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Total Eclipse Of The Heart

by

Bonnie Tyler



Songfacts®:  You can leave comments about the song at the bottom of the page.

This was written by Jim Steinman, who wrote all of Meat Loaf's hits, including "Paradise By The Dashboard Light," "Two Out Of Three Ain't Bad," and "I'll Do Anything For Love (But I Won't Do That)." Like these Meat Loaf songs, this uses elaborate production and is very long, running 6:51.
According to an October 26, 2006 article in the Australian newspaper The Herald Sun, Steinman first offered this song, along with "Making Love Out Of Nothing At All" to Meat Loaf for his 1983 album Midnight At The Lost And Found. For financial reasons, Meat's record company wanted him to write his own songs for the album, so this song went to Tyler and "Making Love Out Of Nothing At All" went to Air Supply.
Bonnie Tyler is from Swansea, Wales. This was the first record by a Welsh artist to top the US chart.
This entered the UK charts at #1, making Tyler the first female singer to do so.
Drummer Max Weinberg and keyboardist Roy Bittan, who are both members of Bruce Springsteen's E-Street band, played on this. So did Rick Derringer, a guitarist who was a member of The McCoys ("Hang On Sloopy") and had a hit on his own with "Rock and Roll, Hootchie Koo."
This played a major role in the 2001 movie Bandits. Cate Blanchett's character loves the song, describing it as "The ultimate haiku to the complexity of love." She soon finds out that Bruce Willis' character also loves the song, and their relationship develops.
A wedding band sings a surprisingly vulgar version of this in the movie Old School. It was performed by The Dan Band, which is a real group specializing in obscene versions of songs made popular by female singers. (thanks, Natasha - Chico, CA)
This is featured in Urban Legends (the first one) when at the beginning of the movie a girl is driving in her car and the killer is in the back seat. She puts this song on and starts singing to it before having her head chopped off. (thanks, Kathleen - Berthierville, Canada)
In 1995, a version by Nicki French reached US #2 and UK #5. In 2003, a version by Jan Wayne reached UK #28.
Ever wonder how Bonnie Tyler got that raspy voice? After years of singing in nightclubs in Wales, she developed throat nodules and required surgery in 1976. After the operation, her voice developed the distinctive rasp you hear on this song.
The distinctive "Turn Around, Bright Eyes" backup vocals were sung by the male vocalist Rory Dodd, who has appeared on many of Jim Steinman's productions and sang backup on albums by Carly Simon, Barry Manilow, Barbra Streisand, Lou Reed and many others.
This went on to sell over 5 million records worldwide. It won the Variety Club award in the UK for best single of 1983.
The gothic video, with Bonnie Tyler clad all in white, was story-boarded by Jim Steinman and was inspired by the film Future World, the follow-up to the Yul Brunner futuristic thriller Westworld. It was filmed at Holloway Asylum, which was built by a doctor out of the proceeds of a drug he'd invented to help his patients.

The video was directed by Russell Mulcahy, who worked on many of the early videos for Elton John, Billy Joel and Fleetwood Mac. He says that the scene where a shirtless young boy throws a dove into the camera - which was Steinman's idea - earned him the wrath of Tyler. Mulcahy said in the book I Want My MTV: "Bonnie came around the corner and screamed, in her Welch accent, 'You're nothing but a f--king pre-vert!' And she stormed off. There was nothing perverse intended."
The song was performed in the Glee episode "Bad Reputation" on May 8, 2010. The subsequent single release debuted at #16 on the Hot 100 with 134,000 digital sales. Out of all the Glee singles, only the cast's debut effort, "Don't Stop Believin'," has registered a bigger sales week-177,000 in its first 7 days.
This featured in a much talked about 2012 ad-campaign for the Australian bank, Westpac, in which Tyler walks across water as she sings the song at a wedding.
Bonnie Tyler
More Bonnie Tyler songs
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Comments (52):

Absolutely epic song that somehow manages to be sorrowful, haunting, and yet brazenly triumphant at the same time. Fabulous!
- Shawn, Green Bay, WI
I loved this song. I felt it was about a woman who has been through the wringer in terms of relationships, but has the strength to love once more, but her lover doesn't see her as "shiny and new". She is standing there, flaws and scars out for all to see.

Then I saw the video, where she is a creepy pedophile who dreams of preying on her teenage students. Yuck and ewww.
