The “mockumentary” This is Spinal Tap ended with Spinal Tap heading to Japan, last redoubt of their popularity. Now, 25 years later, the parody heavy metal band returned to conquer the globe with a “one night only world tour”.
Greeted by a non-ironic roar of appreciation, the core Tap trio looked exactly as they used to, only much older. Bass player Derek Smalls’ handlebar moustache was as bushy as ever but greyer. David St Hubbins on vocals – the tabby cat to Robert Plant’s lion – had squeezed into a pair of tight jeans. Dimwitted axe hero Nigel Tufnel proved that age doesn’t always bring wisdom.
The time is ripe for a satire about decrepit rockers reforming. The Tap, however, flunked the opportunity. A new song, “Back from the Dead”, ended with Smalls remarking: “It’s good to be back from the dead,” but otherwise the comedy went over the same ground as the film.
“Bitch School” and “Gimme Some Money” (“Your face is alright but your purse is too tight”) made fun of rock’s sexism. “The Majesty of Rock” mocked its bombast. “Stonehenge” and “Clam Caravan” (“Wind has a name in the desert. Sirocco!”) nailed its dippy mysticism.
The parody was as acute as ever but the subject matter has yellowed. A quarter century ago, when memories of Led Zeppelin and Black Sabbath were still warm, This Is Spinal Tap’s portrait of a fading British heavy metal band was perfectly timed. Now it’s a museum piece, superseded by post-Tap parody acts such as The Darkness, whose singer Justin Hawkins made a worshipful guest appearance.
The Tap lads played well – for actors. Tufnel (Christopher Guest) relied heavily on effects pedals for his solos and was bolstered by a keyboard player. Smalls (Harry Shearer) played bass in the spidery overhand style of a jazzman, while St Hubbins (Michael McKean) performed a serviceable impression of classic rock vocalists.
Highlights included Stonehenge’s ritual prop disaster (“We never seem to get it right, do we?” St Hubbins remarked) and a hammy turn from genuine keyboard wizard Keith Emerson. The fabulously lewd “Big Bottom” (“My baby fits me like a flesh tuxedo”) quaked along with five bassists and scores of female dancers. Fun enough, though the one-date world tour was scheduled wisely. ★★★☆☆
