Back in the mid-'60s, television's Hullabaloo was a show that gave music-hungry baby boomers a rare chance to see some of their heroes in action. But it was far from perfect, as the six episodes (plus 17 bonus performances) contained on this four-and-a-half-hour disc make abundantly clear. The shows are in black and white; the quality of the images is poor, especially by today's digital standards, and the sound mixing is generally atrocious. The performances mostly consist of live vocals set to prerecorded tracks. And as for the overall tone. well, suffice to say that in 1965-66, when Hullabaloo originally aired, Hollywood and the TV industry were utterly clueless when it came to youth culture and the burgeoning rock & roll scene, resulting in a hokey quality-ridiculous sets and props, go-go dancers galore-that was laughably square then, let alone now. Still, mixed in with the horrible Beatle medleys (the Supremes doing "I Feel Fine"? Oy!) and predictably disposable pop hits of the era (by Nancy Sinatra, Peter & Gordon, Freddie & the Dreamers, Herman's Hermits, etc. ) are the Byrds, the Animals, the Hollies, the Lovin' Spoonful, the Young Rascals, and other significant mid-'60s rockers, as well as the likes of Marvin Gaye, the Everly Brothers, and the Impressions. [+]

The making of Stevie Wonder's 1976 double-album masterpiece Songs in the Key of Life-still his linchpin work-is entertainingly recounted in this Classic Albums documentary on the 20th anniversary of its release. Interviews with Wonder and the musicians and technicians involved revisit many now-classic songs like "I Wish," "Sir Duke," and "Isn't She Lovely" (which includes a vocal appearance by Wonder's then-infant daughter, Aisha, who two decades later discusses her contribution). The record's lasting influence is brought up by producer Quincy Jones, keyboardist Herbie Hancock, and the rapper Coolio, who had a smash hit in 1995 with "Gangsta's Paradise," a reworking of Wonder's "Pastime Paradise. " Reuniting with the musicians, Wonder runs through some of these classic tunes, one of several highlights. -Kevin Filipski.

A stunning, digitally recorded concert showcasing more than two decades of Bee Gees hits. Includes Lonely Days, How Deep is Your Love, You Should Be Dancing, Words, Too Much Heaven, How Can Your Mend a Broken Heart and much more. Extras include Bee Gees discography, career timeline and industry achievements. Color, approx. 105 min.

Even casual jazz and blues fans know those seminal American styles journeyed north from New Orleans and the Deep South, along the Mississippi River. But that tributary's penetration into the nation's heartlands, and its passage through a much broader, more diverse array of cultures, affords a richer portrait of how root musical styles have merged, diverged, recombined, or survived against the potential regimentation imposed by mass media and a more mobile, modern society. It's this latter process that provides the thread for director-producer John Junkerman's four-hour documentary, Mississippi: River of Song, originally broadcast by PBS. Junkerman starts not in the Crescent City, from which African American musical hybrids emerged, but near one of the river's sources in northern Minnesota, winding his way through the varied populations and past a sometimes surprising melange of transplanted European, Asian, and South American musics. From Ojibwa powwows, traditional Hmong reed players, and Scandinavian fiddle groups to forceful gospel choirs, German polka bands, Mexican conjuntos, and alternative rock, Junkerman and his team capture American music beyond the glare of New York, Los Angeles, and Nashville. The pilgrimage does strike special sparks when it reaches the blues, R&B, jazz, zydeco, and Cajun strongholds further down river, yet much of the program's freshness stems from the stopovers that reveal unexpected cultural collisions. Thrash folk singer-songwriter Ani DiFranco serves as narrator, bringing a warm enthusiasm to her connective commentary, but much of the underlying historical, cultural, and personal insight comes directly from the musicians. -Sam Sutherland.

Spanning 14 months from February 1965 to early April 1966, this second DVD compilation of the short-lived NBC pop-music series Hullabaloo is fascinating more as an ethereal glimpse of mid-'60s pop trends than a record of enduring music. The majority of these performers (Chad & Jeremy, Leslie Gore, Barry McGuire) were enjoying their relatively brief time in the spotlight, so they're little more than time-capsule curiosities to anyone born after these shows were originally broadcast. The format was so safely mainstream that one "Top Pop" medley segment features guest host Peter Noone (from Herman's Hermits) singing Bob Dylan's "Positively 4th Street," with predictably ludicrous results. But the menu of then-current chart-toppers also includes a generous sampling of the British Invasion (the Kinks, the Rolling Stones, and even Marianne Faithful, with several London-scene reports from Beatles manager Brian Epstein), and bonus track highlights include the Zombies, Junior Walker & the All-Stars, and the Supremes at the start of their meteoric rise. Although many of these acts lip-sync to canned music (you'll notice a lot of unplugged guitars), the sound quality surpasses the video, which was mastered from salvaged black & white kinescopes (sadly, the color videos were destroyed). In addition to the hit-or-miss music menu, the Hullabaloo dancers and popular guests hosts provide a welcomed trip down memory lane, especially when David McCallum ("Ilya Kuryakin" from TV's The Man from U. N. C. L. E. [+]

Searching for a real American idol? Well, look no further. Over the course of these three marvelous discs (totaling about 160 minutes and over 40 songs, including repeats), we are nearly overwhelmed by the charm, charisma, and sheer talent that made Elvis Presley so extraordinarily popular and influential. There are songs from television shows (emphasizing the mid-'50s appearances that helped cement his iconic status), concerts, and movies, along with interviews, some revealing (mostly silent) home movies, and photos galore. And by favoring the music Presley made in his earlier years, as well as by loading the discs with complete, uninterrupted performances, executive producer Andrew Solt and company show us how Presley combined country, gospel, and R&B to make rock & roll the most vital pop culture phenomenon of the past 50 years. This is the mother lode, and a must-have for longtime adherents and newcomers alike. DVD bonus options include a discography, a filmography, and "trivia tracks" on all discs. -Sam Graham.

