36].
"For Crying Out Loud" was originally written for the 1975 New York Shakespeare Festival musical Kid Champion, and a recording by an unknown artist is in the New York Public Library archives.[37]. Jim Steinman considers the line "And can't you see my faded Levi's bursting apart" his most daring lyric on the entire album[38].
Comparing the album to Steinman's late-1960s musical "The Dream Engine," Classic Rock magazine says that Steinman's imagery is "revved up and testosterone-fueled. Songs like "Paradise by the Dashboard Light," "Two Out of Three Ain't Bad" and "For Crying Out Loud" echoed the textbook teenage view of sex and life: irrepressible physical urges and unrealistic romantic longing."[11]
Steinman's songs for "Bat Out of Hell" are personal but not autobiographical:
I never thought of them as personal songs in terms of my own life but they were personality songs. They were all about my obsessions and images. None of them takes place in a normal world. They all take place in an extreme world. Very operatic...they were all heightened. They don't take place in normal reality.[15]
For example, citing the narrative of "Paradise," Rundgren jokes that he can't imagine Steinman being at a lakeside with the most beautiful girl in school, but he can imagine Steinman "imagining" it.[24]
Cover[edit]
Steinman is credited with the album cover concept, which was illustrated by Richard Corben. The cover depicts a motorcycle, ridden by a long-haired man, bursting out of the ground in a graveyard. In the background, a large bat perches atop a mausoleum that towers above the rest of the tombstones. In 2001, Q magazine listed the cover as number 71 in its list of "The Hundred Best Record Covers of All Time."[39]
Steinman had wanted equal billing with Meat Loaf on the album's title; he wanted it to be called "Jim Steinman presents..." or "Jim and Meat," or vice versa. For marketing reasons, the record company wished to make 'Meat Loaf' the recognizable name. As a compromise, the words "Songs by Jim Steinman" appear relatively prominently on the cover. The singer believes that this was probably the beginning of their "ambivalent relationship."[40]
Title[edit]
The phrase "Bat Out of Hell" can be traced back to the Greek playwright Aristophanes' 414 B.C. work titled The Birds.[41] In it is what is believed to be the first reference to a bat out of Hell:
Near by the land of the Sciapodes there is a marsh, from the borders whereof the unwashed Socrates evokes the souls of men. Pisander came one day to see his soul, which he had left there when still alive. He offered a little victim, a camel, slit his throat and, following the example of Odysseus, stepped one pace backwards. Then that bat of a Chaerephon came up from hell to drink the camel's blood.
Steinman registered "Bat Out of Hell" as a trademark in 1995, and sought to prevent Meat Loaf from using the title.[42] In 2006, however, the singer sought to cancel Steinman's trademark and use the title for Bat Out of Hell III: The Monster Is Loose.[43]
Reception[edit]
Professional ratings
Review scores
Source
Rating
AllMusic [44]
Rolling Stone mixed[45]
The Rolling Stone Album Guide [46]
Robert Christgau C−[47]
"Bat Out of Hell" was released by Cleveland International Records in September 1977. However, at Cleveland International Records' parent label, Epic Records, almost everyone hated it.[22] Steve Popovich, the head of Cleveland International Records, was relentless in his efforts to get Epic and all of CBS Records and radio on board. In 1993, Steinman reflected that the album was "timeless in that it didn't fit into any trend. It's never been a part of what's going on. You could release that record at any time and it would be out of place."[48]
Response to the album was slow. Steinman asserts that it was "underpromoted," having a reputation of being "damaged goods because it had been walked around to so many places." Due to the enthusiastic response to the music videos from the record, Australian and England audiences were the first to develop interest.[15] The BBC television program The Old Grey Whistle Test aired a clip of the live band performing the nine-minute title track. According to "Classic Rock," the response was so overwhelming, that they screened it again the following week. They later invited the band to perform "Paradise" live. "As a result, in the UK 'Bat' became an unfashionable, uncool, non-radio record that became a 'must-have' for everyone who heard it, whether they 'got' Steinman's unique perspective or not."[22]
Despite the album's success in Canada, it was not an immediate hit in the U.S. Bat Out of Hell still sells about 200,000 copies per year and has sold an estimated 43 million copies worldwide,[49][50] including 14 million in the United States[51] and over 1.7 million albums in Australia, where it is the best-selling album in the country and even re-entered the ARIA Charts in June 2007, at number 34. It stayed on the United Kingdom charts for 485 weeks,[52] a feat surpassed only by the 522 weeks of Fleetwood Mac's Rumours.[53] In 1989, Kerrang! magazine listed the album at No. 38 among the "100 Greatest Heavy Metal Albums of All Time."[54] In 2003, the album was ranked number 343 on Rolling Stone's list of the 500 greatest albums of all time.[55] In 2005, "Bat Out of Hell" was ranked number 301 in "Rock Hard" magazine's book of "The 500 Greatest Rock & Metal Albums of All Time."[56] In 2006 it was voted number nine in a poll conducted by the Australian Broadcasting Corporation to discover Australia's most popular album.[57] In November 2007, Meat Loaf was awarded the Classic Album award in Classic Rock's Classic Rock Roll Of Honour.[58] The album was also included in the book 1001 Albums You Must Hear Before You Die.[59]
Reviews were initially mixed, but have since become much more positive. At first "Rolling Stone" called the songs "swell, but... entirely mannered and derivative" and noted that the arrangements "aren't bad," although the musicians were commended. The review ended with the assertion that the "principals have some growing to do."[60] Modern reviews are more positive, however. Allmusic declares "this is Grand Guignol pop—epic, gothic, operatic, and silly, and it's appealing because of all of this." They acknowledge that Steinman is "a composer without peer, simply because nobody else wanted to make mini-epics like this." Rundgren's production is applauded, as is the wit in the music and lyrics. "It may elevate adolescent passion to operatic dimensions, and that's certainly silly, but it's hard not to marvel at the skill behind this grandly silly, irresistible album."[61]
Dispute between Cleveland International and Sony[edit]
In 1995, Cleveland International sued Sony Music Entertainment for unpaid royalties from sales of "Bat Out of Hell." Under the terms of the 1998 settlement agreement ending the suit, Sony agreed to pay US$6.7 million and include the Cleveland International logo on all future releases of the album. In 2002, Steve Popovich, founder of Cleveland International, sued Sony alleging that Sony had failed to include the logo on the album as agreed. In 2005, the federal district court in Cleveland, Ohio entered judgment against Sony pursuant to a jury verdict in favor of Popovich and awarded Popovich US$5,700,000 in damages for Sony's breach of the 1998 settlement agreement. Sony appealed the verdict but in 2007 the federal appellate court in Cincinnati, Ohio affirmed the judgment of the trial court.[62] In 2012, Sony reached a final out-of-court settlement with Popovich's estate over more unpaid royalties revealed in an audit performed prior to Popovich's death in 2011.[63]
Track listing[edit]
All tracks written by Jim Steinman.
