Big Finish: Doctor Who – The Fifth Doctor Box Set

The more observant among you may have started to think ‘hang on, all he’s Blogging about these days is them Big Finish Doctor Who audio adventures’ (because, naturally, that’s how you all speak, I’m sure!)

I walk to work and back these days. Downside: I read a lot less. Upside: it’s cheaper and it gives me an opportunity to catch up with a lot of Big Finish material that’s slipped me by over the past few years. No doubt after a while I’ll fancy a change and start listening to some old albums as well, but in the meantime here are my thoughts on ‘The Fifth Doctor Box Set’.

It won the 2014 Audio Drama award in Doctor Who Magazine’s 2014 annual poll. I can’t comment on that because I don’t know what it was up against. But what I can say is that it was another impressive set – not perfect but well-conceived and ably realised.

The set features the return of Matthew Waterhouse as gold star Adric. This was clearly something that Matthew himself instigated. Matthew is the most overtly ‘actor-y’ of the returning regulars contributing to the Big Finish range. When interviewed the others just seem to be having fun, slipping back into old shoes and enjoying the material. Matthew has an agenda, he feels he is now ready; it’s a conscious performance, trying to re-ignite the spark from thirty years previously and channel ‘the boy within’. This may or may not be a personal response to the persistent criticism his performances have received over the years. There is a sense that he is constantly on the defensive, reminding fans that he has continually worked as an actor ever since he left Doctor Who, to counter these criticisms. As Matthew attempts to recreate his juvenile Adric, the voice he adopts is almost how he sounded in 1982, but because he’s concentrating on the tone so much his delivery sounds rather forced (like he’s impersonating Derek Nimmo at times!) Therefore despite being a more experienced and accomplished performer these days he still doesn’t sound very natural and he still stands out against the other regulars.

However, it’s still great to hear this transitional Fourth / Fifth Doctor team in action once again, and to hear them served by material that very much plays to their individual strengths in ways that the TV series couldn’t always manage. The ‘crowded TARDIS’ seemed to be an obstruction for writers at the time, as they tried to find something for each of the companions to do. Fortunately that doesn’t seem to be a condition that afflicts Jonathan Morris or John Dorney.

 

First up is Psychodrome, a four-part story by Jonathan Morris. Watching the latter Tom Baker and early Peter Davison TV stories we tend to get carried along by the action and it never occurs to us to think about certain missing conversations between the regulars. That is what Morris rather brilliantly taps into, setting this story between Castrovalva and Four To Doomsday. So we get the companions discussing what has just happened to the Doctor, how the change affects them, what their thoughts are on this ‘new model’; we get Tegan and Adric clashing, Nyssa commenting on her father’s death, Tegan thinking about her aunt’s death that was literally only a few days ago (who’s doing the funeral?) It’s only when you hear such domestic and character-building moments that you realise they were missing from the TV stories - but you also realise how much it all adds to the reality of their situations. It’s like getting a new job and then finding that the manager has changed after only a day or so (this happened to me years ago and I didn’t like my new manager AT ALL!) Would you stay or would you want to leave?

The actual storyline of Psychodrome is, I think, an episode longer than it needs to be, as the embodiments of everyone’s opinions of each other clash and become self-aware. It can only go so far and I started to feel it was becoming repetitive and frustrating in places just to fill out the time. But it’s more of a character piece and the strength lies in the way it pulls the crew together to work as a team.

Iterations of I, on the other hand, is simply wonderful in all respects. It’s another four-part story, this time by John Dorney. It reminded me a lot of the Sixth Doctor Big Finish story …Ish by Phil Pascoe – but that’s not to say it’s derivative in any way. What …Ish did for lexicography Iterations of I does for mathematics. And they’re both disturbing and scary.

Iterations of I comes between the TV stories Black Orchid and Earthshock, near the end of Adric’s time with the team. Tegan now claims that she’s not fussed about getting home after all – presumably to pave the way for her surprise and disappointment at the end of Time Flight when she gets left behind at Heathrow. Again I’m not sure if this was ever stated on TV, so that’s another loose end tied up.

