By the time 1984 rolled around, Meat Loaf was at a crossroads in his career. After the massive success of Bat Out Of Hell (1977), the pressures of maintaining that momentum would naturally take its toll. Conflict with longtime collaborator, Jim Steinman, would further complicate matters; despite two of his songs being included on this release. Nevertheless, Bad Attitude, Meat Loaf’s fourth studio album, showcased that he was still capable of delivering powerful rock anthems; even if it was less cohesive than his 70s masterpiece. However, if we consider Bad Attitude as a unique experience from Bat Out Of Hell, rather than a continuation, it’s a thoroughly enjoyable album featuring a timeless collection of bombastic rockers and dramatic ballads.

As with several high-profile Meat Loaf releases, the album artwork for Bad Attitude is spectacular. Not only is it perfectly suited to the era, but it simultaneously harks back to what quickly became a Meat Loaf trademark; the motorbike. Yes, a beautiful woman adds to the allure but it isn’t just outward appearances that matter for you’ll come to see that the music contained within this release is quite incredible, yet it isn’t without fault.

Let’s be frank, Meat Loaf’s music has never truly been recorded, mixed, and mastered to what could be considered perfection. Bat Out Of Hell II: Back Into Hell was a marked improvement and his best-sounding record has to be Welcome To The Neighbourhood but all others are merely satisfactory. Granted, his music had a unique sound signature, but just as Bat Out Of Hell isn’t a sonic masterpiece, neither is Bad Attitude.

Given the album’s lacklustre sales performance, Bad Attitude is often overlooked and while it was remastered and reissued in 2014, it was only for a CD reissue that I’ve yet to hear. Interestingly, when you search on Apple Music et al, you’ll come across two editions of the album. Due to the way they’re listed, you have no idea what the differences are, other than one has more appealing visual colour tones and contrast compared to the album artwork on the other. However, in this instance, don’t let the bolder album artwork confuse you because whatever master that version is utilising, it’s downright atrocious.

While I acknowledge that not every music lover is focused on attaining the very best-sounding version of an album, I do wish each record would have a singular definitive master. That isn’t the case here, so let’s take a moment to compare the two different masterings of the same song; Surf’s Up. Click here to listen to the first version. Pay particular attention to the piano introduction and overall soundstage as the song progresses. Now, let’s play the same song but from what I think is the original CD mastering. Click here to listen to the second version. Different, aren’t they?

It’s elements such as this that can make or break an album and I’d love to say this is an isolated incident, but it isn’t. While I appreciate that both editions exist, particularly the second one which is my preferred version, relying on the Apple Music stream can be a recipe for disaster as there is always the chance that the superior edition could be removed for the inferior one. It’s a constant concern for music lovers who want their music to sound a certain way and never change. And, yes, dear reader, as you get older, and get more used to the way the music should sound, you’re less flexible with regards to substandard sonic presentations.

As it pertains to the edition I’m sharing below, I feel that it is the better-sounding version available on Apple Music as it may not be a recording that will set your stereo on fire, but it sounds right and a few minor EQ tweaks on the stereo can go a fair way to addressing any shortcomings.

Bad Attitude (feat. Roger Daltrey) certainly has an 80s synth vibe to it, despite the hard-rocking anthemic styling. There’s also a little Queen guitar lick to be heard on the song, but what is perhaps most disappointing is that Daltrey’s inclusion fails to enhance the song as, in some ways, his vocal is too similar to Meat Loaf’s to truly stand apart. Yes, this title song is a solid and thoroughly enjoyable opener, but when you have these two exceptional vocalists, it isn’t unreasonable to have expected more.

Modern Girl was the first single released from the album and while it didn't set the charts on fire, it did perform admirably in some regions. It’s a shame it wasn’t better received for it’s one of Meat Loaf’s greatest songs, offering a balance between the theatrical and that of a pop-rock masterpiece. While the lyrics may feel slightly dated, in the modern era, the song itself is catchy and energetic, thereby ensuring that it can still be enjoyed by those who are not only nostalgic but are driven towards radio-friendly pop-rock tunes with soaring melodies and lush production values.

