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The enhanced portion contains a screensaver, links to Websites, and the ability to play the music through the computer.Genre: Soundtracks & ScoresMedia Format: Compact DiskRating: Release Date: 5-DEC-2000

The best soundtracks are like movies for the ears, and O Brother, Where Art Thou? joins the likes of Saturday Night Fever and The Harder They Come as cinematic pinnacles of song. The music from the Coen brothers' Depression-era film taps into the source from which the purest strains of country, blues, bluegrass, folk, and gospel music flow. Producer T Bone Burnett enlists the voices of Alison Krauss, Gillian Welch, Emmylou Harris, Ralph Stanley, and kindred spirits for performances of traditional material, in arrangements that are either a cappella or feature bare-bones accompaniment. Highlights range from the aching purity of Krauss's "Down to the River to Pray" to the plainspoken faith of the Whites' "Keep on the Sunny Side" to Stanley's chillingly plaintive "O Death." The album's spiritual centerpiece finds Krauss, Welch, and Harris harmonizing on "Didn't Leave Nobody but the Baby," a gospel lullaby that sounds like a chorus of Appalachian angels. --Don McLeese

Martin Scorsese's 1978 capsule history of the Band is mixed with footage of the group's allegedly last performance (certainly their last performance as a quintet) in this particularly stylish concert film. Scorsese shoots the players and their sundry guests with the same flair and enthusiasm one can see in the later The Color of Money or Goodfellas. He also proves a good interviewer with Band members, particularly Robbie Robertson, whose sleepy-sexy good looks make a star-caliber impression in close-up. But the film's real hook is the stage show, which features a rotation of rock legends (Van Morrison, Joni Mitchell, Paul Butterfield, Bob Dylan, and so on) playing with the Band before a wildly appreciative audience. --Tom Keogh

The Band's last concert, Thanksgiving Day 1976. They play twelve of their best songs and are joined by many famous rock stars.

This restored, animated valentine to the Beatles offers viewers the rare chance to see a work that's been substantially improved by its technical facelift, not just supersized with extra footage. Recognizing that its song-studded soundtrack alone makes Yellow Submarine a video annuity, United Artists has lavished a frame-by-frame refurbishment of the original feature, while replacing its original monaural audio tracks with a meticulously reconstructed stereo mix that actually refines legendary original album versions. What emerges is a vivid time capsule of the late '60s and a minor milestone in animation. The music represents the quartet's zenith--Rubber Soul, Revolver, and Sgt. Pepper's Lonely Hearts Club Band. The story line, cobbled together by producer Al Brodax and a committee of writers, is a broad, feather-light allegory set in idyllic Pepperland, where the gentle citizens are threatened by the nasty, music-hating Blue Meanies and their surreal arsenal of henchmen, with the Beatles enlisted to thwart the bad guys. Visually, designer Heinz Edelmann mixes the biomorphic squiggles, day-glo palette, and Beardsley-esque portraits of Peter Max with rotoscoped still photographs and film; Edelmann's animated collages also nod to Andy Warhol and Magritte in properly psychedelic fashion, which works wonderfully with such terrific songs. High orthodox Beatlemaniacs can still grouse that the animated Fab Four are (literally) flat archetypes, but that's missing the sheer bloom of the music or the giddy, campy fun of the visuals. Making sense of the story is second to submerging blissfully in the sights and sounds of this video treat. --Sam Sutherland

Riverdance--The Show is a cultural phenomenon that defies criticism for the enthusiastic and leaves everyone else scratching their heads. The wonderfully talented cast, headed by the Riverdance Irish Dance Company, bewitchingly spins (and stomps) its Celtic folk choreography featuring numerous breathless solos by Michael Flatley (since departed) and Jean Butler. The mellifluous Riverdance Orchestra boasts Davy Spillane, who coaxes plaintive lamentations out of a peculiar instrument that resembles a bagpipe in a metal leg brace. For Enya fans, there is the sound-alike choral group Anuna, who casts a similarly New Age-style vocal spell. Also thrown into the mix are such disparate folk traditions as American gospel and Spanish flamenco. Though it's only 70 minutes long, Riverdance is repetitive by half. But judging from the ecstatic audience ovations and the continued foot-stomping during and after the curtain calls, too much is still not enough. --Richard Natale

There is only one word that comes close to accurately describing the enchanting Mary Poppins, and that term was coined by the movie itself: supercalifragilisticexpialidocious! Even at 2 hours and 20 minutes, Disney's pioneering mixture of live action and animation (based on the books by P.L. Travers) still holds kids spellbound. Julie Andrews won an Oscar as the world's most magically idealized nanny ("practically perfect in every way," and complete with lighter-than-air umbrella), and Dick Van Dyke is her clownishly charming beau, Bert the chimney sweep. The songs are also terrific, ranging from bright and cheery ("A Spoonful of Sugar") to dark and cheery (the Oscar-winning "Chim Chim Cher-ee") to touchingly melancholy ("Feed the Birds"). Many consider Mary Poppins to be the crowning achievement of Walt Disney's career--and it was the only one of his features to be nominated for a best picture Academy Award until Beauty and the Beast in 1991. --Jim Emerson

It's October 31 and Barney and the kids are decorating for a Halloween party at school. This means a trip to a local farm for the usual pumpkins, the Indian corn, and a good excuse for some seasonal songs ("You can call it fall, if that's what you please / But I say I like autumn.") There are 14 songs, including at least one repeat from an earlier tape, and the usual Barney-ized versions of traditional tunes--the most bizarre being "S-M-I-L-E" to the music of "The Battle Hymn of the Republic." The prehistoric galoot and his "Halloween team" make some construction-paper spiders and paper-bag owls that are easy to duplicate at home and some foot-painting that would do a number on your carpets. The party is the big payoff, complete with prizeless games, a candy-filled piñata, and Barney boogeying down. The secondary story has BJ and Baby Bop on a dismal trick-or-treat outing, which includes safety advice but ultimately seems to suggest that this most-typical Halloween activity isn't a good idea. On the costume front, cowboys, ballerinas, and scarecrows are the order of the night, as this festive, but decidedly unspooky, 50-minute tape sidesteps the whole ghost/witch/goblin theme. --Kimberly Heinrichs

It's Halloween and Barney and his friends are decorating the gym for an exciting party at the school. From Indian corn to smiling jack-o-lanterns, they gym is aglow with the colors of fall. Meanwhile, BJ™ and Baby Bop™ are putting the final touches on their costumes as they get ready for a fun-filled night of trick-or-treating. Finally, evening arrives, they party beings and the trick-or-treaters set out to search for goodies. Unfortunately, after a full night of trying, BJ comes up just a bit empty-handed. But when he and Baby Bop return to school, they soon find out that their friends have plenty of goodies and surprises waiting for them. Sometimes, the best treats at Halloween are good friends.

Specifications * Heavy Duty Brass Faucet with Highly Polished Chrome Finish * Ceramic Disc Valve * Measures 7" D x 8" H * Also Includes Hoses & Screws