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[indistinct chatter]

Downloaded from YTS.LT

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[excited chatter]

[crowd chanting] Tap! Tap! Tap! Tap! Tap! Tap! Tap!

Tap! Tap! Tap! Tap! Tap!

Man, I put them up there with AC/DC, Motorheads.

Spinal Tap is, you know, in the vortex.

I listen to Tap, like, every night before I go to bed.

[Marty] Really? You think that's calming?

It's very calming.

[chanting] Tap! Tap! Tap!

Tap! Tap! Tap!

Tap! Tap! Tap! Tap! Tap!

Tap! Tap! Tap!

Tap! Tap! Tap!

[crowd cheering]

[Marty] This is where it all happened,

the site of Spinal Tap's reunion concert.

Hi, I'm Marty DiBergi.

Forty years ago, I was honored to direct a film called

This is Spinal Tap.

It chronicled what was to be Tap's final tour.

But after the release of the film,

Tap continued on and played such storied venues

as Wembley Stadium.

♪ Where the demons dwell ♪

♪ Where the banshees live ♪

Glastonbury.

[rock music playing]

And the Royal Albert Hall.

♪ Tonight, I'm gonna rock you ♪

Then, 15 years ago,

lead guitarist Nigel Tufnel

and David St. Hubbins,

friends since childhood,

mysteriously stopped talking to each other.

And to the heartbreak of their loyal but shrinking fan base,

Tap stopped performing.

But I discovered that Hope Faith,

the daughter of Tap's now deceased manager, Ian Faith,

had inherited Tap's contract,

which called for one more performance.

When he passed away, were you surprised that he--

-Died? -Yeah, were you surprised?

No. It's a miracle he lived as long as he did, to be honest.

-Yeah, yeah, yeah. -Yeah. He was an angry man.

[Ian] In the topsy-turvy world of heavy rock,

having a good solid piece of wood in your hand is quite often useful.

I mean, he didn't have much to leave me

because when he died, there wasn't much of anything.

But because I was next of kin, I got the contract,

which I thought was pretty worthless, to be honest, no disrespect.

The band hadn't played together for some time,

so I just thought it was dead in the water.

And then after the Garth Brooks song went viral...

♪ My baby fits me Like a flesh tuxedo ♪

♪ He loves to sink me With his pink torpedo ♪

♪ Big bottom, big bottom ♪

♪ Talking about bum cakes ♪

♪ Yeah, I got 'em ♪

So, I was like, "Oh, hang on, this isn't maybe worthless."

[Marty] Hope was no fool.

She knew a thing or two about hot irons

and when to strike them.

But hey, enough of my exposition.

It's time to make some noise.

["All the Way Home" by Spinal Tap playing]

♪ Well, I'm sittin' here Besides the railroad track ♪

♪ And I'm waiting For the train... ♪

[Marty] The first order of business,

track down Nigel, David, and Derek.

I found lead guitarist Nigel Tufnel

living in the quaint village of Berwick-Upon-Tweed.

He and his lady friend, Moira Babbage,

were proprietors of a cheese and guitar shop.

I'm just wondering why you chose this after the band broke up.

Yeah, well, I thought,

how do you make your life

after rock and roll? Cheese.

That's odd because you normally wouldn't think

the rock and roll, now cheese.

-Yeah. -You wouldn't think those--

Maybe not, but for me, it was.

[Marty] And I see over there you have a number of guitars.

-And you sell both? -Yes and no.

Sometimes people come in with a guitar, you see?

And they trade for cheese.

-Really? -Yeah.

-So, let's say-- -Sometimes it's the opposite.

Sometimes people come in with cheese.

-Yeah. -It goes both ways.

What I do is I go like this

because I trust my hands more than a scale.

-I go like this. -Yeah.

Then I go like this. Let's say...

Yeah.

-Close. Very close. -Yeah.

So, a half a wheel of that cheese

-would buy you that bass. -Trade it. Everyone's happy.

Do you miss playing music?

-I play music. -Where?

At a pub.

[Celtic music playing]

[plays heavy rock note]

[Marty] Do you miss playing with Spinal Tap?

I don't miss the friction.

You know, we had, um... friction.

Yeah. Have you talked to David in the last 15 years?

-I have not. No. -No?

Or Derek. No, I haven't.

-Really? -I haven't spoken to them at all.

So, how do you feel after 15 years?

I feel, um...

nervous.

Not about the playing bit.

About the people part of it.

-Yeah. -So.

-Hello, love. Hello. -Hello.

-And now, who's this? -This is Moira.

-Oh, hi. -Nice to meet you.

Nice to meet you.

-And you work here with... -I do.

You're standing where I was when I met him.

Oh, you were a customer.

She walked in, I saw her,

and I thought, "Oh, my God."

He gave me a piece of Wigmore, and it melted my heart.

Oh, wow.

It was so delicious.

And I just got that feeling,

you know, I want to...

I want to, like,

take off my clothes and stay forever.

-Really? -And she did.

So, that little piece of cheese...

The Wigmore does it.

[Marty] Lead guitarist David St. Hubbins

was living in Morro Bay, California,

and was still making music.

-[singing in Spanish] -[band playing mariachi]

[David] Would you like to see where the magic happens?

[Marty] Yeah.

-Wow. Wow. -Yeah.

-Look at this. -This is incredible.

This is where you do all your recording?

-You do everything here? -Actually, I do it all there.

-Oh, there. -Yeah.

Everything in this studio

would fit in this one's left hind leg.

This is something I've been working on.

This is for a podcast.

It's one of those murder podcasts.

-Oh, yeah. People love murder. -Yeah. They do.

[Marty] They call it murder porn.

[dramatic music over computer]

[narrator] It was a day like any other.

The sun was peeking through the Aspens

in the quiet town of Silverton, Colorado.

Joanne Miller was expected at the Skyview Diner

to greet the breakfast crowd.

However, on this brisk fall morning,

Joanne Miller would never arrive

to serve her hungry guests.

But that's...

the trouble with murder.

-[police siren wailing] -So, you wrote the music...

-Yeah. Yeah. -...for that podcast?

-Yeah. -[turns siren off]

So, you've been spending most of your time

writing these scores, essentially, to the podcast?

I'm just working on a score now for a film.

-Oh, really? -Yeah.

It's a horror film that takes place

in a retirement community.

It's called The Night of the Assisted Living Dead.

-Yeah. -Yeah.

I'll tell you what my biggest hit was.

[chuckles]

This is a little something.

You're going to recognize it right away.

[laid-back music playing]

[automated voice] Your call is important to us,

so please stay on the line.

The first available operator

will be happy to assist you.

Your call is important to us, so please stay on the line.

-That bit there. -Yeah.

Favorite bit.

[laid-back music continues]

Oh, wow.

It won a Holdy.

-A Holdy? That's-- -Yeah.

That's an award for hold on, you know...

-Music for putting you on hold. -Putting you on hold music.

Wow, that's interesting. You know, you haven't played together in 15 years.

-Yeah. -And how do you feel about that?

There was a stick in the spokes. Let's put it that way.

There was a moment that I couldn't get over.

And when Jeanine left, it all--

That all kind of came into focus.

-Have you spoken to her since? -No. No.

-Do you know where she is? -No.

You know, I don't want to speak out of school,

but I think you'd be surprised to find what happened to her.

I'd just like to say that I hope she's found the right man.

I didn't tell him about Jesus.

I mean, I didn't want him to be jealous or anything.

-[Marty] Yeah. -Because he might be.

[Marty] A lot has happened since the last time I saw you.

Can you tell me anything?

What happened?

We broke up,

and I didn't know what to do.

I had a nice cup of tea.

-Right. -And as I'm having a cup of tea,

I noticed this glow

comes into the room,

grows,

almost like it grows inside me.

And then... I hear this voice.

This voice says to me,

"Every breath you take,

every move you make,

I'll be watching you."

That sounds like a-a-a song.

Uh, The Police.

That's a song that, uh...

-Sting sings that in The Police. -Oh.

Yeah.

[Marty] Bass player Derek Smalls

was living in London and became the curator

and sole owner of a museum that featured glue

from virtually every country in the world.

Have you been playing music at all in the last--

Yes, I-I-I tried to organize a tour,

and, uh, we had two symphony orchestras.

[orchestral music playing]

♪ Hell toupee ♪

♪ Hell toupee ♪

♪ When it goes Old Satan knows ♪

♪ There's hell toupee ♪

How long have you been running this glue museum?

Glue had always been something that fascinated me.

What keeps things together?

-[both] Glue. -[Derek] What keeps people together?

-[Marty] Glue. -[Derek] It's the adhesives of human behavior.

