only thing left to believe in, it is a cry to the musical gods, thanking them for the gifts they have been given." Similarly, AllMusic describes the song as "a heart-tugging testament to the inspirational power of rock and roll." Track listing On the original vinyl release, "The Storm" and "Rock and Roll Dreams Come Through" were the A-side and B-side, respectively, of a 33-rpm 7" single, enclosed with the album. These tracks, according to Steinman's concept, are supposed to be the prelude and epilogue, respectively, of the album. The position of these tracks varies on the various CD versions: the Australian CD release in 1989 included "The Storm" as track 1 and "Rock and Roll Dreams Come Through" as track 10, while a European issue from 1992 included both at the end of the album and an American release from the same era included "Rock and Roll Dreams" as track 5 and "The Storm" at the end. Also, the spoken word epilogue to "Left in the Dark" is omitted from some CD versions. Reception In addition to breaking the UK Top 10, the album reached number 63 in the Billboard Pop Albums chart, and peaked at number 14 in the Swedish Top 60 Albums. "Rock and Roll Dreams Come Through" was released as a single, reaching 14 in the Mainstream Rock chart, and number 32 in the Pop Singles chart. The critical reaction to the album was mixed. Many reviews commented that Steinman's singing voice was inadequate for the songs. Rolling Stone, who also gave a lukewarm review of the first Bat, said "Steinman's thin, reedy voice simply cannot carry the absurd precocity of the lyrics". AllMusic also said retrospectively that Steinman "simply does not have the vocal range or lung power necessary to make this dramatic style of rock and roll work. For example...[in] "Left in the Dark", he struggles to keep up with vocal demands of this orchestral ballad, resulting in a vocal that sounds strained and occasionally off-key". Billboard magazine, though, said that "to the surprise of many, Steinman's vocals sounded stronger than expected".AllMusic also complained "that some of the songs repeat the Bat Out of Hell formula instead of building upon it; the obvious culprit in this arena is "Dance in My Pants", a duet that gratuitously recycles the battle of the sexes verbal sparring and the multi-part structure of Meat Loaf's "Paradise by the