Godzilla, the iconic King of the Monsters, has stomped his way through cinema for decades, leaving an indelible mark on pop culture. But beyond the earth-shattering footsteps and atomic breath, there’s another dimension to Godzilla’s legacy: his music. While many associate Godzilla with terrifying roars, the world of “Godzilla Songs” is surprisingly diverse, ranging from dramatic orchestral scores to outright comedic compositions.
One particularly unique piece in the Godzilla songbook is “Godzilla Eats Las Vegas!”, a composition by a musician reflecting on their time at university. As the composer humorously recounts, after taking seven years to graduate from the University of Nevada, Las Vegas, they felt ready to “eat Las Vegas” themselves. This feeling of playful destruction fueled the creation of a truly unconventional musical experience.
Commissioned by Tom Leslie as the composer was leaving UNLV, “Godzilla Eats Las Vegas!” embraces the ridiculous. The piece calls for performers to scream in mock terror, don Elvis costumes (becoming “Elvi”), and navigate a whirlwind of musical styles, from mambo to cheesy lounge music. The audience isn’t just listening; they’re given a ‘script’ to follow, immersing themselves in a campy, over-the-top Godzilla movie scenario, in the spirit of the classic monster films but with a decidedly comedic twist.
The composer even describes the whimsical creative process, acting out the script each morning while consuming animal crackers and staging breakfast table havoc. The original script was even more elaborate, featuring a subplot involving a scientist and a love interest, but these elements were ultimately cut to streamline the comedic impact.
The sheer absurdity of “Godzilla Eats Las Vegas!” being performed in serious concert halls across the globe isn’t lost on its creator. From the United States Marine Band playing it on the Capitol steps to the Scottish National Wind Symphony performing in kilts, the piece has traveled far beyond its Las Vegas origins. The composer even recalls a video of a Japanese audience visibly bewildered by the performance, highlighting the piece’s unique brand of Western humor colliding with a very Japanese cultural icon.
“Godzilla Eats Las Vegas!” isn’t just a concert piece; it’s an experience. Performers are actively encouraged to amplify the humor, donning showgirl and Elvis costumes, acting out scenes, and incorporating video and lighting to maximize the comedic effect and engage the audience in the playful chaos.
The provided script itself is a testament to the piece’s over-the-top nature. It guides the audience through a rapid-fire, cinematic sequence of events, cutting between scenes of Las Vegas glitz, impending doom signaled by Morse code, and, of course, Godzilla’s grand entrance. The script directs the audience’s imagination as Godzilla mambos, crushes Vegas icons like Frank Sinatra and Liberace, and ultimately faces off against an army of Elvis impersonators.
The battle culminates in a tango between Godzilla and the Sphinx, a truly bizarre and hilarious image, before the Elvi launch a cannonball attack, seemingly defeating the monster. A brief moment of celebratory lounge music is then shattered by a familiar, ominous sound – Godzilla lives! – leaving the audience in suspense and hinting at a possible encore of monstrous mayhem.
“Godzilla Eats Las Vegas!” stands as a testament to the playful and unexpected side of “godzilla songs.” It’s a reminder that music inspired by the King of the Monsters can be as diverse and imaginative as the creature himself, ranging from terrifying orchestral roars to laugh-out-loud comedic explosions. This piece, born from personal experience and a desire to create something “completely ridiculous,” has found its place in the world of “godzilla songs,” proving that even the most serious concert venues can embrace the lighter, more absurd side of the King of the Monsters.