Side one
No.
Title
Length
1. "Bat Out of Hell" 9:48
2. "You Took the Words Right Out of My Mouth (Hot Summer Night)" 5:04
3. "Heaven Can Wait" 4:38
4. "All Revved Up with No Place to Go" 4:19
Side two
No.
Title
Length
5. "Two Out of Three Ain't Bad" 5:23
6. "Paradise by the Dashboard Light" (duet with Ellen Foley) (I. Paradise / II. Let Me Sleep On It / III. Praying for the End of Time) 8:28
7. "For Crying Out Loud" 8:45
Versions[edit]
The album also exists in numerous other formats and re-releases, including a Super Audio CD version, a 25th anniversary edition (2001 – Epic/Legacy #62171) with two bonus tracks ("Great Boléros of Fire (live intro)" [3:54] and "Bat Out of Hell (live)" [11:10], and a "Bat Out of Hell: Re-Vamped" release (1991) containing the bonus song "Dead Ringer for Love."
A new hybrid SACD version was released in late 2016 by Analog Spark, an audiophile imprint of the Razor & Tie label, mastered from the original tapes by Ryan Smith at Sterling Sound. (Early copies erroneously name Kevin Gray as the mastering engineer; Analog Spark issued a statement that this intended arrangement did not happen because of a "miscommunication.")
Personnel[edit]
Track numbers indicate that a musician only plays the instrument so noted on that specific track.
Arrangements[edit]
Kenneth Ascher – string arrangements (3, 5)
Steve Margoshes – orchestra arrangement (7)
Band[edit]
Meat Loaf – lead vocals, backing vocals (6), percussion (2)
Todd Rundgren – guitar (1, 2, 4–6), percussion (1, 2), keyboards (1), backing vocals (1–3, 5, 6)
Kasim Sulton – bass guitar (1, 2, 4–7), backing vocals (1)
Roy Bittan – piano, keyboards (1-2, 6)
Steve Margoshes – piano (7)
Cheryl Hardwick – piano (7)
Jim Steinman – keyboards (1, 2, 6), percussion (1, 2), "lascivious effects" (6)
Roger Powell – synthesizer (1, 2, 5, 6)
Edgar Winter – saxophone (2, 4, 6)
Max Weinberg – drums (1, 2, 6)
John "Willie" Wilcox – drums (4, 5, 7)
Phil "Scooter" Rizzuto – play-by-play (6)
Ellen Foley – lead vocals (6), backing vocals (1, 2, 4, 6)
Rory Dodd – backing vocals (all except 4)
Gene Orloff – concert master (7)
Members of New York Philharmonic and Philadelphia Orchestra – orchestra (7)
Charts[edit]
Chart (1977–78)
Peak
position
Australian Albums (Kent Music Report)[64]
1
Canada Top Albums/CDs (RPM)[65]
5[66]
Dutch Albums (MegaCharts)[67]
1
German Albums (Offizielle Top 100)[68]
11
New Zealand Albums (RMNZ)[69]
1
Swedish Albums (Sverigetopplistan)[70]
13
UK Albums (OCC)[71]
9
US Billboard 200[72]
14
Certifications[edit]
Region
Certification
Certified units/Sales
Australia (ARIA)[73]
25× Platinum 1,750,000^
Canada (Music Canada)[74]
2× Diamond 2,000,000^
Denmark (IFPI Denmark)[75]
2× Platinum 40,000^
Germany (BVMI)[76]
Platinum 500,000^
New Zealand (RMNZ)[77]
17× Platinum 255,000^
United Kingdom (BPI)[78]
10× Platinum 3,282,300[79]
United States (RIAA)[80]
14× Platinum 14,000,000^
Summaries
Worldwide
43,000,000
*sales figures based on certification alone
^shipments figures based on certification alone
See also[edit]
Rock music portal
1977 in music
Bat Out of Hell II
Meat Loaf discography
Wagnerian rock
List of best-selling albums in the United States
List of best-selling albums in the United Kingdom
List of best-selling albums in Australia
List of best-selling albums in New Zealand
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Jump up ^ Hotten, Jon (January 21, 1989). "Meat Loaf 'Bat Out of Hell'". Kerrang!. 222. London, UK: Spotlight Publications Ltd. |access-date= requires |url= (help)
Jump up ^ "The RS 500 Greatest Albums of All Time". Rolling Stone. November 18, 2003. Archived from the original on August 24, 2007. Retrieved August 22, 2007.
Jump up ^ [...], Rock Hard (Hrsg.). [Red.: Michael Rensen. Mitarb.: Götz Kühnemund] (2005). Best of Rock & Metal die 500 stärksten Scheiben aller Zeiten. Königswinter: Heel. p. 91. ISBN 3-89880-517-4.
Jump up ^ "My Favourite Album Top 100". Abc.com.au. Archived from the original on August 18, 2007. Retrieved August 20, 2007.
Jump up ^ Barton, Geoff (November 6, 2007). "Oh, what a night!". Classic Rock. Archived from the original on November 9, 2007. Retrieved November 9, 2007.
