This Is Spinal Tap (1984) Watch HD

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00:00:00You

00:00:02Hello, my name is Marty DeBerge.

00:00:32I'm a filmmaker.

00:00:33I make a lot of commercials.

00:00:35That little dog that chases the covered wagon

00:00:38underneath the sink, that was mine.

00:00:41In 1966, I went down to Greenwich Village, New York City

00:00:46to a rock club called the Electric Banana.

00:00:49Don't look for it.

00:00:50It's not there anymore.

00:00:51But that night, I heard a band that, for me,

00:00:55redefined the word rock and roll.

00:00:58I remember being knocked out by their exuberance,

00:01:01their raw power, and their punctuality.

00:01:06That band was Britain's now legendary Spinal Tap.

00:01:1017 years and 15 albums later, Spinal Tap

00:01:14is still going strong.

00:01:17And they've earned a distinguished place in rock history

00:01:19as one of England's loudest bands.

00:01:23So in the late fall of 1982, when I heard that Tap was releasing

00:01:27a new album called Smell the Glove and was planning their first tour

00:01:31of the United States in almost six years to promote that album, well,

00:01:35needless to say, I jumped at the chance to make the documentary the, if you will,

00:01:39a little rockumentary that you're about to see.

00:01:43I wanted to capture the sights, the sounds, the smells of a hardworking rock band on the road.

00:01:52And I got that.

00:01:54But I got more.

00:01:56A lot more.

00:01:58But, hey, enough of my yakking.

00:02:00What do you say?

00:02:01Let's boogie.

00:02:12Gives me a lot of energy.

00:02:13It makes me happy.

00:02:14The metal's deep.

00:02:15It gets some out of it.

00:02:16The way they dress.

00:02:17The leather.

00:02:18It's like you become one with the guys in the band, I mean, there's, there's no division.

00:02:46You just, the music just unites people with the players.

00:02:53Come on, Ryan, direct from hell, my old cat.

00:02:58Your heart should take all, we've got not a dry seed in the house.

00:03:03Next day we'll be on, I'll wear it tonight.

00:03:06We're gonna rock it.

00:03:07Tonight we're gonna rock it.

00:03:08Tonight we're gonna rock it.

00:03:09Tonight we're gonna rock it.

00:03:10Tonight we're gonna rock it.

00:03:11Tonight.

00:03:12Tonight.

00:03:13Tonight.

00:03:14Tonight.

00:03:15Tonight.

00:03:16Tonight.

00:03:17Tonight.

00:03:18Tonight.

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00:03:23Tonight.

00:03:24Tonight.

00:03:25Tonight.

00:03:26Tonight.

00:03:27Tonight.

00:03:28Tonight.

00:03:29Tonight.

00:03:30Tonight.

00:03:31Tonight.

00:03:32Tonight.

00:03:33Tonight.

00:03:34Tonight.

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00:03:42Tonight.

00:03:43Little girl, the great big world is only one of us

00:03:55Hey!

00:04:13Let's talk a little bit about the history of the group

00:04:20I understand Nigel, you and David originally started the band

00:04:24Back in, when was it, 1964?

00:04:27Well before that we were in different groups

00:04:29I was in a group called The Creatures, which was a skiffle group

00:04:31I was a lovely lads

00:04:33And then we looked at each other and said

00:04:35Might as well join up, you know

00:04:38So we became the originals

00:04:40Right

00:04:41And we had to change our name, actually

00:04:43Well there was another group in the East End called The Originals

00:04:46And we had to rename ourselves

00:04:48The New Originals

00:04:49The New Originals

00:04:50And then they became

00:04:52The Regulars

00:04:53They changed their name back to The Regulars

00:04:54And we thought, well, we could go back to the originals

00:04:57About what's the point

00:04:58We became the Tensmen at that point

00:05:02Stop wasting my time

00:05:06You know what I want

00:05:08You know what I need

00:05:11Oh, maybe you don't

00:05:14Do I have to come right flat out

00:05:18And tell you everything

00:05:20Give me some money

00:05:22Give me some money

00:05:24Give me some money

00:05:26Don't make my time

00:05:29You know what I want

00:05:30To pay

00:05:31Your first drummer was...

00:05:35The Beeper

00:05:36John Stumpy Peeps

00:05:37Oh, yeah

00:05:38Great, great, uh

00:05:39Tall, blonde, geek, with glasses

00:05:43Good drummer

00:05:44Great look

00:05:45Good drummer

00:05:46What happened to him?

00:05:48He died. He died in a bizarre gardening accident some years back.

00:05:53It's really one of those things, it was, you know,

00:05:56the authorities said, you know, best leave it.

00:05:59It's unsolved, really.

00:06:01And he was replaced by...

00:06:03Stumpy Joe. Eric Stumpy Joe Childs.

00:06:06And what happened to Stumpy Joe?

00:06:08Well, it's not a very pleasant story, but...

00:06:11He died, he choked on...

00:06:16The official explanation was he choked on vomit.

00:06:21He passed away.

00:06:22It was actually someone else's vomit.

00:06:25It's ugly.

00:06:26You know, there's no real...

00:06:28Well, they can't prove whose vomit it was.

00:06:30They don't have facilities in Scotland Yard...

00:06:33You can't really dust for vomit.

00:06:37Here we go.

00:06:39Soho, they call this.

00:06:41Soho.

00:06:42So what?

00:06:43Come on, lads. Soho.

00:06:44Soho.

00:06:49How are you?

00:06:52Ian.

00:06:54Hi, fellas.

00:06:56How are you doing?

00:06:57Come over here.

00:06:59I want to meet everybody.

00:07:00Bobby Fleckman.

00:07:01Who's that?

00:07:02Bobby Fleckman.

00:07:03Who is it?

00:07:04Sam, come over here, everybody.

00:07:06Yes, Bobby Fleckman.

00:07:08Bobby, of course.

00:07:09How are you?

00:07:10How are we new?

00:07:11How are we new?

00:07:12How are we new?

00:07:13How are we new?

00:07:14You'll know, you'll know.

00:07:15Hi, handsome.

00:07:16How are you doing?

00:07:17All right, listen.

00:07:18I want you to all meet Sir Dennis Eaton Hogg.

00:07:19Now, he's the head of Parliament.

00:07:20We know.

00:07:21We know.

00:07:22You don't talk so much.

00:07:23Just smile and look smart.

00:07:24Dennis, come here.

00:07:25Come here.

00:07:26I want you to meet Spinal Tap, our guest of honor.

00:07:29I'm very nice to meet you.

00:07:30Kids, this is Sir Dennis Eaton Hogg.

00:07:32This is Nigel.

00:07:33Yeah, this is Nigel.

00:07:34Thanks a lot.

00:07:35Isn't that fun?

00:07:36Yeah.

00:07:37Let's go over here, and we'll all take a picture together.

00:07:40Absolutely.

00:07:41Where's Christine?

00:07:42Where's my photographer?

00:07:43Come over here, honey.

00:07:44What's your name, Christine?

00:07:45I am.

00:07:46Okay.

00:07:47Right over here.

00:07:48I love you.

00:07:49Good.

00:07:50Hi.

00:07:51It's not Nigel.

00:07:52It's not Nigel.

00:07:53I mean, you look great.

00:07:54I mean, you look fantastic.

00:07:57You would never know.

00:07:58You're almost 40.

00:07:59I mean, if I look this good from the stage, too, it's amazing, you know?

00:08:02I did the bird.

00:08:03Do the dead bird.

00:08:04Change this.

00:08:05Get the dwarf cannolis, the little ones.

00:08:06All right.

00:08:07I did the bird.

00:08:08Come on.

00:08:09Don't talk back, huh?

00:08:10Mime is money.

00:08:11Let's go.

00:08:12Come on.

00:08:13Move it.

00:08:14Now, we here at Polymer, we're all looking forward to a long and fruitful relationship with Spinal Tap.

00:08:18We wish them great success on their North American tour.

00:08:22And so say all of us, tap into America!

00:08:27Yay!

00:08:32Excuse me.

00:08:33Are you reading Yes, I Can?

00:08:35Yeah.

00:08:36Have you read it?

00:08:37Yeah.

00:08:38By Sammy Davis, Jr.?

00:08:39Yeah.

00:08:40You know what the title of that book should be?

00:08:42Yes, I Can, if Frank Sinatra says it's okay.

00:08:46Because Frank calls the shots for all those guys.

00:08:49Did you get to the part yet where Sammy's coming out of the Copa?

00:08:53And it's about 3 o'clock in the morning and he sees Frank.

00:08:57Frank's walking down Broadway by himself.

00:09:03Fucking limies.

00:09:05Well, you know, they're not used to that world in Frank Sinatra.

00:09:08Yeah, yeah.

00:09:09It's a different world that they're in.

00:09:10You know, it's just people like this, you know, you know, they get all they want so they

00:09:17don't really understand, you know, about a life like Frank's.

00:09:20I mean, you know, when you've loved and lost the way Frank has, then you know what life's about.

00:09:26The Times may even do something.

00:09:27Really?

00:09:28The New York Times.

00:09:29The New York Times.

00:09:30The minor bump we've got to iron out here is when do we get the album released?

00:09:33I mean, it doesn't matter how good the press is and what the string is.

00:09:35Well, I explained last night, you know, we're not going to saturate the New York market.

00:09:40Now, Philly now, that's a real rock and roll town.

00:09:42Oh, Philly's a great town.

00:09:43Yeah.

00:09:44If you've been assured, the album will be available all through Philadelphia.

00:09:48So you are hitting that market?

00:09:50We're certainly doing, I'm doing everything I can.

00:09:54That's right, we're not blaming you.

00:09:55I mean, I'm riding the bus.

00:09:56But you know that we're not blaming you.

00:09:57But you don't feel that these guys have an effect on an audience?

00:09:59I mean, the kids go to their concert, they have a great time.

00:10:02But it's a passing thing.

00:10:05I mean, I would never count on this, but this is a fan.

00:10:14The bigger the cushion, the sweeter the portion, that's what I said.

00:10:42The looser the waistband, the deeper the quicksand, or so I have read.

00:10:51My baby fits me like a flesh tuxedo.

00:10:55I like to sink her with my pink torpedo.

00:10:59Big bottle.

00:11:01Big bottle.

00:11:02Big bottle.

00:11:03Talk about a bone cake.

00:11:05My girl's got them.

00:11:07Big bottle.

00:11:09Drive me out of my mind.

00:11:11How will I leave this behind?

00:11:14I met her on Monday.

00:11:15It was my lucky Monday.

00:11:16You know what I mean?

00:11:17I love her each weekday.

00:11:19Each velvety cheek day.

00:11:21You know what I mean?

00:11:23I love her each weekday.

00:11:24Each velvety cheek day.

00:11:25You know what I mean?

00:11:26My love gun's loaded and she's in my sight.

00:11:30Big game is waiting there inside her tights.

00:11:31Yeah.

00:11:32Big bottle.

00:11:33Big bottle.

00:11:34Talk about mudflats.

00:11:35My girl's got them.