- Julia, Allentown, PA
I personally love the lyrics of this song. Simply put, it's talking about how complex real love is. It's never flawless and perfect, like the fairytales suggest. There are ups and downs and doubts and concerns. Regardless, she needs and loves him at the end of the day.
- Candice, Columbus, OH
This is one of my fav songs ever. My bff loves it too, and she has a really cool theory about the music video:
Her boyfriend died and she is seeing his ghost, hence the glowing eyes and ghostlike backup singers. Just an idea. I personally just like the song, I don't like to overthink songs too much.
- Shania, GJ, CO
That's a nice essay from Princess in North Bay, CA, but dascottjr from YouTube makes a much clearer explanation of the video, and she does it to music! See www.youtube.com/watch?v=lj-x9ygQEGA
- Steven, Sunnyvale, CA
what is this song about
- Jeana, Sterling Heights, MI
This song makes cubes in my head flash pretty colors. And jelly beans erupt from the walls of my mind. I love to just watch my lava lamp while I am rocking out to this song with my homegirl Ja- Bu Bu. The leaves blow through the wind as her vocals rock my ear drums. This song also inspires me to write mesmerizing poetry, kind of how the song mesmerizes me.
- Gwaquim, St. Loius, MO
Also featured somewhat prominently in the 2001 film "Bandits", starring Bruce Willis, Billy Bob Thornton, and Cate Blanchett.
- Ryan, Largo, FL
For those confused by the lyrics it might help to know that the writer was inspired by Catherine and Heathcliff's relationship in the novel "Wuthering Heights". Theirs was an intense and passionate--but also self destructive and toxic--relationship. The song is about a love affair that draws you in and won't let you go, even though it would be healthy to get away.
The "total eclipse of the heart" lines refer to the lover overshadowing one's life so much that the sun's light is blocked out, plunging the person's heart in darkness. If you wanna be technical/scientific ...imagine a solar eclipse with the sun's light being blocked from reaching earth/heart by the moon/toxic lover.
- Doc, Nashville, TN
I have always loved this song. I have had the 45 since I was 11 years old, but I ended up having to get the "Faster than the Speed of Night" album in order to have the full length version. The single is edited down to about 5 and a half minutes (although is says 4:29, it actually is longer than that). And lately the version that gets played on the radio stations around here is even more heavily edited than the original single, it's a horrible edit. This song has all kinds of great effects and it just gets into your head. Everytime I have ever upgraded my stereo equipment, this is the first song I used to test it out with. The thunder-effect after the first verse will shake the house on the stereo I have now. And if you like this song, check out the song "Faster than the speed of night", the title track of the album. It is like a six and a half minute masterpiece. The drumming on that song is among the best I have ever heard, hands down.
- Ron, Auburndale, FL
It's actually 3 mini songs combined:
1. Turn Around
2. Fovever's Gonna Start Tonight
3. Turn Around Bright Eyes
but it equals one Classic.
- Kevin, Memphis , TN
This is an incredible piece of music. I am not sure what the song is about but I really like it. Bonnie Tyler's rough vocals are toxic.
- Brian, Richmond , VA
One of the greatest 1980s collaborations was undoubtedly the Welsh singer with the gravelly voice and Jim Steinman, songwriter and producer of Meat Loaf fame. It was a match made in heaven, as Steinman's gift for lyrical bombast and over-the-top arrangements to match helped him produce his finest musical moment and Tyler's gritty but sensitive voice perfectly conveyed the longing of this great love song.
- Bertrand, Paris, France
Princess, you did indeed write an essay - which, incredibly enough, is even more bizarre than the video! You obviously spent a lot of time on this - I'm betting, more time than Steinman and Mulcahy combined - and I don't mean this as an insult: but do you understand the difference between sexual symbolism and religious symbolism?

As far as needing "deeper exploration and research" goes, well - it's only a song, and not even a particularly insightful one at that! Your essay is, at least, interesting (if somewhat "scattered") - but really, you seem young, and there's so much more to life! Don't waste it on over-analysis of rock videos.
- Gregg, Middletown, CT
with respect to mr edward pearce ashford kent l felt that his comments needed correcting.The video total eclipse of the heart was filmed at holloway sanatorium in virginia water surrey mr holloway was not a doctor but a manufacturer of pills and potions ray crawley w.sussex.
