DEJA RE-VU
Pop Culture Classics’ Recommended CDs, DVDs and Books
By Paul Freeman


DVDs

"ROAD TO SINGAPORE," "ROAD TO ZANZIBAR," "ROAD TO MOROCCO"
The pairing of Bob Hope and Bing Crosby revolutionized movie comedy teams. Their "Road" pictures remain hilarious after more than 70 years. Even today, laugh-filled buddy pictures owe a huge debt to this rib-tickling twosome. Hope and Crosby modernized the form, bringing a rapid pace to the zingers, as well as a sense of irreverence and a definite edge. They instilled a feeling of pure spontaneity to the zaniness, even though the films' dialogue was almost entirely fully scripted. The pair enjoyed breaking the Fourth Wall, talking directly to the audience, reminding us that it's only a movie. They would drop in knowing jibes about Hollywood. It all added to the crazy fun.

Kino Lorber has released "Road to Singapore," "Road to Zanzibar," "Road to Morocco" and "Road to Utopia" on Blu-Ray, in special editions. Each is a terrific treat.

After years in vaudeville and on Broadway, Hope had perfected his comic timing. And crooner Crosby certainly held his own in terms of the wackiness. Hope, a veteran hoofer and singer, could also make the most of the movies' musical numbers, particularly the more humorous ones. And Crosby's mellow tones on ballads delighted 40s audiences. Meanwhile, the often unsung Dorothy Lamour proved to be an ideal choice as the exotic beauty at the center of the "Road" pictures' romantic triangles. She knew just how to handle the perpetually oversexed pair of vagabonds. And she excelled when handling a seductive song.

"Road to Singapore" was the first of the franchise, released in 1940. Hope and Crosby had been golfing pals for several years and had garnered laughs together at a charity event. But it took Paramount a while to realize that they could make an appealing on-screen team. In this first one, Hope and Crosby play shiftless sailors who work hard to elude responsibility. Bing is an heir to a shipping fortune and he has a fiancée, but that doesn't keep him from hitting the high seas and seeking amorous adventures, alongside his wild amigo, Hope.

And in this very first film, the duo establishes the method for dealing with dangerous opposition -- Patty-cake, patty cake, baker's man -- punch! As became the pattern, our "heroes" run supremely silly scams. Jerry Colonna, with his marvelous mustache and loud mouth, pops up as one of their victims. He was one of the colorful characters on Hope's hit radio show. "Singapore" ably established the tone of the series (though it was originally planned only as a one-off), as well the chemistry among the three leading players -- Hope, Crosby and Lamour.

1941's "Road to Zanzibar" is another gem. Crosby greedily ekes out a living by having Hope perform death-defying stunts in a carnival. Hope risks life and limb as a human cannonball. Crosby is ready to have him grapple with an octopus. In this picture, the con men are conned by two women -- Lamour and the wonderful Una Merkel. They all wind up on safari. Becoming the main course at a cannibal feast and Hope wrestling a gorilla are among the guffaw-inducing developments. When a cannibal belches, Hope quickly quips, "Must have been someone he ate." Of course, it's all insanely politically incorrect, but that's all part of the era.

By the time they filmed 1942's "Road to Morocco" the Hope/Crosby tandem had perfected the recipe for these pictures. Their comic interplay was incredibly sharp. The lads, after being shipwrecked, find themselves in Morocco. Crosby, always ready to wring a few bucks out of putting Hope into jeopardy, sells him into slavery. That seems to work out well for Hope, when the arrangement leads to an impending marriage to lovely Lamour. But things, of course, are not what they seem. Hope also creates hilarity playing the ghost of his dear, departed Aunt Lucy. In addition to Hope and Crosby, Lamour has a desert warrior (Anthony Quinn) vying for her affection. In the allure and glamour department, Dona Drake gives Lamour a run for her money. Watch for an actual ad-lib by a camel, followed by one by Crosby. Priceless! In this one, Crosby warbles one of his best "Road" numbers, "Moonlight Becomes You," which earned an Oscar nomination. So did the picture's screenplay.

"Road to Utopia" (which we didn't receive for review), is a 1945 release that drops the boys into the Alaskan gold rush.

The Special Features on these discs are worth exploring. The three we viewed all offer entertaining trailers for all four movies, as well as a rather superficial, but still informative mini-documentary on Ol' Ski Nose -- "Bob Hope and the Road to Success." It places its emphasis, naturally, on the "Road" pictures.