Accompanied by a menagerie of products, Ken Burns's expansive 10-episode paean, Jazz, completes his trilogy on American culture, following The Civil War and Baseball. Spanning more than 19 hours, Jazz is, of course, about a lot more than what many have called America's classical music-especially in episodes 1 through 7. It's here that Burns unearths precious visual images of jazz musicians and hangs historical narratives around the music with convincing authority. Time can stand still as images float past to the sound of grainy vintage jazz, and the drama of a phonograph needle being placed on Louis Armstrong's celestial "West End Blues" is nearly sublime. The film is also potent in arguing that the history of race in the 20th-century U. S. is at jazz's heart. But a few problems arise. First is Burns's reliance on Wynton Marsalis as his chief musical commentator. Marsalis might be charming and musically expert, but he's no historian. [+]

This installment of the Classic Albums series follows the making of two Grateful Dead albums, the fiercely experimental Anthem of the Sun and the understated masterwork American Beauty, which spawned melodic gems like "Sugar Magnolia" and "Ripple. " Between the archival scenes and contemporary interviews with band members, the DVD shows a band making seismic inroads in pop music-and five young guys coming to terms with artistry, mortality, and, yes, the pursuit of happiness. There is priceless footage of Neal Cassady driving Ken Kesey's bus and of the Dead, surrounded by martini-sipping hipsters, on Playboy After Dark. The best scenes involve band members talking about specific songs (you will never hear Phil Lesh's "Box of Rain" again without thinking of it as a gift to his dying father) or deconstructing a tune by playing each track separately. Intimate and surprisingly cohesive, Anthem to Beauty is a rare glimpse into how the Dead's magic was made. -Anne Hurley The Grateful Dead are a unique phenomenon. One of the most successful live touring bands in the world, their longevity is founded on their desire to play music their way, coupled with an extraordinarily close relationship to their huge following. From Anthem to Beauty tells the story of the band and their journey from the experimental "Anthem of the Sun" (recorded in 1967/1968) to the accessible, countryish "American Beauty. " It is told in the band's own words and includes a rare interview with lyricist Robert Hunter. The film also features a wealth of rare vintage film footage of the Grateful Dead in their prime, including television appearances, home videos, and classic recordings like "Ripple," "Box of Rain," "Truckin'," and "Mountains of the Moon," and it all adds up to a riveting portrait of one of the rock world's most controversial bands. [+]

Created by world-renowned jazz aficionado Ralph J. Gleason, the Jazz Casual programs were originally broadcast on the National Education Television Network from 1960-1968 to showcase the wild sounds of jazz. Presenting jazz music to American audiences in an intimate and informal setting, the series was unique in that the musical director of each episode was, essentially, the featured artist, an approach that generated the cooperation of the scene's most revered musicians. Woody Herman, a favorite of Gleason's, was the only featured artist to appear on Jazz Casual more than once. Herman's bands included some of the best players in the field-this version of Woody's Swingin' Herd features Sal Nistico on saxophone, Jake Hanna on drums, Bill Chase on trumpet, Nat Pierce on piano, Chuck Andrus on bass and, of course, Woody on clarinet. This episode of Jazz Casual, which originally aired May 24, 1963, features "A Taste of Honey," "My Wish," "Deep Purple," "Early Autumn," "Satin Doll," "Mood Indigo," and "Blue Flame. " Ralph Gleason called Art Farmer's 1964 group "first rate jazz" and "lyrical, soft, quiet, reflective and delightful. " The group features Farmer on trumpet, Jim Hall on guitar, Steve Swallow on bass, and Walter Perkins on drums. On this session, Farmer and group perform several ballad standards, such as "My Kinda Love," "Some Time Ago," and "Change Partners," along with Charlie Parker's "My Little Suede Shoes" and Milt Jackson's "Bag's Groove. " This episode originally aired January 10, 1964. [+]

The short-lived (1965-66) Shindig! knockoff Hullabaloo epitomizes the often-faltering steps U. S. network television made to keep up with the explosion of rock & roll culture in the wake of Beatlemania. Sometimes inspired, sometimes silly (definitely the latter with hosts and guests like Jerry Lewis, Michael Landon, Freddie and the Dreamers, and Vikki Carr), seven episodes plus bonus performances fill this DVD compilation of previous VHS releases. Over its four and a half hours, in black-and-white and color, true rockers ranging from Chuck Berry, the Lovin' Spoonful, Martha and the Vandellas, and the Animals slam into the slightly clueless (Chad & Jill) and the utterly hopeless (Joanie Sommers, Frankie Avalon, the aforementioned Freddie). Moments of irrepressible pop genius (Marvin Gaye's "Ain't That Peculiar") and sheer drama (Dionne Warwick's "Message to Michael") make this a must, though. Throw in a bit of apparent collusion between an NBC director and Byrd Roger McGuinn as he aims the "Your sons and daughters are beyond your command" verse of "The Times They Are A-Changin'" in extreme close-up to millions of American parents, and Hullabaloo's ultimate success is demonstrated. -Rickey Wright.