Jump up ^ Robert Dimery; Michael Lydon (February 7, 2006). 1001 Albums You Must Hear Before You Die: Revised and Updated Edition. Universe. ISBN 0-7893-1371-5.
Jump up ^ Marsh, Dave (December 15, 1977). "Album Reviews: Meat Loaf, Bat Out Of Hell". Rolling Stone. Archived from the original on October 2, 2007. Retrieved August 19, 2007.
Jump up ^ Erlewine, Stephen Thomas. "Bat Out of Hell". Allmusic. Retrieved August 19, 2007.
Jump up ^ "Sony sued in Meat Loaf logo row". BBC News. November 23, 2007. Archived from the original on December 13, 2007. Retrieved November 23, 2007.
Jump up ^ Dannen, Fredric (April 29, 2014). "The Brutal 35-Year War Between Sony, Stephen Popovich & Meat Loaf". billboard.com. Billboard. Retrieved June 4, 2018.
Jump up ^ Kent, David (1993). Australian Chart Book 1970–1992. St Ives, New South Wales: Australian Chart Book. p. 196. ISBN 0-646-11917-6.
Jump up ^ "Top RPM Albums: Issue {{{chartid}}}". RPM. Library and Archives Canada. Retrieved December 21, 2017.
Jump up ^ http://www.collectionscanada.gc.ca/obj/028020/f2/nlc008388.4634a.pdf
Jump up ^ "Dutchcharts.nl – Meat Loaf – Bat Out of Hell" (in Dutch). Hung Medien. Retrieved October 1, 2016.
Jump up ^ "Offiziellecharts.de – Meat Loaf – Bat Out of Hell" (in German). GfK Entertainment Charts. Retrieved October 1, 2016.
Jump up ^ "Charts.org.nz – Meat Loaf – Bat Out of Hell". Hung Medien. Retrieved October 1, 2016.
Jump up ^ "Swedishcharts.com – Meat Loaf – Bat Out of Hell". Hung Medien. Retrieved October 1, 2016.
Jump up ^ "Meat Loaf | Artist | Official Charts". UK Albums Chart. Retrieved October 1, 2016.
Jump up ^ "Meat Loaf Chart History (Billboard 200)". Billboard. Retrieved October 1, 2016.
Jump up ^ "ARIA Charts – Accreditations – 2014 Albums". Australian Recording Industry Association. Retrieved October 16, 2014.
Jump up ^ "Canadian album certifications – Meat Loaf – Bat Out of Hell". Music Canada. Retrieved June 30, 2012.
Jump up ^ http://www.ifpi.dk/?q=certificeringer&page=88
Jump up ^ "Gold-/Platin-Datenbank (Meat Loaf; 'Bat Out of Hell')" (in German). Bundesverband Musikindustrie. Retrieved June 30, 2012.
Jump up ^ Scapolo, Dean (2007). The Complete New Zealand Music Charts 1966-2006. Recording Industry Association of New Zealand. ISBN 978-1-877443-00-8.
Jump up ^ "British album certifications – Meat Loaf – Bat Out of Hell". British Phonographic Industry. Select albums in the Format field. Select Platinum in the Certification field. Type Bat Out of Hell in the "Search BPI Awards" field and then press Enter.
Jump up ^ Jones, Alan (September 16, 2016). "Official Charts Analysis: Bastille top albums chart with Wild World". Music Week. Intent Media. Retrieved September 16, 2016. (Subscription required (help)).
Jump up ^ "American album certifications – Meat Loaf – Bat Out of Hell". Recording Industry Association of America. Retrieved June 30, 2012. If necessary, click Advanced, then click Format, then select Album, then click SEARCH.
show
v
t
e
Meat Loaf
Studio albums
Stoney & Meatloaf (1971)
Bat Out of Hell (1977)
Dead Ringer (1981)
Midnight at the Lost and Found (1983)
Bad Attitude (1984)
Blind Before I Stop (1986)
Bat Out of Hell II: Back into Hell (1993)
Welcome to the Neighbourhood (1995)
Couldn't Have Said It Better (2003)
Bat Out of Hell III: The Monster Is Loose (2006)
Hang Cool Teddy Bear (2010)
Hell in a Handbasket (2011)
Braver Than We Are (2016)
Live albums
Live at Wembley (1987)
Live Around the World (1996)
VH1: Storytellers (1999)
Bat Out of Hell: Live with the Melbourne Symphony Orchestra (2004)
3 Bats Live (2008)
Compilations
Hits Out of Hell (1984)
Heaven & Hell (1989)
Heaven Can Wait – The Best Ballads of Meat Loaf Vol. 1 (1996)
The Very Best of Meat Loaf (1998)
Videography
Live
Hits Out of Hell
Bad Attitude – Live!
Bat Out of Hell II: Picture Show
VH1: Storytellers
To Hell and Back
Bat Out of Hell: Live with the Melbourne Symphony Orchestra
3 Bats Live
Meat Loaf: In Search of Paradise
Tours
The Seize the Night Tour (2006–07)
The Casa de Carne Tour (2008)
The Hang Cool Tour (2010–11)
Guilty Pleasure Tour (2011)
Mad, Mad World Tour (2012)
Last at Bat Tour (2013)
Singles
"What You See Is What You Get"
"It Takes All Kinds of People"
"You Took the Words Right Out of My Mouth"
"Paradise by the Dashboard Light"
"Two Out of Three Ain't Bad"
"Bat Out of Hell"
"I'm Gonna Love Her for Both of Us"
"Dead Ringer for Love"
"Read 'Em and Weep"
"Peel Out"
"In Europe '82"
"If You Really Want To"
"Razor's Edge"
"Midnight at the Lost and Found"
"Modern Girl"
"Nowhere Fast"
"Rock 'n' Roll Mercenaries"
"Blind Before I Stop"
"Special Girl"
"I'd Do Anything for Love (But I Won't Do That)"
"Life Is a Lemon and I Want My Money Back"
"Rock and Roll Dreams Come Through"
"Objects in the Rear View Mirror May Appear Closer Than They Are"
"I'd Lie for You (And That's the Truth)"
"Not a Dry Eye in the House"
"Runnin' for the Red Light (I Gotta Life)"
"A Kiss Is a Terrible Thing to Waste"
"No Matter What"
"Is Nothing Sacred"
"Did I Say That?"