I'm in a band that constantly is breaking apart

and coming back together.

-And you see yourself as... -Glue.

-I want to show you something. -Okay.

Come with me.

Glue's made of all sorts of things.

-Yeah. -Mainly animals

in the first thousands of years, you know?

This is from a tortoise in the Galapagos.

You cannot get glue from a tortoise anymore.

Oh, what is it, like outlawed or something?

I think it's a union thing.

This is the most valuable glue on this continent.

Smell this.

-Can you smell that? -Wow, that's very powerful.

Yeah, you cannot get this. You cannot make this anymore.

[sniffs]

Oh!

Is it...

[snorts]

Can you...? You can't get... Can you try...?

You can't get that out?

-No. -Uh-oh.

Vivian!

Can you bring some solvent, please?

-Can we keep talking? -Yeah, okay.

The band hasn't played together in 15 years.

Do you have any idea what caused the rift?

I was a representative of a cryptocurrency.

[hard rock music playing]

Hi, Derek Smalls here.

Like everyone else in rock,

I know a little bit about money,

especially the newest kind of money, crypto.

Everyone knows Peter Bruegel is a painter of great masterpieces.

Now you can have the artist at BruegelCoin

paint a masterpiece for your portfolio.

I mean, I feel a little guilty about this.

-I got David and Nigel to invest in it. -Oh.

And maybe there's some bad feeling about that

because it went-- It's worth zero.

[Marty] So, for the first time in 15 years,

David, Nigel, and Derek would meet again

in the home of jazz, blues, and gumbo,

the Big Easy, New Orleans.

[jazzy music playing]

[David] We're in the French Quarter now.

We could do the ghost tour.

The ghost tour. That might be fun.

-But at night. -No, you don't do it in the day.

-It'd scare me in the daytime. -In the daytime, ghosts are just rumors.

[car door closes]

-[Derek] Who's that? -[David] Who do you think it is?

-[Derek] Oh. -[David] Have you seen him?

[Derek] I got a postcard from him one Christmas.

[David] Really? It's more than I got.

Hello.

-Hello. -[David] All good?

Yeah. Long flight.

[David] Yeah?

Shut the door.

[door closes]

[sighs]

There you are.

Yeah. We're here.

Hey, mate.

This is quite a thing, isn't it?

[cell phone rings]

Excuse me.

Hello, love. How are you doing?

[Moira over phone] Hello. How are you?

Oh, it's weird.

-I'm off. -Yeah.

I'll see you in a bit.

It's very strange being without you and so far away.

You know, it's...

Have you met the others yet?

[Nigel] Um...

Just... Excuse me.

Yeah. David's just coming through.

[footsteps ascending]

Don't know if this was a good idea or not.

I just don't know.

Give it time.

[David] Do we have any towels?

Do we have any towels?

[Nigel] You know, it's so strange.

I knew him when I was five years old.

How was it last time you'd met? Was it fine the last time?

No, it was-- It got a little tense, you know,

when we did the last few gigs.

I would say, "What's going on?"

And he'd say, "As if you don't know," he said.

Mm-hmm.

Dora died, finally.

No.

So, we'll be selling a lot less Stilton.

Oh, no.

For years, the band had...

Bobbi Flekman was their publicist, their PR person.

-She was, yeah. -And, uh, you know,

I'm just curious why you didn't reach out to her.

I did reach out to her.

-Oh, yeah? -A lot.

She's busy.

Listen to me. I still have PTSD

from that Smell the Glove tour.

-Oh. -It was so painful for me.

-Right. -I can't even tell--

I became Buddhist.

Hey, hey, hey. Here they are.

-[David] Hello. How are you? -Hello!

-Hi. -Good to see you, sweetie.

[Marty] I understand Hope hired you

to help promote the concert.

How is that going?

I would say I'm working

as smoothly with Hope as with anyone I've ever worked with.

-Really? -Yes.

She's sort of... She's...

Bless her, she's, you know,

tremendously out of her depth.

Um, and that's lovely, because, you know,

it gives her the opportunity to grow as a person,

and it gives me the opportunity to take advantage.

Tomorrow, we're auditioning drummers.

-Oh, yeah. -[Hope] We've lined up some more auditions.

-That's a sore subject, innit? -[David] Yeah.

For obvious reasons, there is some reluctance

amongst the drumming community...

-[David] We understand. -...to engage.

-Yes. -We have actually started

to put out advertisements

that don't name the band at all

in the hope that, you know,

we can slowly walk people towards the position of being--

It's like a sneak gig. I like the way he thinks.

The other guy was Artie Fufkin, who was their A&R guy.

I mean, he was the guy who promoted their albums and all.

He was great. And, again, he didn't want to know.

Yeah, well, I was able to find him.

-No way. -Yes.

I was able to track him down.

And he's gone in a completely different direction.

[Artie] The whole industry had collapsed.

-Yeah. Yeah. -You know, with the streaming

and the thing, and the whatever, YouTube.

How did you wind up with this?

I woke up in the middle of the night, and I said...

Two words were on my brain.

"Dancing inflatables."

If this is the final gig that Spinal Tap do,

then what we need to do is secure your legacy.

Now, the simplest, most effective way

that we could do that is that if during the gig,

at least one, but ideally no more than two of you,

were to die.

Uh, that's what I call the Elvis effect.

It really allows for a sort of late flowering of...

Do you mean pretend die?

I think that would complicate matters.

It's easier if you just...

-[Derek] If we just expire? -If the exertion-- Expire.

-Do you mean actually die? -Yes.

-Yeah, but I don't want to. -That's a bit hard to arrange.

[Simon] No, no, no, I appreciate that,

but I think in terms of your legacy going forward,

how you'll be remembered, how you'll be talked about,

what effect that will have on record sales.

I'm thinking documentaries, a huge memorial concert.

You can do that without actually killing one of us, though.

It's difficult to do a memorial concert when the person's alive.

That's a sort of rule of thumb.

[David] Would you settle for a coma?

-Oh, now that's interesting. -[David] You know...

Oh, now, David, that's interesting.

That's a great bit of thinking outside, well,

the literal box, I suppose, actually.

[Simon] So, we have a few drummers lined up.

[Hope] Some on Zoom, some in the room.

Before we shut down your drummer,

what happened to him?

-Oh, Skippy. Sad. -Skippy.

Yeah, really sad. Yeah, Skippy Skuffleton.

He sneezed himself into oblivion.

-What? -He had a terrible sneezing thing.

-And he couldn't stop sneezing. -A sneezing fit.

-Yeah. -Fit.

-And it wouldn't stop. -No.

-And he died. -Yeah.

Is that medically possible?

Well, we think that it was because he was allergic

to the seeds inside the maracas.

-He'd never played maracas. -Yeah.

We wanted him to put maracas on a track.

-But no one really knows. -Well, that's my theory anyway.

Because it's all of a sudden...

The important thing is he's dead.

[Hope] Here we are, yeah.

[David] So, how'd you find this place?

[Derek] Wow, look at that.

Well, there's only one in New Orleans.

-Really? It's very homey. -This is the best one.

If it's the only one, it'd better be the best one.

-[Simon] Of course. Logically, it is. -[David] Very nice. Indeed.

-Here we go. This is your new room. -This is nice. Isn't this nice?

-[Nigel] This is all for us then? -[Simon] All for you.

-[David] This is great. -Amazing. It's crazy.

-This is very homey. I like it. -[Hope] Yeah.

[David] The acoustics seem all right.

-[Hope] Good. -[David] We're in business.

I think we've got what we need, it looks like.

-[Nigel] Hello, hello, hello! -[Derek] Sounds like a studio.

-Give me an A. A. -[Derek] Huh?

[all] ♪ A ♪

♪ When I first laid eyes On County Dunne ♪

♪ I was green As the hill so high ♪

♪ But in later years The streets ran red ♪

♪ With blood 'Neath the violet sky ♪

♪ I loved me a lass Whose hair was long ♪

♪ And brown As the finest stew ♪

♪ And she swore by the stars In the jet-black night ♪

♪ She'd be true ♪

♪ As the sky so blue ♪

[clicks tongue] Nice.

[David] Yeah, okay.

You're not gonna do that on stage, though.

[Simon] Cards on the table,

the music industry have always hated me.

They've always hated me, and a lot of that is jealousy.

Um, but what they perceive as my "weakness,"

you know, is my superpower

in that I don't give a shit about music.

The reason for that is I suffer from a medical condition,

um, called St. Cecilia's Curse,

which means that I can't process music.

So, I can't hear it, and I can't replicate it.

So, ask me to sing any song. Name a song.