The "Singapore" bonus section contains a segment called "Entertaining The Troops," which gives an indication of how the patriotic Hope became a national treasure during the 40s, daringly going into the battle zones and front lines to give our service men and women a few cherished moments of levity, in the midst of trauma and tension. Also on this one is a "Sweet Potato Piper" sing-along. It's a cute, itty bitty ditty.

"Zanzibar" presents "Command Performance," a 1944 short showing Hope hosting an all-star radio program during WWII. These sessions were filmed in Hollywood and distributed to the troops in the field. You'll enjoy the guest spots, as the ever snappy and flirtatious Hope introduces Judy Garland, Lana Turner and Betty Hutton. Bob delivers a version of "Thanks for the Memories" with lyrics tailored to the troops.

"Morocco" has an audio commentary by film historian Jack Theakston, a "Road to Morocco" sing-along and a 1945 "Command Performance" show with Jerry Colonna trading barbs with Hope. This disc also offers "Trailers From Hell" with John Landis commenting on the trailer for this film.

There were seven pictures in the "Road" series and these four titles are, arguably, the finest. The images on the new Kino Lorber releases generally look strikingly sharp throughout and the sound is crisp and clean, making these discs the best way to rediscover the classic Hope/Crosby comedies. These Roads are paved with laughs aplenty.

"OBSESSION"
This is one of the best Hitchcock movies that Hitchcock didn't make. Director Brian De Palma was rather obsessed with Alfred, the master of suspense. And with "Obsession," he pays homage to Hitch, particularly to "Vertigo." De Palma even hired the legendary Bernard Herrmann to compose the music. Herrmann had scored such classics as "Vertigo," "North By Northwest," "Psycho," "The Birds" and "Marnie."

Like "Marnie," "Obsession" doesn't rely on a lot of violence or action. It's a psychological thriller. In the film's opening shots, the swelling, epic church organ chords of Herrmann's symphonic score establishes the unsettled mood. Cliff Robertson plays an idealistic New Orleans land developer, partnered with the more practical (in other words, greedy) John Lithgow. Robertson's wife and young daughter are kidnapped. Trusting advice from the police leads to a horrific accident and he loses his family.

Fifteen years later, on a trip to Italy, Robertson encounters a young woman who looks exactly like his late wife. Still obsessed with the wife and wracked with guilt over her demise, he initiates a romance with this enchanting, doe-eyed Italian doppelganger, transferring his obsession to her. But there are many twists and turns to come.

De Palma's brilliant direction, enhanced by the razor-sharp editing of Paul Hirsh and the compelling screenplay by Paul Schrader, keeps the tension brewing in this atmospheric film. Also contributing mightily is the striking cinematography of Vilmos Zsigmond, who uses everything from extreme close-ups to a climactic 360-degree camera spin. He makes the most of lighting and shadows. Most important of all, Robertson and Bujold deliver superb, nuanced, complex performances.

Shout! Factory's Scream division has issued the 1976 film on Blu-ray and it looks and sounds far better than on any previous release.

There are not-to-be-skipped bonus features, most importantly, new and illuminating interviews with producer George Litto and editor Paul Hirsh, as well as a new audio commentary with author Douglas Keesey. You'll also want to watch "Obsession Revisited," which includes interviews with De Palma, Robertson and Bujold.

This is a film you'll want to watch repeatedly, to study all of the intricacies. It's a rich viewing experience, especially considering it's modest budget. You may even find yourself obsessed with "Obsession."

"BROADWAY BOUND"
The comedy-drama "Broadway Bound" finds Neil Simon at his most sentimental. The 1992 TV adaptation of the play is now available on Blu-ray courtesy of Kino Lorber. The new release even offers an extended cut, which provides four additional minutes.

This is the final chapter in Simon's warmly conceived semi-autobiographical, coming-of-age trilogy that began with "Brighton Beach Memoirs" and continued with "Biloxi Blues." In "Broadway Bound," Eugene Jerome (Corey Parker) and his older brother Stanley (Jonathan Silverman) are aspiring comedy writers on the brink of breaking through in radio and, ultimately, the new medium, television. It's 1949 and they're still living at home in Brooklyn's Brighton Beach. Their weary mother (Anne Bancroft) dotes on them. Their grandfather (Hume Cronyn), an idealistic socialist, wishes they would write something more meaningful. And their father (Jerry Orbach) is distracted by the tragic romantic affair that is pulling him away from the family.