"Couldn't Have Said It Better"
"Man of Steel"
"It's All Coming Back to Me Now"
"Cry Over Me"
"Los Angeloser"
Related articles
Discography
Neverland Express
Stoney & Meatloaf
Ted Nugent
Jim Steinman
Patti Russo
Shaun Murphy
Amanda Aday
Pearl Aday
show
v
t
e
Todd Rundgren
Studio albums
Runt
Runt. The Ballad of Todd Rundgren
Something/Anything?
A Wizard, a True Star
Todd
Initiation
Faithful
Hermit of Mink Hollow
Healing
The Ever Popular Tortured Artist Effect
A Cappella
Nearly Human
2nd Wind
No World Order
The Individualist
With a Twist...
One Long Year
Liars
Arena
Todd Rundgren's Johnson
(re)Production
State
Global
White Knight
with Utopia
Todd Rundgren's Utopia
RA
Oops! Wrong Planet
Adventures In Utopia
Deface the Music
Swing to the Right
Utopia
Oblivion
POV
Live albums
Another Live
Back to the Bars
Redux '92: Live in Japan
Singles
"We Gotta Get You a Woman"
"I Saw the Light"
"Hello It's Me"
"Good Vibrations"
"Can We Still Be Friends"
"Bang the Drum All Day"
Other songs
"Dreams of Ordinary Men"
"Kissing with Confidence"
"Love Is the Answer"
"Shake a Fist"
"Western Girls"
Album
productions
Great Speckled Bird
Stage Fright
Straight Up
Halfnelson
New York Dolls
We're an American Band
Shinin' On
War Babies
Felix Cavaliere
L
Bat Out of Hell
Remote Control
TRB Two
Wave
Wasp
Bad for Good
Forever Now
Next Position Please
Love Bomb
What Is This?
Skylarking
Dreams of Ordinary Men
Love Junk
Things Here Are Different
One Sided Story
The World's Most Dangerous Party
Halfway Down the Sky
The New America
Separation Anxieties
Cause I Sez So
Related articles
Discography
Bebe Buell
Daryl Hall
Nazz
The New Cars
Liv Tyler
Steven Tyler
Up Against It!
Retrieved from "https://en.wikipedia.org/w/index.php?title=Bat_Out_of_Hell&oldid=865395003"
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text:
Continental shelf
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Marine habitats
Anatomy of a continental shelf of the south eastern coast of the United States
Littoral zone
Intertidal zone
Estuaries
Kelp forests
Coral reefs
Ocean banks
Continental shelf
Neritic zone
Straits
Pelagic zone
Oceanic zone
Seamounts
Hydrothermal vents
Cold seeps
Demersal zone
Benthic zone
v
t
e
The continental shelf is an underwater landmass which extends from a continent, resulting in an area of relatively shallow water known as a shelf sea. Much of the shelves were exposed during glacial periods and interglacial periods.
The shelf surrounding an island is known as an insular shelf.
The continental margin, between the continental shelf and the abyssal plain, comprises a steep continental slope followed by the flatter continental rise. Sediment from the continent above cascades down the slope and accumulates as a pile of sediment at the base of the slope, called the continental rise. Extending as far as 500 km (310 mi) from the slope, it consists of thick sediments deposited by turbidity currents from the shelf and slope.[1] The continental rise's gradient is intermediate between the slope and the shelf, on the order of 0.5–1°.[2]
Under the United Nations Convention on the Law of the Sea, the name continental shelf was given a legal definition as the stretch of the seabed adjacent to the shores of a particular country to which it belongs.
Contents
[hide]
1 Geographical distribution
2 Topography
3 Sediments
4 Biota
5 Economic significance
6 See also
7 Notes
8 References
9 External links
Geographical distribution[edit]
The global continental shelf, highlighted in cyan
The width of the continental shelf varies considerably – it is not uncommon for an area to have virtually no shelf at all, particularly where the forward edge of an advancing oceanic plate dives beneath continental crust in an offshore subduction zone such as off the coast of Chile or the west coast of Sumatra. The largest shelf – the Siberian Shelf in the Arctic Ocean – stretches to 1,500 kilometers (930 mi) in width. The South China Sea lies over another extensive area of continental shelf, the Sunda Shelf, which joins Borneo, Sumatra, and Java to the Asian mainland. Other familiar bodies of water that overlie continental shelves are the North Sea and the Persian Gulf. The average width of continental shelves is about 80 km (50 mi). The depth of the shelf also varies, but is generally limited to water shallower than 150 m (490 ft).[3] The slope of the shelf is usually quite low, on the order of 0.5°; vertical relief is also minimal, at less than 20 m (66 ft).[4]
Though the continental shelf is treated as a physiographic province of the ocean, it is not part of the deep ocean basin proper, but the flooded margins of the continent.[5] Passive continental margins such as most of the Atlantic coasts have wide and shallow shelves, made of thick sedimentary wedges derived from long erosion of a neighboring continent. Active continental margins have narrow, relatively steep shelves, due to frequent earthquakes that move sediment to the deep sea.[6]
Topography[edit]
The shelf usually ends at a point of increasing slope[7] (called the shelf break). The sea floor below the break is the continental slope. Below the slope is the continental rise, which finally merges into the deep ocean floor, the abyssal plain. The continental shelf and the slope are part of the continental margin.
The shelf area is commonly subdivided into the inner continental shelf, mid continental shelf, and outer continental shelf, each with their specific geomorphology and marine biology.