Nowhere Fast is one of the two Steinman compositions to be included and was previously recorded by Fire Inc. on the 1984 Streets Of Fire soundtrack release. Meat Loaf’s interpretation has a bolder rock edge and is, arguably the stronger of the two, but retains the 80s synth styling. It suits the era perfectly, even if it isn’t ideal for Meat Loaf. Nowhere Fast is, subsequently, a thoroughly enjoyable album-only number with a killer chorus. Interestingly, the lyrics, aside from the chorus, are different between the two editions. As to why, I’ve no idea as information relating to the change is sparse at best. If you know, please reach out to me as I’d love to know a little more about this variant.

Surf's Up feels like a continuation of the cinematic rock sound from Bat Out Of Hell. Let’s just say that Steinman was a master songwriter of the highest calibre and when Meat Loaf would record his songs, for the most part, they were always exceptional. That is certainly the case here for Surf’s Up is one of the album’s most impressive songs and Meat Loaf’s vocal performance shines here, as he navigates the song’s emotional highs and lows. Add to that the exceptional mid-song guitar solo and you’ve got what can best be described as a masterpiece; an overused term, yes, but one that most certainly applies to this song.

Piece Of The Action is a mid-tempo rocker that flows seamlessly from Surf’s Up while also providing a change of pace. As the song slowly builds, you get the sense that something very special is coming and when the song reaches the first chorus crescendo, you’re given that sonic reward that is essential to mid-tempo rock numbers. With an infectious chorus and a straightforward anthemic 80s rock style, Piece Of The Action is a killer tune; one that is perfectly suited to Meat Loaf’s theatrical storytelling.

Jumpin' The Gun has a driving rhythm punctuated by tight guitars and energetic percussion, but the mix and overall recording isn’t great. It sounds as if it’s a demo and the additional atmospheric elements, while relevant to the era, simply don’t work. Nevertheless, Jumpin’ The Gun can most certainly be appreciated as an album-only tune, for each song need not be a hit for an album experience to be thoroughly enjoyable.

Sailor To A Siren plays into Meat Loaf’s ability to turn songs into mini-operas for the arrangement is dramatic, with soaring guitars and powerful drumming that drive the song forward. Sailor To A Siren may be brimming with 80s cues, but it’s also a stroke of musical genius for it is simultaneously timeless. It may never be one of Meat Loaf’s most recognised tunes, but it’s most certainly one of his greatest recordings.

Don't Leave Your Mark On Me has an interesting, yet offbeat, introduction. It works, however, following the Sailor To A Siren as it builds a large enough gap that the songs can be easily differentiated. While the arrangement of Don't Leave Your Mark On Me is straightforward compared to some of the bolder songs from the album, it doesn’t change the fact that this song is extremely compelling; particularly its chorus. I do, however, feel that it ends prematurely.

Cheatin' In Your Dreams is a beautiful closing introspective ballad that showcases Meat Loaf’s emotional intensity. Pairing his spectacular vocal with a delicate piano arrangement and lush strings ensured an orchestral feel prior to the bombastic energy that arose midway through the song. If nothing else, Cheatin' In Your Dreams will do what all good closers do – encourage you to play the record again.

Bad Attitude may not have reached the towering heights of Meat Loaf’s earlier or later works, but if you’re after a straight-up hard rock album filled with power ballads and rock anthems, look no further than this classic 80s release. While the era was dominated by synth-driven pop and new wave, Bad Attitude is a breath of fresh air as it not only rocks but is a reminder that outside of trends, good music is still prevalent and when combined with Meat Loaf’s larger-than-life persona, Bad Attitude is most certainly an album worthy of any music lover’s collection.