Iterations of I is pretty much perfect Doctor Who. It’s an engaging concept with a seemingly unbeatable foe, and the story has twists and turns and interesting characters to grow to like or hate along the way. The dialogue is very easy and naturalistic – the first scene banter in particular is effortlessly good. Again all the regulars feel like they have something meaningful to offer to the story and the situation, even through chance (such as Tegan suggesting they could hem the creature in). And although on paper this seems to be a specifically visual story the soundscape created adds so much to the tension and the moments of terror.

The extras included with the box set are music suites at the end of each story – which are very much in keeping with the era they represent, plus a whole CD of interviews and behind the scenes material. The music I will listen to many times. The interviews probably less so – but they are still interesting to revisit from time to time. The real gold is in the stories themselves and particularly in Iterations of I. I can only be thankful I wasn’t walking home on my own in the dark across the moors whilst listening to it...

Jenna Coleman to leave Doctor Who - my instant reaction

So, the BBC have officially announced that Jenna Coleman is to leave Doctor Who during the forthcoming series which starts on BBC1 tomorrow evening. Fine. I don't have an issue with that. I've never really 'got' her character Clara anyway and I don't feel she's brought much to the programme since her early timey-wimey appearances across Matt Smith's final split season. In fact the perfect time for her to go was probably in 2013 when she jumped into the Doctor's whirly time line vortex thing in the wreck of his TARDIS on Trenzalore, in The Name of The Doctor, since she appeared to have been created by the universe solely for that moment alone.
 

Things are never simple, though, and the character was saved and has been with us ever since. She's a nanny one moment, then a qualified teacher the next, she doesn't have a family, she does, she's this, she's that - depending on what the storyline requires, and the production team have continued the trend with Clara that they started with Amy and Rory of picking the companion up for her Saturday evening adventure and then dropping her off again afterwards so she can live her normal life for the rest of the week, in an all too literal representation of us as viewers watching at home. I can cope with a bit of it from time to time, but not persistently and not when, as in Into The Dalek, the Doctor finds himself in a situation then leaves the situation in order to pick up Clara and bring her back into that same situation to help him out. That's silly in my view and if the companion isn't going to stay with the Doctor from one week to the next we should expect to see adventures without them directly involved. (In the spirit of ongoing narrative and story arcs, though, I don't have an issue with us seeing the companions in their lives outside of the Doctor's adventures to move their own personal storylines along.)

But those are my thoughts on the way the production team have used the character and developed her relationship with the Doctor, it's nothing against Jenna Coleman the actor - I find her to be a very capable performer and I hope that the series has been a useful springboard for her onto new and wonderful things for the future. She's been on screen with the programme now since Autumn 2012 - that's a good long stretch, but thanks to a year off for the 50th celebrations she's only really done one and a half series.

I never 'bought' her relationship with Danny Pink in Series 8 either. Again, this isn't a criticism of either Jenna or Samuel Anderson, it's a criticism of what we as viewers were shown of their blossoming love or their life together. It just didn't add up to the kind of heartbreak we were meant to assume in the tragedy at the end. Despite what I've said so far I really loved Series 8 on the whole, but these things have always niggled away at me.

You'll notice that through all of this I make sure I separate the actor and the character. What's appalled me most about the 'fan' response to the BBC's announcement today is the sheer amount of bile and hatred that's being aimed at Jenna Coleman the actor for personal issues with, or dislike of, her character Clara Oswald and the programme in general. And some of the Tweets the BBC have chosen to use on their own news feed about the announcement? Ouch! don't give these nutters that kind of publicity - the natural assumption will then be that these views are held throughout fandom, affirming the 1980s stereotype about how fandom loves to hate the show and those involved with it.
You don't like the character? Fine. Don't watch the programme. It's not compulsory.
You don't like the storylines or all the epsiodes? Fine, you'll never get 100% enjoyment out of everything, that's life, get over it. Or if you don't like the odds, again don't watch the programme.
You don't like Jenna Coleman? Fine, but aim your criticism correctly.

Older people used to say 'if you can't think of anything nice to say don't say anything at all.' Then they invented Twitter and internet forums. Now it's all too easy...

I won't miss Clara Oswald in the programme that much. I hope the new companion will be more roundly thought-out in advance, and if she's female I hope she'll be less about immediate 'impact' or tropes and misguided female empowerment through overt sexuality; we've had a succession of those now (River, Amy, Clara). And it's very likely that I'll look back fondly on Jenna's years with the show. But regardless of how I feel about Clara I'd like to thank Jenna Coleman for her input, for giving a reliable strong performance each week (material notwithstanding) and forn being a fine ambassador for the programme.