The character of the shelf changes dramatically at the shelf break, where the continental slope begins. With a few exceptions, the shelf break is located at a remarkably uniform depth of roughly 140 m (460 ft); this is likely a hallmark of past ice ages, when sea level was lower than it is now.[8]
The continental slope is much steeper than the shelf; the average angle is 3°, but it can be as low as 1° or as high as 10°.[9] The slope is often cut with submarine canyons. The physical mechanisms involved in forming these canyons were not well understood until the 1960s.[10]
Sediments[edit]
The continental shelves are covered by terrigenous sediments; that is, those derived from erosion of the continents. However, little of the sediment is from current rivers; some 60–70% of the sediment on the world's shelves is relict sediment, deposited during the last ice age, when sea level was 100–120 m lower than it is now.[11]
Sediments usually become increasingly fine with distance from the coast; sand is limited to shallow, wave-agitated waters, while silt and clays are deposited in quieter, deep water far offshore.[12] These accumulate 15–40 cm every millennium, much faster than deep-sea pelagic sediments.[13]
Biota[edit]
Continental shelves teem with life, because of the sunlight available in shallow waters, in contrast to the biotic desert of the oceans' abyssal plain. The pelagic (water column) environment of the continental shelf constitutes the neritic zone, and the benthic (sea floor) province of the shelf is the sublittoral zone.[14]
Though the shelves are usually fertile, if anoxic conditions prevail during sedimentation, the deposits may over geologic time become sources for fossil fuels.
Economic significance[edit]
The relatively accessible continental shelf is the best understood part of the ocean floor. Most commercial exploitation from the sea, such as metallic-ore, non-metallic ore, and hydrocarbon extraction, takes place on the continental shelf. Sovereign rights over their continental shelves up to a depth of 200 metres or to a distance where the depth of waters admitted of resource exploitation were claimed by the marine nations that signed the Convention on the Continental Shelf drawn up by the UN's International Law Commission in 1958. This was partly superseded by the 1982 United Nations Convention on the Law of the Sea.[15] which created the 200 nautical mile exclusive economic zone and extended continental shelf rights for states with physical continental shelves that extend beyond that distance.
The legal definition of a continental shelf differs significantly from the geological definition. UNCLOS states that the shelf extends to the limit of the continental margin, but no less than 200 nautical miles from the baseline. Thus inhabited volcanic islands such as the Canaries, which have no actual continental shelf, nonetheless have a legal continental shelf, whereas uninhabitable islands have no shelf.
See also[edit]
Environment portal
Ecology portal
Geography portal
Weather portal
Baseline
Continental Island
Continental shelf pump
Continental shelf of Russia
Exclusive economic zone
International waters
Land bridge
Outer Continental Shelf
Region of Freshwater Influence
Territorial waters
Passive margin
Notes[edit]
Jump up ^ Pinet 39, Gross 45.
Jump up ^ Pinet 37.
Jump up ^ Pinet, 37.
Jump up ^ Pinet 36–37.
Jump up ^ Pinet 35–36.
Jump up ^ Pinet 90–93.
Jump up ^ "shelf break – geology". Encyclopædia Britannica.
Jump up ^ Gross 43.
Jump up ^ Pinet 36, Gross 43.
Jump up ^ Pinet 98, Gross 44.
Jump up ^ Pinet 84–86, Gross 43.
Jump up ^ Gross 121-22.
Jump up ^ Gross 127.
Jump up ^ Pinet 316-17, 418–19.
Jump up ^ "Treaty Series – Convention on the Continental Shelf, 1958" (PDF). United Nations. 1958-04-29. Retrieved 2016-01-13. vol. 499, p. 311.
References[edit]
Gross, M. Grant (1972). Oceanography: A View of the Earth. Englewood Cliffs: Prentice-Hall. ISBN 978-0-13-629659-1. Retrieved 12 January 2016.
Pinet, Paul R. (2003). Invitation to Oceanography. Boston: Jones & Bartlett Learning. ISBN 978-0-7637-2136-7. Retrieved 13 January 2016.
External links[edit]
Office of Naval Research: Ocean Regions: Continental Margin & Rise
UNEP Shelf Programme
Anna Cavnar, Accountability and the Commission on the Limits of the Continental Shelf: Deciding Who Owns the Ocean Floor
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Volcano (1997 film)
From Wikipedia, the free encyclopedia
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Volcano
Theatrical release poster
Directed by
Mick Jackson
Produced by
Andrew Z. Davis
Neal H. Moritz
Lauren Shuler Donner
Written by
Jerome Armstrong
Billy Ray
Starring
Tommy Lee Jones
Anne Heche
Gaby Hoffmann
Don Cheadle
Keith David
Music by
Alan Silvestri
Cinematography
Theo van de Sande
Edited by
Brandon Brown
Michael Tronick
Production
company
Fox 2000 Pictures
Moritz Original
Shuler Donner/Donner Productions
Distributed by
20th Century Fox
Release date
April 25, 1997 (1997-04-25)
Running time
104 minutes
Country
United States
Language
English
Budget
$90 million[1]
Box office
$122.8 million[1]
Volcano is a 1997 American disaster film directed by Mick Jackson and produced by Andrew Z. Davis, Neal H. Moritz and Lauren Shuler Donner. The storyline was conceived from a screenplay written by Jerome Armstrong and Billy Ray. The film features Tommy Lee Jones, Anne Heche, and Don Cheadle. Jones is cast as the head of the Los Angeles County Office of Emergency Management (LAC OEM) which has complete authority in the event of an emergency or natural disaster. His character attempts to divert the path of a dangerous lava flow through the streets of Los Angeles following the formation of a volcano at the La Brea Tar Pits.
A joint collective effort to commit to the film's production was made by the film studios of 20th Century Fox, Moritz Original and Shuler Donner/Donner Productions. It was commercially distributed by 20th Century Fox. Volcano explores civil viewpoints, such as awareness, evacuation and crisis prevention. Although the film used extensive special effects, it failed to receive any award nominations from mainstream motion picture organizations for its production merits.
Volcano premiered in theaters nationwide in the United States on April 25, 1997 grossing $49,323,468 in domestic ticket receipts, on a $90 million budget. It earned an additional $73.5 million in business through international release to top out at a combined $122,823,468 in gross revenue. Despite its release and recognition, Dante's Peak (which was released 2 months before) gained more commercial success than Volcano. It was also met with mixed critical reviews before its initial screening in cinemas. The Region 1 code widescreen edition of the film featuring special features was released on DVD in the United States on March 9, 1999.