Simon's reminiscence pulls at the heartstrings. He basks in the nostalgia, while exploring the growing conflict within all of the shifting familial relationships. The interplay between the witty siblings infuses the piece with its laughs. And it's Mom who provides the emotional core.

The TV film's outstanding performance comes from Parker, who had a supporting role in the movie version of "Biloxi Blues." Portraying Simon's alter ego, he captures both the humor and the humanity of the character. Bancroft serves up a moving performance as a woman whose father's health is failing and whose sons will soon be going out on their own... and so will her wayward husband. She creates a transcendent moment, when the mother, worn down from years of drudgery, momentarily rekindles her youthful sparkle while recalling the time she once danced with George Raft.

"Broadway Bound" shows Simon's more serious side. He delves into several themes, including aging, adultery and following one's dreams, no matter how impractical they might seem. His writing makes it all quite involving, thanks to his gift for honestly etching richly realized characters.

"DRACULA'S FIANCEE"
This is like no vampire movie you've ever seen. In French, with English subtitles, this is an erotic, surreal, supremely intriguing film from cult director Jean Rollin. Kino Lorber, with Redemption Films, has released the work on Blu-ray.

In the 2002 film, a Van Helsing-type professor (Jacques Regis) and his underling hunt for Dracula. They encounter the venerable vampire's fiancée. Though plot is kept to a minimum, the visually arresting nature of the film will hold the viewer's attention. Added attractions include nudity, gore, parallel universes and a gaggle of bizarre characters that include an infant-slaying "Ogress," a circus dwarf and a gang of mad, murderous nuns, known as The Order of the White Virgins.

Rollin revels in abstruseness. So be prepared to embrace the film's ambiguity, as well as its strangeness. Its images offer fright, dark fun and uncertainty. The result of this horror/art film is rather mesmerizing. And the Blu-ray picture is perfectly sharp.

This new release offers a must-see bonus, Rollin's 1989 film "Lost in New York." Two girls discover a magical device that can transport them through time and space. Originally made for French television, this movie too, is filled with mystery. But it's less horrific and more impressionistic and dreamlike. Another imaginative Rollin trip.

"THE JERK: 40TH ANNIVERSARY EDITION"
In real life, it's best to avoid jerks. But on screen, they can be a whole lot of fun. And that's especially true when "The Jerk" is none other than Steve Martin. Yes, it turns out he's actually a brilliant intellectual with sophisticated tastes, but in his vintage years, Martin could make dumb humor more hilarious than anybody else. In this 40th Anniversary Blu-ray release from Shout! Factory, there are still laughs galore in this 1979 movie.

Already a TV and concert sensation, Martin made his screen debut in "The Jerk." He was in good hands, as Carl Reiner directed the movie, with a screenplay by Martin, Carl Gottlieb and Michael Elias. Martin plays Navin Johnson, son of African-American sharecroppers. He's crushed to learn that he was adopted. Navin sets out to find himself and after a series of misadventures becomes fabulously wealthy. But money isn't everything. All he wants is family and a soulmate. Yes, eventually, he finds his "special purpose." And it's the movie's innocence, sweetness and charm that separates it from a "Dumb and Dumber."

Co-star Bernadette Peters is a delight opposite Martin. She's quite adorable. The couple displays an undeniable chemistry. And who can resist their cute musical number, "Tonight You Belong to Me"? The wonderful supporting cast includes Jackie Mason, Caitlin Adams, Mabel King, Richard Ward, Bill Macy, M. Emmet Walsh, Dick O'Neill and Maurice Evans, not to mention blues greats Sonny Terry and Brownie McGhee.

The new 2K transfer presents a clarity missing from the visuals in previous discs. The new edition includes some great bonus features, such as a new conversation with Martin and Reiner and a new conversation with Gottlieb and Elias. Plus there's an opportunity to learn to play "Tonight You Belong to Me."

"STARMAN: COLLECTOR'S EDITION"
1984's "Starman," directed by John Carpenter, is science-fiction with a heart. A spaceship responds to a welcome from the Voyager 2 probe. It crashes to Earth, shot down by the military. A benevolent alien (Jeff Bridges) takes the form of a woman's dead husband. The woman (Karen Allen, "Raiders of the Lost Ark") is both scared and attracted. There's a purity about this miraculous being. The naive creature wants to go home and she wants to help.