- ray, crawley w.sussex, England
does anybody know where can i get the version recorded with making love out of nothing at all? i really love it
- ariana, lima, Peru
Okay, I got it wrong. June 8 is *Bonnie Tyler's* birthday, not Jim Steinman's (his is Nov. 1). The rest of it was true, though, including the part about feeling old. Obviously my mind is going.
- Tracy, Silver Spring, MD
Jim Steinman went to high school with sports columnist and Monday Night Football booth member Tony Kornheiser. Today (June 8) is Steinman's birthday, and in his honor Kornheiser played this song during the "Old Guy Radio" portion of his radio show. Normally Kornheiser's OGR segments are with songs that were popular long before I was born; today is the first time I can remember that he played a song that was popular in my youth. I feel old.
- Tracy, Silver Spring, MD
Ken and Aj, you're both incorrect. The 'turn around' parts were sung by a Canadian singer named Rory Dodd. He also provided the backing vocals on "Faster Than the Speed of Night", the album containing the song.
- Matthew, Dalton, PA
I've always loved this song. Tonight I sang this song for the first time at karaoke. I had a friend sing it with me and we rocked it. I've been singing It's a Heartache at karaoke for the last 6 months. Bonnie tyler is a great singer.
- sue, salem, NJ
I wrote an essay on this video and how it coinsides with the lyrics... hope you all find it interesting... (it's copyrighted 2007)


The Moral Battle That Rages In Bonnie Tyler?s ?A Total Eclipse of The Heart?

Russell Mulcahy?s surreal or bizarre interpretation and adaptation of Bonnie Tyler?s ?A Total Eclipse Of The Heart? video has been noted to have nothing to do with the song?s original lyrics and is meant to stand alone as its own story. Though the video may appear at first glance to have nothing to do with the written lyrics, in fact Mulcahy has taken Jim Stienman?s lyrics and has interpreted and enhanced them by creating a controversial and thought provoking subtext to the original lyrics through themes and images of what is morally right and wrong and the constant battle between them. These themes and images are produced through the representation of light versus darkness, religious images or symbols, and the sexual tension resonating within those religious images or symbols.
In Stienman?s original lyrics, he appears to use many symbols through the representation of light and dark. In regards to light, there are many references to ?bright eyes?. The repetition of these two words within the lyrics can be found at the end of each verse (pg. 39 ln. 9, 11, 21, 23 pg 40 ln. 56, 58) and at the end of each chorus (pg. 40 ln. 46-47, 83-84). The repetition of ?bright eyes? throughout the song and within the last three lines especially, confirms the significance and power of these words in the song. Another direct reference to light that Stienman also uses is the phrase ?light in my life? in each chorus, lines forty-two and seventy-seven. Though it is not repeated as much as ?bright eyes? in the song, the fact that it is repeated only twice, only in the chorus, and being the only phrase in which the song that contains the word ?light?, renders it to be heavily weighted and important to the symbolism in the song. The word and phrase stand out when read or heard despite that it is only used twice in the song?s entirety.
In terms of symbols relating to darkness within the lyrics, Stienman appears to place a heavier focus on these symbols, including taking the symbols of light and casting them into darkness. He uses repetition with words like, ?tonight? and phrases including, ?a shadow on me?, ?I?m always in the dark?, and ?love in the dark? as well as ?A total eclipse? used twice in each chorus and within the title of the song. These words and phrases are used similarly to how the ones resembling light are used, giving them the same relevance and importance through repetition. In addition to the phrase, ?light in my life?, it is preceded by the words ?there was?, referring to a state of absence. An absence in which the light from his bright eyes and therefore her life, is now without light and cast into darkness. Similarly with the lines containing the words ?bright eyes?, these two words always appear to be preceding ?turn around?. The words ?turn around? are then interpreted as addressing the one who has the bright eyes, so the one with the bright eyes is being asked to turn around, thus implying that the brightness and light that these eyes cast are now diminished by turning around, thus also casting the persona requesting them into darkness.
Each verse of the original lyrics is also accompanied by every other line starting with ?turn around?, which creates a greater sense of pleading for the light to come back into her life. It appears that she is faced with a battle of longing for something or someone she used to have and is not able to get away from the emotional torment of wanting what is lost. This emotional battle can be expressed through Stienman?s constant use of light and dark. This conflict between light and darkness within the lyrics are shaped through the persona?s fight of once having light, now being shrouded in darkness and seeking that light again.