Uh, "Happy Birthday to You."

I can't sing it. Name another one.

"The Best Things in Life Are Free."

I can't sing it. You see, it's a curse.

[David] We're gonna run the track by you.

[Nigel] Yeah, have fun.

We've stripped the actual drummer out.

He's dead anyway.

So, just thought you might

-just give it a fly, you know. -[drummer] All right.

["Tonight I'm Gonna Rock You Tonight" playing]

[playing discordantly]

[percussion thudding]

-Wow, um... -Uh, that was...

-[Derek] Thank you. -Thank you.

[Hope] I'm gonna try and sort some cleaning stuff out.

-[David] Is he coming this way? -[Derek] Yeah.

-We need someone who can-- -Hey, guys.

We have Questlove on the line in the other room.

-This might solve our problems. -Okay.

Oh, here they are. Here they are.

This is Spinal Tap.

He's come back to us about the audition.

Very nice. Yeah, very nice.

-[groans] Oh, yeah. -Look who it is. Look who you are.

-It's a pleasure to meet you. -How are you, guys?

Good. Thank you for coming. Thank you for considering us.

It's my pleasure. You guys are legends.

[Nigel] Thank you. Well, so are you as well.

So, you think you might fill the bill?

You know, guys,

uh...

I have a colonoscopy to do,

-so I don't know if I can do it. -[Derek] Ouch.

What if we got an extra comfy stool for you?

Guys, look, yes, you're legendary, but...

I-I don't wanna die.

-Not legendary enough. -Okay. All right.

Okay, well, we've got to respect that.

I-I would love to.

I'm still doing the Chili Peppers.

Yes, you are. We know, yeah.

But it's a dangerous, dangerous,

you know, gig for a drummer.

We've only lost 11 or 12...

-Eleven. -Eleven drummers.

You know what? I got the guy for you.

-[David] Who's that? -Lars.

Lars from Metallica.

-Lars Ulrich? -Yes.

-He's good. -He's a great drummer.

[David] How are you, Lars? Good to see you.

Hope Faith. Do you remember... Do you remember Ian Faith,

our manager from years back? That's his daughter.

-[Hope] I'm Ian's daughter. -[David] That's right.

How's your dad holding up?

-My dad is dead. -Yeah.

-He's not holding up at all. -So, he's holding down.

[David] Yeah, so anyway, we've got this one gig.

We're still short a drummer because things happen.

That's very kind of you, though. Uh, this...

So, this Metallica thing...

We're a couple-- Four decades into it.

You don't need to leave Metallica.

-You can stay in Metallica. -It's just one gig, yeah.

If they can find someone else for a night.

-It's just one night. -It's one night.

I have, however, heard,

uh, that Chad Smith, the Red Hot Chili Peppers,

I don't know if you've heard of Chad.

I believe he may be looking for a gig.

My question to you, really, is, having seen everybody...

-[Derek] Yeah. -...do you need a drummer?

[Hope] It's a rock band. No rock band doesn't have a drummer.

-Yeah. -[Simon] I've put together 19 bands,

three of whom have had number one hits.

Not one of those people played an instrument.

[woman] Thank you so much for having me.

We got one more. We got one more.

-Hi! -[David] Good to know. Hello.

-Hi, everyone. -Hi. We spoke on the phone.

-Hi. Didi, yeah? -How are you? Yeah, that's me.

-I'm Simon. Nice to meet you. -Hi, Simon. Such a pleasure.

-[David] What's your name? -Didi.

-Didi. Hello. -Hi, such a pleasure.

-Hello, Didi. -[David] And Derek.

Hi, Derek. Wow, I can't believe...

-Nigel. Yeah. -Hi.

[David] We're gonna run a track down

-and see what you're like. -Okay.

I think we're done after this, don't you?

[playing to rock music]

♪ Little girl You're just four feet ♪

♪ And you still got Your baby teeth ♪

♪ You're too young And I'm too well-hung ♪

♪ But tonight I'm gonna rock you ♪

♪ Tonight, I'm gonna rock you ♪

[guitar solo]

-Oh! -[all cheer]

Go! Oh, yes!

[Marty] How does it feel to be

the latest drummer for Spinal Tap?

There's been a string, you know, of many drummers.

Some of them met with some, you know, strange endings.

How do you feel being the newest member?

I mean, rock and roll is about living for today

and leaving dying for another day.

Very good point. I noticed they're setting up your drum kit over there.

It's green.

You chose that color. Is there any reason for that?

[Didi] Yeah, Stumpy Pepys is one of my personal heroes.

I decided to pay him a tribute for how he passed away

in a bizarre gardening accident,

-so hence the green... -Oh.

...and the pink underheads.

And we're setting up some roses there.

-Ah, I see. -And that's for my fallen hero.

Next in line is Stumpy Joe,

who unfortunately choked on someone else's vomit.

Yes.

I have, uh, a kit that looks...

-Like vomit? -Yeah.

What makes it look like vomit? Are there little pieces of corn?

-[laughs] -Because I always notice when people throw up,

there's always corn in there, even if they didn't eat corn.

There is yellow mixed up with green and red.

And I notice, this your snack? You're eating very healthy.

I just have learned from all the rock and roll tragedies.

-And so wanna try and up my chances of... -Right.

-...maybe dodging this "curse." -I see what you're saying.

-[Didi] I'm offering. -All right.

-I'll take an almond. -Cheers.

All right, yeah, cheers.

-Dink. Right. -Dink.

♪ Lord, it's hard ♪

♪ When you break up ♪

♪ Lord, I'm crying ♪

[playing "Broken Hearted Blues"]

[Marty] I'm curious as to why you chose New Orleans.

There was a cancelation, a date opened up at the arena,

and that was really why we came here.

Oh, really? There was, like, all of a sudden...

-Who was supposed to be there? -An evening with Stormy Daniels.

-That was canceled. -Oh, canceled, so--

-And so, that made way for us. -And you slid in.

-Slid right in. Yeah. -Yeah.

Thank God we found someone.

-She's great. -She's unbelievable.

-She's bloody great. -[David] She's great.

How do you suppose a girl grows up becoming a drummer?

Because it's not natural. It doesn't--

Eating, exercise, you know.

That's how one continues living.

These days, you know, they can be anything.

-[David] Oh, what's this? -[man] Move your plate.

-[Derek] Where's that gonna go? -[David] Oh, wait a minute.

[man] I have prepared a traditional Cajun dinner for three.

Take your forks, your knives, and just go right at that.

-All right, we'll try it. -Thank you so much.

-It looks lovely, yeah. -You're welcome.

Okay, for me, and I'm not trying to be unadventurous,

but I think the corn is...

-Probably your safest bet. Yeah. -...the only thing I can eat.

-I might try the bangers. -[tour guide] Don't try to scare the ghost.

Don't try to talk to them or yell "boo," don't do that.

And get those monitors up really, really high, all right?

-Excuse me. -Hello.

-[Nigel] Hello. -Oh.

-We're having dinner. -[tour guide] Oh, well,

this is Sinister Sighting.

It's a tour group, haunted tours.

I bring them through every day. So, don't mind us.

Hi. You guys go right ahead and have your dinner.

Oh, now see, this is great.

-These your instruments? -[David] Yes.

Oh, well, you know, musically, you know who lives here?

-[Derek] No. -Oh, my goodness.

Fats Domino, Louis Armstrong.

-They're dead. -They don't live anywhere.

Well, their spirits live here, yeah.

Put those up high now.

-[device warbling] -This was not mentioned.

Will this keep?

[keyboard playing guitar notes]

It was a one-nighter I was supposed to play with them.

-Oh, really? Just one night? -One-nighter.

-And that turned into 33 years. -I didn't know what gig it was.

They gave me an address in Beverly Hills,

and it was a bris.

♪ Listen to what The flower people say ♪

♪ Ah, ah, ah, ah, ah ♪

You care to join us?

-What's that? -[David] Care to join--

I think we all do the "ah's," or you do the "ah's,"

and I come in underneath.

[sighs]

-♪ Listen ♪ -♪ Shh ♪

♪ To what The flower people say ♪

♪ Ah, la, la, la, la, la ♪

But were you doing "la, la's" at the end instead of "ah's"?

♪ La, la, la ♪

Was I hearing "la, la's"?

[David] ♪ La, la, la ♪

-Do it again. -[David] No, I don't want to hear it.

Here we go.

♪ Ah, la, la ♪

[David] No, I don't want the "la's."

Where did the "la's" come from?

-[Jeff] They should be "ah's." -[David] It's "ah's."

Well, I've been doing "la's."

You've never done that in your life.

I think I have.