The performances by Bridges and Allen can't help but captivate. He earned an Academy Award nomination for his efforts, though he had to wait 15 years, for "Crazy Heart," to bring the statuette home.

The script by Bruce A. Evans and Raynold Gideon is imaginative, touching, spiritual and uplifting. Jack Nitzsche's score contributes greatly to the mood of the piece. There's also a lovely duet of "All I Have to Do Is Dream," performed by Allen and Bridges. And "Starman" stands as one of Carpenter's finest directorial efforts, showing a tender side, instead of opting for shocks and gore.

Ample bonus features add to the pleasure of rediscovering the film. Fans of "Starman" will find it worth purchasing the new disc just for the chance to view "They Came from Hollywood: Remembering 'Starman.'" The retrospective gives us fond recollections from cast and crew members including Carpenter, Bridges, Charles Martin Smith and script supervisor Sandy King Carpenter.

"WHEN HARRY MET SALLY: 3OTH ANNIVERSARY EDITION"
In 2019, "When Harry Met Sally" remains as hard to resist a romantic comedy as it was when it debuted in 1989. Fortunately, Shout! Factory has released a 30th Anniversary Edition on Blu-ray. It looks fantastic, thanks to a new HD transfer restored from a 4K scan of the original camera negative.

A ride-share from Chicago to New York, begins a complicated relationship between Harry (Billy Crystal) and Sally (Meg Ryan). It's dislike at first sight. But gradually, it grows into a deep friendship. And eventually the two realize that, perhaps, they might actually be soulmates. With a delightful script by Nora Ephron, deft direction by Rob Reiner and engaging performances, the film works beautifully from start to finish.

Meg Ryan is at her winsome best. Crystal nails the laugh lines. But it's Carrie Fisher, in the kind of best friend role that Eve Arden perfected in the 40s, who steals the show. Bruno Kirby is spot-on as Crystal's pal. And Estelle Reiner, the director's mother, is unforgettable with her classic line at the deli -- "I'll have what she's having!"

Bonus features include an audio commentary with Rob Reiner; another with Reiner, Ephron and Crystal. Also offered are a documentary, vintage featurettes and deleted scenes, which will captivate fans of the movie. This 30th Anniversary Edition also offers another great extra, "Scenes From a Friendship" -- a recent interview with Reiner and Crystal, who gaze back fondly at the making of the film.

"DIRTY ROTTEN SCOUNDRELS"
This "Rotten" comedy, released on Blu-ray by Shout! Factory, still comes across as fresh and irresistible. The unlikely teaming of Steve Martin and Michael Caine results in a clever, frequently hilarious movie. Frank Oz ( the voice of Miss Piggy and the helmer of such memorable movies as "Little Shop of Horrors," "What About Bob? "Bowfinger") directed with a brilliant comic sensibility. His perspective, astute and off-kilter, is perfect for the project.

The stars play con men always on the prowl for rich, vulnerable ladies from whom they can pluck funds. In Martin's case, that could mean 20 bucks. The sophisticated Caine is seeking far bigger stakes. They meet on a train. In picturesque, Beaumont-sur-Mer on the French Riviera, eager Martin blackmails Caine into becoming his mentor and they end up making a wager -- whoever manages to pry $50,000 from a female victim wins. The loser must leave this con artist's paradise.

In several scenes, Martin goes sensationally over the top in portraying Ruprecht, Caine's fictitious moronic brother whose creepy, insanely boorish behavior sends women rushing to the next plane out of town -- after they've been relieved of their money, of course.

There's a charming balance between Martin's broader, more slapstick approach and Caine's classier, more subtle characterization. With his hair slicked back and sporting a thin mustache, Caine reflects an appropriate mix of suave and seedy. Both stars are endearingly rotten... and funny. Glenne Headly, Barbara Harris and Anton Rodgers are excellent in support.

It's a fabulous-looking film, in terms of locations, sets, costumes and lighting. And the new Blu-ray allows us to fully appreciate the look. The Shout! Factory extras include a very detailed commentary track with Oz, a great interview on the film's origins with screenwriter Dale Launer ("Ruthless People") and a vintage featurette.

