J.J. Cale - Rewind: The Unreleased Recordings

Written by Anonimo

Who is J.J. Cale? Let’s see, only one of the most influential musical figures in American music. Being a fan of music with more of an electronic flair, I would have never known that Cale has had an impact on major artists spanning generations and genres. His songs have been covered by artists such as the likes of Johnny Cash (“Call Me Breeze”), Eric Clapton (“After Midnight” and “Cocaine”), Santana (“The Sensitive Light”), The Band (“Crazy Mama”), Lynyrd Skynyrd (“Bringing It Back” and “Same Old Blues”), and Widespread Panic (“Ride Me High”) just to name a few.

I had the pleasure of being introduced to the music of Cale through his newest album, Rewind: Unreleased Recordings, a treasure of songs, the first three of which (“Guess I Lose,” “Waymore’s Blues,” and “Rollin’”) were my favorites. However, after falling in love with what is known as the “Tulsa Sound,” (a musical style that originated in Tulsa, Oklahoma consisting of a mix of rockabilly, rock 'n' roll, and blues sounds of the late 1950s and early 1960s) I’ve come to love the whole album.

It is a compilation of songs recorded in the ‘70s and early ‘80s, which may be Cale’s most influential years. He seduces us in “Guess I Lose,” whispering the lyrics as if they were sweet nothings into our ears. “My Baby and Me” makes me want to grab a bottle and drink to alleviate my inner turmoil, although I’m not much of a drinker. I could go on, but that would spoil the anticipation of Cale devotees looking forward to his laid-back style and shuffle rhythms.

What will surely be of interest to his fans is the inclusion of covers, a rare occurance. Cale performs Eric Clapton’s “Golden Ring,” Leon Russell’s “My Cricket,” Randy Newman’s “Rollin’,” and the previously mentioned “Waymore’s Blues” by Waylon Jennings. On that last track, Cale makes me realize I’m not the only man with a wandering eye when he sings: “Well I got a good woman/ what’s the matter with me/ What makes wanna love/ every woman I see.”

Bottom line the album is a must-have for all J.J. Cale fans, country-blues listeners, or fans of bands that owe their sound to the influence of his music. I consider myself lucky for the opportunity to have in my hands some of the greatest American music ever written.

Josie and the Pussycats: The Complete Series

Written by Hombre Divertido

Yes, before The Waitresses, The Go-Gos, or The Bangles, there was the all-girl rock and roll group Josie and the Pussycats.

Born in the pages of Archie Comics at the hand of Dan DeCarlo, and brought to the small screen by the legendary Hanna Barbera in a cartoon that combined the adventures of Scooby-Doo, Where Are You? and the music group format of The Archie Show, Josie and her Pussycats made for some good Saturday morning fun. In watching the complete series (16 episodes) recently released on DVD as part of the Hanna-Barbera Classic Collection, it would appear to be an overly used template, but in 1970, it was quite fresh. Hanna-Barbera would repeat it in many forms over the years: The Funky Phantom, Speed Buggy, Jabberjaw, The Great Grape Ape, Fangface, Captain Caveman, and the list goes on. The difference with Josie and the Pussycats was they were a rock group that got involved in adventures.

Josie, the leader of the group, would sing in each episode backed up by dingy comedic vehicle Melody on drums whose singing voice was supplied by future Charlie’s Angel Cheryl Ladd, and Valerie who was the brains of the outfit, working out on two tambourines. She would constantly get the gang out of jams by rewiring machines, robots, etc. Valerie is also credited with being the first regular appearing African-American character on a Saturday morning cartoon show. Also along for the ride were their roadie and Josie’s boyfriend Alan, their manager Alexander, who was voiced by Shaggy himself Casey Kasem, Alexander’s sister Alexandra, and Alexandra’s cat Sebastian.

In each episode Alexandra, who had a crush on Alan making her jealous of Josie, would attempt to get some quality alone time with him for who knows what. Her antics would invariably send the group off in the wrong direction where they would run into some evil character who would take them prisoner. There was rarely a mystery to solve as in Scooby-Doo, Where Are You? which premiered a year earlier.

If anything was lagging in these shows it was the music. Unlike The Archies who played complete songs and had a hit with “Sugar Sugar”, in most of the Josie and the Pussycats episodes we got brief pieces of songs usually played over chase scenes. Nonetheless, the characters were memorable enough for Hanna-Barbera to invest in again. After the conclusion of their one-season run, they were immediately brought back in a new show entitled Josie and The Pussycats in Outer Space that lasted for two seasons (16 episodes).

