E
In the early months of next year, production will begin on a follow-up to the popular 1984 satirical rock documentary, This Is Spinal Tap. The film will feature the same cast as the original, including Michael McKean as the flamboyant lead singer David St Hubbins, Christopher Guest as the guitar virtuoso Nigel Tufnel, and Harry Shearer as the bassist Derek Smalls (known for his famous catchphrase, “Hello, Cleveland!”). Unfortunately, there will be no drummers in the sequel as they have all met untimely deaths such as exploding on their drum stools or dying in unusual gardening accidents.
The sequel to Spinal Tap, titled Spinal Tap II, will be directed by Rob Reiner, who also portrayed interviewer Marty DiBergi in the first film. Reiner has revealed that the storyline will revolve around the passing of Ian Faith, the beleaguered manager of Spinal Tap, portrayed by Tony Hendra, who passed away in 2021. In the film, Faith’s character’s widow will inherit a contract that requires Spinal Tap to perform one final concert. The movie will also feature special appearances by Paul McCartney, Elton John, and Garth Brooks.
One might assume that Tap-fan-joy would be pure and unadulterated: the band is reuniting, the boys are returning to town. So why do some feel heightened anxieties up to the maximum level?
Is it possible that certain iconic works are too flawless to be revisited? After almost four decades, there seems to be hesitation among some people that a sequel would not be able to match the legacy of Spinal Tap, and could potentially damage its reputation.
You don’t need to come from a music journalism background like mine to appreciate the lethal wit and stiletto-accuracy of Spinal Tap. While there have been others (not least featuring the Rutles and Bad News), Spinal Tap is the undisputed rock-spoof daddy. Mainly inspired by Martin Scorsese’s 1978 rockumentary The Band: The Last Waltz, the film was given a structure, then wholly improvised. Perhaps that’s why, even today, it feels so fresh.
The complete package is present – a treasure trove of embarrassing rock fashion consisting of leather, Spandex, and double-denim. There’s Tufnel, a personification of a mullet, who always cranks his amp up to 11 and doesn’t understand why the cover art for Smell the Glove is considered sexist (“What’s the problem with being sexy?”). St Hubbins, the original rehab-goer (“I’m certain I’d feel much worse if I weren’t heavily sedated”). Smalls, who sees himself as the middle ground between his bandmates’ polar opposite personalities (“like lukewarm water”).
Some other memorable characters are Tap’s partner, “Yoko”, St Hubbins’s significant other, Jeanine; music executive Bobbi Flekman; and record label promoter Artie Fufkin. Some of the songs featured are Lick My Love Pump; Sex Farm; and Big Bottom. The lyrics include lines like “I enjoy sinking her with my pink torpedo” and “Taking out my pitchfork, poking your hay.”
In addition to this, there is a feeling of desperation and chaos. The miniature Stonehenge stage design, attempting to imitate prog rock, was ordered in the wrong measurements. The frantic rush to find the correct stage. The misguided attempt at a rock musical about Jack the Ripper (“He’s a mischievous one… saucy Jack!”). The realization that they are ranked second on the lineup to a puppet show. The painful decline in popularity (“Their appeal is becoming more exclusive”). The harsh decrease in relevance and popularity.
Ignore the humor, overused phrases, arrogance, and increasing absurdity, and at its core, Spinal Tap is driven by a deep sense of sadness and desperation.
Tap-lore says that although the film was not initially successful, it has become a sleeper hit and has confused some people who did not realize it was a parody. There have been rumors about which musicians did not find it funny, such as Steven Tyler and Gene Simmons. Artists like Sting and U2 have claimed to have been moved by its authenticity. As time has passed, Spinal Tap has become a must-watch on tour buses, a revered piece of rock history, and considered the Citizen Kane of rock documentaries.
At this moment, certain readers, particularly younger ones, may be dismissively thinking: “Some of this isn’t very humorous.” However, for devoted fans, Spinal Tap revolutionized the music scene by bringing self-awareness to the world of metal and rock music and reaching far beyond. It’s no coincidence that Spinal Tap has gone beyond just being a comedy film and has become a term used to describe, symbolize, and even serve as a cautionary tale for musicians.