00:11:37Big bottle.

00:11:38Drive me out of my mind.

00:11:39I love her each weekday.

00:11:40I love her each weekday.

00:11:41Each velvety cheek day.

00:11:42You know what I mean?

00:11:43I love my life.

00:11:44Big deal is waiting there inside her tights.

00:11:47Yeah.

00:11:48Big bottle.

00:11:49Big bottle.

00:11:52Talk about mudflats.

00:11:54My girl's got them.

00:11:56Big bottle.

00:11:58Drive me out of my mind.

00:12:00How could I leave this behind?

00:12:05Let's talk about your reviews a little bit regarding intravenous to Milo.

00:12:17This tasteless cover is a good indication of the lack of musical invention within.

00:12:23The musical growth rate of this band cannot even be charted.

00:12:26They are treading water in a sea of retarded sexuality and bad poetry.

00:12:30That's nitpicking, isn't it?

00:12:31The Gospel according to Spinal Tap, this pretentious, ponderous collection of religious rock psalms

00:12:37is enough to prompt the question, what day did the Lord create Spinal Tap,

00:12:43and couldn't he have rested on that day, too?

00:12:46Never heard that one.

00:12:47Good one. That's a good one.

00:12:49The review you had on Shark Sandwich, which was merely a two-word review, just said,

00:12:55Shit Sandwich.

00:12:57Why'd they print that? Why'd they print that?

00:12:59That's not real. You can't print that.

00:13:02You know, all those arguments about touring and not touring and all that,

00:13:06I mean, it's obvious we belong on tour, you know, it's a great idea.

00:13:09I mean, all that stuff about you being too old and you being too white, you know.

00:13:12Yeah, but what about the album, Ian?

00:13:14Well, that's the real problem.

00:13:15There's no way to promote something that doesn't exist, you know.

00:13:20Well, there's a very unimportant reason.

00:13:23It's just that they're just experimenting with some new packaging materials, right?

00:13:28Let me get the door.

00:13:28What can I experiment in there? Monkeys opening in our wash.

00:13:30Oh, but the other thing is that the Boston gig has been cancelled.

00:13:34What?

00:13:34Yeah. I wouldn't worry about it, though. It's not a big college town.

00:13:40Hey, I ain't heard you, boss.

00:13:42You got an album coming out right now?

00:13:43Yeah, well, yeah, it's Smell the Club.

00:13:44It should be out now.

00:13:46Smell the Club?

00:13:46Smell the Club, yeah.

00:13:48It's a provocative title.

00:13:50I love it.

00:13:50Well, wait till you see the cover.

00:13:51Wait till you see the cover.

00:13:52Very provocative, indeed.

00:13:53Bobby, I'll tear you away from all this.

00:13:58So, do you have a drink?

00:13:59No, I don't really need one.

00:14:01But, listen, I really do have to talk to you a bit about this whole issue of the cover.

00:14:09Yeah.

00:14:09Um, we, uh, I mean, we feel, and it seems to be facts, that, uh, the company is rather down on the cover.

00:14:17Is that the case?

00:14:18Yes.

00:14:18You can give it to me straight, you know.

00:14:19Listen, um, they don't like the cover.

00:14:22Uh-huh.

00:14:22They don't like the cover.

00:14:22Well, that's certainly straight.

00:14:23They find it very offensive and very sexist.

00:14:26Well, what exactly do you find offensive?

00:14:28Ian.

00:14:28I mean, what's offensive about it?

00:14:29You cut a greased, naked woman on all fours with a dog collar around her neck and a leash.

00:14:36And a leash.

00:14:37And a man's arm extended out up to here, holding onto the leash and pushing a black glove in her face to sniff it.

00:14:45You don't find that offensive?

00:14:46No, I don't.

00:14:47You don't find that sexist?

00:14:48This is 1982, Bobby.

00:14:49That's right.

00:14:50It's 1982.

00:14:51Get out of the 60s.

00:14:52We don't have this mentality anymore.

00:14:54Well, you should have seen the cover they wanted to do.

00:14:55I don't care what they want.

00:14:57It wasn't a glove, believe me.

00:14:57See, now, this is something, Ian, that you're going to have to talk to your boys about.

00:15:00We're certainly not laying down any conditions.

00:15:01And I don't think that a sexy cover is the answer for why an album sells or doesn't sell.

00:15:05Because you tell me, the white album?

00:15:07What was that?

00:15:08There was nothing on that goddamn cover.

00:15:11Excuse me.

00:15:12The phone's ringing.

00:15:12Ian, we'll talk about it this afternoon.

00:15:13Okay.

00:15:14Hello.

00:15:15Hello?

00:15:16Oh, hi, Dennis.

00:15:19Uh-oh.

00:15:20Okay.

00:15:21Why don't you tell him?

00:15:23Okay.

00:15:23Hold on one minute.

00:15:24Ian!

00:15:26It's Eaton Hogg.

00:15:27He wants to talk to you.

00:15:28Okay.

00:15:28Thank you, darling.

00:15:28You're welcome.

00:15:29You're welcome.

00:15:30Yeah.

00:15:30See you.

00:15:32Hello?

00:15:32Sir Dennis.

00:15:34Hi.

00:15:35How are you?

00:15:39Oh.

00:15:41Fucking off.

00:15:42Puffed up.

00:15:44But it's really not that offensive, Sir Dennis.

00:15:46Come on.

00:15:49Okay.

00:15:49I'll call you absolutely first thing in the morning.

00:15:54Oh, shit.

00:15:56They're not going to release the album because they have decided that the cover is sexist.

00:16:02Well, so what?

00:16:03Yes.

00:16:03What's wrong with being sexy?

00:16:05I mean, there's no...

00:16:06Sexist.

00:16:07Isst.

00:16:07Okay, listen.

00:16:08I wanted to tell you this, and I was holding back because I didn't know what Dennis' decision

00:16:12was going to be.

00:16:13But at this point, both Sears and Kmart stores have refused to handle the album.

00:16:18That old one, huh?

00:16:18They're boycotting the album only because of the cover.

00:16:21If the first album had been a hit, it can shove it right down their throat.

00:16:25Money talks and bullshit walks.

00:16:28And if the first album was a hit, then we could have pressed on them.

00:16:31Then we could have told them, yes.

00:16:32The music, every cut on this album is a hit.

00:16:35It's a matter of compromise.

00:16:36It was a joke, and everyone's making it like a big deal.

00:16:39That's true.

00:16:39You know, if we were serious and we said, yes, she should be forced to smell the glove,

00:16:44then you'd have a point, you know?

00:16:46But it's all a joke, isn't it?

00:16:47I mean, we're making fun of that sort of thing.

00:16:50You know, over and over again, of course.

00:16:53Listen, the thing is, we can probably work something out.

00:16:55I'll talk to Dennis, and maybe we can come up with a compromise,

00:16:58and a new design concept that we can all live with.

00:17:01You guys were schoolmates?

00:17:02We don't.

00:17:04We're not university material.

00:17:06What's that on your finger?

00:17:07It's my gum.

00:17:08What are you doing with your finger?

00:17:09I might need it later.

00:17:11Put it on the table.

00:17:12It's terrible.

00:17:13Well, forget it on the table.

00:17:15I can't take him anywhere.

00:17:17How old were you guys when you met?

00:17:19About eight years old.

00:17:20Eight years old.

00:17:22You and eight, and I was seven.

00:17:24That's right, yeah.

00:17:26Do you remember the first song that you guys ever wrote together?

00:17:30All the Way Home, probably.

00:17:31Yeah.

00:17:32All the Way Home?

00:17:32Yeah.

00:17:33Can you remember a little bit of it?

00:17:35I'd love to hear it.

00:17:36Christ.

00:17:38Some black coffee, mate.

00:17:39Let's go.

00:17:40All right.

00:17:41I was seven.

00:17:43Beside the railroad track.

00:17:46And I'm waiting for that train to bring you back.

00:17:50Bring me back.

00:17:51If she's not on the 519, then I'm going to know what sorrow means.

00:17:59And I'm going to cry, cry, cry all the way home.

00:18:03All the way home, all the way home, all the way home, all the way home.

00:18:09Cry, cry, cry all the way home.

00:18:12Cry, cry, cry all the way home, yeah.

00:18:13Fairly simple.

00:18:14It was about six words in the whole song.

00:18:16Sounds like a perfect.

00:18:16You know, you're repeating them over and over again.

00:18:17Let's talk about your music today.

00:18:20One thing that puzzles me is the makeup of your audience seems to be predominantly young boys.

00:18:30Well, it's a sexual thing, really.

00:18:32Aside from the identifying that the boys do with us, there's also like a reaction of the female to our music.

00:18:40They're really, they're quite fearful.

00:18:42Yeah.

00:18:42That was my theory.

00:18:43They see us on stage with tight trousers.

00:18:45We've got, you know, armadillos in our trousers.

00:18:49I mean, it's really quite frightening, the size.

00:18:51Yeah.

00:18:51And they, they run screaming.

00:18:59I'm going to talk to you for a minute.

00:19:01Yes, go.

00:19:02I've got a couple of problems with the arrangements backstage.

00:19:08What exactly?

00:19:09Well, uh, well, no, there's some problems here.

00:19:13I don't even know where to start.

00:19:14All right, this, uh.

00:19:15Do you want to check what's, what's going on?

00:19:16No, no, no, no.

00:19:17This, this, look, look, look, there's a little problem with the, uh, look, this, this miniature bread.

00:19:22It's like, I've been working with this now for about half an hour.

00:19:26I can't figure out, let's say I want a bite, right?

00:19:30You've got this.

00:19:30You'd like bigger bread?

00:19:31Exactly.

00:19:32I don't understand how it is.

00:19:33You could fold this, though.

00:19:34I mean, you could fold.

00:19:35Well, no, then it's half the size.

00:19:36No, not the bread.

00:19:37No, you could fold the meat.

00:19:38Yeah, but then it, then it breaks up, breaks apart, like this.

00:19:41No, no, no, no, no, you put it on the bread like this, see?

00:19:43But then if you keep folding it, it keeps breaking, and then everything has to be folded, and then it's this, and I don't want this.

00:19:51I want large bread so that I can put this.

00:19:55Right.

00:19:56So then it's like this, but this doesn't work because then it's all...

00:20:00Because it hangs out, like...

00:20:02Look.

00:20:03Yeah.

00:20:03Would you be holding this?

00:20:04No, I wouldn't want to eat, I wouldn't want to put it in my mouth.

00:20:06All right, A, exhibit A, and then we move on to this.

00:20:09Look, look, who's in here?

00:20:11No one.

00:20:12And then in here, there's a little guy.

00:20:14Look, so it's a complete catastrophe.

00:20:16No, you're right, Nigel, but calm down.

00:20:18Calm down.

00:20:19No, it's no big deal.

00:20:20It's a joke.

00:20:21It's really...

00:20:22It's just some crack at university, you know?

00:20:24Yeah, right, it's a joke.

00:20:25I don't want it to affect your performance, all right?