There is only one extra in this two-disc set, “The Irresistible Charm of Dan DeCarlo: The Man and His Art.” It profiles the creator of Josie and the Pussycats with an in-depth look into the life of this talented artist. This is a well-made documentary that leaves you wanting to know more.

Recommendation: More extras would have been nice, but this is fun stuff to be watched in doses.

Bee Gees: Greatest

Written by Hombre Divertido

In seeing that title now, many songs may come to mind, and true fans may have turned up their noses in 1979 when the collection was originally released because it contained none of their early works, but one cannot ignore all that the Bee Gees accomplished between 1975 and 1979, especially when taking the time to review this collection. To have created all this great music in the span of four years, and to consider all that the brothers Gibb accomplished before and after as performers, writers, and producers, truly elevates them to music pioneers, geniuses, and legends.

So, a more accurate title might be Bee Gees Greatest: The Disco Era. With that said, the 2007 re-release of this collection is an enjoyable romp through a more peaceful time. The quality of the recordings is excellent, and may give you the desire to break out the platform shoes, though you may want to give some serious thought to why you still have them.

More extras in this collection would have been nice. Maybe some photos, info on the Bee Gees during that period, etc. What we do get are four remixes of the classics including: “You Should be Dancing,” “If I Can’t Have You,” “Night Fever,” and “How Deep is Your Love.”

At first listen to these remixes, one might react as if someone has just stepped on your memories with those platform shoes. The bass line is intense, and the effort to give the songs a more current feel is a bit heavy-handed, but there is some very interesting and detailed mixing here, if you can get over your initial reaction, and give it a chance. Should take about three listens per song to really appreciate what has been done here. Though a shock to the system, you will certainly feel the desire to dance with these new versions, but you probably won’t be doing the Hustle.

Recommendation: Other than the remixes, there probably is not anything here you have not heard before. The quality is excellent, and the remixes are fun, but it’s a tough set to recommend simply because there should have been more to it.

Umphrey's McGee: Live at the Murat

Written by Fumo Verde

To start off, I’m sorry not to have been at either of these shows. Umphrey’s McGee played the Murat Egyptian Room in Indianapolis, IN on April 6th & 7th 2007, and just from listening to this dual-disc set I wish I had seen this show. This coming from a kat who has seen them only three times, and each time they get better and better. Live at the Murat is typical UM, high energy, unbelievable improvisation, inspiring lyrics and powerful jams. These katz are professionals and they pride themselves on giving it all when on stage, and from the shows I have seen along with reviews from others who have seen them live, UM never disappoints.

I don’t know if either night started with “The Kitchen” but Disc One does. The number came in four parts with the band jamming for almost twenty minutes, revving up the crowd and getting them involved right away. From there they bust into “Higgins” followed by the “The Fuzz.” These two songs rip the top off the scene as the band goes supernova into “Nothing Too Fancy.” While Myers and Farag drive the rhythm with drums and percussion, the guitars face off between Bayliss and Cinninger, rocketing skyward like a dogfight between fighter jets. The raw power the band generates can be felt through the sound of the crowd with their screams and cheers. When you scream at an Umphrey’s McGee show, it is in between the gasps of breath you try to take in while sweating like a beast, grinning from ear to ear.

Disc Two is more of the same and that’s not a bad thing. “40’s Theme” opens up and once again the crowd is immediately involved. Chanting back the lyrics and responding in unison, the crowds at UM shows play a big part. The band feeds off the energy of the audience and vice versa. “Push the Pig” slows things down a bit, giving the crowd a rest as Bayliss and Cinninger tickle their guitar strings. Cummins has some super-spacey sounds coming out of the keys as Stasik thumps about along with the rhythm. This all goes down between the new segments the band just rehearsed backstage before the show (I found this out via the liner notes). “White Man’s Moccasins” opens up an array of sound the band produces due to the talent they have. Cummins’ piano-playing along with the percussion sounds Farag keeps mixing in give off images of lush tropical islands with crystal-clear waterfalls dropping from black lava rock mountains. The guitars, drums, and bass join in almost making this track operatic: bold, full, energetic.