Contents
[hide]
1 Plot
2 Cast
3 Production
3.1 Filming
3.2 Music
4 Reception
4.1 Box office
4.2 Home media
5 References
6 External links
Plot[edit]
In Los Angeles, an earthquake strikes. Michael Roark, a member of the city's Office of Emergency Management, insists on coming to work to help out with the crisis, although he has been on vacation with his daughter Kelly. His associate, Emmit Reese, notes that the quake caused no major damage, but seven utility workers are later burned to death in a storm drain at MacArthur Park; one escapes and survives, but is severely burned on one side of his face. As a precaution, Roark tries to halt the subway lines, which run parallel to where the deaths took place, but Los Angeles MTA Chairman Stan Olber opposes, feeling there is no threat to the trains. Against regulations, Roark and Gator Harris venture down the storm sewer in the park to investigate. They are nearly burned alive and barely escape with their lives when hot gases suddenly spew out of a crack in the concrete lining and floods the tunnel. Geologist Dr. Amy Barnes believes that an underground volcano may be forming beneath the city with magma flowing underground. Unfortunately, she has insufficient evidence to make Roark take action.[2]
The next morning, at around 5:15 A.M., Barnes, and her assistant, Rachel, venture in the storm sewer to investigate the scene of the incident, where they discover the crack in the ground, which released the gases earlier. While they are taking samples, a more powerful earthquake strikes, and Rachel is killed when she falls into the crack that is engulfed by a rush of the hot gases. Minutes later, in the La Brea Tar Pits, smoke billows out, with lightning crackling from it. Then, lava bombs burst out of the tar pits, which ignites several buildings. Steam explodes from the sewer system, while a subway train derails underground, trapping the passengers inside and exposing them to the severe heat and toxic gases, which causes them all to eventually lose consciousness.
Roark helps injured firefighters out of the area. Moments later, a newly formed volcano erupts from the tar pits, and lava begins to flow freely down Wilshire Boulevard, incinerating everything in its path, including Roark's GMC Suburban, and an LAFD fire truck downed by a lava bomb, killing two firefighters who are trapped inside. Roark and his daughter become separated as she is injured when a nearby lava bomb sputters and burns her leg, and she is taken to Cedars-Sinai Medical Center by Dr. Jaye Calder. Meanwhile, Olber leads his team through the Red Line tunnel to the derailed train, searching for survivors. They manage to save everyone, but Olber notices that the train driver is still missing and goes back; he finds the driver still alive but unconscious, just as the lava reaches the train and begins to flow underneath it. Olber sacrifices his life to save the driver by jumping into the lava flow, throwing the driver to safety as Olber burns to death. Roark, Barnes, and police lieutenant Ed Fox devise a plan to stack concrete barriers at the intersection of Wilshire Boulevard and Fairfax Avenue, creating a cul-de-sac to pool the lava as helicopters dump water on it to form a crust, making the operation a success. Barnes later theorizes that the magma is still flowing underground through the Red Line subway extension, and calculates that the main eruption will occur at the end of the line at the Beverly Center near Cedars-Sinai. To prove this, Barnes and Roark lower a video camera into the tunnel to watch it, only for the camera to be incinerated by a fast-moving flow of lava. They calculate the speed and realize that they have thirty minutes until the lava hits the end of the Red Line.
Through Roark's direction, explosives are used to create channels in the street to divert the flow of lava into Ballona Creek, which will later flow into the Pacific Ocean, but Barnes realizes that the street is sloping in the opposite direction and instead of going in to the creek the lava would flow right into the direction of the injured patients, much to the displeasure of Roark and Fox. Roark devises another plan to demolish a twenty-two story condominium building to block the lava's path from flowing towards the patients and the rest of the Los Angeles West Side. Gator refuses to abandon an LAPD SWAT cop, who has gotten trapped under a core column while slotting explosive charges, just as the lava reaches the dead end of the Subway tunnel extension, and explodes out of the ground in a massive geyser; he sacrifices their lives to detonate the final explosive charge. Roark then spots Kelly nearby, trying to retrieve a small boy who wandered off, putting them in the direct path of the collapsing building. Roark barely manages to save both of them from being crushed as the building collapses. The plan is successful, and the lava flows directly to the ocean. Roark escapes from the wreckage with Kelly and the young child still alive. The death toll is nearly a hundred people, thousands injured, and damages in billions. It starts to rain, with surviving civilians having a sign a relief. Reese shows up with the family dog Max, along with a call from the Chief of the Los Angeles Police Department on how to rebuild the city. Roark tells Reese that he is on vacation after all, and to tell the chief that too, as he goes home with Kelly while Reese takes over to handle the situation.