00:20:27It's not going to affect my performance.

00:20:29Don't worry about it, all right?

00:20:31Just hate it, really.

00:20:32It does disturb me.

00:20:33It won't happen again.

00:20:33But I rise above it.

00:20:34I'm a professional.

00:20:35You're right.

00:20:36It's better in a hellhole.

00:20:44You know where you stand in a hellhole.

00:20:48Folks lend a hand in a hellhole.

00:20:52Girls, get me back to my hellhole.

00:20:56He'll be right.

00:21:08Bye.

00:21:09Bye.

00:22:39So I'll strap this piece on, you know, right down in here when I'm on stage.

00:22:45That's a wireless.

00:22:46Wireless, exactly.

00:22:47And I can play without all the map.

00:22:49You can run anywhere on stage with that.

00:22:52This is special too, I see.

00:22:53Look, see?

00:22:54Still got the old tagger on it.

00:22:56See, never even played it.

00:22:58You just bought it?

00:22:58Don't touch it.

00:22:59Don't touch it.

00:23:00I wasn't going to touch it.

00:23:01No, don't touch it.

00:23:02I was just pointing at it.

00:23:03Well, don't point even.

00:23:04Don't even point?

00:23:05No, it can't be played.

00:23:07Never.

00:23:07Can I look at it?

00:23:08No.

00:23:08No, no, you've seen enough of that one.

00:23:11This is a top to, you know, what we use on stage.

00:23:13But it's very, very special because if you can see, the numbers all go to 11.

00:23:20Look, right across the board.

00:23:2211, 11, 11.

00:23:24And most of the amps go up to 10.

00:23:26Exactly.

00:23:27Does that mean it's louder?

00:23:28Is it any louder?

00:23:29Well, it's one louder, isn't it?

00:23:31It's not 10.

00:23:33You see, most blokes, you know, be playing at 10.

00:23:35You're on 10 here, all the way up, all the way up, all the way up.

00:23:39You're on 10 on your guitar.

00:23:40Where can you go from there?

00:23:42Where?

00:23:43I don't know.

00:23:43Nowhere.

00:23:44Exactly.

00:23:45What we do is if we need that extra push over the cliff, you know what we do?

00:23:49Put it up to 11.

00:23:5011, exactly.

00:23:51One louder.

00:23:52Why don't you just make 10 louder and make 10 be the top number and make that a little louder?

00:24:00These go to 11.

00:24:02Are you, are you spinal, Ken?

00:24:04Spinal tap.

00:24:05This is spinal tap.

00:24:05Welcome to Memphis.

00:24:06Gentlemen, we have a slight problem with your reservation.

00:24:09Nothing serious, I'm afraid.

00:24:10How slight?

00:24:11You wanted seven suites.

00:24:13Seven suites.

00:24:13Yes.

00:24:13He mistakenly put you on the seventh floor with one suite.

00:24:17That's considerably more than minor.

00:24:18What is a good-sized room, sir?

00:24:21It's a king leisure.

00:24:22We can get you a...

00:24:23So are we going to get 14 people in a king leisure bed?

00:24:26Oh, no.

00:24:27Don't tempt me, sir.

00:24:28Have a good time.

00:24:28We can...

00:24:29We can...

00:24:30It's welcome, gentlemen.

00:24:31And very attractive they are.

00:24:32Hey, hey, listen, listen to me.

00:24:33We want these suites, and we want them now, okay?

00:24:36These people are tired.

00:24:36Yes, sir.

00:24:37We have a sound check.

00:24:37We can have your reader.

00:24:38Perhaps you can help me.

00:24:39Give me a hand, please.

00:24:40Yeah.

00:24:41Well, I'll tell you what, sir, okay?

00:24:42This twisted old fruit here tells me that you...

00:24:46I'm just as God made me, sir.

00:24:47My mind reservations.

00:24:48What's the difference between golf and miniature golf?

00:24:50I think, uh...

00:24:51The walls.

00:24:52Uh-oh.

00:24:53Look out.

00:24:53Here they come.

00:24:54Oh, go, girls.

00:24:57Duke.

00:24:58It's Duke, fine.

00:24:59It's Duke, fine.

00:25:00Duke.

00:25:01Yeah.

00:25:02It's okay.

00:25:03We know it's Spinal Tap.

00:25:04Spinal Tap.

00:25:04David St. Heavens, Spinal Tap.

00:25:06Derek Smalls, Spinal Tap.

00:25:08We got a good one.

00:25:09Listen, where are you playing in town?

00:25:10Are you playing here?

00:25:11We'll do in the Normo Dome, whatever it is.

00:25:14It's terrific.

00:25:14Oh, yeah.

00:25:15Big place outside of town.

00:25:16Very nice.

00:25:17What a place. You sold it out.

00:25:19We really should run, you know.

00:25:21Good heavens. How are you, laddie?

00:25:23Great to see you, Terry. Terrific to see you.

00:25:26Liam. Ian. Ian.

00:25:29Listen, we'd love to stand around and chat,

00:25:31but we've got to sit down in the lobby and wait for the limo.

00:25:34Okay.

00:25:35Duke, we'll catch up with you on the road.

00:25:37Yeah, best of luck. Duke.

00:25:38We'll catch up with you on the post, maybe.

00:25:40Great. Great to see you.

00:25:41See you. Good days. Good days.

00:25:43Nice to see you.

00:25:45I can wank her.

00:25:47I can wank her. She's got this much talent.

00:25:49We carried him. We had to apologize for him with our set.

00:25:53That's right. People were still booing him when we were on tour.

00:25:56It's all high. It's all bought.

00:25:58Yep, we got our runs.

00:25:59Can I ask you something?

00:26:01Have you seen Duke fame's current album?

00:26:04Um, yes. Yes.

00:26:06Have you seen the cover?

00:26:08Uh, no. No, I don't think I have.

00:26:09It's a rather lurid cover.

00:26:11I mean, it's like naked women and, uh...

00:26:14He's tied down to this table.

00:26:16Uh-huh.

00:26:17He's got these whips, and they're all semi-new.

00:26:19Knocking on him, and it's like...

00:26:20What was your point?

00:26:21Well, the point is, it's much worse than Smell for Glover.

00:26:23Yeah, the point is, how many of us is that?

00:26:25He's number three.

00:26:26Because he's the victim.

00:26:27Their objections were that she was the victim, you see.

00:26:30Oh.

00:26:31That's all right.

00:26:32I mean, if the singer's the victim, it's different.

00:26:33It's not sexy.

00:26:34See, he did a twist on it.

00:26:35He did.

00:26:36He turned it around.

00:26:37We should have thought of that.

00:26:38We were so close.

00:26:39But it's still a stupid cover.

00:26:41It's such a fine line between stupid and...

00:26:43And clever.

00:26:44Just have a little turnabout.

00:26:46I have a small piece of bad news.

00:26:48Although it may not be that bad.

00:26:49For a change.

00:26:50We're, uh...

00:26:51We're cancelled here.

00:26:52At the hotel?

00:26:53No, we're cancelled.

00:26:54The gig is cancelled.

00:26:56Fuck.

00:26:57Uh, it says Memphis show cancelled due to lack of advertising funds.

00:27:02The last time TAP toured America, they were, uh, booked into 10,000-seat arenas and 15,000-seat venues.

00:27:11And it seems that now, on the current tour, they're being booked into 1,200-seat arenas, 1,500-seat arenas.

00:27:19And, uh, I was just wondering, does this mean the popularity of the group is waning?

00:27:23Oh, no, no, no, no, no, no, no, no.

00:27:26No, no, not at all.

00:27:27I just think that the, uh, that their appeal is becoming more selective.

00:27:32Oh.

00:27:33Now, I notice this here, you've got this cricket bat here.

00:27:36In play?

00:27:37Um, no, I carry this, uh, partly out of, uh, I don't know, sort of, sort of, uh, uh, I suppose, uh, what's the word, uh...

00:27:46Affectation?

00:27:47Yes, I mean, it's a kind of totemistic thing, you know, but, uh, to be quite frank with you, it's come in useful in a couple of situations.

00:27:54Certainly in the, uh, topsy-turvy world of heavy rock, having a good, solid piece of wood in your hand is quite often useful.

00:28:01Mm-hmm.

00:28:02Oh, I miss you too, darling.

00:28:04Um, not too well, actually.

00:28:07Well, we've got some cancellations, that's all.

00:28:09We got to Memphis, and there's no gig in Memphis, and we find out this, this promoter in the Midwest, uh, has pulled out St. Louis, and Kansas City, and, um, oh, Des Moines.

00:28:22I don't know if it's in Indiana or something.

00:28:27I thought...

00:28:29Oh, don't tease me.

00:28:31That's not until April.

00:28:32Great!

00:28:33We'll do it.

00:28:34We'll...

00:28:35Oh!

00:28:36Oh, fucking great.

00:28:37We're...

00:28:38Milwaukee.

00:28:39Milwaukee, Wisconsin.

00:28:40I have no idea.

00:28:41You might have to take a plane to New York and then get, and then go to, uh, to Milwaukee from there.

00:28:47Oh, God, I love you two.

00:28:49Okay.

00:28:50Bye.

00:28:53Well, my problems are solved, mate.

00:28:55Who's that?

00:28:56Janine.

00:28:57She's gonna come meet us.

00:28:58She was supposed to do this, this, uh, window layout for Neil Kite's boutique, but it's not until April.

00:29:04Is she coming to drop some stuff off?

00:29:06You know, and then...

00:29:07No, no, she's coming online.

00:29:08She's gonna travel with us.

00:29:09She's gonna go on the road with us.

00:29:10Turn it up!

00:29:11Turn it up!

00:29:12She says she can hear that I'm eating too much sugar on the phone.

00:29:14She says my larynx is fat.

00:29:16You, uh, might want to come next door.

00:29:19The radio's playing a bit of your past.

00:29:21Can you have any for me?

00:29:24I don't believe it!

00:29:31I don't believe it!

00:29:32You're an oldie.

00:29:33You're an oldie.

00:29:34You're an oldie...

00:29:35You're an oldie.

00:29:36You're an oldie.

00:29:38I live Boston, but I love a lot of friends

00:29:41Sharing cups and cakes with me

00:29:44And cakes with me

00:29:48Oh yeah, going all the way back to 1985

00:29:53Don't it feel good with the Thamesmen and cups and cakes?