The tracks on this album were picked by the band, and not only do they play well, they are great judges of their own music. It’s hard for bands to put together a live show but Live at the Murat is one of those special times when a great band has an unbelievable performance and it’s edited just right so the listener comes away feeling like they were there. The liner notes said that this is their first “live” CD; I think they did a fine job.

Thank you, UM. This is a great set.

Medium: The Third Season

Written by Senora Bicho

Medium is a crime drama based on real-life, self-proclaimed psychic Allison DuBois, who utilizes her abilities to assist law enforcement agencies in solving crimes. In the series, the main character works for the Phoenix district attorney’s office and her abilities include seeing and speaking to the deceased along with having dreams that give her clues for solving the crimes. Patricia Arquette masterfully plays the lead role and has won an Emmy and Golden Globe for her performance. Glenn Gordon Caron is the creator, executive producer and writer. He has written for many successful television shows such as Taxi and Remington Steele before creating great shows of his own including Moonlighting and Now and Again. Caron likes to refer to Medium as ghost stories for adults.

Season Three was originally slated to start in early 2007. However, due to an early cancellation of another NBC show, it was brought back in November 2006. Besides starting the show later in the season, the network also changed its time slot, moving it from Monday at 10 p.m. to Wednesday at 10 p.m. I missed the majority of this season primarily because of these factors. This seemed to impact others viewers as well as the show fell in the ratings from #35 during Season Two to #61 (it had also dropped tremendously from Season One where it was ranked at #19). I am happy to report that the network has renewed the show for another season, but again as a late addition and with another changed time slot. This time around it will be a replacement for NFL football on Sunday nights at 9 p.m. starting in January.

It is a shame that more people didn’t watch Season Three but hopefully the DVD release will provide an opportunity for them to see what they missed. The season started with a two-hour movie premiere. This extended episode alone is reason enough to at least rent the collection. It focuses on the dreams that Allison and her daughter Bridgett are having about the same murders. Since Bridgett is only 10, her dreams of the crimes are animated featuring monkeys as the criminals. The cartoons look incredible and add an interesting dimension to the episode. One of the set’s special features is a featurette about the time and effort that went into making the cartoons.

The other reason that I missed a lot of the season was that it was just another crime drama. While I didn’t know when it started or what its time slot was, I didn’t make the effort to find it either. I had more than enough TV shows in my lineup and was grateful to have one less to watch. However, Season Three was a departure from the traditional crime drama formula used in previous seasons. This one focused more on the peripheral characters and their stories in addition to seeing more of Allison’s personal and family life. At home all of the daughters deal with different levels of their own paranormal abilities. Joe DuBois, played by Jake Weber, has a much more prominent role and is no longer relegated to being the listening board for his wife’s struggles. He is involved in a hostage situation at work which causes some psychological problems and results in him being unemployed at the season finale. The season finale was the conclusion of an extremely well done three-part storyline. Jason Priestly and Neve Campbell were guest stars in all three episodes.

Included in the DVD collection are some great special features. There is commentary for the season premiere with Caron, Larry Teng (Producer), Aaron Lipstadt (Director and Supervising Producer) and Javier Grill-Marxuach (Writer). It is interesting to hear their vision of the season and this episode. Lipstadt was added as the supervising producer to give the series consistency and Grill-Marxuach is a new writer to the show who previously worked on “Lost”. The episode “Whatever Possessed You” also offers a great commentary by Miguel Sandoval, who plays Devalos and director of the episode, and Jessica Kender, Production Designer.

There are also some fun featurettes. “Directing with David Arquette” discusses brother David’s direction of the episode “1-900-Lucky.” “Acting is my Racquet” gives an inside look at the actors’ addiction to ping-pong. “The Story of Medium, Season 3” provides background on the decisions and thoughts behind the show and “The Making of Medium, Season 3” showcases what it takes to make the show and the intense production involved. You will also find deleted scenes and a gag reel.

Even with the changes that give more depth to the secondary characters, Patricia Arquette is the heart and soul of the show. Season Three was her strongest performance yet as she struggles and experiences many frustrations with her abilities and those who fight her on her instincts. I usually prefer my crime without the personal stuff, just give me the cases. However, this change in direction brought the show to another level. Medium offers well-written storylines, great performances and intriguing cases. I think it is the best crime drama out there so here is your chance to get caught up on Season Three before the next season starts. You can also give the show a test drive via reruns from all of the seasons on Lifetime Television. My dreams tell me that once you try it, you will like it.

