If the ’20s have proven anything, it’s that “the end” is never truly the end for our favorite elder statesmen of hard and heavy music. Mötley Crüe, Slayer, and Twisted Sister are amongst just a few who have pulled global farewell fake-outs, only to return a few short years later for the inevitable comeback tour. Who better than English metal funnymen Spinal Tap to get in on this ever-growing trend? Now in the case of David St. Hubbins, Nigel Tufnel, and Derek Smalls, we’re talking about a band who has broken up, reunited, and repeated said cycle more times than Tom G. Warrior has uttered, “OUGH!”. Taking this into consideration, we should be so lucky these heavy rocking seniors have kept it together for what could very well be their final outing, The End Continues.
Similar to their eponymous debut “Black Album” (the original one, pre-Metallica), The End Continues accompanies the release of a brand new Spinal Tap film of the same title. In this film, our heroes are forced to reunite yet again for one final show to fulfill a contract they’d signed with their now deceased manager, Ian Faith. Like any great old school metal band giving it another go-around, and never one to rest on their laurels, the Tap decided to commemorate said reunion with a (mostly) new collection of songs, and even a few classics revisited: Because if there’s another thing these classic acts can’t stop doing, it’s excavating their old repertoire for the inevitable revamp.
As for the new tunes, Tap may be old, but they sure as hell can still crank out a classic metal banger like it’s nothing! The opening ELP meets Manowar epic metal wizardry of “Let’s Just Rock Again” stands tall amongst the finest entries in the Tap canon, setting the stage for an overload of ironic lyricism and riffage that goes up to 11. Cuts like brooding “The Devil’s Not Getting Old” and doom-laden “Rockin’ in the Urn” address the relevant topic of rocking out at old age, while cheeky rockers like “Brighton Rock” (no, not the Queen song) and “Blood to Let” channel the hedonistic absurdity of the band’s early days. This outlandishness is only upstaged by unexpected excursions into the realms of power pop (“I Kissed a Girl”) and disco rock (“Judge and Jury”) respectively.
Ironically, the Tap trio aren’t the only stone age rockers whose talents make up this affair. Sir Paul McCartney (I think he was a Rutle?) offers is unmistakable vocal stylings for a rerecording of “Cups and Cakes”, a Tap tune going back to the ’60s. One might draw comparisons between this classic and any number of McCartney compositions penned two lifetimes and a half ago, but surely, this is merely coincidence. Speaking of Sirs, or in this case Madams, good ol’ Reginald Dwight AKA Elton John appears on not one, but two re-records in the groovy “(Listen to the) Flower People” and iconic “Stonehenge”. Who knew Mr. “Honky Cat” could rock so hard (pun fully intended)?
While I haven’t seen the new Spinal Tap film (yet), I’m sure its musical companion is reflective of its overall quality. Like most sequels, it’s not as good as the original, but enjoyable nevertheless, especially for those who have been cranking it up to 11 since ’84. Though their hair is whiter, mobility slower, and limbs, well, still artificial, none of the inevitable setbacks of age are stopping Spinal Tap from strapping on their guitars and doing the devil’s work. Tonight they’re gonna rock you tonight.
7 out of 10
Label: Interscope Records
Genre: Heavy Metal/Hard Rock
For fans of: Deep Purple, Anvil, The Rods