Really Bad Narration

This narrator for some reason changed the voice of the Detective’s wife trying to make it a more common and then switching back to the normal voice. Had to laugh when he gave one of the characters another detectives Voice. I think he had a bad day at the recording studio.

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Madaline

Why suddenly after 18 books has she got a socially lower accent than previously. Spoilt the experience as I cringed every time she spoke. Off to book 20. I hope she gets her better voice back?

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Another great story

Loved this story full of the usual twists and turns and it would have been so enjoyable apart from the narrator who was not the usual person and he made loved characters sound terrible will think twice before I listen to another book of this narrator is reading it

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Brilliant

Great read brilliant twist and gripping hope there is more to come for the detective

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Brilliant

An excellent detective pity leaming is so miserable but overall it's a brilliant story as all the books

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What has happened to the Railway Detective?

What has happened to this series from Edward Marston? I used to enjoy the Railway Detective novels, but ever since Robert Colbeck married Madeline Andrews, the books have become increasingly less interesting as detective novels and more of a soap opera. While the two were courting there seemed to be a reason for the side stories featuring Madeline and her father, but since their marriage, these side-issues, which now feature Madeline and friend Lydia Quayle rather than Madeline and her father, have no relevance at all and are just an unnecessary distraction. In this book I sighed heavily with frustration each time the scene cut back to Madeline, and her story. Indeed, the mystery seemed to take up only a fraction of the book, the rest being given over to either Madeline's tale of angst, or her father's - both extraneous material that detracted from the original detective storyline.

I like my detective stories to be just that, detective stories, but with Edward Marston one does need to contend with a smattering of romance, which is usually fairly light and reasonably well-integrated, so as not to detract from the main story. However, this budding romance between Lydia Quayle and Alan Hinton is firstly, totally gratuitous, and is progressing at so slow a pace that one dispairs of them ever getting together and getting this unnecessary storyline over, done and out of the books completely.

Listening to this audiobook, in addition to all the extraneous pap, Sam Dastor seems to have given some of the characters completely different voices which, of course, makes them into totally different characters. Madeline had gone from a simple, reasonably well spoken (considering her background) young woman, to a blousy, cockney barmaid, and her new voice jarred every time I heard it. Alan Hinton has also changed from again, a respectable sounding, enthusiastic constable to what sounded to me like the village idiot. Why this change in personality for these characters, because that is what changing the voices does, it changes the core of the character's personality?

Finally, a strange note of social insecurity that was never there before seems to have crept in. Madeline Colbeck, having accepted Robert Colbeck as an equal during their courting days seemingly without any feelings of inferiority despite her only being a train driver's daughter and he a middle-class Oxford graduate and ex-barrister, suddenly seemed to have developed feelings of inadequacy regarding the class she has elevated herself to. This made no sense at all, because such feelings, if Madeline was ever capable of them, should surely have come while she was on the way up, not when she had reached the summit and was thriving well.

I hope Marston can get these books back on track because if not, this will be the last of this series that I will be reading. I have already given up on the Home Front books because of the increasing prevalence of extraneous storylines - to wit, Alice Marmion's romance with Joe Keedy, and Paul Marmion's disappearance. A detective story is a detective story, and a romance is a completely different kind of book, with a very different readership, and ne'er the twain shall meet.

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9 people found this helpful

Tragedy in the narration

The story is getting a bit weak which is sad enough but added to that for some bizarre reason this narrator seems not to have bothered to listen to previous editions to get a feel for the characters.
Madeline Colbech has gone from being a nice well spoken young lady to a cockney fish wife ? why ?

sad to say I will not be partaking of another book if the same narrator is employed to perform.

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2 people found this helpful

Easy story, odd narration

These are easy crime stories to listen to and they plod along sedately. Quite often I have to replay a chapter having been lulled into sleep by the tone of the narrator or because one section merges into another without so much as a breath between scenes or paragraphs. All the voices are very similar but at least this story didn't involve the Welsh or Liverpudlians - those accents were like nails on a chalkboard. Everyone in this story seemed to come from Devon! A tad confusing, just don't listen to whilst driving!

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So disappointed with this book

I have read all the railway detective novels and this is the first time i have been so so disappointed, What on earth has happened to Madeline? She has gone from a confident, well spoken, woman into a dithering mess, everytime we went to Madeline I cringed, most of the voices were acceptable, but the new narrator should have listened to previous books.
Instead of being involved in the usual railway detective story we are involved with petty minded college student and trivial household matters- come back Mr Marston and start writing the books we love

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