RETURN TO HOUSE ON HAUNTED HILL

Written by Fantasma el Rey

Eight years ago House On Haunted Hill was remade and a new storyline was added whereby the house is an old insane asylum that had been run by a demented, torturous, mad Doctor. As in the original, starring Vincent Price, a diverse group of individuals were offered one million dollars to spend the night in that haunted mansion/insane asylum and only two of them survived. After years of trying to convince the world that the place is haunted and that she’s not crazy, one survivor, Sara Wolfe, is killed setting in motion a Return To House On Haunted Hill.

Her sister, Ariel, and her photographer friend are forced by treasure hunters to venture back inside the house to search for a demonic idol worth millions. Also involved is an archaeologist who had been working with Sara to retrieve the idol for study and storage in a museum. The connection of the two lays in the fact that a journal filled with the mad doctor’s dark entries about his obsession with the idol was somehow in the possession of Sara. Once in the house, all are united as the mystery unfolds and we soon find out many horrible truths.

Truths like the fact that there is a teacher-student relationship between archaeologist and treasure hunter leader (dunt-dunt-dun), truths of betrayal and cheating, conniving girlfriends (who hook up with treasures hunters), and above all we find out the truth behind the house’s tormented spirits. The idol is pure evil and drives men to madness and targets their brains like a sanity assassin with an evil rifle. The spooks gone wild in the house are trapped souls who where killed by the mad doctor and are now on the loose, killing anyone who double-dares to enter this dark house in the flat field of evil. (Did I mention that there’s evil going on here?)

As the house’s ghost hosts seal the windows and doors, those inside must find a way out and half of them want to locate the booty, which they are in search of. So the group separates and the blood flow begins. The ghouls get creative in this sequel as we get to see a guy pulled through a wall by his intestines, a big street-fighter type torn to little bitty pieces, and a strong female seduced by violent vixens gets her face removed with a scalpel. By the way, the ghost of the mad doctor does this himself with a few quick flicks of the wrist. The burning of the treasure hunter leader in a crematorium furnace is also full of giggles to watch. Perhaps it’s a metaphor for his desire, burning from the inside, to do whatever it takes to put five million in his pocket.

What I do like is that as each person is killed we get a piece of the story behind the doctor’s crimes, how his patients snuffed him out and how the house can be defeated. A ghost who has decided to communicate with her and show her their turmoil by touching her eyes reveals it Ariel. So the idol needs to be found and destroyed before anyone can truly escape the house. And found it is, as for destroyed? Well there couldn’t be a third movie if the thing was destroyed, so flushed from the house is the next best thing. The end goal is the same I suppose, rid the house of evil trinkets and set the innocent killer apparitions free. Haazaa!!!

Besides the boob shots, cliché cartoon-like villains, some standard modern horror film dialog, and setting aside the plot holes that come with the gory horror genre, Return To House On Haunted Hill isn’t too bad. As I always point out with these things, so long as Kats and Kittens are entertained a film has done what it set out to do. And for eighty-one minutes I was involved with nothing else but this movie, its characters, and most of all how they meet their ends.

Also on the unrated DVD are some extra features that don’t make sense. We get to see “confessionals” of the characters as if they were on a reality show. Which just makes you wonder if at one time the studio had a different idea for the plot and storyline or do they think that most fans are hung up on the Blair Witch, Survivor thing? And as the scenes are clearly adlibbed it shows that the actors are not so good at it and their skills aree a bit weak. But take a look for yourselves, ghoulies, and decide if Return To House On Haunted Hill is worth the trip through the silent hedges and over the hollow hills of horrordom.

POLTERGEIST (25th Anniversary Edition)

Written by Senora Bicho

It’s here! The newly restored and remastered 25th anniversary Poltergeist DVD is out in time to provide some chills and thrills for Halloween. It had been years since I last watched it all the way through and so I was looking forward to finding out whether or not is still holds up as one of the scariest films of all times.

Poltergeist originally hit the theaters in June 1982, but I rented it on home video much later on as I did with Jaws. Both films scared the living daylights out of me although Jaws has had more of a lasting effect. Being in a swimming pool alone can still frighten me. On the other hand, a stuffed clown might make me chuckle but doesn’t put me in mortal fear. While both of these horror classics have always had a connection in my mind, I was surprised to learn that Steven Spielberg was involved with both films. Tobe Hooper is the credited director of Poltergeist because contract obligations Spielberg had with Universal Studios required he only work on E.T. until its completion. However, from most accounts including those from both cast and crew, Spielberg was really the one behind the camera.

