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Amazing Journey: The Story of the Who is a very satisfying, two-disc set anchored by an excellent documentary directed by Murray Lerner (The Other Side of the Mirror: Bob Dylan at the Newport Folk Festival), whose 1970 footage of the band in concert appears in Lernerâs Message to Love: The Isle of Wight Festival. Lernerâs new film includes recent and extensive interviews with surviving Who members Roger Daltrey and Pete Townshend, who candidly recall every chapter of the groupâs career, from childhood to the premature deaths of drummer Keith Moon and bassist John Entwistle, and beyond to Daltrey and Townshendâs continuing, now-autumnal collaboration. Much of what is said and captured in Amazing Journey has been noted before in myriad ways (including the Whoâs 1979 autobiographical feature The Kids Are Alright), but the older Daltrey and Townshend get, the richer their insights into Who history. Lernerâs organization of sub-topics and material also makes Amazing Journey powerful and resonant, including the Whoâs earliest period as an emerging club band (called the High Numbers) emphasizing rhythm and blues, and Townshendâs gradual transformation into a songwriter trying to break traditional pop forms. Key relationships are examined and explored, but of special note is Daltreyâs and Townshendâs separate, fascinating assessments of the formerâs evolution as a vocalist and frontman. (Each maintains that it was Daltreyâs personal connection to the central character in Tommy that turned him into an expansive, charismatic singer.) A second disc contains superb outtakes from Amazing Journey, with an emphasis on the wisdom of Daltrey and Townshend, both in their 60s, examining their individual artistries. Who fans and musicians alike will certainly enjoy an exciting analysis, from the likes of the Edge, Simon Townshend (Peteâs brother and member of the Whoâs backing band) and Eddie Vedder, of Townshendâs gifts as a guitarist. A wonderful mini-documentary co-directed by D.A. Pennebaker (Donât Look Back) captures a recording session from 2003, and footage of the High Numbers in a 1964 performance (from an aborted film by the Whoâs late co-manager, Kit Lambert) is a remarkable artifact. --Tom Keogh