“Skip the newsletter promotion”
after newsletter promotion
On the website IMDb, Spinal Tap stands alone as the only movie to receive a rating out of 11. It has the ability to turn even the most reserved individuals into quoting machines. Despite its intentionally questionable moments and purposely nonsensical lyrics (“You’re too young, and I’m too well hung”), it has also managed to withstand any attempts at cancelling it. However, there are some concerns about a potential sequel. Will it end up being a cheesy rock version of Spice World, complete with extravagant hair-metal guitar solos?
Some may resist changing a classic, fearing it will be ruined. This sentiment may be summed up as “don’t touch something good or you’ll ruin it.” Past experiences with overhyped sequels, such as Blues Brothers 2000, have left audiences disappointed. This film did not pay homage to the original 1980 musical comedy starring John Belushi and Dan Aykroyd, but instead cheapened it with poor imitations.
On the other hand, there are numerous factors. While the film Spinal Tap popularized the concept of mockumentaries, the genre has lost its novelty. Recent rockumentaries (such as Bros: After the Screaming Stops) have surpassed parody and reached new levels. Spinal Tap even created a pseudo-sequel (The Return of Spinal Tap). To add another layer, they also transformed into a real-life band, touring and releasing albums (including 1992’s Break Like the Wind), and performing at major venues like Wembley Arena and Glastonbury festival. It’s clear that this brand has been heavily promoted and maintained. One could argue that the tap has yet to run dry.
Rewording: The concept of fame and the music industry are constantly evolving. Is it amusing or simply expected for older bands to continue touring on the “heritage” circuit in 2023? It seems pointless to mock exaggerated rock bands when today’s biggest stars, like Adele, Chris Martin, and Ed Sheeran, are portrayed as normal people who happen to travel in helicopters instead of buses. Whether you admire or dislike them, these musicians tend to have a more modest approach rather than being over-the-top.
There have been discussions about potential celebrity appearances. Is it a good idea to have well-known individuals make awkward attempts at showing their sense of humor in Spinal Tap II? While their star power may be impressive, are McCartney, John, and Brooks suitable choices? Shouldn’t rockers be the ones doing the tough and gritty work for a Tap sequel? (Why not join in, Robert Plant? We’re ready for you to make a cameo, Bruce Dickinson).
Moving down the hierarchy of the music industry, it may have been expected that Anvil would be a shoe-in for cameo appearances. Their 2009 documentary, Anvil! The Story of Anvil, which lacked irony, has been praised as a real-life version of Spinal Tap.
However, any concerns from fans likely stem from a place of adoration. The worry that Spinal Tap may lose its valuable cult following and enigmatic status as a “hidden gem.”
It is possible for it to no longer pertain to us, the supporters, the individuals. In fact, while Spinal Tap reveals the reality of the music industry (the inflated egos, foolishness, and paranoia), it also speaks to all of us and the human experience. Haven’t we, in our own unique ways and in our own lives, experienced being deemed inferior to a marionette show or made a mistake involving a miniature Stonehenge? Haven’t we all been the unenthusiastic bystander at some point?
This is the magic secret ingredient of Spinal Tap. It’s a universal loser-manifesto that speaks directly to the crushed, cringing human soul. It could even be that any negativity about Spinal Tap II says more about generalised consumer distrust of sequels, remakes and cash-ins than anything else. It should also be noted that regenerated cult film classics are having a moment. In October, it was announced that Withnail and I (another evergreen “loser-manifesto”) is to be refashioned into a stage play.
After taking everything into account, is there any harm in having faith in the process? The creators of Spinal Tap II are the ones who have previously produced exceptional content such as Better Call Saul, Misery, Best in Show, and The Simpsons. Reiner has already expressed that the expectations are high and, as with the original, the script will be improvised.
There is a lot of material to satirize in the music industry of the 21st century, including the low payments from Spotify, unimpressive content on TikTok, and hologram concerts reminiscent of Abba Voyage. Additionally, the current trend in documentaries focuses on the personal struggles of celebrities, often tightly controlled, as seen in Netflix’s recent film about Robbie Williams. In this documentary, the former Take That member is shown lounging on a bed in his underwear, reflecting on his life and experiences.
One idea is to have St. Hubbins, wearing worn Y-fronts, lying on a couch and sadly reminiscing about the incredibly distressing experience of the miniature Stonehenge. (I’m interested!). If there is a need for another comedic take on music documentaries, we may have the perfect team for the job.
Source: theguardian.com