I wish her all the best going forward.

Paul & Nessa's Happy Hour - happy holidays, see you in a couple of weeks...

Show #6 of Paul & Nessa's Happy Hour is now available to play on Mixcloud or via the website www.crankedanvil.co.uk/happy-hour featuring more comedy sketch material from me and plenty of others.

The show is taking a short break after this week, returning later in September with a new Wednesday evening slot instead. I'm very pleased to say that I'll be continuing to write for them as their material expands in the new slot. I'll post news, links and updates when I have them. In the mean time, click on the link and enjoy shows 1-6 so far...


Additional:
I'm not one to brag, usually, but the Murgala sketch at the very end of Show #6 (about 25 mins in) is probably the funniest so far, which makes me rather happy! I hope it amuses others as much as it's amused me.

Fish Fingers & Custard #16 - out now!

Hello people,

Issue 16 of the Doctor Who fanzine Fish Fingers and Custard is available now, edited by Daniel Gee and featuring a couple of pieces by yours truly. At only £2 for the pleasure what more could one ask for?

For more information, ordering details and back-issues see http://www.fishcustardfanzine.co.uk/

Big Finish Doctor Who novel adaptations: The Romance of Crime, The English Way of Death and The Well-Mannered War

I’ve Blogged about Gareth Roberts’ three 1990s Fourth Doctor Virgin ‘Missing Adventures’ novels in the past (see http://viewsfromthesecondfloor.blogspot.co.uk/2012/03/shada-prep-gareth-roberts-and-season-17.html and http://viewsfromthesecondfloor.blogspot.co.uk/2012/05/death-and-war-post-shada-come-down.html), but recently they’ve been adapted by Big Finish and released as four part audio dramas bringing together once again Tom Baker, Lalla Ward and John Leeson. The five year old in me couldn’t help but squeal.

It’s taken me a little while to be in a position to treat myself to these stories – and they are a treat, I will lay that down from the start. Tom Baker’s Doctor, now in his 80s, is less frenetic but that’s as much down to the fact that he’s not moving all over the place while he speaks, and a calmer delivery doesn’t spoil the ‘Season 17’ effect particularly. He sounds more comfortable in his vocal delivery now than in the early recordings with Louise Jameson that I’ve heard: there’s less baggy jowl and he’s adopting a deeper base range that he can maintain without his voice breaking. Lalla Ward’s Romana still sounds fresh, thanks to regular appearances for Big Finish over the years, and she and the Doctor play off each other so effortlessly (even if the chances are the actors weren’t recorded together). John Leeson gets to play a K-9 that’s probably never been better utilised or written for. These are stories about a wonderful TARDIS team by a writer who knows and appreciates the team’s strengths, who has bold, imaginative stories to tell, and has worked out how best to use the characters to tell those stories in a witty and dramatic way.

Big Finish have gathered some great guest actors for these three stories. The material warrants strong casts and on the whole they deliver perfectly: Tim MacInnerny, Graham Seed, Miranda Raison, Terrence Hardiman, Jon Glover, Michael Troughton, Jane Slavin, David Troughton – all on top form and clearly relishing the material. The only gripe I have is with Marcus Garvey as Frank Spiggot in The Romance of Crime. The performance just doesn’t feel broad enough for me. It sounds like an attempt at naturalism within a melodramatic setting, surrounded by larger-than-life characters and as a consequence I feel the energy levels drop when the ball is passed to him. If Garvey had tweaked the dial up a bit, with a bit more volume and bluster, it would have maintained the character’s integrity and kept the energy levels up as the dialogue whipped around. Look at the character of Duggan in City of Death, for example: Tom Chadbon’s face is always performing, and his expressions do as much as his words to sell the character and keep him at the same energised level as everyone else. Without that visual reference in these audio dramas the actors have to sell it all through their voices. I don’t think Marcus Garvey sells us enough through his voice as Spiggot; I can’t hear grizzled, over-worked middle-aged Northern, I can’t hear his sweat-stained clothes, his posture, his hair. I can’t hear his face drop when he remembers Angie and the kids. But I want to, and I should do. It may sound silly but a well-rounded vocal performance will automatically fill in a lot of gaps like these in the listener’s head. Spiggot to me just feels a bit out of place as a consequence. But that’s only a minor gripe as there was so much else to enjoy.