Poltergeist is the story of the haunting of the Freeling family home. This all-American family consists of parents Steve and Diane and their three children, Carol Anne, Robbie, and Dana. The problems begin with a common item found in almost every home, the television set. Five-year-old Carol Anne starts speaking into the TV one night while the rest of the family is asleep. She wakes them as she gets louder and louder trying to understand the voice on the other side of the static-filled channel. The late Heather O’Rourke wonderfully plays Carol Anne. It is a great creepy scene that sets the stage for the rest of the film.

Cut to the next day and an overview of the Questa Verde community. It appears to be the perfect suburban development with neighbors mowing lawns and children playing. That evening Carol Anne starts talking to TV again but this time a spirit appears and goes into a bedroom wall. As the family awakes Carol Anne delivers the famous “They’re here” line. Paranormal activity gets underway during breakfast the following morning. At first Diane (JoBeth Williams) is fascinated with the playful occurrences and is excited to share the activities of the day with Steve (Craig T. Nelson). This playful nature changes very quickly when a tree attacks Robbie and Carol Anne disappears.

The rest of the film revolves around getting Carol Anne back. At first, Steve and Diane seek assistance from a university parapsychology team. When it becomes apparent that the situation is beyond their expertise, they bring in a spiritual medium, Tangina Barrons (Zelda Rubinstein). With her help they are able to save Carol Anne and eventually flee the house just before it gets swallowed into a burst of light.

While there are great performances and some spooky moments, I wouldn’t consider this a scary film. It is a well-written story that is ultimately about the love and bonds within a family. Perhaps my lack of witnessing any paranormal activity firsthand along with not believing in ghosts played a role in my reaction to the film. Those that do believe in poltergeists and the idea of a haunted house might have a more frightful experience.

The digitally restored and remastered picture looks fantastic. It is crystal clear with vibrant colors. Some of the special effects look less than 100% realistic but it is the best it can be given the technology available in the early ‘80s. In addition, the remastered soundtrack in Dolby Digital sounds amazing.

Disappointingly, the DVD only offers one special feature. A documentary entitled “They are Here: The Real World of Poltergeists Revealed”. This is shown in two parts: “Science of the Spirits” and “Communing with the Dead”. Since I am a non-believer, I found this ridiculous and uninteresting as they spoke with real-life, self-proclaimed mediums and ghost hunters. I would have much preferred to see a making-of or a “behind the scenes documentary.” Especially since some consider the film to be cursed due to the early death of Heather O’Rourke, the murder of Dominique Dunne (who plays the older daughter Dana), and that they supposedly used real skeletons in some of the scenes.

Since there are no noteworthy special features, I can’t recommend that you run out and buy the DVD. If you are a fan of the film and would want it as a part of your collection to watch over and over again, you should be able to find it for less than $20. If not save the money and rent it on Halloween night instead.

Tony Bennett Sings The Ultimate Songbook Vol. 1

Written by Fumo Verde

I grew up listening to Tony Bennett only because my parents had control over the car radio. It was much later when I truly began to appreciate the silky smooth sound of the man Frank Sinatra once called, “the best singer in the business.” Bennett is an American legend who has been singing for over half a century and has collected over a dozen Grammy Awards. He has been recording since the fifties and is still going strong. On this disk you get to hear some of his best work.

The Ultimate American Songbook Vol. 1 is an incredible collection from master songwriters such as Cole Porter and the Gershwin brothers, George and Ira, so who better to sing these poetic lyrics but the man who made his career singing them since they were new and fresh. After returning from WWII, he made his way as Joe Bari through the nightclubs of the late forties, performing hits like “It Had To Be You” and “Ain’t Misbehavin’.” He opened for Pearl Bailey in Greenwich Village, and then Bob Hope, who suggested he use an Americanization of his real name, Anthony Benedetto. Tony Bennett would see glory in the late fifties and early sixties. He faded away from the spotlight during the seventies when rock and disco ruled the radios. He reappeared in the late eighties and by 1994 the man was back on top of his game stronger than ever.