Let's hear all about it another time.

[guitar being strummed]

[cell phone ringing]

-Hello. -[Moira] Hi.

-Ah. -Couldn't sleep.

Do you know what? Jim died today.

Jim died?

Wha-- But he wasn't that old.

And do you know what?

My worst fear is that cheese

is upping everyone's cholesterol.

No, it's-- I don't think, no.

People eat cheese and don't die, don't they?

[David] Got it. Got it.

"Don't go spending all your money."

-[Nigel] Yeah. Okay. Yeah. -"Save your pennies for--"

David, give me a sec.

-Oh, sorry. -Just...

-Hello. -[Nigel] Yeah.

-Are things better with David? -No.

I don't understand this coldness.

Even though I've known him since we were children,

I just can't say, "What is going on?"

I can say it to you.

Could you sing it out, like in a song?

Like just sing it out?

Oh, yeah. I could do that.

I could write a song,

and that would be my way

of communicating with him.

♪ David ♪

♪ What's going on with you? ♪

♪ Are you feeling blue? ♪

♪ Is it me or you? ♪

See, it would be something like that.

He might start to harmonize like...

♪ Nothing much ♪

Yeah.

I wonder if I'd have the publishing of that.

[guitar strumming]

Do the F.

[humming]

What, what, what, what, what?

No, just give it a chance.

-I know what you're gonna say. -We're doing it.

And it's like a car going into a wall.

There's a beautiful figure there you're not hearing.

I hear it. You've changed the time signature.

You can't hear it over the sound of your mind slapping shut.

-Look. -You've changed this time signature just--

-It goes to six-eight for two bars. -Well, I know.

-This is not Stockhausen. -But it just jumps at you,

-like a cat jumping. -That's a good thing.

-[Nigel] Okay, go. Go. -[David] One, two, three, and...

[strumming song]

Yeah!

You can keep that energy going

even if you don't care for the chords.

F.

G.

And...

I don't know why this is so hard for you to grasp.

-I'm grasping it. That's the problem. -It's really simple.

That is the problem. I'm actually grasping it.

-Once you've grasped it-- -And my fingers are saying, "Don't."

-[David] Care to weigh in? -[Nigel] You're not saying a word.

I'm not saying a word.

No, I know. You don't have to say you're not.

-He's about to say a word. -Pointing out I was not saying a word.

-Now I'm gonna say a word. -[Nigel] Okay, what's the word?

Is it like this all the time?

Uh, sometimes.

[strumming guitar]

[snapping rhythmically]

F.

[David scatting]

This B flat, which becomes a B in the E chord

and brings us right back to the top.

No, you can explain it all you want.

Do you think they'd mind if I interrupted?

Is that what's happening in that bit?

No, what's happening is that you're pushing back

against anything you don't care for,

or anything you don't understand, which is a lot.

Hey, guys.

-Can you hear me? -Yeah.

Paul here.

Is that... Is that the Paul?

It's one of them.

[Nigel] It's the one, actually.

Well, I was listening, and I got a suggestion for you.

-I don't wanna interrupt, but... -[Derek] Yeah.

Yeah, you can come in. Come in.

-Do we stand? -[Derek] Do we salute?

I think we should stand, yeah.

-[all] Hello. -How are you guys?

-[Nigel] Wow, that's amazing. -I was just rehearsing

and I was passing, so I thought I'd just drop in,

-say hello. Yeah. -Hello.

I don't think of you as a heavy metal guy.

-I thought these guys are great. -Really?

And you know, the lyrics, it's almost educational.

Yeah, anyone who can write about...

-a flesh tuxedo... -Yes.

...and a pink torpedo.

-That's literature, really. -Yeah. Yeah, yeah, yeah.

Listen, you have a note for us?

Yeah, you know, I was listening to what you're doing,

and it's going along great.

-Yeah, it's a nice tempo, yeah. -And then,

it seemed to fall apart.

-So, it's just E... -[Paul] Yeah.

♪ Ba-ba ♪

♪ G, C, A, F ♪

[humming]

-Yeah. -The G is good, right?

Then it goes to the six-eight, major seven.

[scatting]

That's the bit.

It kind of went somewhere else.

It didn't seem to fit with the...

[strums]

...you know, this rocky feel.

There is a case to be made

for a kind of a standalone bit of four bars.

[Nigel] Yeah, if it stands alone in another room.

It sounds like we're playing, then it's like,

"Let's go on holiday somewhere."

I think it works. I think it bloody works, but...

Well, it's not for me to say, but...

[Nigel] It sort of is, actually, yeah.

Well, just lose that bit and go back to where you were.

We'll take it under advisement.

What does that mean?

He's gonna call his lawyer.

Listen, it's all creative.

[Nigel] Well, it is until you get to that bit.

Yeah. Then it's not creative. Then it's like a wrecking ball.

Why don't we do something else?

-"Cups and Cakes"? -Oh, my God.

See, that's not got a funny bit in the middle.

No, exactly. That makes sense.

-[Paul] Unlike... -Okay, yeah, yeah.

You don't have to belabor it.

Let's try it, yeah.

[strumming]

E.

A minor.

G.

♪ Cups and cakes Cups and cakes ♪

♪ Oh, what good things His mother makes ♪

♪ You've got to take tea Won't you take it with me? ♪

♪ What a gay time it will be ♪

♪ Cups and cakes Cups and cakes ♪

♪ Please make sure That nothing breaks ♪

♪ The china's so dear And the treacle so clear ♪

♪ And I'm glad That you are here ♪

♪ Milk and sugar Bread and jam ♪

♪ Yes, please, sir And thank you, ma'am ♪

♪ Here I am ♪

B again. ♪ Ba, ba, ba ♪

-Instrumental. -♪ Cups and cakes ♪

[scatting]

Yeah. Toy drummer, yeah.

[scatting]

♪ Oh, cups and cakes ♪

♪ Cups and cakes ♪

♪ I'm so full, my tummy aches ♪

♪ How sad it must end But I'm glad I'd a friend ♪

♪ Sharing cups and cakes With me ♪

-♪ Cups and cakes with me ♪ -♪ With me ♪

-A, B. -♪ Cups and cakes ♪

-♪ Cups and cakes ♪ -♪ Ah ♪

[Paul] Yeah! Huh? Yeah.

I have to know, how does it feel

to be playing with Paul McCartney?

-I was a bit put off. -Why?

Well, because, I mean, you know, he came in,

he immediately started throwing his weight around.

[Marty] I would think that they would respect your opinion.

I mean, it's not like you don't have...

-Seemed like that. -...experience doing that.

I'm not sure David respected me.

You know, he's got this sort of, like, toxic personality

he spreads everywhere.

I'm not gonna let that worry me.

[Marty] No, I think that's wise on your part.

Yeah. It's all right. He doesn't want it?

-Yeah. -Screw him.

But as a kid growing up in Squatney,

did you ever think you'd be playing with a Beatle?

No. It was a thrill that I wish I could enjoy more,

but it's only due to the flaws in my character,

which I'm rather proud of.

Obviously, there'll be the regular merch.

-Uh, T-shirts... -T-shirts and stuff.

-[Simon] And hats. -[Hope] And caps.

[Simon] If you think about the age of your audience,

we should actually be trying to partner with, say,

companies that do stairlifts and walk-in showers.

You know, those hammocks that lower you into a bath.

That kind of thing would sell with your demographic tremendously well.

I don't know how you're gonna sell that at a concert.

[Marty] You brought Simon in.

So, you feel like it was a smart move on your part.

I think it's about knowing who you are

-and what your skill set is. -Right.

And I just think there are things

that I know that I can't do,

the skills that Simon has.

But I know that I've got, like, soft skills, you know,

and I've got a connection with the band,

and obviously, I know them because of my dad and all that.

So, I bring that, and then he brings

that kind of slightly cold...

Um, trying to find the right word without seeming mean,

but just that sort of shitty vibe.

If I said, "What are people drinking a lot of," what would you say?

-Beer. -[Simon] Well, yes, certainly beer.

-[David] Tea. -True, tea.

-Coffee. -But what are people drinking

a lot of?

-Water. -[Hope] Yes.

And Hope has had a rather brilliant idea.

-[David] Look at that. -Tap water.

Tap water.

-Look at that. -Look at the shape.

[Derek] It's almost too perfect.

But what's inside is some kind of special water.

-No. -It says "artisan" there.

It's just tap water.

It's tap water, yeah.

Now, the piece of resistance...

-Yes. -...is...

-Here we go. -[Derek] Whatever it is.

I think it's great. I think it's fantastic.

[Hope] This isn't it. It's got a sheet over it.

