You’ve heard the song. Whether it's Celine Dion’s powerhouse vocals or the dark, operatic swell of Pandora’s Box, "It's All Coming Back to Me Now" is a masterpiece of excess. But for a lot of people, there’s a missing piece to the puzzle. They hear those thunderous piano chords and the Wagnerian production and think one thing: It's all coming back to me Meatloaf.
It makes sense. The song was written by Jim Steinman. Steinman was the architect of Meat Loaf's Bat Out of Hell. Their DNA is so intertwined that it’s almost impossible to hear a Steinman track without picturing a man in a ruffled shirt sweating under a spotlight.
Yet, for years, the Meat Loaf version didn't exist. Then it did. Then it became a point of legal contention. It's a weird, messy, beautiful story about creative ownership and the most dramatic songwriter to ever touch a keyboard.
Jim Steinman’s Vision and the Meat Loaf Ban
Jim Steinman didn't just write songs; he built sonic cathedrals. He wrote "It's All Coming Back to Me Now" while inspired by Wuthering Heights. He wanted it to be the most "passionate, romantic" thing he’d ever created. Naturally, Meat Loaf wanted it.
He didn't just want it; he needed it. Meat Loaf saw the song as the center-piece for what would eventually become Bat Out of Hell II: Back into Hell.
Steinman said no.
It’s one of those rock and roll moments that feels like a betrayal but was actually about a creator protecting his vision. Steinman felt the song was "womanly." He believed it belonged to the female perspective. He told Meat Loaf that "Total Eclipse of the Heart" and "It's All Coming Back to Me Now" were reserved for women. Meat Loaf was devastated. He reportedly felt that the song was his by right of their partnership.
Instead of giving it to Meat, Steinman formed a girl group called Pandora’s Box. Their 1989 album Original Sin featured the original version of the song. It was a cult hit but didn't set the world on fire. It wasn't until Celine Dion covered it in 1996 that it became a global juggernaut.
✨ Don't miss: Why La Mera Mera Radio is Actually Dominating Local Airwaves Right Now
The Meat Loaf Version Finally Happens
Fast forward to 2006. The world had changed. Meat Loaf and Steinman had gone through various legal battles and reunions. Finally, for the album Bat Out of Hell III: The Monster Is Loose, the it's all coming back to me Meatloaf version became a reality.
It wasn't a solo track. It was a duet with Marion Raven.
Was it better than Celine’s? That’s a dangerous question. Celine’s version is technically perfect. It’s polished glass. Meat Loaf’s version, however, is a demolition derby. It’s gritty. It feels like two people screaming over the ruins of a relationship. It’s got that classic Steinman "everything louder than everything else" production, even though Steinman wasn't actually producing that specific record due to ongoing health and legal issues.
Why it feels different
- The vocal trade-offs. Having a male and female perspective changes the narrative from a monologue to a confrontation.
- The tempo. It feels slightly more weighed down, more theatrical in a "the stage is literally on fire" kind of way.
- The history. You can hear Meat Loaf’s decades of longing for this song in his delivery.
Why People Get Confused
If you search the internet, you'll find thousands of people swearing they remember a Meat Loaf version from the 90s. They don't. They are experiencing a specific kind of musical Mandela Effect.
Because the production on Celine Dion’s version—done by Steinman himself—uses the same musicians, the same "wall of sound" technique, and the same dramatic pacing as Bat Out of Hell, the brain just fills in the gaps. You hear the motorcycle-esque Revving of the engine and your mind inserts Meat Loaf.
Honestly, it’s a testament to how strong the Steinman/Meat Loaf brand was. You couldn't have one without the other, even when they weren't in the same room.
The Legal Drama Behind the Music
Music isn't just art; it's a business, and this song was a battlefield. Steinman and Meat Loaf's relationship was notoriously volatile. At one point, there were lawsuits over the "Bat Out of Hell" trademark.
🔗 Read more: Why Love Island Season 7 Episode 23 Still Feels Like a Fever Dream
When Bat Out of Hell III was being recorded, Steinman was actually quite ill. He wasn't deeply involved in the production, which led to some friction regarding which songs were being used. The fact that Meat Loaf finally recorded "It's All Coming Back to Me Now" felt like a victory for the singer, but it was bittersweet. He finally got his "woman's song," but the partnership that defined his career was fraying at the edges.
The 2006 version reached number 6 on the UK charts. It proved that the song worked as a rock ballad just as well as it worked as a pop powerhouse.
Comparing the Giants: Celine vs. Meat Loaf
If you’re trying to decide which version deserves a spot on your "Driving at Midnight" playlist, you have to look at what you want out of the experience.
Celine Dion’s version is about the return of a feeling. It’s ethereal. When she sings "If I touch you like this," it feels like a memory.
Meat Loaf’s version is about the weight of the feeling. When he sings it, it sounds like he’s being haunted by a literal ghost. Marion Raven brings a modern, slightly rockier edge that keeps him grounded. It’s less "angelic" and much more "exhausted lover."
Most critics still point to the Pandora’s Box version as the definitive "Steinman" vision because it contains the full, unedited theatrical length and the weird, dark interludes that pop radio cut out of Celine's version. But for the average fan, the it's all coming back to me Meatloaf recording is the one that completes the trilogy.
The Legacy of a Song That Wouldn't Die
Jim Steinman passed away in 2021, and Meat Loaf followed in 2022. Their deaths marked the end of an era of "Maximalist Rock."
💡 You might also like: When Was Kai Cenat Born? What You Didn't Know About His Early Life
"It's All Coming Back to Me Now" stands as the ultimate example of their shared aesthetic, even if they didn't record it together at the height of their fame. It’s a song that requires a certain level of "cringe-free" commitment. You have to be willing to be melodramatic. You have to be willing to over-sing.
Meat Loaf was the king of over-singing.
Actionable Insights for the Music Obsessed
If you want to truly appreciate the saga of this song, don't just stick to the radio edits. Do this instead:
- Listen to the Pandora's Box version first. It's on the album Original Sin. It’s the blueprint. Notice the female vocals and the slightly 80s Goth-rock vibe.
- Watch the 2006 music video with Meat Loaf and Marion Raven. It’s high-budget, dramatic, and features a motorcycle crash—the classic Steinman trope. It helps contextualize why Meat Loaf felt he owned this aesthetic.
- Check out the live versions. Meat Loaf’s live performances of this song toward the end of his career show the physical toll his singing style took, but also the raw emotion he poured into "getting it right" after waiting twenty years to sing it.
- Explore the "Bat Out of Hell III" credits. You'll see how many people it takes to try and replicate the Steinman sound when Steinman isn't fully at the helm. It’s a fascinating look at music production.
The reality is that it's all coming back to me Meatloaf isn't just a cover song. It’s the closing of a circle. It’s a singer finally getting the chance to perform the piece of art that he felt was stolen from him, even if the "thief" was his best friend and his greatest collaborator.
Next time it comes on the radio, whether it’s Celine or Meat, just lean into the drama. It's what Jim would have wanted.
Key Takeaways for Fans
- The Original: Pandora's Box (1989), produced by Steinman.
- The Hit: Celine Dion (1996), which Meat Loaf famously wanted for himself.
- The Meat Loaf Release: Finally happened in 2006 on Bat Out of Hell III.
- The Vibe: Meat Loaf's version is a duet, adding a layer of conflict missing from the solo versions.