Super Racing Parts

After printing a high resolution image, the manufacturer then laminates thepicture and pulls it around all 4 edges of a hard cardboard backing. It is thenglued down on the back where it meets a hard magnet which covers about 95% ofits back.The edges are all rounded for a smooth feel, and because of all the material,the magnet should sit about 1/8-1/4 of an inch off any surface. Magnet measures3.5 x 2.5 inches.They are sturdily constructed and should last for many years as long as theyare kept away from extreme temperatures and direct sunlight.

After printing a high resolution image, the manufacturer then laminates thepicture and pulls it around all 4 edges of a hard cardboard backing. It is thenglued down on the back where it meets a hard magnet which covers about 95% ofits back.The edges are all rounded for a smooth feel, and because of all the material,the magnet should sit about 1/8-1/4 of an inch off any surface. Magnet measures3.5 x 2.5 inches.They are sturdily constructed and should last for many years as long as theyare kept away from extreme temperatures and direct sunlight.

Just as his wife, Faith Hill, gets slicker and more hermetically sealed on each album, Tim McGraw reaches back on this record to a time-honored, if now rare, country music tradition--recording with his road band. Like Waylon Jennings, Willie Nelson, and Merle Haggard before him, McGraw craved the artistic freedom and rawer sound he enjoyed with his road boys, and he was correct in thinking the Dancehall Doctors would leave their own honest stamp on the music, as well as a '70s rock & roll feel. Retreating to a studio in upstate New York, they recorded 15 keepers. Only one, a cover of Elton John's "Tiny Dancer," lands with a thud, as McGraw tries to duplicate John's vocal nuances and never takes control of the song. But elsewhere, he and the band are surprisingly emotional, soulful, and vulnerable. Together, they turn "Red Ragtop," a song about teen lovers who abort their child, into a universal lyric about choices and regrets, and fashion the two songs about revisiting the people and places that shape who you are ("Sing Me Home," "Home") into something profound. The album sags in spots, and McGraw and his coproducers misstep in adding faux R&B vocal washes here and there. But this is a good, solid effort to make music and not just the radio charts. --Alanna Nash

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KING B. B. BLUES ON THE BAYOU

Opting for simplicity this time around, B.B. King gets by with a little help from his excellent backing band, producing an album that's evocative of the Louisiana countryside where it was recorded. After over half a century in the business, King knows what he's about: he makes playing good blues sound easy, and every track on Blues on the Bayou is a treat. --Genevieve Williams

There's an undeniable pleasure in listening to a veteran bluesman do his stuff. For Blues on the Bayou, which he also produced, B.B. King presents a stripped-down, simply-arranged recording that's as tight as a coiled spring and smooth as a freshly-polished dance floor. From the first track, "Blues Boys Tune," a slow instrumental dripping with organ riffs, this CD is chock-full of the sort of guitar work that a master like King makes sound effortless. Whether it's the mid-tempo playfulness of "Bad Case of Love," or the slow "Blues Man" with its sparkling-clean guitar work, or the wistfulness of "Darlin' What Happened," or the sheer sweetness of "If I Lost You," Blues on the Bayou proves why King is considered the reigning master of blues guitar. Even the violins sound right and proper here, and King's sidemen turn in some impressive work as well; there are in particular some great piano solos on this disc. On the whole, Blues on the Bayou is a slow-burning treat. --Genevieve Williams

17 Tracks

After he accidentally kills a girl, Ronald (Scott Jacoby) is hidden by his neurotic mother from the police. When she dies, he continues hiding in the eerie old house, even after a new family moves in

Gilda was golden and no one spazzes out in a cheerleading costume better than Cheri Oteri, but this tape is about the boys. Saturday Night Live: Bad Boys collects over an hour of bits from the male cast members that ruled the early 1990s. Rude, raunchy, and ridiculous, the favorite characters are all here: Rob Schneider as Copy Guy, Adam Sandler as Operaman, Chris Rock as Nat X, and David Spade as Dick Clark's receptionist ("And you are...?"). There's a few collaborative gems, too. Chris Rock and Tim Meadows pour on the sweet talk in the Boys II Men spoof "I Wanna Suck Your Big Fat Toe." Woody Harrelson convinces everyone to take their shirts off at the beach, including Dana Carvey ("The sun feels good on my baboon heart!"). And everybody gets up close and personal as horny busboys with Kirstie Alley. Bellisima! It's by no means as exhaustive a review of SNL history as the 25th anniversary video, but Bad Boys does serve as a good reminder of a particular SNL era. If the antics of these guys aren't your thing, then allow me to quote David Spade as Total Bastard Airlines' exquisitely snarky steward: "Buh-Bye!" --Bob Michaels

Product Details Actors: Cameron Diaz, Chris Farley, Will Ferrell, Chris Kattan, Tim Meadows Format: Closed-captioned, Color, NTSC Rated: NR (Not Rated) Number of tapes: 1 Studio: Vidmark / Trimark VHS Release Date: August 10, 1999 Run Time: 78 minutes

VHS comes with 3-D glasses. The Videos are: 1. Mustard Plug - "Everything Girl" 2. Sick Of It All - "Potential For A Fall" 3. AFI - "Third Season" 4. The Weakerthans - "Diagnosis" 5. Superchunk - "Fishing" 6. Bad Religion - "Ten in 2010" 7. The Strike - "Shots Heard 'Round The World" 8. Scared Of Chaka - "All My Friends Are Ghosts" 9. Man Or Astroman - "Theme From Eeviac" 10. The Melvins - "Mombius Hibachi" 11. The OC Supertones - "Supertones Strike Back" 12. Frenzal Rhomb - "We're Going Out Tonight" 13. Nicotine - "La Clima Tropical" 14. Diesel Boy - "She's My Queen" 15. SamIAm - "She Found You" 16. Digger - "Space Cadet" 17. Alkaline Trio - "Goodbye Forever" 18. Gameface - "My Star" 19. Pinhead Circus - "Carefree Metal Daze" 20. The Queers - "Tamara Is a Punk"

John Travolta traded in disco duds for a cowboy hat in this corny love story about a working man who breaks up with his girlfriend (Debra Winger), then plays out their relationship's turmoil inside a huge honky-tonk called Gilley's. The story essentially parallels Travolta's prior hit film, Saturday Night Fever, in its blend of ordinary life, incomplete relationships, and personal pride channeled into niche stardom at a neighborhood club. But for all its regional flavor, Urban Cowboy never enjoys the immediacy and urgency of Fever, and after awhile you can't help but feel bemused by the macho silliness of ongoing "mechanical bull" competitions (basically a faux rodeo device only brave men can master at great chiropractic risk). The Travolta-Winger relationship is pure soap, as well. But this film really is a kind of time-capsule piece on a lot of levels--notably Travolta's career and late '70s Western kitsch--and while it's silly, it's certainly not disagreeable. --Tom Keogh

Moving from his rural Texas home to take an oil refinery job near Houston, young hardhat John Travolta begins hanging out at famed honky tonk nightclub Gilley's. In this world of country music, "weekend cowboys," and fast women, Travolta falls for feisty Debra Winger, but their romance has more bumps than a ride on the mechanical bull. Scott Glenn, Madolyn Smith co-star, with appearances by The Charlie Daniels Band, Bonnie Raitt, and others. 134 min. Widescreen (Enhanced); Soundtracks: English Dolby Digital 5.1, Dolby Digital Surround, French Dolby Digital mono; Subtitles: English, Spanish, Portuguese; outtakes; behind-the-scenes footage.