00:29:59Where the Thamesmen later changed their names to Spinal Tap

00:30:02They had a couple of last-sized hits

00:30:04They're currently residing in the Where Are They Now file

00:30:06Johnny Q with you on Golden 106

00:30:09And right after we drop you

00:30:10I'm not really sure this was such a great idea

00:30:13I mean, I don't feel any better than I did at the hotel

00:30:16He was going to do a TV special from here before he died

00:30:22Yeah, that's right, a musical version of Somebody Up There Likes Me

00:30:25Well, since my baby left me

00:30:30I found a new place to dwell

00:30:33Well, it's down at the end of Lonely Street

00:30:37That heartbreak hotel

00:30:40Do it with the harmony parts

00:30:42Right

00:30:42Well, since my baby

00:30:45The same key though, I think

00:30:46Well, since my baby left me

00:30:50If I'm going

00:30:50Since my baby left me

00:30:54Well, I found a new place to dwell

00:31:03That's all right

00:31:05It's down, not really

00:31:06Well, it sounds raga

00:31:08You don't want to go raga on this

00:31:09No, not on this, it don't

00:31:10It does

00:31:11Well, it sounds fucking barbershop

00:31:12Barbershop raga

00:31:15Watch them, watch them

00:31:16A new hybrid

00:31:17The King

00:31:18Oh, sorry

00:31:19Well, this is sterilely depressing

00:31:23Well, it really puts perspective on things, doesn't it?

00:31:26Not too much

00:31:27There's too much fucking perspective now

00:31:291967, that was the first time Spinal Tap came into existence

00:31:36Well, the whole world was changing in those days

00:31:38And also, we had the world's ear

00:31:39Because we had just released an enormous selling single

00:31:43Listen to the flower

00:31:44Flower people

00:31:44We toured the world

00:31:47We toured the states

00:31:48Toured the world and elsewhere

00:31:49It was a dream come true

00:31:51Listen

00:31:51What the flower people say

00:31:56Ah

00:31:58Listen

00:32:00It's like a bolt out of the blue

00:32:14Ah

00:32:16Listen

00:32:18It could be calling now for you

00:32:23Now, during the flower people period, who was your drummer?

00:32:45Stampy's replacement

00:32:47Peter James Bond

00:32:48He also died in mysterious circumstances

00:32:50We were playing a jazz blues festival

00:32:54Where was that?

00:32:55Blues jazz, really

00:32:56Blues jazz festival

00:32:56It was in the oil

00:32:59Isle of Lucy

00:33:00The Isle of Lucy

00:33:01Jazz and blues festival

00:33:02And it was tragic, really

00:33:04He exploded on stage

00:33:06Just like that

00:33:08He just went up

00:33:09He just was like a flash of green light

00:33:11And that was it

00:33:14Nothing was left

00:33:15Look at his face

00:33:16Well, there was

00:33:16It's true

00:33:17It's true

00:33:17There's a little green globule on his drum seat

00:33:20Like a stain, really

00:33:22It was more of a stain in a globule, actually

00:33:24You know, several

00:33:24You know, dozens of people spontaneously combust each year

00:33:28It's just not really widely reported

00:33:30Right

00:33:31Yeah

00:33:31Test, test, test

00:33:37This is mic number one

00:33:38This is mic number one

00:33:39Isn't this a lot of fun?

00:33:40Chew

00:33:41Okay, cut the bikes

00:33:42Let's do GSM, all right?

00:33:44GSM

00:33:45I'm wasting my time

00:33:50You know what I want

00:33:54Hit me up

00:33:55You know what I need

00:33:58Oh, maybe you don't

00:34:02I do

00:34:05I have to come right

00:34:06Smack damn out

00:34:08And tell you

00:34:09Yeah, but I ain't

00:34:10Give me some money

00:34:11Give me some money

00:34:16Oh, yeah

00:34:18Hello, darling

00:34:25Hello

00:34:27I've got some rides too

00:34:29Where'd you come from?

00:34:31Where'd you think I came from?

00:34:33Bloody airplane, this time

00:34:35All right

00:34:35Good

00:34:46That feels good

00:34:47Oh, I've been wanting to do that in a lot

00:34:49What have you been carrying about with me?

00:34:53What is this?

00:34:53All right

00:34:54What?

00:34:54They're filming, isn't it?

00:34:55That's the film crew

00:34:56Oh

00:34:56I told you about it

00:34:58It's the film crew

00:34:58Martin

00:34:59Hi, Mark

00:35:00It's Janine

00:35:01Hello

00:35:02Here it is

00:35:04Visitor's day, isn't it?

00:35:05Here it is, lads

00:35:06You better turn

00:35:07Sound the glove, me old booties

00:35:09Gather round

00:35:11Where's David?

00:35:12David, David, get up here

00:35:14I'm done

00:35:15David, smell the glove is here

00:35:17Hello, Janine

00:35:18The moment we've all been waiting for

00:35:20Here we go

00:35:23I thought I lived to see the day

00:35:23Twenty for everybody

00:35:25Wait a minute

00:35:26A little fan

00:35:27What do you think?

00:35:28Is this the test pressing?

00:35:29No, this is it

00:35:30Yes, that's right

00:35:31Smell the glove by Spinal Tap

00:35:32That's smell the glove

00:35:34That's the jacket cover

00:35:35That's going out across the country

00:35:37In every store

00:35:39Is it going to say anything here?

00:35:41It doesn't even say anything

00:35:41It's not going to say anything

00:35:42It's just going to be like this

00:35:44It's going to be that

00:35:44Simple, beautiful, classic

00:35:47It does look like, you know, black weather

00:35:49You can see yourself in both sides

00:35:51I would feel so bad

00:35:52It's like a black mirror

00:35:53Yeah, it is

00:35:54Well, I think it looks like death

00:35:56It looks like mourning

00:35:57Every movie in every cinema is about death

00:36:01Death sells

00:36:02I think he's right

00:36:04There's something about this

00:36:05That's so black

00:36:06It's like

00:36:07How much more black could this be?

00:36:09And the answer is

00:36:09None

00:36:11None more black

00:36:12I think you're like

00:36:13Rationalizing this whole thing

00:36:14Into something that you did on purpose

00:36:17You know, I think we're stuck

00:36:18With a very stupid

00:36:20And a very dismal looking album

00:36:22This is depressing

00:36:23This is something you wear around your arm

00:36:25You don't put this on your fucking turntable

00:36:26David, it's a choice

00:36:27I frankly think that this is the turning point

00:36:29Okay?

00:36:29I think this is

00:36:31We're on our way now

00:36:32You know, it's time to

00:36:33It's time to kick ass

00:37:01When there was darkness

00:37:09And the void was king

00:37:12And through the elements

00:37:14When there was silence

00:37:17And the hush

00:37:18Was almost deafening

00:37:20Out of the emptiness

00:37:26Subjection

00:37:29Rhythm and light and sound

00:37:34It was a rock and roll creation

00:37:38It was a terrible big bang

00:37:41It was the ultimate mutation

00:37:45He was searching for his yang

00:37:48And he looked and he saw

00:37:51That it was good

00:37:52I look to the stars

00:38:08And the answer is clear

00:38:11I look in the mirror

00:38:15And see what I feel

00:38:18And see what I feel

00:38:19It's a rock and roll creation

00:38:24It's the absolute rebirth

00:38:40It's the rolling of the ocean

00:38:44And the rocking of the earth

00:38:47And I looked and I saw

00:38:50That it was good

00:38:51Oh, yes

00:38:52Given the history of

00:39:18Spinal tap drummers

00:39:19In the past

00:39:21Do you have any fears

00:39:22For your life?

00:39:24When I did join

00:39:25They did tell me

00:39:27They kind of took me aside

00:39:28And said, well, Mick

00:39:29It's like this

00:39:31And it did kind of

00:39:33Freak me out a bit

00:39:34But it can't always happen

00:39:37To every mechanic

00:39:39The law of averages

00:39:40Says you will survive

00:39:42Yeah

00:39:43Oh, quite exciting

00:39:49Quiet, Sergeant

00:39:51It's computer magic

00:39:52Whee

00:39:54How many planets

00:39:55Have you destroyed, Viv?

00:39:56Well, four

00:39:57For the fifth time round

00:39:58I think

00:39:59We're doing really fine

00:40:00A few galaxies gone

00:40:01You know

00:40:02This is Cindy's first moustache

00:40:06Is it?

00:40:09Can I take it off now?

00:40:11Why, too bad?

00:40:12No, it's

00:40:13I thought I might go back

00:40:15And see what they were up to

00:40:16Back there

00:40:16You know

00:40:17I don't think they really need to see this

00:40:18Until you're finished with it

00:40:20You know

00:40:20Well, you've been reading

00:40:21You can read here

00:40:22There he goes

00:40:23Yeah, but

00:40:24They've got the new game back there

00:40:26I thought

00:40:26Maybe

00:40:27Have a look at the new game

00:40:29It's like a submarine thing

00:40:31You've got all stuff over you again

00:40:33Before I met Janine

00:40:35My life was cosmically a shambles

00:40:37It was

00:40:38I was using bits and pieces

00:40:40Of whatever Eastern philosophy

00:40:41Is having to drift through my transom

00:40:43And she sort of sorted it out for me

00:40:46Straightened it out for me

00:40:47Gave me a power

00:40:48You know

00:40:48Power of the fire

00:40:49I wonder if you

00:40:50Have as much influence

00:40:52Over his musical expression

00:40:53Oh, yeah

00:40:54I mean, I listen to him

00:40:55When he's experimenting

00:40:57And things like that

00:40:57Don't I, Tom?

00:40:59He's

00:40:59He plays things to me sometimes

00:41:02When he's worked out

00:41:03He's got a new bit

00:41:04That he wants to tell me about

00:41:06You know

00:41:06And I say

00:41:07Yeah, that's good

00:41:07Or that's bad

00:41:08Or that shit

00:41:09Or whatever

00:41:09You know

00:41:10Yes, she's very honest

00:41:12She's brutally frank

00:41:14Well, how does that go over

00:41:15With the other band members?

00:41:16I mean, you

00:41:17Well, what happens is

00:41:18She gives me the brutally frank version

00:41:20And I sort of tart it out for them

00:41:22Yeah

00:41:22And of course

00:41:23It's, you know

00:41:24It's so strange

00:41:24Because Nigel

00:41:25And Janine

00:41:27Are so similar

00:41:28In so many ways

00:41:29But they just can't

00:41:31They don't dislike each other at all

00:41:33There's great love

00:41:34Between the two of them

00:41:35But they're just

00:41:35There's some sort of communication

00:41:38That's just not

00:41:38It's just blocked or something

00:41:40It's pretty

00:41:57Yeah, I like it

00:41:59I've just been fooling about with it

00:42:00For a few months now

00:42:01Very delicate

00:42:03It's a bit of a departure

00:42:06From the kind of thing

00:42:08You normally play

00:42:08Yeah, well, it's part of a

00:42:10Trilogy, really

00:42:12A musical trilogy

00:42:13That I'm doing

00:42:14In D minor

00:42:16Which I always

00:42:17Find is really

00:42:19The saddest of all keys

00:42:20Really

00:42:21I don't know why

00:42:21But it makes people

00:42:22Weep instantly

00:42:23To play

00:42:23It's a horn part

00:42:28It's very pretty

00:42:30Yeah, just simple lines

00:42:34Intertwining

00:42:35You know, very much like

00:42:37I'm really influenced

00:42:38By Mozart and Bach

00:42:39And it's sort of

00:42:40In between though

00:42:41It's really

00:42:41It's like a Mach piece

00:42:42Really

00:42:42What do you call this?