The movie is a remake of the less satisfying 1964 film "Bedtime Story," which starred Marlon Brando and David Niven. Caine and Martin are scoundrels with whom you'll want to spend your time.

"BEYOND ATLANTIS"
When it comes to creating exploitation flicks that are undeniable guilty pleasures, Filipino director Eddie Romero sure knew his stuff. MVD Visual has just released, in a Blu-ray/DVD combo set, "Beyond Atlantis." The company has brought "Atlantis" back from the depths courtesy of a 2k scan restoration, using a 35mm negative.

This one, oddly, is that rarity in the Romero oeuvre -- a film suitable for families. 1973's "Beyond Atlantis," which stars the Duke's earnest son Patrick Wayne and Romero compadre (and co-producer) John Ashley, earned a PG rating. There's a hint of gore, but this one is quite tasteful by Romero standards (or lack thereof).

Leigh Christian, who guested on numerous network TV shows in the 70s and 80s, is the eye candy here. Film buffs will also spot a bearded George Nader, who plummeted from Hollywood stardom to this delightful dreck.

The amiably silly plot involves a group of adventurers hunting for buried treasure and stumbling on an unknown civilization that just might be the descendants of the lost continent -- Atlantis! They are half-human, half-fish creatures. And if the film budget's paucity had been in doubt to viewers, the laughable makeup effects will clear that right up.

The MVD release includes plenty of bonus features, including a 2018 commentary track, plus video interviews with Romero, Wayne, Gloria Hendry (another Romero stalwart whose claim to fame is being the first African-American Bond Girl, appearing with Roger Moore in 1973's "Live and Let Die"), Sid Haig and others.

If you dig B-pictures (or C or D), you'll love unearthing this one. It's gourmet cheese. Riffers, get out the popcorn and get ready to mock!

"DARK RIVER"
This British drama, now available on Blu-ray via Filmrise/MVD, proves to be an engrossing character study. It's well worth experiencing for the bravura performance by Golden Globe winner Ruth Wilson ("Jane Eyre," "Luther," "The Affair").

The folk song "An Acre of Land," powerfully sung by PJ Harvey, sets the tone as the starkly beautiful film opens. Wilson plays Alice, a woman battling inner torment. Following the death of her father, she journeys back to the family sheep farm, after 15 years away. But the business is ailing and there is conflict to be faced with her bitter, heavily drinking brother Joe (Mark Stanley, "Game of Thrones"). We learn in brief flashbacks that Alice had continually been sexually abused by her father (Sean Bean). Dark memories course through her, battering her.

Wilson conveys so much with a clench of her hands, a slight change in facial expression and, especially, in her expressive eyes. We can see a world of hurt in them. Through the performances and the intelligent direction of Clio Barnard ("The Selfish Giant"), the film achieves a quiet intensity that's difficult to shake.

"BACKBEAT"
Before the screaming girls, before the startlingly original songs, before the polish, before Brian Epstein, before the global fame, The Beatles were a raw, rough garage band with a punk attitude, tirelessly honing their skills in boisterous Hamburg bars. That's the era uncannily captured by the 1994 indie drama "Backbeat," which is now available on Blu-ray from Shout! Factory. Directed and co-written by Iain Softley, the film tells this lesser known portion of The Beatles story with great care.

The film focuses on the intimate relationship between John Lennon ( played to perfection by Ian Hart) and the tragic Stuart Sutcliffe (American Stephen Dorff, who is convincing, including the Liverpool accent), an innovative artist who played bass with band at that time. Lennon is brash, angry and ambitious. Achieving massive success with the band is his sole goal. For Sutcliffe, who has a natural James Dean-like cool and charisma, playing on stage is simply a bit of fun. He's really participating just to please his chum Lennon. Sutcliffe's passion is painting.

Then an intriguing, beautiful German photographer, Astrid Kirchherr (an enchanting Sheryl Lee) enters the picture. She's far more sophisticated than the lads from Liverpool. She and Sutcliffe are immediately besotted with one another, much to Lennon's consternation.

Paul McCartney, George Harrison and Pete Best are only seen as supporting characters here. And McCartney is depicted in a rather negative light. The actors are not lookalikes for the band members. Imitation is never a priority here. There are a couple of telling moments showing Cynthia, soon to be Mrs. Lennon.

