Legendary and long sought-after, this live Led Zeppelin collection is nothing less than the rock music equivalent of the Holy Grail. Quite simply, this is what all the fuss was about.

Given that they were the biggest band in the world, Zeppelin were notoriously camera-shy in their heyday. Their official filmic legacy until now has been just the fascinating but flawed The Song Remains the Same. While this new set presents some previously unseen footage from the same 1973 Madison Square Garden gigs, its real wonders lie in the earlier (1970) Royal Albert Hall footage and the later Earls Court (1975) and Knebworth (1979) concerts. Everything here looks and sounds new-minted, thanks to painstaking restoration and remastering of both audio and visual sources, a Herculean labour of love on the part of co-producer Dick Carruthers working hand-in-glove with Jimmy Page.

Trawling through thousands of yards of previously unseen film and unheard tape recordings--some with missing visuals, some with missing audio--Page and Carruthers have chosen only the best possible footage available. They were also at pains to make the segments segue seamlessly so that the viewer is treated to what feels like a continuous concert--just sample the transition from a grainy Super 8 "Immigrant Song" (Sydney, 1972) to "Black Dog" at MSG.

Highlights? It's not hyperbole to say that every powerhouse minute of this collection (some 230 minutes of concert footage plus another hour and a half of extra DVD material) is a rare musical and visual treat. But hearing Page's violin bow work on "Dazed and Confused" in DTS or Dolby 5.1 is an experience not soon forgotten.

On the DVD: Led Zeppelin two-disc set presents all the footage in pristine 4:3 picture ratio (the Madison Square Garden footage is letterboxed) with Dolby 5.1, DTS or PCM Stereo sound options. Note that the audio is uncompressed for maximum ear-shattering enjoyment. The menu screens do not pop up beforehand, but have to be selected. It's well worth doing so. Enjoy the music first, then discover that even the menus have been painstakingly designed to provide still more unseen footage and unheard recordings (some screens don't cycle round, but present another song in its entirety). Extras include rare TV appearances, interviews and bootleg footage. --Mark Walker

Bombastic, pretentious and narcissistic, Led Zeppelin's The Song Remains the Same is also one of the best concert films of the 1970s, capturing the greatest rock band of the decade in full flight at Madison Square Gardens in 1973. The notorious "fantasy sequences" punctuate the musical action but don't, fortunately, interrupt it. Playing true to their self-indulgent rock & roll personas, each band member has his own segment, as does legendary larger-than-life manager Peter Grant. Only John Bonham's is reasonably down-to-earth: during his mammoth drum solo ("Moby Dick") he is seen driving his custom car, his Harley chopper, and a drag racer at Santa Pod, as well as inspecting bulls and doing a bit of building work. Well, what else would a working-class lad from Birmingham do with his millions? Elsewhere, John Paul Jones is a demented Phantom of the Opera with an unfeasibly large organ ("No Quarter"); Robert Plant is a quasi-Arthurian knight errant rescuing a suitable rock-chick damsel in distress ("The Song Remains the Same/Rain Song"); while Aleister Crowley acolyte Jimmy Page goes in for sorcery and mysticism as he encounters the wizard from the cover of Led Zep IV ("Dazed & Confused"). But the real magic is the onstage footage: Page wields his Gibson Les Paul as if he is indeed enchanted (the violin bow becomes his magician's wand in "Dazed & Confused"), while Plant preens and prowls his way around the stage, the very image of the rock idol; and quite how Jones and Bonham managed to be such a behemoth of a rhythm section is still a mystery. For all its many faults, this remains an essential document of an era when rock dinosaurs still walked the earth.

On the DVD: No extra features to speak of at all, which is extremely disappointing given the wealth of archive material concerning the band and this movie that must be available. The picture and sound are respectable without being exceptional. --Mark Walker

After a string of successes on the big screen, So What Now marks the return of comedian Lee Evans to television and his first sitcom. Scripted by Evans himself, the show has an old-fashioned feel to it, recalling at times various comedy series of the 1970s. Evans' character, Lee, is a mere extension of his live performance persona--a rambling, accident-prone loser whose split from his wife forces him into a domestic situation with the slovenly Stuart (O'Donnell) and man-eating yuppie, Heather (Thomson). There is much of Michael Crawford's hapless Frank Spencer in Lee, especially in the visual set pieces that form the cornerstone of the show. Given his strong acting and writing pedigree, this has to be seen as a disappointment for Evans; the combination of weak script and less than inspiring performances mean that So What Now is only a sporadic success. --Phil Udell