00:42:45Well, this piece

00:42:45Is called

00:42:46To lick my love pump

00:42:47Do you have any metal objects

00:42:56In your pockets?

00:42:56Yeah

00:42:57Take them out

00:42:57And put them in the bucket

00:42:58Points, keys

00:43:01Tuning for

00:43:06Musician

00:43:08I like to stay in tune

00:43:09You know

00:43:09Give me a moment

00:43:12One more

00:43:16Could you take

00:43:17This jacket off, please?

00:43:18Oh, it's a zipper

00:43:19Sitting off the machine

00:43:21Let's go then

00:43:22Let's go

00:43:23Hurry up

00:43:23Step over here, please

00:43:28Raise your arms

00:43:31Grand Forks

00:43:32Scheduled for departure

00:43:33At gate 12

00:43:34Has been delayed

00:43:34In approximately 20 minutes

00:43:36Do you have any

00:43:52Artificial plates

00:43:53Or limbs?

00:43:54Not really, no

00:43:55Would you

00:43:57Do it

00:44:00Do it

00:44:02I don't need a woman

00:44:18I won't take me

00:44:20No wife

00:44:21I got the rock and roll

00:44:26And that'll be my life

00:44:28No page in history, baby

00:44:34That I don't need

00:44:36I just wanna make some eardrums bleed

00:44:41Heavy duty

00:44:46Heavy duty

00:44:49Rock and roll

00:44:51Breaks out the duty

00:45:02In my soul

00:45:05Or hair

00:45:06Hey

00:45:06Well

00:45:07Hey

00:45:07You

00:45:08Yay

00:45:08Wolf

00:45:18You

00:45:19Hey

00:45:22I

00:45:23I

00:45:24Hell

00:45:35Hi, Artie Fufkin, Polymer Records, how are you?

00:45:41Hey, how are you doing?

00:45:42You are Derek.

00:45:44Artie Fufkin, Polymer Records, how are you?

00:45:46I'm your promo man here in Chicago.

00:45:48Oh, that's great.

00:45:48I love you guys.

00:45:49And of course, Nigel.

00:45:51Nigel, I love you.

00:45:52Nigel Tufno.

00:45:53Right.

00:45:53I love your stuff.

00:45:54I go back with you guys.

00:45:55Boy, do I.

00:45:56Artie Fufkin, Polymer Records.

00:45:57Right, yeah.

00:45:58I love you.

00:45:58And who are you, darling?

00:45:59Oh, this is my special new friend, Cindy.

00:46:01Hello, Cindy.

00:46:02And this is Belinda.

00:46:03Hello, Belinda.

00:46:03Artie Fufkin, Polymer Records, promo.

00:46:06And I'm, oh, what's going on here?

00:46:08Hi.

00:46:08Oh, they're making me go.

00:46:09Hi, guys, Artie Fufkin, Polymer Records.

00:46:11Nice to see you.

00:46:12And where is David?

00:46:13David, hi, Artie Fufkin, how are you?

00:46:16It's nice to see you.

00:46:17We've got something exciting happening tomorrow.

00:46:19Oh, it's your food.

00:46:20It's your food.

00:46:22Oh, thank God.

00:46:24Civilization.

00:46:25Where do I put this?

00:46:26What are you doing to me here?

00:46:53I'm not doing anything.

00:46:55I thought we had a relationship here.

00:46:56I don't know what happened.

00:46:57Business is terrible, Artie.

00:46:58What can I tell you?

00:46:59This is the truth.

00:47:00I know business is terrible, but what happens

00:47:01where the records start with a promotion

00:47:03and nobody shows off?

00:47:04I thought we had a fence.

00:47:04This isn't a personal thing, Artie.

00:47:05Nobody's coming in the store to...

00:47:06Forget personal thing.

00:47:07We had a relationship here.

00:47:08Forget about personal.

00:47:09What about a relationship?

00:47:12I feel like a schlub, and I don't know what's happening.

00:47:15It's me.

00:47:16That's what's happening.

00:47:17It's me.

00:47:18I did it.

00:47:19It's my fault.

00:47:20I don't know.

00:47:20Well, we were told massive radio support.

00:47:22We did.

00:47:23We did massive.

00:47:24We did massive.

00:47:25We saturated.

00:47:25We oversaturated.

00:47:26It's advanced radio support.

00:47:27That's what it is.

00:47:28It's me.

00:47:28I did it.

00:47:29I fucked up.

00:47:30I fucked up the timing.

00:47:31That's all I fucked up the timing.

00:47:32I got no timing.

00:47:33I got no timing.

00:47:34You know what I want you to do?

00:47:35Will you do something for me?

00:47:36What?

00:47:37Do me a favor.

00:47:38Just kick my ass, okay?

00:47:40Kick this ass for a man.

00:47:41That's all.

00:47:42Kick my ass.

00:47:43No.

00:47:43Enjoy.

00:47:44Come on.

00:47:44I'm not asking.

00:47:45I'm telling with this.

00:47:46Kick my ass.

00:48:00Well, we've kept them waiting long enough.

00:48:01Let's do it, Tom.

00:48:03Come on, mate.

00:48:05Let's go, Mr. Shrimpkin.

00:48:07Rock and roll!

00:48:08Rock and roll!

00:48:09Rock and roll!

00:48:10Rock and roll!

00:48:11Rock and roll!

00:48:12Rock and roll!

00:48:13Rock and roll!

00:48:14Rock and roll!

00:48:15Rock and roll!

00:48:16Rock and roll!

00:48:17Let's go there.

00:48:18Yeah.

00:48:19Yeah, buddy.

00:48:20It's going to be a hot one, isn't it?

00:48:21It's going to be a great show.

00:48:22No, it's not an exit.

00:48:23It's not an exit.

00:48:24It's not an exit.

00:48:25We've got one an exit.

00:48:26Well, that's true.

00:48:27Oh, this way.

00:48:28I'm sorry.

00:48:29I think so, though.

00:48:30Yeah.

00:48:31This way.

00:48:32Let's go.

00:48:33Do-do-do-do-do-do-do-do-do-do-do-do.

00:48:36Um...

00:48:37Wait.

00:48:38This looks familiar, though.

00:48:39Listen.

00:48:40It really does.

00:48:45Shit.

00:48:49Let's not lose it, though!

00:48:50Let's not lose it!

00:48:51What the fuck is he in?

00:48:52You know, he should be here.

00:48:56We've got to get to a subway.

00:48:58We've been on the stage, all right?

00:49:00We've been on the stage.

00:49:01We're in the group.

00:49:03We're in the group that's playing tonight.

00:49:05You go right straight through this door here,

00:49:07down the hall.

00:49:08Yeah.

00:49:09Turn right.

00:49:10Yeah.

00:49:11And then there's a little jog there,

00:49:13about 30 feet.

00:49:14Jog to the left.

00:49:15We don't have time for that.

00:49:16We'll trust you.

00:49:17We'll trust you.

00:49:18Go straight ahead, turn right to the next two corners,

00:49:20and the first door you sign,

00:49:22authorized, personnel only,

00:49:24open that door.

00:49:25That's the stage.

00:49:26You think so?

00:49:27You're authorized.

00:49:28You're being musicians, aren't you?

00:49:29Yeah.

00:49:30All right.

00:49:32Thank you very much.

00:49:33Rock and roll!

00:49:34Rock and roll!

00:49:35Yeah!

00:49:36Let's get it!

00:49:37Let's get it!

00:49:38This way?

00:49:39No.

00:49:40This way.

00:49:41Rock and roll!

00:49:42Here we go.

00:49:43Hello, Cleveland!

00:49:44Hello, Cleveland!

00:49:45Let's get it!

00:49:47Fuck!

00:49:49You must have made a wrong time.

00:49:51We've got to go another way.

00:49:52Other way.

00:49:53Other way.

00:49:54Other way.

00:49:55Other way.

00:49:56I hate to keep harping on this, but I think the notion of a black album has really cursed us in a way.

00:50:01Believe me, we're getting some very substantial reports of airplay.

00:50:04I don't think we have to worry about that.

00:50:05You know, it might have been better if the album had been mixed right.

00:50:10Well, he's crying out loud.

00:50:11Of course, that's true.

00:50:12I mean, it was true.

00:50:13Well, it just wasn't...

00:50:14It was mixed all wrong, wasn't it?

00:50:15It was mixed wrong?

00:50:16Yeah.

00:50:17Were you there?

00:50:18You couldn't hear the album.

00:50:19I couldn't hear the album.

00:50:20But she's heard the vocal.

00:50:21No, but I heard the album.

00:50:22So your judgment is it was mixed wrong.

00:50:24You couldn't hear the lyrics on all of it.

00:50:26You don't agree that you can't hear the vocals?

00:50:28No, I do not agree, no.

00:50:29Well, I think maybe it's interesting that she's bringing it up.

00:50:32Well, she'd like to hear the vocals.

00:50:34I mean, it's like me saying, you know, you're using your own conditioner for your hair, you know.

00:50:39I don't think it's cheap.

00:50:40It looks sort of...

00:50:41Well, it's true.

00:50:42I've got it.

00:50:43You don't do heavy metal in Dobley, you know.

00:50:44In what?

00:50:45In what?

00:50:46In an accomplishment.

00:50:47What?

00:50:48You can't...

00:50:49In Dobley?

00:50:50I mean, you can't...

00:50:51In Dobley?

00:50:52What's that?

00:50:53She means Dolby, all right?

00:50:54She means Dolby.

00:50:55You know perfectly well what she means.

00:50:56We shan't recover from this one.

00:50:57We shan't recover from this one.

00:50:58Oh, come on.

00:50:59Look, can I have the floor for just one moment?

00:51:00Because I've got, you know, something I'd like to show you.

00:51:03These...

00:51:04Janine's been working on these very hard.

00:51:07These are a new direction.

00:51:08Got a new idea for a new presentation.

00:51:10The stage look of the band fashioned after the...

00:51:12Signs of the Zodiac.

00:51:13Signs of the Zodiac.

00:51:14We needed a new presentation.

00:51:15This is a look for Viv, he's a Libra.

00:51:17There's sort of the ying, yang sort of look.

00:51:21This is Nigel, he's Capricorn.

00:51:24Sort of a goat look.

00:51:26I'm giving you a little beard.

00:51:27This is a Joe.

00:51:28This...

00:51:29This is a Joe.

00:51:30Excuse me.

00:51:31This is a Joe.

00:51:32Just bear with us for one moment, please.

00:51:33This...

00:51:34I love this.

00:51:35I wish I would.

00:51:36I can't...

00:51:37This is your crab face.

00:51:38That's great.

00:51:39Give it a chance.

00:51:40Give it a chance.

00:51:41Give it a chance.

00:51:42And this is a lion.

00:51:43David, wait, please.

00:51:44Wait a minute.

00:51:45Have you any idea what it will cost to dress up the band as animals?

00:51:51Oh, it don't cost nothing.

00:51:52Well, they're not animals.

00:51:53It really doesn't cost animals.

00:51:54They're animals.

00:51:55It's a way to fight the drabs.

00:51:56You know, we've got the drabs.

