Spinal Tap Just Re-Recorded ‘Stonehenge’ — and It’s Funnier (and Louder) Than Ever

Nearly four decades after its first thunderous (and hilariously undersized) debut, Spinal Tap’s “Stonehenge” has returned—bigger, louder, and with even more cheek. The band has re-recorded the fan-favorite as the first single from their upcoming album The End Continues, marking a new chapter in their mockumentary-turned-real musical saga. But this isn’t just a simple revival — it’s an upgrade of rock comedy royalty.

The original “Stonehenge,” immortalized in the 1984 film This Is Spinal Tap, became a cult classic not just for its riff-heavy arrangement but for its unforgettable stage mishap. The updated version keeps the over-the-top energy intact, but this time it’s elevated by an unexpected guest: Elton John. His dramatic vocal flair adds a surprisingly grand, theatrical quality to the absurdity, making it both nostalgic and fresh.

The new track kicks off the hype around The End Continues, the band’s fourth real-world album. Following 1992’s Break Like the Wind and 2009’s Back From The Dead, this release reminds us that parody rock can age like fine wine — or at least like loud, fizzy beer. For longtime fans, the reimagined “Stonehenge” is a wink, a nod, and a triumphant headbang.

Heavy Metal Meets Heavy Hitters

If Spinal Tap’s original satire of rock excess wasn’t already packed to the brim, their upcoming album now features some of the biggest names in music. Alongside Elton John on “Stonehenge,” the album includes appearances from Paul McCartney, Garth Brooks, and Trisha Yearwood. It’s an all-star cast that proves this fictional band has some very real-world clout.

Paul McCartney lends his talents to “Cups and Cakes,” a delicate tune from the band’s fictional early days. With McCartney’s touch, the whimsical track gains unexpected depth while staying tongue-in-cheek. Elton John also returns for a re-recorded version of “(Listen To The) Flower People,” making it sound like a psychedelic trip through British rock history — albeit with sequins and glitter.

Meanwhile, country legends Brooks and Yearwood join in on a new rendition of “Big Bottom,” likely turning the already ridiculous bass-heavy anthem into a twangy, Nashville-infused jam. It’s the kind of musical mashup no one asked for, but everyone is glad exists — the comedic absurdity of Spinal Tap given a strange, genre-bending facelift.

The New Tracks Are Just As Ridiculous

While re-recordings bring the nostalgia, it’s the fresh material on The End Continues that reminds us why Spinal Tap remains such a brilliantly absurd creation. The band doesn’t just rest on old hits — they charge forward with new songs that blend parody with actual rock chops. And the song titles alone? Absolutely on-brand.

Among the new additions are gems like “Let’s Just Rock Again,” a hilarious rally cry for aging rockers who refuse to fade away. “The Devil’s Just Not Getting Old” pokes fun at the timeless tropes of evil in rock music, while “Rockin’ In The Urn” takes the genre’s obsession with immortality to its logical (and laughable) end. Each song is as musically committed as it is comically unhinged.

Also featured are “Blood To Let” and “Judge and Jury,” tracks that promise more high-octane theatrics and overwrought storytelling. What makes these songs work isn’t just the humor — it’s the sincere performance behind the parody. The musicianship has always been solid, and that’s what keeps Spinal Tap more than just a one-note joke.

The Legend (And Laughter) Continues

With Spinal Tap II: The End Continues hitting theaters on September 25 and the album dropping just days earlier, it’s clear the band isn’t just revisiting its past — it’s charging headlong into its exaggerated future. The new trailer teases more mockumentary magic, and fans are eager to see how the band explains their improbable longevity.

This return isn’t just for laughs (though there will be plenty); it’s a celebration of the fictional band that somehow became real enough to collaborate with icons. From miniature stage props to massive egos, Spinal Tap has always been a satirical mirror held up to rock’s excesses — and they haven’t lost their reflection.

Whether you’re here for the comedy, the music, or both, Spinal Tap’s latest resurrection hits all the right notes — loudly, absurdly, and with just enough self-awareness. After all, as any fan knows, their amps still go to eleven.