Reviews by Robert

We know from “chart” music that popularity and quality are not always linked, which is also the case with literature. The merits of the classics, both ancient and modern will never be in dispute, but there still remains the heaps of “pulp fiction” titles that sell well, but are of little literary value.

However, there are a number of books, Lord of the Rings being a prime example, where there are extremes of opinion coming from all levels of the critical spectrum. Is it a beautifully-crafted literary epic, populated with most credible, well-defined characters engaged in a heroic battle of good versus evil set against a vast and colourful, panoramic landscape ? Or is it a hugely-overblown, long-winded saga, pointlessly populated with vast armies of ill-conceived, cardboard-cutout characters, resulting in a dense, impenetrable tedium of monstrous proportions ? There are compelling arguments for either opinion.

Whatever we think, the work cannot be ignored, as, like the Bible, Shakespeare, and Dickens, most of us, at the very least, have some reference to it knocking about the house in some shape or form.

Rob Inglis does an excellent job of narration, but it might be worth checking that you are comfortable with his voice, as, together with the Hobbit, you’re in for a good 60 hours or so of listening. To quote Bertie Wooster, loosely, this audiobook is something you might like to “save for (one of) those long winter evenings”.

The information being imparted here may well be accurate, but the quality of writing and the style is absolutely dire ! There is mild swearing throughout, and the reader sounds so naive and "dumb", that I keep expecting him to use words like "wow", "cool", and "awesome" at any moment. It is the most dreadful book I have ever come across.

Completely devoid of any academic "stuffiness", Liza Picard's well-researched, informative book is instantly accessible, and almost conversational in style.

The opening ten to twenty minutes provides us with a pretty honest, graphic account of Victorian London's poor sanitation and overflowing sewage system, with reference to the constant smell of human and animal excrement, decaying food and rotting carcasses. She does not indulge in gratuitous sensationalism, just gives us the truth in plain language. That said, probably best not to start listening to this while having dinner !

There is something special about a book read by its author : it seems to come over more naturally, as though the person is chatting to you, rather than reading. No doubt the best readers seek to achieve that result.

Edward is reading his own book, telling us about his experiences travelling through Ireland, delivered in a relaxed and jovial manner. It's what I'd call a "Sunday" book : it sustains great interest without recourse to sensational devices.

One or two young people might find it a bit boring, but for anyone who loves Irish history and culture, or who may simply have happy memories of time spent in that wonderfully inspirational country, this audio book is an absolute "must hear" !

The narrator has a friendly, easygoing voice, and delivers the account in an interesting, listenable manner. We all know the story, if only from films or folk songs. Here the author tries to distinguish between fact and fiction, but bearing in mind the circumstances surrounding Billy's life, and the unverifiable integrity of the accounts available, by the end we are still none the wiser. We may be swayed by compelling cross-referencing, and impressed by certain "reliable" detail, but we will never really know the truth. If Billy the Kid fascinates you, then you will enjoy trying to decide what is, and what is not, likely to be true.

The older British public seem to prefer their “classics” read in deep, resonant, “classic BBC” voices, out of a belief that it lends gravity to our profound literary heritage. Factors influencing that preference would be the regular diet of recordings of Shakespeare plays received in school, and the popular costume dramas seen at the cinema, on TV, and heard on the radio. Ironically, we also have a love of authenticity, but only when it suits us ! From an audio book perspective, we should want the narrative of Dracula read with an Irish accent, and the Count’s dialogue a la Bela Lugosi : “Leeson to zem, ze cheeldren of ze nat. What mewsic zay mek !” But contrary as ever, most of us want the lot Christopher Lee style.
So how do we want our Sherlock read, then ? In the rich Edinburgh accent of Conan Doyle ? In the very English tones of Basil Rathbone or Jeremy Brett ? I have to admit a personal fondness for the voices of Basil Rathbone, and the bumbling Watson of Nigel Stock. But as the vast majority of the narrative is from the notebooks of Doctor Watson, a comic, Stock-like voice might begin to try one’s patience after a while. Would an American accent seem inappropriate ? Of course it would, just as you would not expect Stephen Fry to attempt re-makes of John Wayne movies ! ( That would indeed be the day ! ! )
If money is no object, and you love Sherlock, get all three ! Realistically, prioritising your requirements is the best way forward : cost, completeness, or sound.

