Meat Loaf opened a federal fight over the Bat Out of Hell trademark in late May 2006.
By August 1, both sides reached an amicable deal tied to the rollout of “Bat Out of Hell III: The Monster Is Loose.”
The case sat in federal District Court in Los Angeles.
How The Fight Began
The complaint said Meat Loaf used “Bat out of Hell” for 29 years on recordings, tours, videos, and merchandise.
It said Jim Steinman registered the phrase in 1995 despite that long-running use.
The filing framed the dispute as use in commerce versus registration.
Producer Talks Broke Down
Meat Loaf’s team invited Steinman to help create “Bat Out of Hell III,” due in October.
Executive producer Winston Simone said a deal sat ready.
“Along with Jim’s lawyer, we had negotiated by far the best producer agreement that we had ever seen. Unfortunately, Jim decided not to sign the agreement or accept the very substantial advance.”
Labels Pulled Into The Dispute
The complaint said Steinman and manager David Sonenberg approached Universal and Virgin.
Meat Loaf’s side said they asserted ownership and threatened litigation, undermining album plans, touring, and contracts.
Attorney Louis “Skip” Miller drew a firm line: “Meat Loaf will not be bullied by anyone. He will continue to use the title ‘Bat Out of Hell’ in any way he wants.”
Settlement Cleared The Path
Virgin Records announced an agreement on August 1, 2006.
“The two came to an amicable agreement that ensured that Jim Steinman’s music would be a continuing part of the ‘Bat out of Hell’ legacy,” the label said at an album event.
The release date stood at October 31. At a New York media event, Meat Loaf added, “If it was not for Jim Steinman and his brilliance and his ability to turn a phrase and his concepts, we wouldn’t be here tonight.”
What Arrived With Album Three
Virgin said Steinman wrote seven songs for the record, produced by Desmond Child.
Among the tracks was “It’s All Coming Back to Me Now,” a Celine Dion hit originally written for the first “Bat Out of Hell.”
The Bottom Line
The suit sought ownership clarity and relief from alleged interference.
The deal restored collaboration behind a brand that drove two hit albums.
With the settlement, the parties aligned behind the Bat Out of Hell trademark and the third release.