The Romance of Crime feels a bit like Season 17’s Greatest Hits – a female villain, an unexpected villain, lumbering monsters, a space station, a detective, plenty of sizzling wit, larger than life characters and a strong central story with challenging scientific concepts. That’s not a criticism, it’s a great appreciation of the era it represents. It’s an infinitely readable book and it works perfectly as one of the more faithful ‘Missing Adventures’. The English Way of Death is probably the book I’ve struggled to enjoy the most out of the three, but it’s a bold attempt to tell a more gruesome and horror-inspired story within the context of the wit and whimsicality of Season 17. And it works. The Well-Mannered War is very much the season finale that we never had. The story is multi-layered, convoluted and engaging, with some great twists, and again it manages to work perfectly and produce strong drama within what many consider to be the light-hearted theatricality of Season 17. It has a sense of achievement about it, a self-confidence, as if it’s a culmination of many things but particularly rounding off a triumvirate of strong novels the quality of which you’d be hard pressed to find an equal to within Doctor Who’s oeuvre.

The Romance of Crime is the most openly amusing of the three in my view. Menlove Stokes, the Nisbett Brothers and the wonderful Ogrons are all very funny but they maintain a consistency which gives them an integrity within the context of the universe created for the story. The Ogrons in particular lend themselves very easily to humour without losing their sense of danger. The English Way of Death has a more whimsical humour to it, in keeping with the 1930s setting. There’s also quite a few moments that raise a smile but which on reflection are actually more horrifying. By The Well-Mannered War we’re accustomed to how these stories are working. Again there are some wonderful moments of authentic wit and humour but the dark sense of underlying jeopardy running through tempers everything: we don’t always trust the humour enough to allow it to indulge us. Douglas Adams always said he thought humour worked best in Doctor Who when it was used to counterpoint and underpin the very real drama and danger of a situation. I think these three stories exhibit that very clearly.

Just as Gareth Roberts found novelising Douglas Adam’s Shada a daunting task no doubt John Dorney felt similar about adapting these three books for audio; they are generally held in very high esteem. He’s done a superb job. I noticed a few nips and tucks along the way, naturally, but that’s par for the course when adapting and the episodes are better for being an even length and still having space for the characters to breathe. Roberts wrote the books in ‘episodes’ which no doubt assisted Dorney, and there are some great cliff hangers between the three stories, not always obvious cliff hangers either – in keeping with the Season 17 ethos. From an audio perspective I adore The Romance of Crime episode two cliff hanger:

The Doctor: OGRONS!!!

The way Tom Baker’s deep voice reverberates around your head and the theme screams in – perfect. Baker always did very good ‘talky’ cliff hangers. Horror of Fang Rock episode three is probably my all-time favourite, as the Doctor realises he’s locked the Rutan in the lighthouse with them...

At the end of the day these audios shouldn’t be thought of as replacing or superseding the novels in any way, so you don’t want them to be identical in all respects. But they all exude charm and wit; they zip along with pace and energy as they engage, delight, amuse and shock the audience. That, for me, is pretty much a recipe for perfect Doctor Who. And I’d say that’s what The Well-Mannered War is in particular, perfect Doctor Who. They are all great stories that carry you along and make you think, but there’s a feeling that each one gets a bit better than the previous. The last ten minutes or so of The Well-Mannered War, in particular, are simply extraordinary: even for one who knew what was going on the level of tension and drama was pitch-perfect as the shocking realisation of events fell into place. I was enraptured. And what a brilliant ‘season’ cliff hanger end: I can imagine how utterly thrilled I would have been as a five or six year old watching this on TV – it thrilled me enough as a forty-one year old walking to work!

Have Big Finish been putting music suites at the end of releases for a while now? I’ve become pretty out of touch with much of their output over the last ten years but as someone who enjoys listening to film scores and incidental music I found these music suites to be a welcome and delightful extra at the end of each story. The incidental music for these stories is very in keeping with Dudley Simpson’s style of the time, to my uneducated ears at least, and it all adds to the authenticity of the final product.

 

I think these adaptations have set an incredibly high standard for the forthcoming season of Big Finish Fourth Doctor and Romana II adventures in 2016. I’m glad the cast have agreed to work together again and my appetite is thoroughly whetted, but if the new stories they tell don’t quite come up to scratch at least we have these three brilliant adaptations to enjoy in all their audio glory.