The older British public seem to prefer their “classics” read in deep, resonant, “classic BBC” voices, out of a belief that it lends gravity to our profound literary heritage. Factors influencing that preference would be the regular diet of recordings of Shakespeare plays received in school, and the popular costume dramas seen at the cinema, on TV, and heard on the radio. Ironically, we also have a love of authenticity, but only when it suits us ! From an audio book perspective, we should want the narrative of Dracula read with an Irish accent, and the Count’s dialogue a la Bela Lugosi : “Leeson to zem, ze cheeldren of ze nat. What mewsic zay mek !” But contrary as ever, most of us want the lot Christopher Lee style.

So how do we want our Sherlock read, then ? In the rich Edinburgh accent of Conan Doyle ? In the very English tones of Basil Rathbone or Jeremy Brett ? I have to admit a personal fondness for the voices of Basil Rathbone, and the bumbling Watson of Nigel Stock. But as the vast majority of the narrative is from the notebooks of Doctor Watson, a comic, Stock-like voice might begin to try one’s patience after a while. Would an American accent seem inappropriate ? Of course it would, just as you would not expect Stephen Fry to attempt re-makes of John Wayne movies ! ( That would indeed be the day ! ! )

If money is no object, and you love Sherlock, get all three ! Realistically, prioritising your requirements is the best way forward : cost, completeness, or sound.

The older British public seem to prefer their “classics” read in deep, resonant, “classic BBC” voices, out of a belief that it lends gravity to our profound literary heritage. Factors influencing that preference would be the regular diet of recordings of Shakespeare plays received in school, and the popular costume dramas seen at the cinema, on TV, and heard on the radio. Ironically, we also have a love of authenticity, but only when it suits us ! From an audio book perspective, we should want the narrative of Dracula read with an Irish accent, and the Count’s dialogue a la Bela Lugosi : “Leeson to zem, ze cheeldren of ze nat. What mewsic zay mek !” But contrary as ever, most of us want the lot Christopher Lee style.
So how do we want our Sherlock read, then ? In the rich Edinburgh accent of Conan Doyle ? In the very English tones of Basil Rathbone or Jeremy Brett ? I have to admit a personal fondness for the voices of Basil Rathbone, and the bumbling Watson of Nigel Stock. But as the vast majority of the narrative is from the notebooks of Doctor Watson, a comic, Stock-like voice might begin to try one’s patience after a while. Would an American accent seem inappropriate ? Of course it would, just as you would not expect Stephen Fry to attempt re-makes of John Wayne movies ! ( That would indeed be the day ! ! )
So, from the vast array of narrator choice, who should we go for ? Griffin’s “Complete” is good value for money. Jacobi’s jaunty “hint of Nigel Stock” is very enjoyable. With Edward Hardwicke you get a selection of stories, but with him you are getting the real McCoy – the man who played Watson so convincingly in the very successful TV series. If money is no object, and you love Sherlock, get all three ! Realistically, prioritising your requirements is the best way forward : cost, completeness, or sound.

Absolutely superb !
Younger listeners might not know who Basil Rathbone and Vincent Price are, but a quick visit to Wikipedia should reassure them !

The older British public seem to prefer their “classics” read in deep, resonant, “classic BBC” voices, out of a belief that it lends gravity to our profound literary heritage. Factors influencing that preference would be the regular diet of recordings of Shakespeare plays received in school, and the popular costume dramas seen at the cinema, on TV, and heard on the radio. Ironically, we also have a love of authenticity, but only when it suits us ! From an audio book perspective, we should want the narrative of Dracula read with an Irish accent, and the Count’s dialogue a la Bela Lugosi : “Leeson to zem, ze cheeldren of ze nat. What mewsic zay mek !” But contrary as ever, most of us want the lot Christopher Lee style.

So how do we want our Sherlock read, then ? In the rich Edinburgh accent of Conan Doyle ? In the very English tones of Basil Rathbone or Jeremy Brett ? I have to admit a personal fondness for the voices of Basil Rathbone, and the bumbling Watson of Nigel Stock. But as the vast majority of the narrative is from the notebooks of Doctor Watson, a comic, Stock-like voice might begin to try one’s patience after a while. Would an American accent seem inappropriate ? Of course it would, just as you would not expect Stephen Fry to attempt re-makes of John Wayne movies ! ( That would indeed be the day ! ! )

So, with the vast array of narrator choice, who should we go for ? The best three are probably Griffin, Jacobi, and Hardewicke. If money is no object, and you love Sherlock, get all three ! Realistically, prioritising your requirements is the best way forward : cost, completeness, or sound.