Graham Nash's look back is simultaneously self-aware, witty and unsparing. From his Hollies hits like "Bus Stop" through "Marrakesh Express" to "Chicago" and "Immigration Man," Graham provides a look at how the Sixties moved into the Seventies, how success erodes talent and friendship, and most of all how one good man kept his head in the midst of it all.
Like the remarkably reflective memoir by Keith Richards, Nash's story is rich with detail and impressions. Disappointed by several people he loved, he remained true to the music and continued to expand his own creative vision. Amusing, shocking, touching, the book is also reflective and self-deprecating. Without posturing, Nash tells his stories as comfortable, welcome company.
The wide-eyed innocence evident during the Hollies' first American tour is charming, and provides the full story of the great Hollies song "Stop, Stop, Stop."
The high notes and the low points of an extraordinary career.
Highly recommended - a terrific book.
Imagine a friend sitting comfortably with you and sharing a story from his past, self-aware and with no holds barred, causing you to laugh out loud, REAL HARD, at several points in the story.
Howard is that friend, and he is a skillful storyteller. His voice is so intimate, you don't remember he's reading. Hilarity ensues, I promise you.
It's ALL good.
It's all good, but the short advice about "something to fall back on" is startling in its truth & power.
Howls of laughter bordering on joy. I AM from the Sixties, I do remember and this Ambassador of Peace and Love has created a wonderful drive down memory lane.
I love this book! I don't know why anyone wouldn't. START LISTENING NOW!
Short stories of sexual themes, including a remarkable variety of activity. What could possibly go wrong? The narrators.
SULTRY voices, both of them, emphaxizing at the BEGINNING of EACH STORY the audio service for which they work. But OH, how predicable the reading tone is, and OH how UNNERVING it is to here thins either slurred or mispronounced or mangled entirely. The audio studio must not have had a DICONARY handy, MUCH less an edertor..
Very hard to stomach, but not because of the content.
Not with these narrators.
"Fiction" in this category could do well with subdivision. At least one third of the titles seem to be supernatural fantasies.
Remember that a terrific movie (and a legendary TV show) emerged from a mediocre series of comic novels about doctors in Korea, and accept the fact that Piper Kerman is not as good a writer as the folks who turned her story into a dazzling Netflix series. With that point in mind, you may enjoy hearing a very different set of stories in this autobiographical text.
Ms. Kerman doesn't have strong narrative skill and evidently got little editing. As a result, stories are sprinkled around with little continuity or development, and characters jump up and down in a fairly random order. One example is the way the incarceration of Martha Stewart is handled - it is foreshadowed and anticipated, only to fall flat when the TV homemaker manages to be assigned a "nicer" place to stay.
Cassandra Campbell tries to keep the players straight with a few accents, but they are not specific enough and become as much an intrusion as a help; her long stretches in a normal voice are easier to take.
The best story is not here or on TV - Ms. Kerman now works in public relations on prison reform issues; a true tale of prison rehabilitation.
And if you do like the book - wait 'til you see the series!
Author Jacqueline Carey's prose lingers lustfully over every syllable. As she invents nations, customs, creeds, gods and half-a-dozen languages, she twists her syllables around with care and wit. When narrator Anne Flosnik pronounces a word strangely, it usually seems like a reasonable alternative. This perfect pairing of story and narration is quickly captivating so that one begins searching the schedule to find time to hear more.
It's a ride, an extravagent adventure that surpasses anything I've encountered before and my most satisfying audiobook experience yet. Characters grow and learn in realistic if unexpected ways. The storyline grows with them, in fact, with vividly depicted scenes in a remarkably real world.
She doesn't enact the story, but the quiet urgency in her tone sounds like she's as interested in the next page as we listeners are.
Lots of them, all of which are too important to the narrative to reveal here. Joys and sorrows, victories and defeats, challenges met and missed are all woven into this mesmerizing narrative.
Every hero must have an Achilles heel. For Phaedra, it is her intoxication with pain. But do not mistake this for a formulaic Middle Ages S&M saga. The author's skill and taste do not linger explicitly but use this kink - and other behaviors sexual, tender, noble, greedy and violent - to form extraordinary characters in a bold, energetic storyline of how powerfully will and duty can drive a person, and a nation, forward. Phaedra starts the book as a lost child with no resources and two curses; I assure you she doesn't stay in that condition for long.
A treasure-hunt adventure with delusions of satiric adequacy, "Ready Player One" is clever enough to pull the listener through its 15 hours with only minor bouts of fatigue. There are lists, and this book is as much a love letter to Wikipedia as to the video game culture of the 1980s. But even its predictability can be forgiven when the author's wild swinging fists finally land on an observation truly telling, or a laugh-out-loud-worthy gag.
But behind the avatars, the five heroes are complex and engaging. The story is told with fondness not only for the games, but for the people who played them.
Wil Wheaton's narration is effective and his slight touch of "Oh Wow" enthusiasm fits the time and the mood.
More Thurber in audiobook form should cause jubilation, and the 23 selections are among the most beloved of the author's writing (the cartoons are missing, of course). Keith Olbermann is therefore to be commended for undertaking the project.
One wishes, however, that the broadcaster's delivery was not so melodramatically urgent. Hard-sell punch was perfect for ESPN, and less so for his evening news/talk cable shows. With Thurber, it often creates the kind of cognitive dissonance that would occur if one was shaken awake by someone screaming, "I love you!"
One is pleased to find Audible also offers "My World and Welcome to It," read by a less-histrionic John Cullum, who allows the wit to sneak up on you rather than being shot from a cannon.
A round-robin of six narrators tackles a surprisingly thoughtful, evocative and detailed memoir. Richards hides little and neither excuses nor apologizes while going through stories that are occasionally off-putting but richly revealed. There is no preparing for this one and it's certainly not for everyone, but the scope and the clarity of the book surprised me very much. For those of us who remember every track of every album, this is a most welcome look back. For others, this is one of the least sentimental overviews of the '60s and '70s you're likely to find.
Starting with a chapter about an illustrator, this audiobook is often frustrating but - surprise - the hardback contains no more illustrations than does the recording. Clive Chafer constantly sounds dismissive of all this nonsense, which does not help one digest the sometimes thick material. On the other hand, most of the stories are quite engaging, and the introduction to Nancy Mitford (perhaps the Dorothy Parker of Great Britain) made the book immensely satisfying.
Articulate commentary covering a wide range of kink with dry wit and no nonsense. Happily, there are two more episodes available for those who enjoy Dee-Shapland's expertise and style.
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