Additional note:
Listening to the interview extras last night I was surprised to hear John Dorney say they'd considered doing The Well-Mannered War as a six-parter instead, because there was so much material in the book. It's difficult to judge, of course, without the six-part version to compare against, but my worry would be that the story would relax a bit too much in six parts and come across as more 'talky' and possibly even self-indulgent. The four part version we have is SO good and doesn't feel unnecessarily brief or condensed to my ears, so I am firmly of the belief that the right choice was made.

The Badger Who Wore Stalin's Teeth

Every now and again I try my hand at something different. This is a short story I wrote early in 2015 for a competition. It didn't get anywhere, but I'm rather fond of it and I'd hate for it to be consigned to the vault of my C Drive in perpetuity, so here it is for people to see and (hopefully) find some amusement in...

 

 

The Badger Who Wore Stalin’s Teeth.

By Tim Gambrell
 

Forgive me while I stretch, I’ve been sat down in here for ages now. I may not be the most mobile person on the planet these days but I still get cramp from lack of movement. There we go. So, you’ll be wanting a statement then? Sit down, I’ll tell you a story.

Don’t get me wrong, I realise now what a foolhardy endeavour it seems, but I stand by my actions all the same and if you’d been the one to find a set of discarded dentures at the side of the road wouldn’t you try to locate their owner? ‘Leave them be’, the voice inside says, ‘someone else’s business, someone else’s problem. Just walk on.’ Not me, sonny. I were brought up with a Wartime community spirit – help your fellow man, love thy neighbour and all that. Just think for a moment; all it takes is one chewy steak meal, one slightly underdone vegetable moussaka and you realise how much someone will be missing those plastic and enamel plates that are chewing on the fluff in your coat pocket right now. Al dente sir? No, pureed please. Before their naked gums have had time to adjust to the tickle of warm minestrone the chef has appeared by their side, cleaver in hand, demanding to know why they want to ruin his daily special by mushing it into a smoothie. They flash him their pearly pink smile, he shudders and turns away muttering about overdone macaroni cheese instead. Disheartened, they sit and peel the crust off the freshly baked white bread in the basket and allow its comforting softness to dissolve slowly in their mouth while they remember crusty rolls and chewy meals of yesteryear and the tears roll down their hollow, sunken cheeks. Could you willingly inflict that on someone? Honestly, it’s too much for flesh and blood to stand.

It were a Friday when I found them. Nearly trod on them I did, on one of my slow potters round the estate. Something must have caught my eye, it looked like the paving slab were laughing at me. I weren’t sure what to do at first; the teeth looked like they were in reasonable nick, obviously well-made but also quite worn and soiled. I had a laugh menacing the wife with them for a while until she screamed so much the dog bit me, then I re-stocked the bird table by chomping up Malted Milk biscuits with the teeth in an old Sooty hand puppet we bought for the grandkids. Later I crimped one of the wife’s apple pies with them while she wasn’t looking. Freaked her out a bit, that did. After that I thought I should try cleaning them up a bit, so I sent them through on a dishwasher cycle and left them in an old Tupperware tub overnight.

It’s amazing what the cold light of morning can do for the old brain – I woke up on the Saturday suddenly gripped with a plan. I grabbed me coat and Kindle, and a flask of sneakily Irished Ovaltine, and sat out the end of our garden on one of our old folding chairs in case the owner came looking. That was the Saturday. No takers, although I did finish that new Wilbur Smith – and forty Bensons.

Sunday I went out again (armed with corned beef sandwiches this time) and left the teeth on the wall by the gate, displayed on one of the wife’s fancy rotating cake stands. Still no takers; no one even asked me what I was about. What’s the matter with people? Why are neighbours so un-nosey these days? After lunch I popped one of me smokes between the teeth to try to attract more attention. I found a bit of old rubber tubing in the shed and rigged it up to the filter end so I could sit next to the display and take drags remotely. This got me noticed, and filmed by the few kids on their phones, but also quite heavily abused. They told me I’d been hashed on Twitter or something, the little sods. Then the wife came out in her slippers, with a handwritten sign to lean against the cake stand: ‘are these your dentures?’ it said, ‘enquire within, hashtag old nutter with smoking teeth’. She glared at me disparagingly, waggled her mobile phone and wandered back inside. No one enquired.

