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A consumer’s guide to the best and worst of sports media and merchandise. Ground rules: If it can be read, played, heard, observed, worn, viewed, dialed or downloaded, it’s in play here.

What: “The Joe Namath Show” (1969)

When: Premieres Wednesday at 8 p.m.

Where: Classic Sports Network

If you’re a fan of Classic Sports Network, you know most of what you see on this 24-hour cable network is, well, classic. For instance, on Sept. 19, as part of the Friday night “Phi Beta Football” series, there will be the Doug Flutie, Boston College-Miami game of 1984 with its all-time ending.

But to call the “Joe Namath Show”--all 15 segments were made in 1969--a classic is a bit of a stretch. Camp, yes. Classic, no. But that isn’t to say they’re not worth watching. Camp can be fun.

Classic Sports Network uncovered this lost “classic” earlier this year and has been ballyhooing the show ever since. Namath, who lives in Florida with his wife and two daughters, was in Los Angeles recently with co-host Dick Schaap to publicize the show. This is a big thing for the network, and one reason for that is the guest lineup is pretty impressive. Namath in his heyday could really attract ‘em.

On the first show is Tom Seaver, then an upstart pitcher for the ’69 New York Mets, and actor Yaphet Kotto, who currently stars in NBC’s “Homicide.” The network sent out a sample tape with two shows, one with Rocky Graziano and Truman Capote--now there’s a real match--and the other with Muhammad Ali and George Segal, another interesting pairing.

When Segal begins talking about doing a partially nude scene with Barbra Streisand, Ali falls asleep. He awakes long enough to say that as a religious person--this is two years into his three-year suspension from boxing for refusing to be drafted--he is offended by such talk. He threatens to walk off. Sound bizarre? It is. But then so is much of this time-capsule show.

The stars are supposed to be Namath and Schaap, who became friends after writing a book. But there’s a “Namath Mail Girl,” a “dumb blond,” played by Louisa Moritz. In these days of political correctness, you couldn’t cast such a character. But this was 1969, a different time. Maybe that time difference is the real appeal here.