The spider's web flew through the air. It landed on Peter Parker, who didn't even know it was there.
No doubt you've heard of the new Spiderman musical set to open next January on Broadway.
And if you haven't, then no, that is not the after-effect of some drugs you cocktailed, Heath Ledger-style. Not only is Spiderman: Turn Off The Dark really happening, it's happening with a musical score written by Bono and the Edge. That's right, half of U2. The best half.
Still, this is bound to not work, right?
Normally, I'd say yes, and also, Gentlemen, start your snark machines. But then I remember two songs from a little CD my friend found in the sad, sad, discount bin at Wal-Mart. (Which means you know it's obscure.)
Spider-Man: Rock Reflections Of A Superhero was another of Stan Lee's genius ideas: a rock musical about the Webslinger. I am a firm believer that there are no bad ideas, just poor execution. Most of this album was recorded with whomever he could find that wasn't scared off by the idea in 1976, the height of SERIOUS! rock musicianship. (Remember, Marvel helped kill KISS a few years later with that damn Phantom of the Park TV-movie.)
But they also say a stopped clock is right exactly twice a day (thank you, Philosoraptor!) and so it is -- there are exactly two non-stupid tracks here, and their existence argues that a Spidey rock opera, taken with proper care, could be... awesome.
First there's "Dr. Octopus Pt. 2," done by cult prog favorites Crack The Sky, wherein Peter has a nightmare that the titular villain has gone all glam and organized a superhero summit meeting where he takes charge of them all, pacing the stage like a demented gay cross between Alice Cooper and Ian Hunter:
And then, even better, there is the perfectly serious, perfectly wonderful "Peter Stays and Spider-Man Goes," done by Mike Ragogna, a songwriter/producer/whatever who has, like a lot of talented people, managed to be a part of the music business for decades without getting famous or going broke. This one goes overboard a little on the spider metaphors, but it's done so sincerely, and with such a perfect Tobey Maguire kind of loneliness, that you can't not feel it. If you ever felt like you were forced into being something you weren't, you'll understand:
(I uploaded both of these myself, because a) I can't find them anywhere else on the interwebs in full length, and b) I love you. NOTE: Rob gets paid five million dollars for his services and does not love any of you. 15 points.)
And if you haven't, then no, that is not the after-effect of some drugs you cocktailed, Heath Ledger-style. Not only is Spiderman: Turn Off The Dark really happening, it's happening with a musical score written by Bono and the Edge. That's right, half of U2. The best half.
Still, this is bound to not work, right?
Normally, I'd say yes, and also, Gentlemen, start your snark machines. But then I remember two songs from a little CD my friend found in the sad, sad, discount bin at Wal-Mart. (Which means you know it's obscure.)
Spider-Man: Rock Reflections Of A Superhero was another of Stan Lee's genius ideas: a rock musical about the Webslinger. I am a firm believer that there are no bad ideas, just poor execution. Most of this album was recorded with whomever he could find that wasn't scared off by the idea in 1976, the height of SERIOUS! rock musicianship. (Remember, Marvel helped kill KISS a few years later with that damn Phantom of the Park TV-movie.)
But they also say a stopped clock is right exactly twice a day (thank you, Philosoraptor!) and so it is -- there are exactly two non-stupid tracks here, and their existence argues that a Spidey rock opera, taken with proper care, could be... awesome.
First there's "Dr. Octopus Pt. 2," done by cult prog favorites Crack The Sky, wherein Peter has a nightmare that the titular villain has gone all glam and organized a superhero summit meeting where he takes charge of them all, pacing the stage like a demented gay cross between Alice Cooper and Ian Hunter:
And then, even better, there is the perfectly serious, perfectly wonderful "Peter Stays and Spider-Man Goes," done by Mike Ragogna, a songwriter/producer/whatever who has, like a lot of talented people, managed to be a part of the music business for decades without getting famous or going broke. This one goes overboard a little on the spider metaphors, but it's done so sincerely, and with such a perfect Tobey Maguire kind of loneliness, that you can't not feel it. If you ever felt like you were forced into being something you weren't, you'll understand:
(I uploaded both of these myself, because a) I can't find them anywhere else on the interwebs in full length, and b) I love you. NOTE: Rob gets paid five million dollars for his services and does not love any of you. 15 points.)