We left them out there unattended all day Monday in the rain, but alas still no takers. Over a Quality Street or two I told the wife that more drastic measures were needed: rather than waiting for the owner to come to us, I’d have to go out and find the owner. Tuesday was a dry day and there was a market just off the local common. One of the many benefits of using a mobility scooter is that you’re at a good height to see the contents of most people’s mouths as you pass them by. I spent hours weaving in and out of the stalls and the crowds. Found a few toothless individuals but none who’d admit to having lost a set of chompers nearabouts. This then decided my next course of action: if the person wouldn’t admit to having lost the teeth I’d have to shame them into accepting them by forcibly slotting them back in place.

That evening I sat in our lounge and practiced me technique. Upper and lower plates, one in each hand, I’d rise up off me chair, twist at the waist, bring me wrists together and insert, wham, in one fell swoop. The plan was that they’d be so surprised at what I was doing they’d open their mouths anyway to object. Once the dentures were in place they’d hardly carry their objection through would they? There may even be a cash reward. I’d tried me hand at amateur taxidermy back in the day and there’s a kind of badger in our spare room that I’d bodged at the time. Turns out its snub-nosed mouth was a perfect fit for these dentures so I balanced it on the shelf by the hearth, next to the wife’s Agatha Christies, and used it as me test recipient. She got upset later when I left it up there, grinning down at the television while we had our tea. ‘Honestly’, I said to her, ‘no one’s enjoyed UK Gold as much as that badger in years!’

The next day couldn’t be described as a resounding success, to be frank. I’m due in court in a few weeks now, thanks to some objections and an overzealous plain clothes policeman. But the plan worked in principle – the technique was a massive success and I take real pride in that. Despite being spat out on to the cobbles on numerous occasions the dentures didn’t break at all. Who’d have thought so many toothless or partially-toothed people would be out around The Groves shopping centre on a Wednesday lunchtime? I had my work cut out, I can tell you. Still no actual takers, though, and the wife didn’t half grumble as she scrubbed some of the more stubborn dried sick off the scooter’s wheel trims, bless her. I didn’t like to go up A&E with a grubby scooter now, did I, split lip or no split lip?

In and out in three hours with a few stitches, which isn’t bad for our hospital and at half term as well. Then, once we got home and had us a cup of tea and a Malted Milk (and she nagged me yet again to move that badger back out of sight), the wife had a brainwave. ‘Don’t they have an owner’s name etched into them or anything?’ she chirped up as I was drifting off. Genius idea! I had a look and lo and behold there was something. Looked like a date scratched into the tartar inside the lower set: oh three oh five five one. On the upper set, on the inner side of the incisors was scrawled ‘J. Stalin’. I came back in from me workshop and told the wife.

‘He never lived round here, did he?’ she asked, the daft cow. ‘How did a set of Joe Stalin’s teeth find themselves discarded in dog poo corner over the end of our front garden?’ ‘Must have been dropped by a local memorabilia collector,’ I said, ‘no wonder I couldn’t find a match for them.’ She didn’t look convinced so I did a google search on her phone. Yes, I know what you’re all thinking but I don’t sit at home all day playing whist and listening to old seventy eights. I looked up Communist memorabilia collectors in our area. A surprising number of hits, actually. I sent a photo to each one showing the dentures in the badger’s mouth – I like it smiling down at us on the shelf like that – and am now in the process of playing off a few potential buyers against each other. That should cover my legal fees at least, and I think it’s only fair, after all. It’s all the teeth’s fault at the end of the day. I were just doing what I thought were right, weren’t I? Here, pass us another one of them Malted Milks.
 

**INFORMATION** Blake's Heaven now also available on Kindle...

Thank you Zen.

But yes, Watching Books are now offering Blake's Heaven as a Kindle e-book as well as the hard copy. All proceeds still go to Children In Need.

My recommendation? Do what I've done, buy the hard copy and leave it looking all nice on the shelf while you read it damage-free on your Kindle (for considerably less)!

http://www.amazon.co.uk/Blakes-Heaven-John-Davies-ebook/dp/B014ZEPGXW/ref=sr_1_5?ie=UTF8&qid=1441614665&sr=8-5&keywords=blakes+heaven+kindle


Cheers people!

Tim