Music history is messy. It is full of egos, missed opportunities, and songs that float around for decades before finding the right voice. If you grew up in the 90s, you probably associate the sweeping, melodramatic power ballad "It's All Coming Back to Me Now" with Celine Dion. Her version is iconic. It is everywhere. But for Jim Steinman, the man who wrote it, the song was always intended to be the spiritual successor to Bat Out of Hell. It was meant for Meat Loaf.
The saga of Meat Loaf It's All Coming Back to Me Now is a long, litigious, and eventually triumphant journey that spans nearly thirty years. It involves a legal battle over who was allowed to sing what, a girl group called Pandora’s Box that history largely forgot, and a 2006 recording that served as the centerpiece for the final chapter of the Bat Out of Hell trilogy.
Why Jim Steinman Kept This Song From Meat Loaf
Jim Steinman didn’t just write songs; he built sonic cathedrals. He was obsessed with the "Wagnerian Rock" aesthetic—huge drums, crashing pianos, and lyrics that felt like a Shakespearean tragedy performed in a biker bar. When he wrote "It's All Coming Back to Me Now," he described it as the "most passionate, romantic song" he had ever created. He was incredibly protective of it.
Meat Loaf wanted it. Badly.
However, Steinman had a specific vision. He felt the song was feminine in its essence. He once remarked that the song was more about "sensual memory" than the typical masculine bravado found in rock. Because of this, he refused to give it to Meat Loaf during their initial collaborations for what would eventually become Bat Out of Hell II: Back into Hell. Instead, Steinman recorded it with a female group he put together called Pandora’s Box for the 1989 album Original Sin.
That version? It’s haunting. It’s also nearly eight minutes long and features a monologue. It didn’t become a hit, but it set the stage for everything that followed. Steinman was so convinced of the song's power that when Celine Dion’s team came calling a few years later, he finally relented. Meat Loaf was reportedly devastated. He felt the song belonged to his brand of operatic rock. He was right, but he had to wait more than a decade to prove it.
The Legal Tussle and the Celine Dion Factor
We have to talk about the 1990s because that’s when the song became a global phenomenon. Celine Dion’s 1996 version, produced by Steinman, is a vocal masterclass. It reached number two on the Billboard Hot 100. It stayed there for weeks. It’s one of the best-selling singles of all time.
During this era, the relationship between Meat Loaf and Steinman was... complicated. They were often in legal disputes over royalties and the use of the "Bat Out of Hell" trademark. Meat Loaf actually sued Steinman at one point. It’s kinda ironic when you think about it. The two men who created the most cohesive musical partnership in rock history couldn't stay in a room together without lawyers.
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Meat Loaf later admitted in interviews that it was painful to hear Celine’s version on the radio constantly, knowing it was "his" song. He felt it was the centerpiece that was missing from his mid-90s comeback. He viewed the song as the "lost child" of the Bat Out of Hell family.
The Pandora's Box Version vs. Celine vs. Meat
If you listen to the Pandora’s Box version (lead vocals by Elaine Caswell), it is raw and dark. Celine’s version is polished and crystalline. But when we finally got the Meat Loaf It's All Coming Back to Me Now recording in 2006, it was something else entirely. It was a duet with Marion Raven.
Why a duet?
Probably because Steinman still believed the song needed a female perspective to ground it, but Meat Loaf’s booming baritone provided the "mountain" for that perspective to climb. By the time they recorded it for Bat Out of Hell III: The Monster Is Loose, the two men had reached a shaky truce. The song finally came home.
Breaking Down the 2006 Recording
The 2006 version is often overlooked by casual fans who only know the 1977 hits, but it's a fascinating piece of production. Produced by Desmond Child—the guy behind Bon Jovi and Aerosmith's biggest hits—it trades some of Steinman’s theatrical eccentricity for a heavier, more contemporary rock sound.
Meat Loaf was older then. His voice had changed. It had more grit. More wear. Honestly, that actually helped the song. "It's All Coming Back to Me Now" is about regret and the resurgence of memories you thought you’d buried. When a 58-year-old Meat Loaf sings about "moments of gold" and "flashbacks," it carries a weight that a younger singer just can’t replicate.