We can agree it was an outrage

that you were not inducted into

the Rock & Roll Hall of Fame, that you were refused entry.

I think it was the letter that upset me,

which just said, "Fuck off."

-Yes. -You could say, "No, not yet."

[Derek] It said, "Fuck off. Sincerely yours."

Yeah, well, that's true.

-[Hope] Brace yourself. -[Simon] We present...

the International House of Rock.

-[David] I'll be. -[Derek] This is like

the Rock & Roll Hall of Fame?

Like the Rock & Roll Hall of Fame, only better

-because it will have you in it. -[Hope] Yeah.

We're going to build precisely this structure

and in it, we're going to memorialize Tap.

Rock in general, but Tap specifically.

-Can I ask a question? -[Simon] Yes.

[Nigel] There's only four people.

[Hope] Yeah, but there'll be more.

These are just little models, aren't they?

So, you're saying this is gonna be big, like, a real...?

-Not just a toy? -[Simon] Oh, yeah, absolutely.

[David] I don't know why I keep wanting pancakes.

Why is that?

♪ You got problems ♪

♪ Baby, you whine and you beg ♪

♪ When I'm busy ♪

♪ Baby, you wanna dance With my leg ♪

♪ I'm gonna chain you ♪

♪ I'll make you Sleep out of doors ♪

♪ You're so fetching When you're down on all fours ♪

♪ And when you hear Your master ♪

♪ You will come A little faster ♪

♪ Thanks to Bitch School ♪

♪ Bitch School ♪

♪ Bitch School ♪

♪ Gonna have to take you Back to ♪

♪ Bitch School ♪

Attagirl. On the paper.

That's it.

Wow. Wow.

-Hi. -Fucking brilliant.

Legend. Oh, my gosh.

-Yeah, that's wonderful. -I love playing with you.

Oh, well, thank you. I love playing with you.

So, listen, since we're playing together,

why don't we, uh, play together?

Oh, my gosh, I am...

-I am beyond flattered. -Well, you know.

I just, I can't believe... Oh, my God.

Speaking of playing together, this is my girlfriend.

-Hi! -[Didi] Hi, Annie.

[Didi laughs]

-Hi, everyone. -This is my girlfriend.

-Hi, I'm Annie. -[all] Annie.

-Great to meet you. -This is Derek.

Nice to meet you. Congratulations.

Thank you so much. I'm the luckiest.

My grandpa took me to see y'all when I was a little girl.

-[David] Yeah. -Oh, yeah, it was a good time.

I've been noticing this-- The pedalboard that you have.

-Do you use every single one? -[Nigel] Every one of them.

This, of course, you know what this is.

[Marty] Yeah, that's the pedal.

-Well, no, it's a wah. -Yeah.

[playing funky wah-wah]

♪ Wah, wah, wah, wah ♪

♪ Wah, wah, wah, wah ♪

♪ Wah, wah, wah, wah... ♪

Well, don't keep doing it. You're doing it vocally.

-This is doing it for you. -Oh. Oh, yeah.

-What's that look like to you? -Like a wedge of cheese.

No, it's a pizza, but now...

[notes blurting]

It's like someone singing through a duck.

-And you need that duck sound? -No.

No, I don't need it, but I love it.

But you can mix these all up, that's the beauty of it.

If it weren't for this guitar, which is amazing.

-It's got the Union Jack on it. -Yes, that's obvious, isn't it?

But here's the great part. Look at this.

[Marty] Oh, look, the Spinal Tap logo.

But this board

can be used as a cutting board for cheese.

Oh, there's a little piece of cheese in there.

-There's cheese in here. -Yeah.

And then, inside it is the cheese grater.

So, let's say you were playing, and you play a gig

or just at home, and you think,

"I'd like to have some cheese,

but I don't want to have to go into the kitchen."

It's right here. There's an issue, though.

You can't put my favorite cheese in here.

Why not?

-Stinky? -Yeah.

-Yeah. -Smell like a little person

had died in that little hole.

-Right. -Which would be sad and smelly.

If you're playing loud,

you wouldn't hear a little person.

[in squeaky voice] "I've got to get out of here."

-Right, right. -"I've got to get out of here."

"I'm trapped in here, and I can't get out of here."

But are there people this size?

[in normal voice] It could happen, yeah.

[Spinal Tap] Good morning, New Orleans.

This is Spinal Tap.

[Derek] If you're looking for a proper ass-kicking...

[Nigel] Come to the Lakefront Arena Saturday night...

[David] And let Tap tap into your central nervous system.

[all] Be there!

♪ Make it cash on delivery ♪

♪ If you wanna close The deal with me ♪

-How's it going? -Really good.

Are they going to be sitting down the whole time?

What do you mean?

Are they going to be sitting down the whole time?

-Because at this moment-- -You mean today?

I mean, in general, because I'm thinking,

have these people got legs?

You know, that is where I'm at the--

I just see them sitting down. Where's the movement?

♪ I'd look somewhere else If I were you ♪

♪ Cash on delivery ♪

Does Taylor Swift stand still on stage?

They don't dance, do they?

-Okay. -They don't dance.

-Has anyone ever seen-- -Oh, my God.

-Well, let's ask the question. -Dance, dancing.

Is it loud enough?

Gents, it feels static.

-[Nigel] What's that? -Static. A little--

-You're getting feedback from that thing. -No, no, no, no, no.

I mean, are you going to be sitting down the whole time?

-[David] Sitting down when? -They're rehearsing.

[Simon] Here's a lovely little idea.

How about rehearsing facing the way you're going to?

Eventually, we turn around the other way.

And when is "eventually"? Do you have a sort of...

-You want an estimate? Later. -[Simon] Yes.

At some point, they're gonna have to rehearse dances or other moves--

We talked through the dancing. You don't have to dance.

Oh, you thinking more sort of like a Korean boy band?

Is that what you're imagining in your head?

[Simon] Well, I manage a Korean boy band.

They're not Korean, but they identify as Korean.

-Korean style? -[Simon] Yes.

-Yeah. -They're Nicaraguan, I think.

But anyway, the point is we are in a post-K-Pop world.

People are going to expect movement.

Do you know what this sound is?

[playing keyboard]

-[Simon] What is that sound? -That's time being wasted, okay?

I'm really sorry, and he and I will talk.

You're antagonizing them.

-They're children. -People can't make music...

People can't make music if they feel like shit.

Well, that's frankly not true.

Secondly, they're children.

They're behaving like children.

You're making it so not fun,

and I really want it to be fun!

-It's not meant to be fun, Hope. -Why?

Because it's the music business.

-He's shady, I think. -Yeah. Yeah.

But that's a job where that's a plus.

You need some shady. But not all the time.

And we're not saying Slim Shady. We're just saying shady.

-Just shady. -[Marty] Just shady, yeah.

-But he's a bit slim, yeah. -Yeah, he's slim.

And he does something I've noticed.

Doesn't button his shirt up.

He doesn't button his shirts, A.

And two, he winks. You don't trust a winker.

-As opposed to a wanker. -That's a different thing.

-He's a wanker as well. -You can always trust a wanker.

That's right. You just, you know, don't shake his hand.

I've never really done anything

with a band like Spinal Tap before.

-So, it's a challenge. -It's fascinating to watch them.

It takes quite a lot of self-actualization,

uh, not to develop at all,

either musically or personally, in an entire lifetime.

And I sort of want to see that up close.

There's a sort of anthropological interest.

[Henry] Very good. Now, that's the perfect pose right there.

You're like the most famous rock and roll photographer in the world.

Henry Diltz. Everybody knows Henry Diltz.

I mean, this is an iconic photo.

Crosby Stills and Nash sitting on that couch.

So, you don't feel like you're stealing from yourself in a way?

No. No, just reliving.

[Henry] Okay. Let's walk over here.

It feels like you've brought us to a place

where the dead people are, but we're not dead yet.

No, but we have to start thinking about that and get used to it.

We'll take a few.

-[shutter clicking] -Real good. Yeah.

That looks fabulous. Here we go.

Yeah, look at that.

[Derek] And I started thinking about

what I would be like after I died.

So, it's like an afterlife thing or...?

Yes, and I'm going, "What now?"

That's what the premise of this is.

-Lay it on us. -[Derek] Yeah.

[drum track playing]

That's the drum part.

[David] Yeah. We can hear that, yeah.

[guitar riff plays]

♪ It's getting near The final lane ♪

♪ Says a neighbor Says a friend ♪

♪ But as I take My final leave ♪

♪ Don't protest Do not grieve ♪

I'm feeling...