00:51:57Yeah, well, that's true.

00:51:58I think mine would look better in Dudley if it was done in Dudley.

00:52:02Oh, shit.

00:52:03Wait.

00:52:04David.

00:52:05Quite open mind, David.

00:52:06No, no, David.

00:52:07I mean, what's the...

00:52:08You know, there are solutions to our problems.

00:52:10I think we know what they are.

00:52:11I've yet to hear them.

00:52:12I've yet to hear them.

00:52:13It will be another quarter besides this one.

00:52:15We can take a rational approach and we can say...

00:52:17May I make a suggestion?

00:52:18I've got my own suggestion.

00:52:19Oh, let's hear yours.

00:52:20Let's hear your suggestion.

00:52:21Stonehenge.

00:52:22Stonehenge.

00:52:23It's the best production value we've ever had on stage.

00:52:26But we haven't got the equipment.

00:52:27We haven't got Stonehenge.

00:52:28Not yet we don't.

00:52:29Let's start with...

00:52:30Please, please, just a moment.

00:52:31We know it works.

00:52:32Musically, we all know it.

00:52:33I don't think it's a bad idea.

00:52:34Musically, we all know it, right?

00:52:35Yeah.

00:52:36No problems.

00:52:37Musically, we go right on stage.

00:52:38And it's quite simple.

00:52:40This is, you know, Ian can take care of this.

00:52:42It's...

00:52:43I know what the Stonehenge monument looks like.

00:52:45We don't have that piece of scenery anymore.

00:52:46I know.

00:52:47So we build a new one.

00:52:50And this is it.

00:52:51I mean, look.

00:52:52Consider...

00:52:53Consider it done.

00:52:54So you're gonna just take care of it like that?

00:52:55You're gonna find someone to design it.

00:52:56Let's give it a try.

00:52:57Using that as a plan.

00:52:58Let's try.

00:52:59If you can do it, I'll do the number.

00:53:00Do you feel that, in collaboration with David, that you are afforded the opportunity to express

00:53:07yourself musically the way you would like to?

00:53:10Well, I think I do, you know, in my solos.

00:53:12Yeah.

00:53:13My solos are my trademark.

00:53:14Yeah.

00:53:15My solos are my trademark.

00:53:17Go, go, go.

00:53:19Let's try.

00:53:20Let's try.

00:53:21You look.

00:53:22Get out.

00:53:23Get out of here.

00:53:24You look.

00:53:25Make a bay person 42 red diye, too.

00:53:26Let's try to pizzoring.

00:53:27Let's try and dance a little bit.

00:53:28Let's try and death him down all across generations.

00:53:30If you want to come down all over.

00:53:31There is no way you want to sing.

00:53:33Hey, man.

00:53:35You look.

00:53:36You look.

00:53:37Oh, wow.

00:53:38Oh, wow.

00:53:39Oh, wow.

00:53:40No way.

00:53:41Bye, hi.

00:53:42Bye.

00:53:44Not more.

00:53:45this looks absolutely perfect i mean it's uh it's the right proportions it'll be this color

00:54:04right yeah yeah that's that's that's just terrific i mean it almost looks uh looks like

00:54:09the real thing got it yeah when we get the actual uh set when we get the piece it'll it'll follow

00:54:14exactly these specifications i mean even these contours and everything um i don't understand

00:54:19but i mean the actual piece well when i mean when when you build the actual piece but this is what

00:54:23you asked for isn't it what well this is the piece this is the piece yes are you telling me that this

00:54:32is it this is scenery have you ever been to stonehenge the triptychs the triptychs are 20

00:54:39feet high you can stand four men up i was i was this is insane this isn't the piece of scenery look

00:54:46look look this is what i was asked to build 18 inches right here it's specified 18 inches

00:54:52i was given this napkin i mean forget this the napkin

00:54:56in ancient times hundreds of years before the dawn of history with an ancient race of people

00:55:16the druids

00:55:26no one knows who they were no one knows who they were or what they were doing but their legacy remains

00:55:40hew

00:55:45into the living rock of stone age

00:56:01stonehenge where the demons dwell where the banshees live and they do live well

00:56:08Stonehenge

00:56:10Where a man's a man

00:56:12And the children dance

00:56:14To the pipes of land

00:56:16And you, my love

00:56:23Won't you take my hand

00:56:25We'll go back in time

00:56:29To that mystic land

00:56:33Where the dewdrops cry

00:56:37And the cats me out

00:56:40I will take you there

00:56:43I will show you how

00:57:03I know how they danced

00:57:06The little children of Stonehenge

00:57:10Beneath the haunted moon

00:57:14For fear that daybreak

00:57:18Might come too soon

00:57:22I do not for one think that the problem was that the band was down. I think that the problem may have been that there was a Stonehenge monument on the stage that was in danger of being a star.

00:57:27I do not for one think that the problem was that the band was down. I think that the problem may have been that there was a Stonehenge monument on the stage that was in danger of being crushed by a dwarf. All right?

00:57:41That tended to understate the hugeness of the object.

00:57:46Really think you're just making a much too big a thing out of it.

00:57:48Making a big thing out of it would have been a good idea.

00:57:49Nigel gave me a drawing that said 18 inches. All right?

00:57:53I know he did and that's what I'm talking about.

00:57:54Now whether he knows the difference between feet and inches is not my problem. I do what I'm told.

00:57:58But you're not as confused as him are you? I mean it's not your job to be as confused as Nigel is.

00:58:02It's my job to do what I'm asked to do by the creative element of this band. And that's what I did. Come on!

00:58:06The audience were laughing!

00:58:07So it became a comedy number.

00:58:08Yes it did. Yes it back and well did.

00:58:09And it was not pleasant to be part of the comedy on stage.

00:58:12On stage.

00:58:13I don't think you're going to be part of the comedy.

00:58:15I don't think you're going to be part of the comedy.

00:58:18I don't think you're going to be a big thing out of it.

00:58:20I think you're going to be a big thing out of it.

00:58:23I think you're just making a much too big a thing out of it.

00:58:25I think you're going to be a big thing out of it.

00:58:30Maybe we just fix the choreography and keep the dwarf clear.

00:58:34What do you mean?

00:58:36So they won't trod upon it.

00:58:37I don't think that's the issue.

00:58:39I think it's symptomatic of maybe you're taking on more than you can handle.

00:58:44It's not exactly the first time you've messed things up is it?

00:58:48There have been some gaping holes in the business end of this...

00:58:52Excuse me. This is a band meeting.

00:58:55Right?

00:58:56Are you here for some reason?

00:58:57Don't worry about it.

00:58:58Don't worry about it.

00:58:59She's with me.

00:59:00Is she now in the band?

00:59:01She's with me.

00:59:02I care what happens to the band.

00:59:04David, whenever a single bump or a ruffle comes into this little fantasy,

00:59:08adolescent fantasy world that you guys have built around yourself,

00:59:11you start screaming like a bunch of poncy hairdressers.

00:59:14I mean, it's just a problem, you know?

00:59:16It gets solved.

00:59:17It doesn't...

00:59:18You can't live in a bubble.

00:59:20If it got solved that would be alright, but it doesn't get solved.

00:59:23I mean, what do you think happened out there?

00:59:25What got solved tonight?

00:59:26For one thing that goes wrong, one single thing that goes wrong,

00:59:29a hundred things go right.

00:59:30Do you know what I spend my time doing?

00:59:32I sleep two or three hours a night.

00:59:34There's no sex and drugs for Ian, David.

00:59:36You know what I do?

00:59:37I find lost luggage.

00:59:38Yes.

00:59:39I locate mandolin strings in the middle of Austin.

00:59:41You know?

00:59:42I prize the rent out of the local Hebrews.

00:59:44That's what I do.

00:59:45Well, maybe you should get someone else to find the lost luggage

00:59:47and you should concentrate on what's going on on stage.

00:59:49Yes.

00:59:50That's what we're talking about.

00:59:51You mean you'd like me to be the roadmap?

00:59:52All bad...

00:59:53No!

00:59:54All bad...

00:59:55What Dave is trying to say, if you'd let him get a word through,

00:59:58is you could maybe do with some help.

01:00:03Some help?

01:00:04It's very simple.

01:00:05It's very simple.

01:00:06It's that clear.

01:00:07Maybe there's someone already in the organisation.

01:00:09We don't have to pay insurance.

01:00:10We don't have to pay extra room, etc.

01:00:12She's already here.

01:00:13She's already among us.

01:00:14And she can certainly be capable of taking over...

01:00:17She?

01:00:18Wait a minute.

01:00:19Wait a minute.

01:00:20Who do you think I'm talking about?

01:00:21I would never have dreamed in a million years

01:00:23that it was her you were talking about.

01:00:24Why not?

01:00:25I am offering to help out.

01:00:27No.

01:00:28You're not offering to help out.

01:00:29You're offering to co-manage the band with me.

01:00:30Is that it?

01:00:31Yes.

01:00:32Let's get it straight.

01:00:33In so many words, that is exactly it.

01:00:34I'm certainly not going to co-manage with some girl

01:00:36just because she's your girlfriend.

01:00:37Don't call her my girlfriend.

01:00:38She's not your girlfriend.

01:00:39You couldn't manage a classroom full of kids.

01:00:41I don't know what you're doing managing...

01:00:42Why don't we just...

01:00:43Shut up!

01:00:44Look.

01:00:45I...

01:00:46This is my position.

01:00:47I am not managing it with you or any other woman.

01:00:49Oh good.

01:00:50Especially one who dresses like an Australian's nightmare.

01:00:52So fuck you.

01:00:53And fuck all of you.

01:00:54Fuck you too.

01:00:55Because I quit.

01:00:56That's it.

01:00:57Good night.

01:01:07Can I raise a practical question at this point?

01:01:09Yeah.

01:01:10Are we gonna do Stonehenge tomorrow?

01:01:13No we're not gonna fucking do Stonehenge!

01:01:17Okay we're all set.

01:01:19Alright fellas, I got the tickets.

01:01:21We're on the 310 flight at gate 24.

01:01:25Alright?

01:01:26And this arrives at 4 o'clock in Colorado.

01:01:28Then we've got a limo to take us to the lodge.

01:01:30It's about 100 yards from Rainbow Trap Studio.

01:01:33What I've done is to arrange a hole loaders for charts.

01:01:38This is so great.

01:01:39And we know that the band's sign is Virgo.

01:01:43And you see it Saturn's in the third house.

01:01:46Alright?

01:01:47And it's a bit rocky.

01:01:48But because Virgo is one of the most highly intelligent signs of the zodiac, we're gonna pull through this with great aplomb.

01:01:56Yeah.

01:01:57And it's so clear.

01:01:58Nigel hasn't got one.

01:01:59Nigel hasn't got one.

01:02:00Nigel, we've got pages for you here.

01:02:04He's got one.

01:02:05He's got it.

01:02:06If you have a look at this.

01:02:07Think about the jumble that a tour book usually is.

01:02:10No he's got one.

01:02:11He's got one.

01:02:12Oh he's got one.