Mulcahy?s interpretation of Stienman?s lyrics into a video, takes the symbols of light versus darkness Stienman has created and adapts them, even enhances them, to create a deeper interpretation of the original lyrics. Mulcahy takes the reference to ?bright eyes? and the importance it has within the lyrics and produces the images of young schoolboys and a young Catholic boys choir as having these ?bright eyes? (0:43-0:45, 3:27-3:38, 5:10). Based on the reading of the lyrics and the interpretation of the video, the person with the bright eyes is the one the persona of the song is in love with and is longing for, therefore, it is then assumed the one or ones she is longing for are the young school boys.
Mulcahy also demonstrates and interprets the phrase, ?there was light in my life? through the use of light versus darkness throughout the video. He has the interpretation taking place at night, in the dark. He also experiments with the use of the light that emanates from each of the rooms Bonnie Tyler?s persona looks into. Each room portrays a boy as one of her desires. They are presented to the viewer in desirable ways, wherein their shirts are open, clad in Speedos and drenched with water (0:53-1:12). The light from each room casts a glow from these desirable images into the dark hallway Tyler?s persona is descending. This image provokes the similar interpretation of the phrase ?there was light in my life? as reading only the lyrics themselves; Tyler?s persona is walking in darkness and the light from the boys she fantasizes about are shedding light into her darkness.
Mulcahy also deliberately addresses the battle between light and darkness as a symbol of the battle the persona of the song is struggling over within the lyrics, by using images of battle. He presents the viewer with images of black ninjas (1:15-1:19), white clad fencers fencing (1:34, 1:44, 1:50), and foot ball players in formation, as they would be at the line of scrimmage (1:40, 2:15). All of these images are shown and presented at night and in the dark, but are also lit by the light of the moon, displaying a very drastic example of light and darkness. Each image is also an example in which there is fighting or a battle to be had. Black ninjas are century old warriors that were mainly hired for espionage and assassination, fencing is a sport in which attacking and defence are done with a light sword, and the line of scrimmage is where each football team lines up to begin battle over the ball (they line up similarly to how soldiers used to line up in times of war for battle). These images have a direct link to the original lyrics and the interpretation of them into a video as a whole, wherein the persona is struggling with the battle between what is morally right and wrong.
There are also the simple images and symbols that Mulcahy uses to represent the battle between light and darkness, such as the colours of black and white. Bonnie Tyler taking on the persona of the song, is seen throughout the video garbed in a white dress, there are black ninjas, white fencers; the outfits the choir boys are wearing are both black and white; as well, the boys ascending the staircase are wearing black sunglasses, jackets and pants. He continues to use images such as those mentioned above, during the course of the video; these images are merely a few examples to highlight his agenda and attention to detail in reproducing the symbols Stienman illustrates in the original lyrics of light versus darkness. It is these symbols that Stienman created and Mulcahy has enhanced through his interpretation of the original lyrics that represent the emotional struggle and personal battle the persona is fighting within her.
Stienman also constructs images and symbols of a religious nature within the lyrics as well. The title of the song, ?A Total Eclipse of the Heart?, which is also repeated twice in each chorus is a direct reference to a form of a religious aspect and by having the title being of a religious nature, makes the entire song one to be addressed or examined with religious thought. ?A total eclipse? is defined as ?the total surface of a celestial or ?heavenly? body is obscured by or into darkness? (OED).
There is an interpretation of these lyrics that is ripe with religious symbolism, and it is that the persona of the lyrics could be that of Mary Magdalene speaking about or to Jesus. This is definitely a topic that needs deeper exploration and research, but upon first examination could be deemed very relevant to this particular discussion. In the first and second verses of the song, Mary could be addressing her feelings about her sins and her feelings towards Jesus. Jesus could be seen as the ?bright eyes? and she is longing to have his ?light? and love in her life. The third stanza, that is not included in the recording of the song, could definitely be applied to Mary?s thoughts about Jesus in terms of her thinking he never really had a childhood like any other boy, due to his responsibilities and acknowledgement of being the Son of God. In conjunction, Jesus was the only one who accepted her despite her sins, forgave her and ?saw her the way that she (truly) was? (ln. 49). She then proceeds with the statement that there was ?no one in the universe as wondrous and as magical as you? (ln. 53), addressing Jesus? miracles and that she believed he was truly the Son of God. She then also states ?there is nothing she wouldn?t do?(ln. 55) for him, reinforcing her devotion to Jesus, his teachings and way of life.