♪ Here's my promise ♪

♪ After I burn ♪

♪ I'm gonna be rocking ♪

♪ In the urn ♪

-Wow. -That's great.

That repeats, and there's a bridge.

"One thing I know about the great hereafter,

I'll still be blitzing eardrums on the highest rafter.

You think I was hot at our legendary bashes."

-I mean all of us. -[David] Yeah, yeah.

"Wait till you see me when I'm all ashes."

-Oh, bashes, ashes. Good, good. -Bashes, ashes.

"But a lifetime of loud helped me learn

I'm gonna be rocking and rolling and rocking."

♪ Gonna be rocking in the urn ♪

But you did it lower when you sang it.

♪ I'm gonna be rocking In the urn ♪

[David] It's got great promise.

It's philosophical.

-It is deep, and it's profound. -It is deep.

It's as deep as it goes, yeah, if you think about it.

[drums playing]

[man] Check, check, check, check, check.

This is an exercise regime to get you on your feet,

up and about, jiggling around.

-Hey, and there they are. -[Simon] This is Bob.

Mr. Tufnel, how do you do? It's a pleasure to meet you.

-Hey, Mr. St. Hubbins. -St. Hubbins, correct.

-You must be Dr. Smalls. -I must be Derek Smalls.

How do you do, Derek Smalls? It's a pleasure to meet you.

My name's Bob Kitness, Bob Kitness Fitness.

-We're rehearsing here today. -[Nigel] What's going on?

Well, we're gonna do a nice workout for you

so that you're ready for your big presentation.

You look like you've done a bit of conspicuous consumption.

God knows I have. [laughs]

-When is this happening? -The workout?

-Yeah. -Right now.

Ready? And we're gonna do a big breath in.

-[inhales] -[plays ascending scale]

And a big breath out.

[plays descending scale]

And a big breath in.

And a big breath out.

There you go. Well done, everybody.

Before we get into the actual workout,

I saw dates of birth on you fellas,

and it sounds to me like the candles

are starting to cost a little bit more than the cake.

[Bob laughs] But I would like to ask you a few questions.

These are standard boilerplate-type questions.

Number one, does anyone have any penis pain?

They're exercising? They need to be rehearsing.

They need to be exercising.

[Bob] Lifting our leg and twisting around

keeps us nice and fit.

You're kidding. They're really old, Simon.

Which is precisely why they need exercising, understand?

♪ Da-da-da-da-da-da ♪

Yeah!

[laughs]

Boy, that's living!

[playing "Big Bottom"]

♪ The bigger the cushion The sweeter the pushin' ♪

♪ That's what I said ♪

♪ The looser the waistband The deeper the quicksand ♪

♪ So I have read ♪

♪ My baby fits me Like a flesh tuxedo ♪

♪ I like to sink 'em With my pink torpedo ♪

♪ Big bottom Big bottom ♪

♪ Talk about bum cakes My girl's got 'em ♪

♪ Big bottom Drive me out of my mind ♪

♪ How could I Leave this behind? ♪

[farts]

What the fuck?

What was that?

Was that my guitar doing that?

Well, I prerecorded that.

He farted earlier, recorded it.

[stammers] That's not clever.

Farts are funny.

I can't argue with you in-in-in principle,

but I don't think it's appropriate. Look at this.

I think it could be more subtle.

Like a... [blows raspberry]

No, imagine you're on public transport,

and there's an old lady sitting next to you,

and she's got a little bag, you know.

She's looking in her bag for a mint or something.

And then you hear...

[purrs]

And you're trying to be polite.

You look over and try to pretend that you didn't hear it,

but you can't not have heard it.

So we're on the same page, you want me to go find

an old lady farting on a bus?

[Nigel] No, not literally.

This is a story. It didn't actually happen.

[Nigel] You're starting with "Hell Hole."

No, I was saying tentatively start with "Majesty."

Oh, "Majesty." That's a good--

It's like an intro. Come in with the robes.

So, we got kind of a mini set,

a mini inset of "Clam Caravan" and...

-"Gimme." Yes. Okay. -..."Gimme." Yes.

And then turn it up again for "Cash on Delivery."

And then double the tempo for "Diva Fever."

And then you're gonna be good to come

after "Gimme Some Money."

[playing "Gimme Some Money"]

[playing harmonica]

♪ Gimme some money ♪

♪ Gimme some money ♪

♪ Gimme some money ♪

♪ Gimme some money ♪

♪ Gimme some money ♪

[quieter] ♪ Gimme some money ♪

♪ Gimme some money ♪

♪ Gimme some money ♪

[softer] ♪ Gimme some money ♪

♪ Gimme some money ♪

♪ Gimme some money ♪

♪ Ay, ay, ay ♪

All right, wasn't bad.

Musically, you seem to be grooving pretty good.

I mean, you seem to be gelling, you know, in rehearsals.

Not to be profound or anything...

And it would be a first time for me.

...but I think the more we retreat into the music,

the more we yield to the cowardice we feel

about confronting one another with things,

the nicer things become.

Be honest, how does it look? No, don't pull too hard.

-Sorry. -[Nigel] Looks like bug eyes.

Yes, that is the point, because they are bugs.

I can't see, though.

How-- How would I find the stage?

[Hope] Derek, what about that?

-[Derek] Now you're talking. -I could see you in that.

-This is perfect. I love this. -What we could do is...

-Oh, this is me. This is me. -[Hope] That looks fantastic.

Oh, this shirt is for my mother. It's not for you.

She really loves this blouse, you know.

I have another really good thing.

-That is... Oh, yes. -[Hope] Yes.

-Would you like to put these on? -I'll try.

[Hope] The thing about the glasses is

-they take away something from-- -Like this?

I think that looks very futuristic.

So, it's all bugs, is what you've done.

Let me tell you something. Insect means pestilence.

And what is more rock and roll than pestilence?

What's more rock and roll than disease, is what you're saying?

[Yasmine] Absolutely.

Derek, you're the glue. You're the--

He's the elder statesman, in a way.

And he doesn't want to be the silly one running about,

because we can run around and make faces and play.

Who amongst you is the silly one?

I'd say it's got to be him.

-You're the silly one? -Yeah.

Mm...

[Nigel] What are you laughing at?

I've noticed you're happier than you were.

-Really? -You used to be gloomy.

I was more sullen?

Well, sullen

and questioning your own...

"Should I be doing this?" And--

Well, I know that, you know, you weren't all that thrilled

the first time when the film came out.

You maybe thought I didn't do you justice.

Do you feel that still? I mean...

We have taken you off the hook for the first film.

-[Marty] That makes me... -You were there.

You witnessed some of the ups and some of the downs.

You see, some people think, "Oh, it was all down."

But you saw things that were good.

Yes, I saw a lot of good things.

You saw us reach the stage...

-But people do say to us... -...many the night.

Many times. Sometimes you couldn't find the stage.

[Derek] Most of the time we did. -Other times...

-We did, mostly. Yeah. -Yeah.

♪ Here she comes That rainy day sun ♪

♪ Peeking in and out The falling raindrops ♪

♪ Smiling down on everyone ♪

Gentlemen! Boys, boys, boys!

[David laughing] Oh!

-We have a visitor. -Hey, everyone.

[David] Oh, a special guest.

Welcome, welcome.

What an honor. So good to see you.

[Marty] How much were you aware

of Spinal Tap, you know, in the early days?

Were you aware of the band? Did you know about this band?

-Yeah, I knew about the band. -Yeah?

Um, and, yeah, I was a big fan, actually.

-Really? I'm surprised. -They're underrated musicians.

These guys just aren't a heavy rock and roll band.

-They're really good. -Right.

For example, in the bit in "Stonehenge"

where he plays the mandolin. I love the mandolin.

That's-- Most heavy metal bands couldn't do that.

Did you recognize that tune? That was the flip side of--

That was "Rainy Day Sun." Yeah.

Flip side of "Flower People."

-Let's do "Flower People." -Big fan.

-[David] Would you like to? -Let's do "Flower People."

Yeah, that would be great. Yeah. Fantastic, yeah.

I'll just have to follow you guys, okay?

[David] Okay. We've followed you many times.

[laughs]

[playing "Flower People"]

♪ Listen to what The flower people say ♪

♪ Ah, ah, ah, ah, ah ♪

♪ Listen ♪

♪ It's getting louder Every day ♪

-♪ Listen ♪ - ♪ Shh ♪

♪ It's like a bolt Out of the blue ♪

♪ Ah, ah, ah, ah, ah ♪

♪ Listen ♪

♪ It could be calling now For you ♪

♪ Flower people, walk on by ♪

♪ Flower people Don't you cry ♪

-♪ It's not too late ♪ -♪ No ♪

♪ Not too late ♪

♪ It's not too late ♪

♪ No ♪

[Marty] When they called and asked you,

you said, "Okay, I'll do this"?

