Crime filed next to memoir is a telling combination. That is exactly where Crime Scenes sits in our catalogue, published under the Vespucci name, and the pairing points away from procedural fiction and towards accounts of real cases and the people caught up in them.
Five hours and forty-seven minutes keeps the whole thing tight. True crime works best when it resists sprawl, and a listen of this length has the discipline of a sequence of cases rather than the drift of one exhaustive investigation.
What lies behind the Vespucci byline is not something our data documents, so we describe the work and leave the rest well alone.