The chorus could be seen as her confession of romantic love and desire that she feels for Jesus and in her moment of need is pleading for him to feel the way she does, even though she is knowledgeable to the fact that he cannot. This interpretation also seems to follow similar conventions about her internal struggle of her desires and romantic love for Jesus and wanting that love reciprocated, yet at the same time also knowing that it can never be and also wanting to follow and be saved by him. So, perhaps Mulcahy has similar ideas or interpretations when examining the original lyrics and applies them to his adaptation of the lyrics into his video. The moral issue that develops within the reading of the lyrics of the persona as Mary Magdalene addressing Jesus gives fuel for him to create a modern moral issue for the persona of the song to be coping with (an older woman or teacher desiring a young adolescent or student) and in turn uses religious images to keep in stride with the moral issues and battle the persona of Mary Magdalene would be dealing with.
To coincide with the religious reading of the lyrics is the sexual tension expressed in the chorus. The sexual tension is applied to Mary?s inner desires to have romantic relations with Jesus, but is also aware of how wrong it would be, equalling the conflict of the persona in the video, modern day reading, or non religious reading (39 ln. 25-47, 40 ln. 60-85). The lyrics convey a deep yearning and want by the persona. With lines and words like, ?I get a little bit restless and I dream of something wild? I get a little bit helpless and I?m lying like a child in your arms??(39), along with a music shift at the chorus, the lyrics become more aggressive, physical, and almost heated. Suggestive words like, ?need?, ?tonight?, ?hold?, and ?forever? repeated throughout the chorus? also suggests a strong emphasis, which produces a feeling of urgency, want, and desire. All of these traits of feelings and emotions are what build the sexual tension.
The religious images or symbols and sexual tension represented in the lyrics are reciprocated in the video rendition as well. Mulcahy tends to make these themes a strong focus in his adaptation, so much so that they overlap and work together, sometimes as one. For discussion purposes, the religious images and sexual tension displayed in the lyrics that are portrayed in the video will be discussed as one.
In reference to the uniforms that the young boys are wearing, while many private schools for young children and adolescents require their attendants to wear uniforms, it is also a requirement of students attending Catholic schools. In addition to this interpretation of the boys in uniform attending a Catholic school, are the images of the boys in choir robes (3:27-3:30). Mulcahy manipulates the religious image of these young boys as the subjects of the persona?s desire and has in turn also made them appear very sexual. In scenes 0:56-0:57 and 3:49 of the music video, the boys in uniform are dishevelled and seen as sexually desirable because of their open shirts and bare chests. The first instance where these desirable and sexual young men are viewed, as mentioned above, is the line where the persona states, ??and I dream of something wild?(39 ln.14, 0:54-0:56). The way these young boys are presented to the viewer alludes to the fact that the persona finds these boys sexually desirable.
Among all the images, Mulcahy has the persona of the song confronted with as she roams the dark hallways, a scene of five boys at a dinner table, wherein four of the boys at the table raise their glasses in a toast to the boy at the head of the table (1:23-1:27). This image of the five boys could be seen as a representation of The Last Supper. With reference to the depiction of sexual tension within this religious symbol is the final shot of the sequence, which also occurs at the climax of the music, just before the chorus. The image is that of a forceful clashing together of two of the glasses the boys were holding, in a toast that causes the liquid within the glasses to overflow and spill out, creating an image closely resembling that of the motions of an orgasm (1:29-1:30). This sequence of images of The Last Supper is also later shown in chaos. There are three shots in the video where the same boys toasting at the dinner table, are seen in chaos, destroying the dinner scene by tearing it apart (3:07, 3:11, 3:17). These disruptive and chaotic images correlate to the persona?s inner struggle and battle presented throughout both the original lyrics and video adaptation.
With the introduction of there being three shots of a chaotic Last Supper, Mulcahy uses the symbol of the number three throughout the entirety of the video. The number three is a powerful number and has a variety of meanings when used as a symbol, but one of the main characteristics the number three represents as a symbol is that of The Holy Trinity. The Holy Trinity is a religious reference to God the Father, The Son, and The Holy Spirit. Mulcahy uses the number three in ordinary ways, which upon first glance of the video could be undetected or unnoticed. It is the repetition and demonstration of the number three to create a strong emphasis, which is important and worthy of examination. The opening shot of the video is of three lit windows (0:06); there are then shots of three open doors; three lights hanging from the ceiling and each contains three little lights; three white lit candles; and three empty decanters within the first thirty seconds of the video (0:18-0:31). By presenting the audience with these images of three and the symbolism the number usually evokes of The Holy Trinity, subconsciously creates a religious viewing of the video, which in turn also produces a deeper moral issue for the persona of the song, as well as adding to the struggle and battle between what is morally right and wrong.