Oh, it was an honor. It was like having your first hit record,

to be asked to do this. It was like, wow.

Are you kidding me? I didn't have to even think about it.

Had you ever met any members of the band?

[Elton] No, I've never met them.

It's funny that we all travel around.

You don't meet people on the road.

You're zigzagging around and you miss people.

So I've never been in the same town as them.

-But it's nice to meet them now. -Yeah.

I mean, it's, you know, at this point in their life,

at this point in my life, it's a great thing to...

Sometimes waiting for something is even better

than meeting someone earlier on.

♪ Yeah, yeah ♪

♪ Ah ♪

-[song ends] -[Elton] Okay.

-[Hope] Wow. -Oh, yeah.

-[Nigel] Well done. -Thank you.

[Nigel] You've done this before?

No, but, uh...

It's one of my favorite songs of yours, that's all.

I never thought I'd get to actually sing it with you guys.

-[Nigel] Amazing. -Thank you.

Throw it back at you, yeah.

I wonder if there's a bit too much piano.

I'm enjoying the singing. I'm just wondering if there's too much piano.

-Simon! -He doesn't understand music.

-I'm so sorry. -[David] Well, that's mad.

Sir Elton said he'd like to play with us,

and he's singing and playing.

That's what he does.

You may not have heard the last 50 years.

[David] But you know what number he might like to do?

It's called "Stonehenge."

-[Elton] Okay. -You aware of the tune?

-Of course. -[Derek] We got the right size this time.

Yeah, it's more dynamic. It's, you know, very visual.

-It's dramatic as well. -Well, I can do that.

You want me to do that one?

[playing "Big Bottom"]

♪ But late at night When the boogie's through ♪

♪ I go to bed Just the same as you ♪

♪ Oh, yeah ♪

-[David] What's this? -[band stops playing]

What's this?

Why are people falling down a hill?

What does that have to do with us?

I would like to see more of it, actually.

[David] Yeah, we'll make you a copy.

Just show the band, all right? Show the band.

You share such a history, such a personal history.

Particularly Nigel and David going back to childhood

and Derek coming in, you know, in the last...

In our 20s.

-[Marty] Over 40 years. -Yeah.

Do you find those dynamics changing?

Are those relationships changing?

I think there are differences, though.

Time goes by and things change with relationships.

-And... -Yeah.

But the thing you had as kids...

-Yes. -...is that still there?

We were close as small boys, and...

Then you grow away and back and away and back again, and...

I don't know where it is now. It's somewhere.

[Marty] But do you feel that thing that you had as kids

is still there somewhere or...?

Somewhere.

I'm so used to being, like,

intimate with these guys, so close,

and obviously, this is, like, a huge arena.

Is there any way we can push

-this whole rig forward? -The whole rig?

Like downstage a little bit.

[Marty] So, I'm noticing that the pedalboard

-is quite a bit larger... -It is, yeah.

...than what you showed me earlier.

-This is the first section. -Yeah.

-And then it was this one. -Yeah.

This. They're all linked together...

-Yeah. -...by this bit.

Oh, that's what you call the brain.

-It's the brain, yeah. -Right.

What do these extra things do?

Well, you can read some of them.

-Yeah, this says-- -To yourself.

-Oh, I shouldn't... -Yeah.

So, what's your favorite? Give me a--

The new one you added that you say,

"Boy, I'm so glad they added this one."

[high-pitched warble]

Ah!

-Yeah, that's a bit annoying. -Well, to you.

How's it going? Sounding good?

Oh, hello.

Hello, how's it going?

It's nice. It's loud.

-That's your reputation. -[Nigel] That is. Yeah.

It's what the people want and indeed need.

Just quickly to say good luck. I hope it goes tremendously well.

-Um... -[David] Yeah.

It should be marvelous. Everything is set up.

You're in excellent hands with Hope.

-I have to go. -What?

I have to meet my birth mother.

-[David] Your what? -My birth mother.

You're leaving? You're not gonna be here?

Some things... I hate to break this to you.

Some things are more important than rock and roll, and one of them is family.

-Un-fucking-believable. -[Hope] You could wait a day.

You didn't give me any indication.

-I didn't know. -[Nigel] It's not good.

Let me ask you this. Is your birth mother a shark as well?

Is she a shark? Oh, I see.

Uh, well, I know nothing about her. That's the point.

I think that you've run out of feeding ground here.

You're off to the next swindle.

-Fucking hell. -The very best of luck

to all of you. It's been, uh... It's been an experience,

and something approaching a pleasure.

[Derek] Wow.

Hey, "Rock 'n' Roll Nightmare."

We are living it.

One, two, three, four!

[playing "Rock 'n' Roll Nightmare"]

♪ I been a rocker Since I don't know when ♪

♪ I been a roller Since a way back then ♪

♪ Oh, yeah ♪

[playing wah-wah]

♪ But late at night When the boogie's through ♪

♪ I go to bed Just the same as you ♪

♪ Oh, yeah ♪

♪ And when the rock 'n' roll Nightmare comes ♪

♪ The devil's gonna make me Eat my drums ♪

[playing heavy warbled notes]

What's that?

I'm sorry. What is that? What is that?

[note reverberating]

Can you stop it? Can you kill it?

Can you kill it?

-I don't even know what you're playing. -It's another voice.

It's a voice. You may not hear this voice, but I hear it.

I'm lucky to hear my own voice at this rate.

-I think it's a distraction. -I think you're on edge.

You are on edge.

Why are you not?

[playing high-pitched warbled notes]

Yeah, let's make use of that.

The Japanese woman being knifed.

She's from Vietnam, first of all.

All right, fine.

[playing notes]

Can we play again? Can we just play the music?

Let's play the music.

You gotta stop playing with your train set

and play the music.

You can't do it, can you? You can't do it.

You can't just play the tune.

-I can. -You can't.

-I can, and I did it. -I know what else you did.

October 9th, 2009.

-What are you talking about? -You know exactly what I'm talking about.

You fucked my wife.

-I fucked your wife? -That's what I'm hearing.

-You must be joking. -That's what I'm saying.

-You must be fucking joking! -Oh, no, no.

-You must be joking. -Where's Nigel? Where's Jeanine?

Oh, here they are. They're together. They're smiling.

I knew what happened.

You have gone mad.

Fucking good grief.

[Nigel] You're fucking mad, is what you are.

-You're fucking mad. -Go follow him. Follow him.

[Nigel] There's no fucking way I would have done that.

Fuck you!

[bluesy music playing]

♪ Highway Two now, baby ♪

♪ Run right by my baby's door ♪

♪ Highway Two now, baby ♪

♪ Run right by my baby's door ♪

♪ Well, you know I can't Get the one I'm loving ♪

♪ I ain't going down Highway Two no more ♪

♪ Me and my baby Can't get along ♪

♪ Always down there By the liquor store... ♪

[David] ♪ Waiting for that train To bring her back ♪

♪ If she's not on the 5:19 ♪

♪ Then I'm gonna know What sorrow means ♪

♪ And I'm gonna cry, cry, cry All the way home ♪

♪ All the way home ♪

[playing harmonica]

[laughs] ♪ All the way... ♪

♪ I'm gonna cry, cry, cry All the way home ♪

[crowd cheering faintly]

[crowd chanting] Tap! Tap! Tap! Tap! Tap!

Tap! Tap! Tap! Tap!

Tap! Tap! Tap! Tap!

Tap! Tap! Tap!

[Hope] Okay, gents and lady, showtime.

Time to rock and roll. You ready?

Okay.

Tap! Tap! Tap!

Tap! Tap! Tap! Tap!

Tap! Tap! Tap! Tap!

-You okay? -Yeah.

Whatever you did, I forgive you.

I didn't do anything.

Well, then I forgive you for that.

Tap! Tap! Tap! Tap! Tap! Tap! Tap! Tap!

Well, they're not going anywhere.

What do we do about that?

-Do a show? -Why not?

They're stuck with us.

Tap! Tap! Tap!

Tap! Tap! Tap! Tap! Tap!

Tap! Tap! Tap! Tap! Tap!

-[crowd cheering] -[announcer] Yeah!

Direct from hell, Spinal Tap!

[playing "Hell Hole"]

[David] Good evening!