01:02:13Now what I want to explain to you here is that Denver...

01:02:16How would you characterize your relationship with David over the years?

01:02:21Has it changed in any way?

01:02:23Not really.

01:02:24I mean, you know, they go...

01:02:26We've grown up.

01:02:27But really it's not...

01:02:29No.

01:02:30Not really.

01:02:31We feel like children.

01:02:33Much of the time.

01:02:34Even when we're playing.

01:02:35We're closer than brothers.

01:02:38Because brothers always fight.

01:02:41Sort of disagreements and all that.

01:02:44And we really have a relationship that's way, way past that.

01:02:54We can't play the fucking guitar.

01:02:56You know the part.

01:02:57You didn't.

01:02:58No, he doesn't know the part.

01:02:59If he knew the fucking part, he'd play it, wouldn't he?

01:03:01That's it.

01:03:02Are you walking out?

01:03:03Fuck.

01:03:04Great.

01:03:05Great.

01:03:06Just tell me what we're supposed to do, alright?

01:03:07Well we're supposed to play the fucking thing, aren't we?

01:03:09We have no choice.

01:03:10We spent an hour on the hunt.

01:03:11I'm doing my part as well.

01:03:12My track note would make this a lot simpler.

01:03:14I mean, I hate to cut right to it here.

01:03:16Why don't you play this alone without some fucking angel hanging over your head?

01:03:20You know what I mean?

01:03:21Jesus Christ.

01:03:22This is fucking all we need.

01:03:24You can't fucking concentrate because you're a fucking wife.

01:03:27Simple as that, alright?

01:03:28It's your fucking wife.

01:03:29She's not my wife.

01:03:30Well whatever the fuck she is, alright?

01:03:32You can't concentrate.

01:03:33We can't fucking do the track.

01:03:34This is unbelievable.

01:03:35This is unbelievable.

01:03:36No, it's not unbelievable at all.

01:03:37This is unbelievable.

01:03:38Will you check me on this?

01:03:39Am I losing my fucking mind?

01:03:40Will you check me on this?

01:03:41Am I losing my mind?

01:03:42I don't understand what this has to do with anything.

01:03:45We're very lucky in the sense that we've got two visionaries in the band.

01:03:50You know, David and Nigel are both like poets.

01:03:55You know, like Shelley or Byron or people like that.

01:03:58They're two totally distinct types of visionaries.

01:04:01It's like fire and ice basically, you see.

01:04:03I feel my role in the band is to be kind of in the middle of that,

01:04:07kind of like lukewarm water in a sense.

01:04:15I don't know if you've got time to go to the hotel,

01:04:19but you better go straight to the base.

01:04:21To the what?

01:04:22Base?

01:04:23To the civic arena, right?

01:04:26No.

01:04:27No, it fell through.

01:04:28Wait a second, wait a second.

01:04:30Hold it, hold it.

01:04:31Do you know about this and we don't know about this?

01:04:33What are you talking about?

01:04:34We're going to the Air Force base.

01:04:36Why are you going to an Air Force base?

01:04:38Because the original gig fell through.

01:04:40I'm Lieutenant Hookstradt.

01:04:45I'm Lieutenant Hookstradt.

01:04:47You are Spinal Tarp?

01:04:48I'm Janine Peckerford and this is Spinal Tap.

01:04:51Spinal Tap, no mistake.

01:04:53I'm Lieutenant Bob Hookstradt and welcome to Lindbergh Air Force Base.

01:04:56This is your gentleman's first visit to a military facility.

01:04:59Fine, may I start by saying how thrilled we are to have you here.

01:05:02We are such fans of your music and all of your records.

01:05:05That's right.

01:05:06I'm not speaking of yours personally, but the whole genre of the rock and roll

01:05:09and so many of the exciting things that are happening in music today.

01:05:12That's a great job.

01:05:13And let me explain a bit about what's going on.

01:05:14This is our monthly At Ease Weekend.

01:05:17It gives us a chance to kind of let down our hair,

01:05:19although I see you all have a head start on it.

01:05:21These haircuts wouldn't pass military muster, believe me.

01:05:24Although I shouldn't talk, my hair's getting a little shaggy too.

01:05:27Better not get too close to you, they'll think I'm part of the band.

01:05:29I'm joking, of course.

01:05:30Shall we go in and I'll show you around?

01:05:32Walk this way, please, right through here.

01:05:35Did you ever run into a musical group, works out of Kansas City,

01:05:38calls himself Four Jacks and a Jill.

01:05:40They've been at a Ramada Inn there for about 18 months.

01:05:42If you're ever in Kansas City and you want to hear some good music,

01:05:45you might want to drop by.

01:05:47I would like to get the playing on about 1,900 hours of that Satisfactory.

01:05:53I make it now, it's about 1,830 hours.

01:05:57So that's what?

01:05:5850 hours?

01:05:59120 hours?

01:06:00That's actually about 30 minutes, about a half hour,

01:06:02give or take just a few minutes.

01:06:03I don't want to rush you.

01:06:04The idea is if we can get it on, then we get it over with.

01:06:07And I have just one request.

01:06:08Would you play a couple of slow numbers so I can dance?

01:06:11I'm working on a sex farm.

01:06:15Plowing through your bean field.

01:06:20Getting out my pitchfork.

01:06:24Poking your head.

01:06:28Sex farm, woman.

01:06:30I don't want to pull you down.

01:06:32Sex farm, woman.

01:06:34I'm raking to pull you down.

01:06:36Sex farm, woman.

01:06:38Don't you see my silo rising high?

01:06:41High, high, high, high.

01:06:44High, high, high.

01:06:49Eight, nine, oh.

01:06:56Two, two, three, four, and here for a huge loan.

01:06:59You know your vicinity.

01:07:00I'm two, seven, seven.

01:07:02I'm two, three, four.

01:07:03I'm two, one.

01:07:04You're up to five, seven, six, seven, five, eight, ten, five, eight, ten.

01:07:07So you're ready to put your slasher up.

01:07:08You're fast.

01:07:09You're fast.

01:07:10You're fast.

01:07:11You're fast.

01:07:12You're fast.

01:07:13You're fast.

01:07:14You're fast.

01:07:15You're fast.

01:07:16You're fast.

01:07:17I did talk to one guy from London.

01:07:19I hope you reach out to him.

01:07:27He totally ruined the gig there.

01:07:29He walks off and, you know, I mean, he can't be expected to sit home and get monies.

01:07:33We've got to get someone else in there.

01:07:35Has he ever done this before? Has he ever quit the band before?

01:07:38No, but it's, you know, you can understand that, like, in the world of rock and roll,

01:07:42there are certain changes that sometimes occur.

01:07:46And you've just got to sort of roll with them, you know.

01:07:49I mean, you read that, you know, you saw exactly how many people have been in this band over the years.

01:07:54Thirty-seven people have been in this band over the years.

01:07:57I mean, it's like, you know, six months from now,

01:07:59I can't see myself missing Nigel any more than I might miss Ross McLaughlin,

01:08:04or Lonnie Pudding, or Danny Upham, or Danny Schindler, any of those, you know.

01:08:09I can't believe that.

01:08:10I can't believe that, you know, you're lumping Nigel in with, you know,

01:08:15these people that you played with for a short period of time.

01:08:18Well, I'm sure I'd feel much worse if I weren't under such heavy sedation,

01:08:21but still in all, I mean, you've got to be realistic about this sort of thing, you know.

01:08:26So what happens to the band now?

01:08:29What do you mean?

01:08:30I mean, this is, he's not going back, or?

01:08:32No, we, we shan't work together again.

01:08:35Oh, no.

01:08:36Great.

01:08:37If I told them once, I told them a hundred times to put spinal tap first and pappets show last.

01:08:52It's a morale builder, isn't it?

01:08:54You've got a big dressing room, though.

01:08:56What?

01:08:57I've got a big dressing room.

01:08:58Oh, we've got a bigger dressing room than the puppets.

01:09:00Oh, that's refreshing.

01:09:01I've got some of this Mendocino rocket fuel.

01:09:04That's supposed to be really...

01:09:05Can you, can you play, er, excuse me, but can you play a, a bass line, er, like Nigel used to on Big Bottom?

01:09:12Can you double that?

01:09:13You remember, recall the line, it's in Fitz.

01:09:15Oh, yeah.

01:09:16Yeah, I've got two hands here.

01:09:17I'll do it.

01:09:18So that's good.

01:09:19All right, that's it.

01:09:20Hold is out.

01:09:21Heavy is out.

01:09:22Heavy hold.

01:09:23Right, right, right.

01:09:24We know.

01:09:25America we can't do.

01:09:26It's Nigel's tune.

01:09:27It's not my tune.

01:09:28That's a nice little set, isn't it?

01:09:29That's a cosy ten minutes.

01:09:30What are we going to do?

01:09:31We've got nothing to play here.

01:09:32We've got nothing.

01:09:33I'll tell you what we're going to have to do.

01:09:34Well, jazz odyssey.

01:09:37We're not going about to do a freeform jazz, er, exploration in front of a festival crowd.

01:09:44You are witnesses at the new birth of Spinal Tap Mark II.

01:09:51Hope you enjoy our New Direction.

01:09:55On the bass, Derek Smalls.

01:10:19He wrote this.

01:10:20So tonight's the last show of the tour.

01:10:31How's that feeling?

01:10:32You know, it's like this is your last waltz.

01:10:33Are we talking the end of Spinal Tap?

01:10:35Or are you going to try to milk it for a few more years in Europe?

01:10:38I mean...

01:10:39Well, I don't really think that the end can be assessed as of itself as being the end.

01:10:47Because what does the end feel like?

01:10:49It's like saying when you try and extrapolate the end of the universe.

01:10:52You say if the universe is indeed infinite, then what does that mean?

01:10:57How far is all the way?

01:10:59And then if it stops, what's stopping it?

01:11:01And what's behind what's stopping it?

01:11:02So what's the end, you know, is my question to you.

01:11:06It's a good crowd, good crowd.

01:11:08It is, isn't it?

01:11:09Yeah, it really is.

01:11:10I mean, you know, some of these things just, you know, don't mean much.

01:11:12Well, it's hard to get the last minute, you know?

01:11:14You can't arrange it all overnight.

01:11:17David, we had a 15-year ride, mate.

01:11:19I mean, who wants to be a fucking 45-year-old rock and roller farting around in front of people less than half your age?

01:11:24They're so true.

01:11:25They're so true, yeah.

01:11:26Cranking out some kind of mediocre head-banging bullshit, you know, that we've forgotten.

01:11:30It's beneath us.

01:11:31That's right.

01:11:32Who wants to see them?

01:11:33Absolutely right.

01:11:34Not me.

01:11:35I mean, we can take all those projects that we thought, you know, we didn't have time for.

01:11:37Oh, there's dozens.

01:11:38There's so many dozens of projects.

01:11:39You know, we didn't have time for them because of Tap and bring them back to life, maybe.

01:11:43Do you remember what we were...

01:11:44Do you remember the project?