Bennett’s music ranges from upbeat rhythms and tempos like “Anything Goes” and “That Old Black Magic,” both have that big band energy to them, the kind of energy that even gets your momma up and dancing, to soft sweet soulful crooning in songs such as “The Very Thought of You,” a gem that was recorded in 1966 with Bill Hackett on cornet and an orchestra led by Cyril Ornadel. The sound of the brass mixed with the string section of the band fantastically accompanies Bennett’s vocal range.

Yet this CD isn’t just a collection of songs from Bennett’s past. In 1994 he did an MTV Unplugged show which he did a duet with k. d. lang. “Moonglow” was a hit with the audience and has made it on to this CD, and wow, what combo. Other songs come from Broadway shows like “Taking A Chance On Love” from Cabin in the Sky, which is the track that finishes the disk. In authentic Bennett style, it’s upbeat and snappy, which is what got him to where he is now.

The Ultimate American Songbook Vol. 1 has some great songs with beautiful and thoughtful lyrics sung with heart and soul. Bennett will go down in music history as a humble entertainer with a golden voice whose distinct sound transcends generations. He may have been forgotten for a time, but a person with such pure talent can’t be kept down for long.

With a younger generation of listeners discovering the sounds of Tony Bennett, I’m sure we will soon see a Volume 2.

The Streets Of San Francisco Season 1, Volume 2

Written by Musgo Del Jefe

"A Quinn Martin" production meant one thing to me in the Seventies - adult crime drama. "A Quinn Martin" was a show like The Untouchables, Barnaby Jones, or Cannon that my grandfather watched on the old Magnavox console. My memories of The Streets Of San Francisco are of late Thursday nights in the summer of 1976, staying up past my bedtime to choose between Barnaby or Streets at 10:00 p.m. Those young days helped make me a fan of the TV detective drama to this day. CBS-DVD's release of The Streets Of San Francisco Season 1, Volume 2 is my first revisit to those magical days from over 20 years ago.

What made a Quinn Martin production so special was the consistent format. Like his other shows, Streets begins with a perfect theme and opening credit sequence. The theme by Patrick Williams (best known probably for the Columbo and The Bob Newhart Show themes) sets us firmly in the funky Seventies. The credits hit every major icon of San Francisco (Golden Gate Bridge, Market Street, cable cars, etc.) without actually having to spell out that this is San Francisco in the mid-Seventies.

After the credits, the narrator tells us the Guest Stars and the Special Guest Appearances for the episode. This is something truly missing from today's shows. It's hard to place a name to a face without a trip to IMDB.com after watching a show now. But here's a preview of names and faces before the show even starts. A great teaser. The narration ends with the title of the episode. Today, I'm usually keenly aware of the title of an episode thanks to Tivo and TV on DVD, but this was groundbreaking for the time period. And it works perfect for a crime drama by adding a literary feel to the production.

The title sequence leads into the first title card - "Act I". The established Quinn Martin format was Introduction, Acts I through IV, and Epilog. You know you're watching a Quinn Martin production when you see those elements and it helps make the viewer instantly comfortable across different series. The format had some basic rules. Act I is the crime; Act II is the detective work, gathering of suspects; Act III is when the case really starts to come together; Act IV is the capturing of the criminals; and the Epilog leaves you with a feel good laugh to make you want to return the next week.

The Streets Of San Francisco is a perfect fit for this format. We follow Lt. Mike Stone (Karl Malden) and Inspector Steve Keller (Michael Douglas) as they solve crimes all over San Francisco. Malden is the older, steady (Stone!) partner usually in an overcoat looking like he just walked off the set of The Untouchables. Douglas is the fresh-faced, younger detective. But this isn't Lethal Weapon. The two are serious partners. We are not bogged down by their personal relationships outside of the job. We only get small hints at Stone's fatherly influence on Keller, like the way he refers to him as "buddy boy" all the time. The other main character is San Francisco. Filmed all over the town, the town lives and breathes around the characters. There's rain, sun, darkness, rich, and poor. Current shows, like the CSI troika, use their cities as background and plot devices, but even CSI: New York doesn't come across as a city that real people live in.