♪ The window's dirty The mattress stinks ♪

♪ This ain't no place To be a man ♪

♪ Ain't got no future ♪

♪ Ain't got no past ♪

♪ And I don't think I ever can ♪

♪ The floor is filthy ♪

♪ The walls are thin ♪

♪ The wind is howling In my face ♪

♪ The rats are peeling ♪

♪ I'm losing ground ♪

♪ Can't seem to join The human race ♪

♪ Look out, tell me why then ♪

♪ Oh, I'm living In a hell hole ♪

♪ Don't want to stay In this hell hole ♪

Whoo!

♪ Don't want to die ♪

♪ In this hell hole ♪

♪ Girl, get me out Of this hell hole ♪

♪ No light fantastic Ever crosses my mind ♪

♪ That meditation stuff ♪

♪ Can make you go blind ♪

♪ Just crank that volume ♪

♪ To the point of pain ♪

♪ Why waste good music On a brain? ♪

-♪ Heavy ♪ -♪ Heavy ♪

-♪ Duty ♪ -♪ Duty ♪

♪ Heavy-duty rock and roll ♪

-♪ Heavy ♪ -♪ Heavy ♪

-♪ Duty ♪ -♪ Duty ♪

♪ Brings out the duty ♪

♪ In my soul ♪

[playing "The Majesty of Rock"]

[crowd cheering]

Yahoo!

♪ There's a pulse In the newborn sun ♪

♪ A beat in the heat of noon ♪

♪ There's a song As the day grows long ♪

♪ And a tempo In the tides of the moon ♪

♪ It's all around us And it's everywhere ♪

♪ And it's deeper Than royal blue ♪

♪ Hey ♪

♪ And it feels so real ♪

♪ You can feel the feeling ♪

♪ And that's The majesty of rock ♪

♪ The pageantry of roll ♪

♪ The ticking of the clock ♪

♪ The wailing of the soul ♪

♪ The prisoner in the dock ♪

♪ The digger in the hole ♪

♪ We're in this together And ever ♪

[drum solo being played]

[crowd cheering]

[mystical music playing]

In ancient times...

[cheering]

...hundreds of years before the dawn of history...

Whoo!

...lived a strange race of people.

The Druids.

No one knows who they were

or what they were doing.

[man] Do "Stonehenge"!

[Nigel] But their legacy remains hewn

into the living rock...

of Stonehenge.

[crowd cheering]

♪ Stonehenge ♪

♪ Where the demons dwell ♪

♪ Where the banshees live ♪

♪ And they do live well ♪

♪ Stonehenge ♪

♪ Where a man's a man ♪

♪ And the children dance To the pipes of Pan ♪

[playing pan flute music on organ]

♪ Stonehenge ♪

♪ 'Tis a magical place ♪

♪ Where the moon doth rise ♪

♪ With a dragon's face ♪

♪ Stonehenge ♪

♪ Where the virgins lie ♪

♪ And the prayers of devils Fill the midnight sky-y-y ♪

♪ And you, my love ♪

♪ Won't you take my hand ♪

♪ We'll go back in time ♪

♪ To that mystic land ♪

♪ Where the dewdrops cry ♪

♪ And the cats meow ♪

♪ I will take you there ♪

♪ I will show you how ♪

Oh!

[crowd cheering]

[Nigel] And oh, how they danced,

the little children of Stonehenge,

beneath the haunted moon,

for fear that daybreak

might come too soon.

[Hope] Just move it over!

She made me move the stage forward.

You can't blame her!

-[mandolin solo] -[crowd claps rhythmically]

[gong reverberates]

[gasps and screams]

[Elton] Ah! My legs!

Ah!

-[Hope] David! -[David] I can't feel my teeth.

I'm stuck down here.

Erase my browsing history.

[groaning]

[Hope] Get to pulling!

Fuck Spinal Tap!

[Hope] Hi. David, I'm so sorry.

Where have you been?

I've been sorting out a lot of the insurance stuff.

-Good. -How are you doing, Mr.-- Sir Elton?

I think I have no feeling in my legs.

I've got plenty in mine.

A huge stone fell on my legs,

and they said I was concussed.

They also said it really looked great.

I was hearing the buzz that it really worked theatrically.

How are you doing over there? You're good?

Oh, yeah. Never felt better.

-[Nigel] You look very well. -Thank you.

I think, uh...

catastrophic accidents agree with me.

[Marty] Now, I can either put this in the film

or keep it out of the film.

-It's up to you. -Talk to my manager.

I haven't edited yet.

We-we-we have not signed any release for this.

Because I can always have it up to that point.

-[Elton] Oh, fuck off. -Okay.

It ended bad. It did end bad.

-Yes. -I mean, it's press.

-Yeah. -Like, as in it got a lot of attention.

Yeah, it did, and you're of the mind,

any press is good press?

Well, there is a bit of that.

You know, dropping Stonehenge on a grand piano

and crushing Elton John's legs, that stays with you, doesn't it?

We're healing up.

Let's say this. We're healing up.

And do you feel like you could perform again?

We keep bouncing back in some form or another.

And this was a tough bounce.

There's no tougher bounce than having a, you know,

thousand-pound Stonehenge thing fall on top of you.

Yeah, well, there are a few blows in life

that might beat that, but not many.

Yeah. Yeah.

Waking up in a public library,

having passed out and shat yourself.

That'd be another one.

Have you talked to him since the hospital?

[Nigel] I have, yeah.

After being in hospital,

we said, you know, "How are you feeling?"

He's still got this knee thing where he can't--

Well, he can do this, but that's all he can do.

Well, then he-- It's like almost like a Jewish guy davening.

I mean, like at the Wailing Wall in Israel,

and just go like that.

I guess the question is, "Now what?"

Do you see a future for the band?

I don't know. Cruises, maybe.

-Oh, you mean like a-- -Rock and roll cruise.

-On a cruise ship. -Yeah.

With a lot of older people

who don't have full use of their limbs.

I put together an a cappella rap group called Mod Men.

Again, nobody had thought of a cappella rap groups.

But the problem with a cappella rap, as it turns out,

is there's a very thin line between a cappella rap

and simply shouting threats that rhyme.

I'm looking at Mick Jagger, who still runs around the stage.

-You're still performing. -Yeah.

These guys are in their 70s. They're still performing.

-Yeah. -I grew up in the '50s,

and Danny & the Juniors said

rock and roll was here to stay.

-Yeah. -And clearly, he was right.

-They were right. -Yeah.

What is it? You love to play?

Is that it, or...?

And drugs.

I have decided to write a memoir of my early years,

the Squatney years, you know,

as a young, wild teenager in Squatney.

-I was inspired by Bruce's book. -[Marty] Bruce Springsteen.

I Am Springsteen Going on Spreventine.

And then you also like to invent things.

-I do, yeah. -I mean, you're an inventor.

I think...

what if you could go on a picnic

and have a folding wine glass?

It's acrylic sides, four sides with hinges.

Pour the wine...

And that was successful?

-No. -Yeah.

I'll tell you the truth.

Uh, I had sex with David's wife.

Really? Does David know about this?

No.

You pretend that you came in.

[Marty] Okay. Uh, sir, I--

But with a different accent.

[in British accent] Uh, sir?

No. Let's do it the other way.

-All right. -Do you.

If I brought in a half a wheel

of the San Jorge "Qui-jo"...

What is it, "Que-jo"?

-What's that you're saying? -It's the name of it.

-"Que-jo"? What's that? -I don't know that last part.

-Queijo. Queijo. -Queijo. Queijo.

"Qua--" -Queijo.

Queijo.

-Queijo. -We'll save that for another--

So, if I brought in a half a wheel of the San--

Of which one?

-Queijo. -Yes?

And you correct me if I'm wrong,

because I could be wrong about this.

Should we wait until you finish?

Yeah. Finish the sentence, I think.

Yeah. There's nothing to correct at this point.

-[Derek] Okay. Good point. -I didn't say anything.

Once I say it...

-Then we can correct. -...then you can correct.

Why? Is there something I should be corrected on now?

-Not yet. -No. Not yet.

-Let's wait. -We'll wait. We'll wait.

I noticed--

Now would be a good time.

I mean, every drummer, Spinal Tap drummer,

they always wind up with an unfortunate ending.

And do you feel, like, lucky that you're the one

that was able to-- To break that curse?

You're the one that survived.

I do. I'm racked with survivor's guilt.

Yeah, I see you're still eating healthy.

I'm still trying to ward off the Grim Reaper as much as I can.

Maybe you have broken the curse of all those drummers.

You might have been the one that breaks that curse.

Yeah. Knock on wood.

What? What? What?

[gasps]

Oh. Oh, Jesus. Are you choking?

All right. All right. Here. Come on. Heimlich.

Here we go. Here we go.

Okay. One more. Okay.

[grunts]

[rock music playing]