01:11:45At the Luton Palace, we were talking about a rock musical based on the life of Jack the Ripper.

01:11:50Yeah, Saucy Jack.

01:11:51Saucy Jack.

01:11:52Now is the time to do that.

01:11:53You're a naughty one.

01:11:54Saucy Jack.

01:11:55You're a haughty one.

01:11:57Saucy Jack.

01:11:58Right.

01:11:59You're freeing up, isn't it?

01:12:00Yeah.

01:12:01It's all this free time and suddenly time is so elastic.

01:12:02It's a gift.

01:12:03It's a gift of freedom.

01:12:04I've always wanted to do a collection of my acoustic numbers with the London Philharmonic,

01:12:10as you know.

01:12:11We're lucky.

01:12:12Yeah.

01:12:13I mean, people should be envying us, you know.

01:12:15I envy us.

01:12:16Yeah.

01:12:17I do.

01:12:18Me too.

01:12:19It's going to be fine, right?

01:12:20We'll make them, missus.

01:12:21Nice thought.

01:12:22I'm in.

01:12:23I'm in tune.

01:12:24Last tune in.

01:12:25I think you should go in.

01:12:26Huh?

01:12:27I think you should go in.

01:12:28I think you should go in.

01:12:29Huh?

01:12:30I think you should go in.

01:12:31Can you go?

01:12:32Yeah.

01:12:33I think you should go in.

01:12:34I think you should go in.

01:12:35I think you should go in.

01:12:36I think you should go in.

01:12:37I think you should go in.

01:12:38I think you should go in.

01:12:39I think you should go in.

01:12:40I think you should go in.

01:12:41I think you should go in.

01:12:42I think you should go in.

01:12:43I think you should go in.

01:12:44Can you go?

01:12:45Yeah.

01:12:46Oh, we're going to do the big show, the big time in my show, right?

01:13:06Come see the show?

01:13:09Yeah.

01:13:11Hi, mate.

01:13:12Hi.

01:13:16You said you'd just come here to hang around backstage, like a real rock and roll.

01:13:21Is that what you're doing?

01:13:22I'm really a messenger.

01:13:24Oh, a messenger.

01:13:25Yeah.

01:13:26I bumped into Ian and...

01:13:27Ian?

01:13:29Oh, the other dead man, yeah.

01:13:32Seems that Sex Farm is on the charts in Japan.

01:13:37Spinal Taps recording Sex Farm.

01:13:39It's number five last week, actually.

01:13:41And so he asked me to ask you, TAP, if you'd be interested in reforming and doing a tour, Japan.

01:13:57So you've come back to re-plug our life support systems in.

01:14:01Is that it?

01:14:01By the grace of your, by the stroke of your hand, is that what you're going to do?

01:14:06You're going to bring us back to life?

01:14:08Is that what you've come here for?

01:14:09I mean, it's, I don't, you, the fucking nerve that you display in camera, that's just passing on the information, really.

01:14:19Yeah, well, I think it's time to go in.

01:14:21We haven't got time to discuss this now.

01:14:23Come on.

01:14:25Thanks.

01:14:27Thanks.

01:14:28Thanks.

01:14:34Thanks.

01:14:35David.

01:14:52Do a good show, all right?

01:14:57Yeah, okay.

01:15:05Little girl.

01:15:26It's a great big one, but there's only one of me.

01:15:29You can't touch cause I talk too much

01:15:33Pretend I'm gonna rock you

01:15:34It's not gonna rock you

01:15:37You're sweet but you're just four feet

01:15:52You still got your baby sleep

01:15:54You're too young and I'm too old

01:15:57But it's not gonna rock you

01:15:59You're too young and I'm too young

01:16:01You're too young and I'm too young

01:16:04Oh yeah

01:16:29I'm so sorry

01:16:30I'm so sorry

01:16:31I'm so sorry

01:16:33I'm so sorry

01:16:34I'm so sorry

01:16:36I'm so sorry

01:16:37I'm so sorry

01:16:39I'm so sorry

01:16:40I'm so sorry

01:16:41I'm so sorry

01:16:42I'm so sorry

01:16:43I'm so sorry

01:16:44I'm so sorry

01:16:45I'm so sorry

01:16:46I'm so sorry

01:16:47I'm so sorry

01:16:48I'm so sorry

01:16:49I'm so sorry

01:16:50I'm so sorry

01:16:51I'm so sorry

01:16:52I'm so sorry

01:16:53I'm so sorry

01:16:54I'm so sorry

01:16:55I'm so sorry

01:16:56I'm so sorry

01:16:57I'm so sorry

01:16:58I see it in the house

01:17:00Next day we'll be on our way

01:17:02But tonight we're gonna rock your head

01:17:04Tonight we're gonna rock your head

01:17:06Tonight we're gonna rock your head

01:17:08Tonight we're gonna rock your head

01:17:10Tonight we're gonna rock your head

01:17:18Little girl, it's a great

01:17:20Big brother, it's only one of us

01:17:28But do you feel that playing rock and roll music keeps you a child?

01:17:48That is, keeps you in a state of arrested development?

01:17:51No, no, no, I feel it's like, it's more like going, going to a national park or something

01:17:57And there's, you know, they preserve the moose

01:18:00And that's, that's my childhood up there on stage is that moose, you know

01:18:04So when you're playing you feel like a preserved moose on stage?

01:18:07Yeah

01:18:08I've been listening to the classics, I belong to a, uh, a great series, um

01:18:12It's called the namesake series of cassettes

01:18:15And they send you the works of famous authors done by actors with the same last name

01:18:20So I've got Denham Elliott, uh, reading T.S. Elliott on this one

01:18:24Well, that's interesting

01:18:25And I've got, yes

01:18:26I've got Danny Thomas doing A Child's Christmas in Wales by Dylan Thomas

01:18:30And, uh, next month it's, um, McLean Stevenson reads Robert Lewis Stevenson

01:18:35Uh, Treasure Island, I believe

01:18:37That's, uh, that's interesting, that's fascinating

01:18:39There's also something, uh, there's a shorter works of Washington Irving read by someone called Dr. J

01:18:44Oh, that's Julius Irving

01:18:46Oh, there we go, yeah

01:18:47Julius Irving, the basketball player

01:18:48In keeping with the series, yeah, I didn't know that, yeah

01:18:50You like this?

01:18:51It's very nice, it looks like Halloween

01:18:52This is exact, my exact inner structure, done in a T-shirt

01:18:57Exactly medically accurate, see?

01:19:00So in other words, if we were to take all your flesh and blood and every...

01:19:04Take them off

01:19:05You'd see exactly...

01:19:06This is what you'd see

01:19:07It wouldn't be green, though

01:19:08It is green

01:19:09You know, see, see how your blood looks blue

01:19:12Yeah, well, that's just the vein, I mean, the colour of the vein

01:19:15I mean, the blood is actually red

01:19:16Oh, well, maybe it's not green, I don't know

01:19:18Anyway, this is what we're sleeping sometimes

01:19:20Yeah

01:19:21Dennis Eaton Hogg, the, uh, president of Polymer Records

01:19:24Yes

01:19:25Was recently knighted

01:19:26What were the circumstances surrounding his knighthood?

01:19:29The specific reason why he was knighted was, uh, for the founding of Hogwood

01:19:34Which is, um, a summer camp for, uh, pale young boys

01:19:39David St. Hubbins, I know, I must admit, I'd never heard anybody with that name

01:19:44What's an unusual name?

01:19:45Well, he was an unusual saint, he's not a very well-known saint

01:19:48Oh, there actually is, uh, there was a St. Hubbins?

01:19:51That's right, yes

01:19:52What was he the saint of?

01:19:53He was the patron saint of quality footwear

01:19:55You play to predominantly, uh, predominantly a white audience

01:20:01Do you feel your music is racist in any way?

01:20:03No

01:20:04No

01:20:05No, no, of course not

01:20:06That's all

01:20:07We, you know, we say, we say, love your brother

01:20:08We don't say it, really

01:20:09But

01:20:10We don't literally say it

01:20:11No, we don't say it

01:20:12We don't really literally mean it

01:20:13No, we don't believe it either

01:20:14But

01:20:15That message should be clear anyway

01:20:17We're anything but racist

01:20:18You know, we've grown musically

01:20:19You know, we've grown musically

01:20:20I mean, you listen to some of the rubbish we did early on

01:20:22It was stupid

01:20:23Yeah

01:20:24You know, now, I mean, a song like Sex Farm, we're taking a sophisticated view of the idea of sex, you know, and music

01:20:33On a farm

01:20:34Yeah

01:20:35If I were to ask you what your philosophy of life or your creed, what would that be?

01:20:40Have a good time all the time

01:20:47That's my philosophy, Marty

01:20:49I believe virtually everything I read

01:20:52And I think that is what makes me more of a selective human than someone who doesn't believe anything

01:20:58Do you have a philosophy or a creed that you live by?

01:21:02Well, personally, I like to think about sex and drugs and look and roll, you know, that's my life

01:21:08Yeah

01:21:09If you were to have something written as your epitaph

01:21:13Here lies David St. Hubbins

01:21:18And why not?

01:21:22Do you feel that sums up your life?

01:21:24No, it's the first thing I could think of

01:21:26Oh, it doesn't sum up anything, really

01:21:28Yeah

01:21:29I'm a real fish nut, I really like fish

01:21:32What kind of fish?

01:21:34Well, in the United States you have cod, I like cod

01:21:38And I love tuna, those little cans you've got here, tuna fish

01:21:42Yeah

01:21:43No bones

01:21:44Yeah

01:21:47If you could not play rock and roll, what would you do?

01:21:50Be a full-time dreamer

01:21:52I'd probably get a bit stupid and start to make a fool of myself in public

01:21:56Because there wouldn't be a stage to go on

01:21:58Probably work with children

01:22:01As long as there's, you know, sex and drugs, I can do without a rock and roll

01:22:06Well, I suppose I could, uh, work in a shop of some kind

01:22:10Or, or do, uh, freelance, uh, selling of some sort of, uh, product

01:22:16You know

01:22:17A salesman?

01:22:18A salesman, like, maybe in a, uh, haberdasher

01:22:21Or maybe like a, uh, um, a chapeau shop or something

01:22:26You know, like, would you, what size do you wear, sir?

01:22:29Yeah, sir

01:22:30And then you answer me

01:22:31Uh, seven and a quarter

01:22:33I think we have that

01:22:34See, something like that

01:22:35Yeah

01:22:36I think I could do

01:22:37Yeah, yeah

01:22:38You think you'd be happy doing something?

01:22:39No, we're all out

01:22:40Do you wear black?

01:22:41See, that sort of thing, I think I could probably muster up

01:22:44Yeah, do you think you'd be happy doing that?

01:22:46Well, I don't know, what, what, what are the hours?

01:22:59You're scotting

01:23:01Oh

01:23:03Hmm

01:23:04No, love

01:23:05Say Mm

01:23:07Oh

01:23:11Go

01:23:13Oh

01:23:14Oh

01:23:18Oh

01:23:20Oh

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