So, what is the appeal of these episodes 24 years after they originally aired? Part of it is the breath of fresh air they are compared to today's detective shows. The first thing that strikes you is that there isn't a "B Story". Everything in the show pertains to the main plot; nothing is wasted. There are no personal storylines either. This is first and foremost a police procedural and the plots do not deviate from that. Secondly, this isn't the mystery of a CSI where we're trying to discover the killer along with the investigators. There's no "a-ha" moment at the end where we guess who committed the crime. Here, we know the criminal, we've seen the crime, and the story revolves around Stone and Keller using their detective skills to figure out the crime. The brilliance is using the four-act format in slightly different ways to play with the viewers’ expectations. Two of the best episodes in this collection show how slight tweaking of the formula creates engrossing stories.

In "A Collection Of Eagles", Jamie Farr is killed and burnt very early into Act I. It's a simple set-up but we're not sure what the gold coins he had with him had to do with his murder. Act II sets up the counterfeiting storyline and the clues turn up through now familiar CSI methods - shoe prints and reconstructing the serial number on a gun. There's another murder that helps the detectives make some more connections. By Act III, the case is becoming clear but it looks like the criminal (John Saxon) is going to get away with the counterfeiting crime. In Act IV, he temporarily eludes our detectives but is fatally shot to pay for his crimes.

In "Act Of Duty", Steve's girlfriend, Evelyn, is being used as bait for a rapist. Instead of having the crime happen right away, we have some tense moments in a dark parking lot before heading back to Evelyn's apartment. Eleven minutes into the episode, the tension is almost unbearable knowing that there will be a crime in Act I. The rapist kills Evelyn in her home. Act I ends at her funeral with a final shot of the murderer in the crowd. Act II brings together the evidence as the detectives try to profile the rapist/murderer and sets up the rapist stalking his next victim, Sheri (Brenda Vaccaro) from the police department. In Act III, the case comes together again with the clues from Act II leading the detectives to identifying the criminal. But it looks like he's about to get away with committing another murder on Sheri. In Act IV, the rapist is hiding in Sheri's apartment and eludes discovery temporarily. Steve discovers his error at the last second and returns to fatally shoot the murderer to make him pay for his crimes.

Both episodes followed the general formula, but tweaking the timing in each heightens suspense. And that's what works best here. The format continually focuses and refocuses the viewer on the plot. Current shows, with "B stories" and personal lives, often stray from the suspense of solving the crime. And make no mistake, when they say "on the deadly streets," that's usually the fate of the most dastardly of these characters. There's no gray on The Streets Of San Francisco when it comes to putting away a criminal. It’s straightforward, like this DVD set (no extras, just 13 episodes). And that can be very refreshing.

THE KINGDOM

Written by Hombre Divertido

Terrorists attack a compound in Riyadh that houses American workers. Along with hundreds of other Americans, they manage to kill the friend of FBI agent Ronald Fleury (Jamie Foxx), and now it’s personal.

Though neither the Saudi Arabian nor American government want the FBI over there, Fleury manages to manipulate the right people, and get five days to solve this crime. Fleury assembles his Untouchables with Chris Cooper in the Sean Connery role, and Jennifer Garner and Jason Batmen rounding out the team and off they go. After some initial resistance, they manage to make a friend, earn some respect, and teach the locals everything you can learn by watching C.S.I.

The environment offers some new opportunities for the fish-out-of-water concept to work and creates some humor, but other than that, there is nothing new here. Once the team arrives, Foxx embraces his cowboy role riding a bucking bronco of emotion to its highest and lowest points for the full eight seconds. The good guys never run out of bullets, and the bad guys never hit the good guys.

What The Kingdom lacks in depth, character development, and performances (most are one dimensional) it more than makes up for in fast-paced action sequences. Director Peter Berg and producer Michael Mann know how to deliver action and they do. When the audience is not laughing at the trite dialog, they are sitting on the edge of their seats watching some of the most over-the-top action scenes they’ve scene in 2007 that didn’t include Bruce Willis.

There is insight into the terrorist conflict here, though too forced to carry much weight, and the “enemy is us” moral is poignant though heavy-handed in how it is delivered. At a running time of 110 minutes, had more time been spent dissecting the circumstances, and developing the characters, which would have allowed the actors to better display some range, the film might have been able to overcome its own predictability. On the other hand, perhaps that was not the goal. Perhaps the goal was to create a fast-paced “shoot ‘em up” in the dessert.

Recommendation: Leave your brain in the car and grab some popcorn. This is a summer movie in October, and is worth your time and money if you like this sort of action packed entertainment.