The film ends with an epilogue displaying a graphic stating that the volcano, named "Mount Wilshire", is still in an active state.[2]
Cast[edit]
Tommy Lee Jones as Mike Roark
Anne Heche as Dr. Amy Barnes
Gaby Hoffmann as Kelly Roark
Don Cheadle as Emmit Reese
Jacqueline Kim as Dr. Jaye Calder
Keith David as Lieutenant Ed Fox
John Corbett as Norman Calder
Michael Rispoli as Gator Harris
John Carroll Lynch as Stan Olber
Dayton Callie as Roger Lapher
Richard Schiff as Haskins
Valente Rodriguez as train driver[3]
Production[edit]
Filming[edit]
Filming was shot primarily on location in Los Angeles, California.[4] Various filming sites included MacArthur Park, Cedars-Sinai Medical Center and the La Brea Tar Pits.[4] Extensive special effects surrounding certain aspects of the film such as the lava flow, were created by ten separate digital effects companies including VIFX, Digital Magic Company, Light Matters Inc., Pixel Envy and Anatomorphex.[5] An 80% full-size replica of Wilshire Boulevard, which was one of the largest sets ever constructed in the U.S., was assembled in Torrance, California.[6] The computer-generated imagery was coordinated and supervised by Dale Ettema and Mat Beck.[4] Between visuals, miniatures, and animation, over 300 technicians were involved in the production aspects of the special effects.[5]
Music[edit]
The score for the film was originally composed and orchestrated by musical conductor Alan Silvestri.[7] Recording artists James Newton Howard and Dillinger among others, contributed songs to the music listing.[5] The audio soundtrack in Compact Disc format featuring 8 tracks, was officially released by the American recording label Varèse Sarabande on April 22, 1997.[8] The sound effects in the film were supervised by Christopher Boyes. The mixing of the sound elements were orchestrated by Jim Tanenbaum and Dennis Sands.[5]
Reception[edit]
Among mainstream critics in the US, the film received generally mixed reviews.[9] Rotten Tomatoes reports that 44% of 39 sampled critics gave the film a positive review, with an average score of 5.0 out of 10.[10] At Metacritic, which assigns a weighted average out of 100 to critics' reviews, the film received a score of 55 based on 22 reviews.[9] Audiences polled by CinemaScore gave the film an average grade of "B+" on an A+ to F scale.[11] In 1997, the film was nominated for a Golden Raspberry Award in the category of "Worst Reckless Disregard for Human Life and Public Property" , but lost to Con Air.[12]
"The ads say The Coast Is Toast, but maybe they should say The Volcano Is Drano. This is a surprisingly cheesy disaster epic. It's said that Volcano cost a lot more than Dante's Peak, a competing volcano movie released two months ago, but it doesn't look it. Dante's Peak had better special effects, a more entertaining story, and a real mountain."
—Roger Ebert, writing in the Chicago Sun-Times[13]
Janet Maslin, writing in The New York Times, said, "Volcano begins so excitably and hurtles so quickly into fiery pandemonium," but noted that "in the disaster realm, it's not easy to have it all. A film this technically clever can't get away with patronizing and familiar genre cliches."[14] Roger Ebert in the Chicago Sun-Times called it a "surprisingly cheesy disaster epic" while musing, "The lava keeps flowing for much of the movie, never looking convincing. I loved it when the firemen aimed their hoses way offscreen into the middle of the lava flow, instead of maybe aiming them at the leading edge of the lava—which they couldn't do, because the lava was a visual effect, and not really there."[13] In the San Francisco Chronicle, Mick LaSalle wrote that "Things go bad after Volcano plays its last card — the lava — and from there it has nothing to show but more of the same. A host of characters is introduced in the opening scenes, but Volcano doesn't know what to do with them. It can't make us care."[15] Owen Gleiberman of Entertainment Weekly said, "Volcano is cheese, all right, but it's tangy cheese. I'm not sure I've ever seen a disaster movie in which special effects this realistic and accomplished were put to the service of a premise this outlandish." He declared: "Volcano is jittery in a clinical, self-important way."[16] Walter Addiego of the San Francisco Examiner, felt "Volcano offers a bit of humor, a minimum of plot distraction and the joys of watching molten rock ooze down Wilshire Boulevard."[17] Left equally impressed was James Berardinelli of ReelViews. Commenting on the character significance of Mike Roark, played by Jones, he said it was "a wonderfully heroic figure — a man of action who never has time to rest. The fate of the city rests on his shoulders, and he knows it. Jones' fierce, unflagging portrayal helps us accept Roark not only as the man to save L.A., but as a loving father who is more concerned about his daughter's safety than that of every other citizen." In his summation, he wrote, "Volcano has opened the "summer" movie season at an astoundingly early late-April date. But there's no mistaking this as anything but a blockbuster trying to get a running jump on competition like The Fifth Element and The Lost World. This isn't the kind of film where it's worth waiting for the video tape — it's too big and brash, and demands the speakers and atmosphere of a state-of-the-art theater."[18] Kenneth Turan of the Los Angeles Times added to the positive sentiment by saying the film "glows with heat. Lava heat. The coast may be toast, but it's the lava, covering everything like a malevolent tide of melted butter, that makes this a disaster picture that's tastier than usual."[19]
Writing for Time Out, author TCh said, "The most striking aspect of this fun, old-fashioned disaster movie is the novelty of seeing the most familiar of backdrops used as a creative resource in its own right."[20] He commended how "Jones and Heche work hard to dig up an emotional rapport from next to nothing" while also praising how the "slow but inexorable progress of the lava makes for more suspense than the usual slam bang firework display."[20] Not entirely impressed was Margaret McGurk writing for The Cincinnati Enquirer. She called the film "depreciating entertainment value of the natural-disaster trend" while also mentioning how the "High-caliber special effects are still fun, but all this lock-step storytelling is wearing thin."[21] But in a hint of commendation, McGurk thought "on its own escapist terms, Volcano dishes up a textbook serving of low-I.Q., high-energy entertainment."[21] Describing a comical position on seismic activity, Marc Savlov of The Austin Chronicle said Volcano was a "laughably ridiculous take on what we all secretly dream of: Los Angeles, washed away in a huge, molten tide of cheese — uh, lava, I mean."[22] Savlov added, "Screenwriters Jerome Armstrong and Billy Ray have crammed the script with topical references to the L.A. riots, Rodney King, racial inequality, sexism, the ineffectuality of the 911 system, and reams of very, very bad dialogue. So bad, in fact, that the screening audience I viewed Volcano with seemed to enjoy it immensely, hooting and hollering and laughing as though it were an old episode of Mystery Science Theater 3000."[22]
"director Jackson and his crew (who made good use of hand-held and Steadicam shots and reportedly averaged an impressive 30 to 40 camera setups a day) move so quickly from shot to shot and location to location that viewers have a limited time to dwell on the film's predictable implausibilities."
