"You're not going to ask me that and if you did I'd pretend that you didn't because everybody and their mother plus their dog and cat and their goldfish asks me that."

“You gotta understand that people attach me and Jim Steinman. But you really have to attach Todd Rundgren to that. … you really have to credit Todd Rundgren for the initial mark. Yes, Steinman had things in his head. And, yes, I had some things in my head; I had how “All Revved Up with No Place to Go” should sound in my head. Jim had how “You Took the Words Right Out of My Mouth ” should sound in his head. But pulling things out of your head and accomplishing them, and somebody else trying to accomplish them, is a remarkable feat. … So not taking anything away from Jim, ‘cause Jim is an absolute genius and one of the smartest people that I’ve ever known, and I consider him one of my best friends. But, y’know, sometimes, people just… they pigeonhole things, and they go, “Jim Steinman and Meat Loaf.” And my thing is, no, stop it! Because the Bat Out of Hell records are this: it’s a big wheel, and everybody is a spoke in that wheel… and, at different times as that wheel’s turning, different people have more input than others. It’s, like, as a wheel turns, the bottom spokes take more than the top spokes…but, pretty soon, those are gonna be the bottom spokes, and their import is more. And, so, that’s how that goes with the Bat Out of Hell records… and that’s exactly Bat Out of Hell III.”

“Karaoke bars are devil worship!”

“These stories get made up, and I don’t know from where. I have no idea. I didn’t make that one up — sometimes I make my own stories up — but I didn’t make that one up.”

“Reviews of Bat Out of Hell III”

“You can decide what you want to eat for dinner, you can decide to go away for the weekend, and you can decide what clothes you’re going to wear in the morning, but when it comes to artistic things, there’s never a rhyme or reason. It’s, like, they just happen. And they happen when they happen.”

“We were aware of her profile, and it was… first, it’s artistic: can she do it? Is she capable of handling this? Can she handle it emotionally? The song. Because it’s a very emotional song. Can she handle it melodically? Does she have the range for it? Second, now then, you’ve got that, now you look to see…because it’s a very strange duet, and I’ve always said it was meant to be a duet. I had the song in ’86, and I don’t care what anybody else says; I know it was my song, it was given to me in ’86, I was gonna do it, it was always gonna be a duet, and I think the only real life of it is a duet. And that’s my opinion, and my opinion only. That’s it. But when it’s a duet, it’s a definitive duet. And then because of how it’s a call-and-response duet, you needed the timbre of the voices. If you get someone with the same timbres… I’m being analytical, but that’s exactly why we picked Marion Raven. And then on the fourth hand… what, she’s twenty-two years old? She can get MTV where I can’t!”