I put my hands up - I didn't attend any of the band's shows in the UK, simply because I didn't want to be disappointed. After 20 years some memories are best left unadulterated. So, it was with some trepidation and the courage of a few jars of amber nectar, that I finally succumbed to buying and viewing this six months after release.Damn. Had I missed out. With the aid of ATP's Barry Hogan and Helen Cottage, along with physical and visual impetus from Elaine Shepherd and cameraman Tim Sutton, I think John French & Co have managed to deliver a memorable package without any beefs from me. In fact, like Matt Groening, I had more than a tear in my eye by the end and I think I scared the dog with my applause. I did have to step back a notch at the sight of French's rather naff raincoat, but these guys are from another culture and, as I reminded the dog, "Toto, we ain't in Kansas anymore..."Lucas dexterously does all that his work on the "Ice Cream For Crow" album promised for his future as a lauded guitar virtuoso. Boston still manages to find spellbinding bass chords whilst roving about the stage, although more like a hungry bear than a 'freaked hippy' this time around. Walley does a fine job too, a lot more than 'filling in the space between' and reminding me it's time the original Bat Chain Puller material left the vault for an official airing. Then, of course, there's French - a catalyst and glue who has remained at the core of keeping the Magic Band legend alive. Only once does the set deviate from Don Van Vliet orientation, with French's "Gone Bops Over Mount Kilimanjaro" - a solo piece that blends perfectly with the entire performance.French steps out from behind his kit after "Veteran's Day Poppy", handing the rest of the set over to the drumming of Robert Arthur Williams, to don his hat and coat and tackle the formidable task of vocals. Sorry, I mentioned the word 'don' back there, but French - perhaps closer than most to the inner workings of Don's head - manages to 'wear' the intent and force of the lyrics extremely well, given that he is emulating one of the greatest modern blues vocalists of the 20th century. Indeed, this whole set proves they were good back then and even more accomplished now.The "Crow's Milk" bonus is also a delight, with rehearsals and glimpses of the band at work and narration by the inimitable John Peel. Then there's photo-shoots and the 'warm-up' gig, as one watches a group of renowned American avant-garde musicians arrive in Camber Sands, a UK location that's probably as obscure for music advancement as Antelope Valley was in the '60s. The guy with the zip attached to his head in the main show doesn't seem to be present, but there's a surprisingly receptive young audience and a lengthy set-break caused by a fire alarm and evacuation of the venue. It's so '60s it's almost like déjà vu all over again. By the end of this DVD it's clear that, although at pensionable age, the Magic Band are still magic and all praise to French for pulling this wonderful white rabbit out of his own unique hat...