—Kenneth Turan, writing for the Los Angeles Times[19]
Rita Kempley of The Washington Post, openly wondered why "there's no volcano in "Volcano"?...The hokey disaster drama features towering plumes of smoke, a splendid display of fireworks and brimstone, and rivers of molten magma, but I'll be darned if there's a burning mountain."[23] She concluded her review by declaring that "While disaster yarns aren't known for subtlety, there are limits, and Volcano giddily goes beyond them. Director Mick Jackson, who also made Steve Martin's wry "L.A. Story," must have had his hands full with the logistics of this bombastic extravaganza. He sets a blistering pace, but the movie never generates any real thrills."[23] Todd McCarthy of Variety was more positive, writing Volcano delivered "enough spectacular action to get it off to a hot B.O. start" and that "first-time screenwriters Jerome Armstrong and Billy Ray waste no time with exposition or scene-setting, starting the fireworks with a nerve-jangling morning earthquake that puts city workers on alert for possible damage."[6]
Box office[edit]
Volcano premiered in cinemas on April 25, 1997. At its widest distribution in the U.S., the film was screened at 2,777 theaters. The film grossed $14,581,740 in box office business averaging $5,256 in revenue per theater in its opening weekend. During that first weekend in release, the film opened in first place beating out the films Romy & Michelle's High School Reunion and Anaconda.[24] The film's revenue dropped by 37% in its second week of release, earning $9,099,743.[25] In the month of June during its final weekend showing in theaters, the film came out in 12th place grossing $602,076.[26] The film went on to top out domestically at $49,323,468 in total ticket sales through a 7-week theatrical run. Internationally, the film took in an additional $73,500,000 in box office business for a combined total of $122,823,468.[27] For 1997 as a whole, the film would cumulatively rank at a box office performance position of 39.[28]
Home media[edit]
Following its cinematic release in theaters, the film was released in VHS video format on May 26, 1998.[29] The Region 1 Code widescreen edition of the film was released on DVD in the United States on March 9, 1999. Special features for the DVD include interactive menus, scene selection and the original theatrical trailer. It is not enhanced for widescreen televisions.[30] The film was released on Blu-ray Disc on October 1, 2013 by Starz/Anchor Bay.[31]
References[edit]
^ Jump up to: a b "Volcano". Box Office Mojo. Retrieved 2010-07-14.
^ Jump up to: a b Jackson, Mick (Director). (1997). Volcano [Motion picture]. United States: 20th Century Fox.
Jump up ^ "Volcano (1997)" – via www.imdb.com.
^ Jump up to: a b c "Volcano DVD". 20th Century Fox. March 9, 1999. Retrieved July 14, 2010.
^ Jump up to: a b c d "Volcano (1997) Cast and Credits". Yahoo! Movies. Retrieved July 14, 2010.
^ Jump up to: a b McCarthy, Todd (27 April 1997). Volcano. Variety. Retrieved 2010-07-14.
Jump up ^ "Volcano - Production Credits". The New York Times. Retrieved July 14, 2010.
Jump up ^ "Volcano: Original Motion Picture Soundtrack". Amazon.com. Retrieved July 14, 2010.
^ Jump up to: a b Volcano. Metacritic. CNET Networks. Retrieved 2010-07-14.
Jump up ^ Volcano (1997). Rotten Tomatoes. IGN Entertainment. Retrieved 2010-07-14.
Jump up ^ "CinemaScore". cinemascore.com.
Jump up ^ Wilson, John (2000-08-23). "1997 Archive". Golden Raspberry Award. Retrieved 2009-05-17.
^ Jump up to: a b Ebert, Roger (25 April 1997). Volcano. Chicago Sun-Times. Retrieved 2010-07-14.
Jump up ^ Maslin, Janet (25 April 1997). Volcano (1997) Very Mean Streets: They're Full of Lava. The New York Times. Retrieved 2010-07-14.
Jump up ^ Lasalle, Mick (3 October 1997). 'Volcano' Sizzles but Quickly Loses Steam. San Francisco Chronicle. Retrieved 2010-07-14.
Jump up ^ Gleiberman, Owen (2 May 1997). Volcano. Entertainment Weekly. Retrieved 2010-07-14.
Jump up ^ Addiego, Walter (25 April 1997). Lavapalooza!. San Francisco Examiner. Retrieved 2010-07-14.
Jump up ^ Berardinelli, James (April 1997). Volcano. ReelViews. Retrieved 2010-07-14.
^ Jump up to: a b Turan, Kenneth (25 April 1997). Volcano - Go With the Flow. Los Angeles Times. Retrieved 2010-07-14.
^ Jump up to: a b TCh (April 1997). Volcano (1997). Time Out. Retrieved 2010-07-14.
^ Jump up to: a b McGurk, Margaret (November 1997). 'Volcano' more of a blast than 'Dante's Peak'. The Cincinnati Enquirer. Retrieved 2010-07-14.
^ Jump up to: a b Savlov, Marc (25 April 1997). Volcano. The Austin Chronicle. Retrieved 2010-07-14.
^ Jump up to: a b Kempley Rita, (25 April 1997). 'Volcano': 1 on the Richter Scale. The Washington Post. Retrieved 2010-07-14.
Jump up ^ "Weekend Box Office April 25–27, 1997". Box Office Mojo. Retrieved July 14, 2010.
Jump up ^ "Weekend Box Office May 2–4, 1997". Box Office Mojo. Retrieved July 14, 2010.
Jump up ^ "Weekend Box Office June 6–8, 1997". Box Office Mojo. Retrieved July 14, 2010.
Jump up ^ "Volcano Domestic Total Gross". Box Office Mojo. Retrieved July 14, 2010.
Jump up ^ "1997 Domestic Grosses". Box Office Mojo. Retrieved July 23, 2016.
Jump up ^ "Volcano VHS Format". Amazon.com. Retrieved 2010-07-14.
Jump up ^ "Volcano Widescreen DVD". Barnes & Noble. Retrieved 2010-07-14.
Jump up ^ "Volcano Blu-ray".
External links[edit]
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Films directed by Mick Jackson
Threads (1984)
Yuri Nosenko: Double Agent (1986)
Life Story (1987)
Chattahoochee (1989)
L.A. Story (1991)
The Bodyguard (1992)
Clean Slate (1994)
Indictment: The McMartin Trial (1995)
Volcano (1997)
Tuesdays with Morrie (1999)
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Live from Baghdad (2002)
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