The film is consistently compelling. The relationships are fascinating -- Lennon/Sutcliffe and Sutcliffe/Kirchherr. And Lennon and Sutcliffe are complex characters worth studying. And, of course, there's the music, the explosive rock 'n' roll. The songs performed here aren't Lennon/McCartney compositions. In these days, The Beatles were covering Chuck Berry, Eddie Cochran and Little Richard tunes.

A super band was assembled, by Don Was, to record the tracks, live in the studio. The group consisted of Dave Pirner (Soul Asylum), providing McCartney's vocals; Greg Dulli (The Afghan Whigs) doing Lennon's singing; Thurston Moore (Sonic Youth) and Don Fleming (Gumball) on guitar; Mike Mills (R.E.M.) on bass; Dave Grohl (Nirvana, Foo Fighters) on drums. Again, they're not meant to sound exactly like The Beatles. But they reflect the tremendous energy, the excitement the band was unleashing in those early days.

The new Shout! Factory Blu-ray is the ideal way to discover or rediscover the film. It looks and sounds great. And the extras definitely enhance the experience. They include a conversation with Kirchherr; audio commentary with Softley, Hart and Dorff; deleted scenes; casting session; TV featurette and more.

CDs

"LINDA RONSTADT: LIVE IN HOLLYWOOD"
Anyone privileged enough to have experienced Linda Ronstadt live in concert during her peak years cherishes the memory. When it comes to vocal dynamism and versatility, no other singer could touch her. She created a unique excitement on stage that could not be equaled. Now, with the release of her first live album, everyone can at least get a sense of what it was like.

This set, from Rhino, was recorded at Television Center Studios, April 24, 1980, as Ronstadt taped a concert special for HBO. Here we get a dozen fantastic tracks from that evening.

She rocks your socks off on numbers like Buddy Holly's "It's So Easy," Chuck Berry's "Back in the U.S.A.," Warren Zevon's "Poor, Poor Pitiful Me" and Billy Steinberg's "How Do I Make You." Then Ronstadt will break your heart on ballads such as J. D. Souther's "Faithless Love," Lowell George's "Willin'" and The Eagles "Desperado." Whatever the song's style, Ronstadt pours her heart and soul into every note.

She can take old material and make it completely her own, breathing thrilling new life into the songs -- Al Gorgoni and Chip Taylor's "I Can't Let Go," a 1966 UK smash for The Hollies; Doris Troy's Top 10 R&B classic "Just One Look" (which had also been covered by The Hollies); and Clint Ballard Jr.'s "You're No Good," a huge hit for Ronstadt, which had previously been recorded by Dee Dee Warwick, Betty Everett and The Swinging Blue Jeans. On Roy Orbison's "Blue Bayou," Ronstadt sings exquisitely in both English and Spanish. She also works wonders with "Hurts So Bad," written by Bobby Hart, Teddy Randazzo and Bobby Weinstein and a mega-hit for Little Anthony and The Imperials. The album reaches an emotional zenith with this number.

That Ronstadt voice is the centerpiece here. But she has a dream band behind her, featuring guitarists Kenny Edwards and Danny Kortchmar, drummer Russ Kunkel, bassist Bob Glaub, keyboardist Billy Payne (Little Feat), pedal steel guitarist Dan Dugmore, and on backing vocals, singer-songwriter Wendy Waldman and Ronstadt manager/producer Peter Asher (of Peter & Gordon fame).

Ronstadt's vocals transcend time and genre. This is album you'll want to play over and over again. You'll keep finding new little subtleties in her interpretations. Ronstadt is eternally a revelation.

ROGERS & BUTLER - "DIANA DORS"
This dynamic duo scores big with their debut EP. Edward Rogers and Stephen Butler (of Smash Palace) deliver grabbing melodies, stirring vocal harmonies, crisp guitars and smart lyrics. The mid-tempo title track references the British blonde bombshell of the 50s and 60s. The song questions the price of fame. "Seven Hour Man" touches upon corporate greed. "Witness Tree"confronts injustice. "Possibilities" expresses a desire to embrace a broader view of the world. These songs have something to say. And the themes are conveyed eloquently. Creating a tight, potent rock/pop sound, Rogers and Butler get outstanding support from guitarist/producer Don Piper (Syd Straw), drummer Dennis Diken (The Smithereens) and bassist Sal Maida (Roxy Music). Demonstrating polished performances, exceptional songwriting and commanding production, Rogers & Butler should garner a lot of attention with this new release.