Marion Raven was a brilliant choice for the duet. She was young, had a sharp rock edge to her voice, and wasn't intimidated by Meat’s massive presence. The music video, directed by P.R. Brown, leaned heavily into the Gothic aesthetic: flickering candles, ghostly figures, and a lot of leather. It was peak Meat Loaf. It felt like a victory lap.
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The Impact on the Bat Out of Hell Legacy
The Bat Out of Hell trilogy is one of the most successful franchises in music history. The first album has sold over 40 million copies. The second gave us "I'd Do Anything for Love (But I Won't Do That)." The third album was always going to have a hard time living up to those heights.
However, including Meat Loaf It's All Coming Back to Me Now gave the third album legitimacy. It linked the project back to Steinman’s peak writing years. Even though Steinman didn't produce the third album—which led to more legal drama—the song acted as the glue.
People often argue about which version is better. It's a polarizing topic in music forums.
- Celine fans argue her vocal range is untouchable.
- Steinman purists point to the 1989 Pandora’s Box recording as the most "authentic" version.
- Meat Loaf die-hards insist that the song’s DNA is masculine rock and that the 2006 version is the definitive "theatrical" take.
The truth is that the song is a shape-shifter. It works as a pop ballad, a goth-rock anthem, and a theatrical duet. That is the hallmark of a great composition.
The Technical Difficulty of Singing Steinman
Ask any singer: Jim Steinman songs are a nightmare to perform. They require immense lung capacity. "It's All Coming Back to Me Now" is particularly brutal. It has a repetitive, driving rhythm that builds and builds without giving the singer much time to breathe.
When Meat Loaf performed this live during his Seize the Night tour, you could see the physical toll it took. He wasn't just singing; he was acting. He lived inside those lyrics. He understood that the song wasn't just about a lost lover; it was about the power of the past to overwhelm the present. He treated every performance like a final curtain call.
What Most People Get Wrong About the Song
A common misconception is that Celine Dion "stole" the song or that Meat Loaf was "covering" her. In reality, the song was written for a project that Meat Loaf was supposed to be a part of before he and Steinman had one of their many fallouts.
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Another mistake? Thinking the song is just a simple love song. It’s actually quite dark. If you look at the lyrics—"There were nights of endless pleasure / It was more than any laws allow"—there’s an intensity there that borders on the obsessive. It’s about a ghost. Whether that ghost is literal or metaphorical is up to the listener. Steinman was heavily influenced by Wuthering Heights, and you can hear Heathcliff and Cathy in every note of Meat Loaf’s delivery.
Why It Matters Today
Meat Loaf passed away in January 2022. Jim Steinman passed away in April 2021. The era of the "Mega-Ballad" is largely over. We don't really see seven-minute rock operas on the charts anymore.
Looking back at Meat Loaf It's All Coming Back to Me Now, it represents the end of an era. It was the last time that specific brand of theatrical, over-the-top, unapologetic rock and roll reached a massive audience. It reminds us that music doesn't always have to be subtle. Sometimes, it needs to be loud, dramatic, and a little bit ridiculous.
If you haven't listened to the Meat Loaf version in a while, do yourself a favor. Turn it up. Use good headphones. Listen to the way his voice cracks on the high notes and the way the drums kick in during the final chorus. It’s not just a song; it’s an event.
Actionable Insights for the Music Enthusiast
If you want to truly appreciate the depth of this song and the Steinman/Meat Loaf partnership, try these specific steps:
- Listen Chronologically: Play the Pandora's Box version (1989), then Celine Dion (1996), then Meat Loaf (2006). Notice how the arrangement shifts from "goth" to "pop" to "hard rock."
- Watch the 2006 Music Video: Look for the visual cues that reference the original Bat Out of Hell. It’s a masterclass in visual storytelling for the genre.
- Read the Lyrics as Poetry: Remove the music. Read the words. You’ll see the influence of Victorian literature and 1950s rock-and-roll melodrama.
- Explore the "Lost" Tracks: Seek out the other songs from the Original Sin album that Meat Loaf eventually covered, like "Objects in the Rear View Mirror May Appear Closer Than They Are."
The history of this song is a testament to artistic persistence. Jim Steinman held onto a vision for decades, and Meat Loaf eventually got to claim his birthright. It might have taken a long time, but in the end, it really did all come back to him.