Mulcahy continues with the use of the number three and the religious symbolism in a scene where Tyler is on a balcony above a set of stairs where six boys clad all in black leather are in rows of two, therefore making the number three the predominant visual, are ascending the stairs beneath her. While the audience is shown Tyler standing on the balcony with her legs astride, they are also presented with an image of looking down on the boys who then proceed to make actions that can be interpreted as beckoning Tyler?s persona to come down to them, to join them. These images make it appear as though these desirable boys are asking her to make a decent into the underworld or to give into her temptations of desire and lust for them (1:55-2:04).
The scene then ends with the camera panning down, and then zooming in for a tight shot on the architecture of an arch between Tyler?s open legs (2:30-2:33). What is fascinating about Mulcahy?s focus on this specific architecture, is that in many Roman Catholic churches and cathedrals, this Gothic style of arches have been used and are still incorporated into modern churches today is very sexual. These types of arches were normally found in the entryway to the churches and they were designed to look like the woman?s labia, due to the fact that the church was thought of to be the female component to Christ, or in other words, the ?wife of Christ? (Marin). Weather Mulcahy deliberately presents the audience with this very sexual religious symbol; it does fit in with everything else he seems to be trying to accomplish with his video adaptation. These arches are probably the most sexually charged religious images within the video and in turn add to the previous scene of temptation the boys clad in black appeared to be offering her. Thus, also putting more of an emphasis on the sexual religious images, that in turn, fuel the persona?s battle between what is morally right and wrong.
Jim Stienman?s original lyrics to Bonnie Tyler?s ?A Total Eclipse of The Heart? are laden with symbols and themes to emphasize the persona?s internal struggle of desire from something she cannot have. Russell Mulcahy takes the internal struggle of the persona and the symbols Stienman created and propels and manipulates it into a music video adaptation. He not only draws on the original lyrics, but also enhances them, turning the inner struggle of the persona into a full-fledged battle within herself of what is morally right and what is wrong. Mulcahy accomplishes this feat by drawing on the themes Stienman created; the representation of light versus darkness, religious symbols and the sexual tension those symbols emanate. Though it would appear that when the lyrics and the video are examined at first glance, would appear to have almost nothing in common, but in fact correlate on a variety of levels. Both work together to create a piece of art that challenges social boundaries and the audience as a reader and a viewer to examine the efforts of their creators to see just how they work as one to draw attention to the moral issues faced by today?s society.
- Princess_ck84, North Bay, Canada
I don't really get the lyrics. Is she in love or did she get dumped? Why is she "falling apart"? Is she so in love that it hurts? Anyone?
- Keli, santa barbara, CA
OMG, I love it... At First, I heard the song in Spanish.. I liked it. My mom told me, she heard the song in English when she was younger. I searched for it, and LOVE TYLER TOO.. It;s amazing how both song can transmit the real meaning in both languanges... GREAT!!!
- Cynthia, Union City, NJ
It was covered by Westlife in 2006, put on "The Love Album", apparently their aim was to cover the most beautiful love songs.
- Kams, Bszcz, Poland
Bonnie Tyler also sang lead vocals on the title track of Mike Oldfield's "Islands" album (1987), and on the song "Is Anybody There?" on Rick Wakeman's "Return to the Centre of the Earth" album (1999).
- Steve, Torrance, CA
What exactly is a total eclipse of the heart? Is it like a lunar eclipse? Is it like a solar Eclipse?
- Annabelle, Eugene, OR
This song was redone by Straight Outta Junior High. Check it out, www.sojh.com
- Cassie, Hamilton, NJ
This is a beautiful song. I love it. I want 2 dance 2 this @ my wedding. I also think Jessica Sierra did a lovely version of this on AMerican Idol.