CATHY SEGAL-GARCIA - "DREAMSVILLE"
A delightful dozen. "Dreamsville" marks the 12th CD from Los Angeles-based jazz singer/songwriter Cathy Segal-Garcia. This one is dream, to be sure. Segal-Garcia lends her extraordinarily expressive voice to a variety of silky tunes, backed beautifully by two outstanding musicians -- guitarist Larry Koonse and pianist Josh Nelson.

She opens with the luscious "Dreamsville," a velvety Henry Mancini melody (lyrics by Ray Evans and Jay Livingston), which he wrote for Lola Albright, when she was singing and acting regularly on the "Peter Gunn" TV series.

The trio gives a tender treatment to Clare Fischer's "Pensativa." "Canto Triste" is a Brazilian beauty. Perhaps the most unusual track is one on which Segal-Garcia wordlessly communicates deep feelings on Scarlatti's Sonata in B minor L33. She also puts her own impeccable imprint on the standard "September in the Rain." Segal-Garcia brings a haunting quality to Horace Silver's "Lonely Woman."

Two of the most unforgettable numbers are Segal-Garcia originals. Familial love and loss is sensitively explored in "The Three of Us." "Beyond the Years" is equally touching, with its own special sense of optimism.

Every track here is a treasure. Turn down the lights, close your eyes and let Segal-Garcia's lovely vocals carry you away.

LAUREN JENKINS - "NO SAINT"
Lauren Jenkins may be no saint, but that gives her just the right amount of edginess to carve out a distinctive place somewhere between maverick country and mainstream pop. Her deliciously earthy voice wraps itself around 10 strong originals here, all of which she co-wrote. Among the most memorable numbers are the lived-in "Maker's Mark and You," the poignant title track, and "Give Up The Ghost," with its soaring chorus. Jenkins also imbues "Running Out of Road" and "Cadillac" with emotional power. "Blood" provides another moving moment. Soulful and riveting, Jenkins knows how to tell a story musically.

BOOKS

AMERICAN INTERNATIONAL PICTURES: A COMPREHENSIVE FILMOGRAPHY
By Rob Craig [McFarland; www.mcfarlandpub.com; 800-253-2187]
For many of us who grew up in the 50s, 60s and early 70s, American International Pictures played a big part. The joyfully exploitative B-movie company, headed by James H. Nicholson and Samuel Z. Arkoff, reflected the feeling of those times -- the paranoia of the 50s, the rebelliousness of the 60s and the decadence of the 70s.

Author Rob Craig, in his amazingly detailed new book, brings to light the unique magic that was AIP. He explores in detail the company's entire catalog, providing a brief synopsis and his own interesting analysis of each film. In poring over the entries, you'll notice how much diversity there was in AIP's lineup, from wonderfully tacky sci-fi, to beach movies, to biker flicks, to cult films, to kiddie's fairy tales, to Gothic horror, to art house pictures, to adults-only fare.

Craig has strong opinions and isn't shy about sharing them. When he feels disdain, he doesn't hesitate to let it fly. In this regard, Beach Boys fans are recommended to skip his review of "The T.A.M.I. Show." Craig shows ongoing scorn for actor Dick Miller, a favorite of Roger Corman and, later, Joe Dante. The author finds Miller's performance to be the one big flaw in Corman's classic "Bucket of Blood."

Craig has his own firm vision of what the vital facets might be of any particular film. So there are deliberate omissions. Craig's excellent examination of the important AIP hit "Wild in the Streets" mocks Christopher Jones and rightfully praises Shelley Winters. But his in-depth analysis doesn't even mention Richard Pryor, nor Diane Varsi, Millie Perkins or Larry Bishop.

But the author delves deeply into many of AIP's significant titles, uncovering social and political elements that most of us might have missed in casually viewing the movies. For instance, he sees "Ski Party," starring Frankie Avalon, Dwayne Hickman, Deborah Walley and Yvonne Craig as being radically progressive in its depiction of gender roles.

The author also shines a spotlight on many films that have been relatively -- and unjustly -- ignored, such as "Black Girl," a 1972 drama directed by Ossie Davis and starring Brock Peters and Leslie Uggams.

This all makes for fun and informative reading. Craig gives us a new appreciation for many of these AIP movies. And you'll surely want to rewatch some of them, as you read through this very entertaining book.