Like a creature from a pop song horror movie, “MacArthur Park,” the epic, seven-minute single written by Jimmy Webb, has new life.

The hit — unleashed on the world to chart-topping success by actor Richard Harris — has been resurrected via its use (both the Harris and the Donna Summer disco versions) in Tim Burton’s latest cinematic effort, “Beetlejuice Beetlejuice.” With reportedly 218 versions of this earworm floating around, it’s the gift that keeps on giving, which is music to composer Webb’s ears and sure to be included as part of the set list for his upcoming tour.

The winner of multiple Grammy Awards is returning to Hollywood’s Catalina Jazz Club tonight and Saturday.

“It’s unstoppable,” Webb said with a laugh in a recent interview. “I actually sent Tim Burton, who I don’t know, a little email thanking him for reviving my monster. And he wrote back, ‘Thank you for the opportunity to work with your monster.’ It was just a one-line correspondence, but it was like, I know you’re there and I appreciate you for what you did. That’s really all that needs to be said.“When he was doing this movie, I think the image of the monster is appropriate when you apply it to ‘MacArthur Park’ because it is so big and overpowering. I think that sort of fit the movie because there’s a craziness to it. In some strange way, he locked onto that and I think that this song and movie are coming from the same shelf.”

Fresh off writing the 1968 Grammy Award-winning hit “Up-Up and Away” for The Fifth Dimension, Webb took up the challenge by Fifth Dimension producer/engineer Bones Howe to indulge his “repressed classicist tendencies” and write “something with a classical flair that actually had movements and different tempos, a full orchestra and repeating themes.”

Webb took Howe up on the challenge and after composing it, hopped into his Camaro and headed over to the studio to offer the freshly composed “MacArthur Park” to pop outfit The Association (“Along Comes Mary,” “Cherish”), whose next album Howe was producing. It was subsequently rejected, a fact the producer took harder than its composer.

“I didn’t know the outcome until later that night,” Webb said. “Bones told me they turned it down. ... After I left he told them that after ‘MacArthur Park’ goes Top 10 on the Billboard charts that he was no longer their producer. I said that sounded a bit dramatic and he said I created something fantastic and they turned their noses up at it. I didn’t take it personally.”

With that rejection fresh in his mind, Webb consigned the song to the bottom of his pile of song ideas. “That’s the way songwriters are about songs once they’ve been turned down,” he said. “They’ve got the curse of Job on them.”

When he jetted over to London to work with Harris, who was coming off the film musical “Camelot” and was looking to record an album. Amid quite a bit of drinking and carousing, Webb ran out of songs when the Irish actor asked if he had any other ideas left.

“I hauled it out, put it on top of the piano and started playing the intro — it was very classical sounding, dare I say Wagnerian almost,” Webb recalled. “We reached the first verse and right then and there, (Harris) smacked his hand down on the grand piano so hard that it if would have been me, I would have broken my hand. He hit that piano so hard that it sounded like a shot went off and he said, ‘I’ll have that, Jimmy Webb. And I, Richard Harris, will make a hit out of that song, and I’ll be a pop star.’ ”

“MacArthur Park” topped the charts in Europe and Australia, peaked at No. 2 behind Herb Alpert’s “This Guy’s in Love With You” in 1968 and won the 1969 Grammy for best arrangement accompanying vocalist(s).

This tale and more are what attendees can expect to hear when they come out to see Webb and singer-songwriter Pete Mancini, who’ll be joining him on a few numbers.

“We’re gonna have a few laughs, that’s for sure,” Webb said with a chuckle. “We don’t do shows without laughs. We’re going to hear what are not, and I don’t think it’s presumptuous for me to say, modern-day standards and some material that was recorded by the real giants of the Great American Songbook.”

Having just celebrated his 78th birthday last year, Webb is in quite a reflective mood.

“I did a cruise with The Beach Boys and got back together with my old friend Bill Medley,” he said. “I just got glued to him for four days and thought, ‘I love this guy so much, and why haven’t I seen this guy for the last 20 years?’ I don’t know. To elaborate, I think I want to be closer to my friends. I feel that we’ve lost — J.D. Souther was a close friend of mine, Leah Kunkel — I can’t even talk about. I think (my wife Laura Savini and I have) set our goals with maintaining contact and being more assiduous in pursuing the friends that are still with us. And just going for the part of life that really matters the most.”

Part of what may come out in the coming year for Webb are new music and a sequel to “The Cake and the Rain: A Memoir,” the Oklahoma native’s 2017 autobiography that only went up to his 23rd year. To do both, Webb admits he’s going to have to buckle down and carve out some time.

“I think I have at least one more album in me and I have the songs,” he said “Some of them partially complete and some of them finished. Some of them I haven’t even thought of yet. That’s another thing where you stop writing now because you’re going to be recording. Recording is recording. That’s another discipline. I have to make a decision, and I think Laura is preparing an environment for us in our new home. There will be room for me to actually take six months and have a room that is devoted to writing that book. No touring and no interruptions. You have to put on the cassock to write. That’s another frame of reference that you have to embrace completely and wholeheartedly.”