- Caitlin, Upper Township, NJ
what people forget was what a monster hit this song was. it was every where. you couln't turn the dial without hearing it somewhere. i think the video was on every hour on mtv, which was almost a mini-movie. i was friends with a girl who would crank this song up whenever it came on. it takes me back to those old days. give bonnie tyler credit, this went to #1!
- james, alpharetta, GA
when i heard this song the first time i was in a relationship with a younger man he loved it --i could take it or leave it ----now years later
my realtion ship is ending again with a younger partner ---i hear the song and i love it
memories ??? maybe
- mica, gaines, PA
I know that opinions are boring and everything, but I can't stand this song.
- Steef, Toronto, Canada
I am 17 now and since I bought a CD that had this song on it, I have loved it. It really speaks to me because some of the lyrics are exactly how I feel. I always belt out the lyrics when I listen to it in the car.
- Sam, Warwick, Australia
Dee-Isn't it funny how sometimes song you even really hate, you love years later. Nostalgia is very powerful.

Not powerful enough to make me like this song though.
- Ralph, Newton, MA
I adore this song and Tyler's unique vocals. Many people mistake Tyler for Stevie Nicks -- almost as many as believe Nicks and Tom Petty recorded "Couldn't Say No" (Carlene Carter and Robert Orrall) roughly a year previously.
- Ekristheh, Halath, United States
About the cheesy music video, they actually counted all of the cheesy effects it had in it on Vh1's Cheesiest Music Videos special.
- katie, somewhere, NJ
I think this song is pretentious and overproduced. Bonnie's attempt at an emotional vocal is ludicrous. After this second wave of commercial success, Tyler again fell back into obscurity, and had to settle for singing Folgers Coffee commercials!!!!
- Barry, New York, NY
When her first hit "It's A Heartache" was released in 1978, some disc jockeys referred to Bonnie as the female Rod Stewart because of her raspy voice.
- Rick, San Juan, United States
I was 14 when this was a hit and we use to have neighborhood dances. This was one of those songs everyone seemed to dance to. I didn't like it much at that age, but now I love this tune. Maybe because it takes me back to those days of 1st crushes and learning how to interact with females beyond friends. Most videos from the early 80's were cheesey, but thats what made them fun to watch. I miss those as well.
- Dee, Indianapolis, IN
When this song first came out, I found that my male friends liked it, but my female friends hated it. At the time, I thought it was because women in general just did not want to admit to men that a woman could love a man as much as the women in the song loves her man.
- Bill, southeastern part of, FL
The running time is not 6:51 it's 6:59. And I thought Meat Loaf did the backing vocals "Turnaround bright eyes" ?
- AJ, Cleveland, GA
Jim Steinman also did the backing vocal, singing the "turn around, bright eyes" part.
- Ken, Louisville, KY
This is my favorite song in the world. I love it so much.
- AJ, Cleveland, GA
In reference to Virna, Santo Domingo, the video is crappy cause it was made in the 80's, before they had all the equipment that they have now
- Kristy, saco, ME
The wedding band from Old School is called the Dan Band. They do a number of foul mouthed lounge songs and also appear in the movie Starsky and Hutch. thedanband.com
- Jim, Pittsburgh, PA
Several years before she recorded this Bonnie had to have throat surgery. That caused her "raspy" sound which she is now famous for.
- Ted, Greeley, CO
i love this song..wish i could sing like her..its weird but i always seem to interpret it in different ways, like when i hear it when i feel depressed, i think of how i need my friend mitch to talk to, and i really need him then..yea, weird, but true
- natalia, fenton, MI
cool song but a really crappy video!
- Virna, Santo domingo, Other
By now this song is - in a little different version as far as I know - part of the Musical "Dance of Vampires" ...though I'm not sure about its English title I have to admit...
- Christina, Bochum, Germany
Covered by Nikki French in the mid 90s, this version became a major hit in the us
- Melissa, Green Bay, WI
This song was also played by FOX in between one of the innings of The 2004 World Series Game 4. The song played in the background as the station showed the lunar eclipse. This foreshadowed the Cardnials ultimate loss to the Red Sox, which made this Astros fan happy!
- Bryan, Spring, TX
I think her voice is nice.And as for mw I think that is my number 1 song.
Funmi, London
- funmi, London, England
Appeared in Season 1 Episode 2 of Cold Case on CBS. The episode is titled "Gleen." The song is played while Rob sets the bomb in the backyard, then later calls his wife from work to put things into play.
- Jonathan, Natchitoches, LA
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