Customer Reviews

Daring Adventures

5 star:		(4)
4 star:		(3)
3 star:		(0)
2 star:		(1)
1 star:		(0)

 

 

This album is a fine one overall, but it is worth getting primarily so you can listen to the classic "Al Bowlly's in Heaven." A raging protest, an evocative history lesson, a haunting melody, a late-night foxtrot...this is simply one of the greatest songs ever written and performed by a guitar slinger. Thompson's dolorous singing style fits it perfectly. This song should be taught in poetry classes.

The Thompson fan base looks at this as one of Richard's periodic attempts to "go commercial." Perhaps so. "Valerie" is the kind of fast-rocking song I would like to hear on the radio but never do. Whatever the sales strategy of this album was, "Al Bowlly..." makes this a timeless disk.

(There's another great version of this song, by the way, on the three-disc "Watching the Dark" set. It's live, and also wonderful.)

Limbo. It seems to occupy a large part of Richard Thompson's musical landscape. Most of Thompson's characters are lost in one way or another and looking for redemption. Dangerous Adventures isn't Thompson at his best but it has a number of moments that are the equal of his best material. This remastered edition (it was actually remastered in 1992 by BGO Records for UK release despite the 2001 release date)is a huge sonic step forward for this underrated and flawed--but fascinating--album.

Valerie is the radio friendly hit that Thompson should have had. The only other person to think so was Marshall Crenshaw which is probably why he did his terrific remake. Thompson's flawed albums are even more fascinating than his perfect ones. Shoot Out the Lights is a towering achievement. This doesn't measure up to that skyscraper but as a coda of sorts it's fascinating. SOTL is paraphrased throughout (in the case of Dead Man's Hammer Thompson actually cops the basic melody and chords from his own Wall of Death). Lyrically DA recalls SOTL and AACR with it's bruised lyrics and sly sarcasm. Clearly the topic still wasn't out of Thompson's system and his divorce from Linda Thompson weighed heavily on his mind (or so it seems anyway).

While this wasn't the immediate follow up to SOTL, it's clearly the other half of the bookend to that period of Thompson's life. Across A Crowded Room and this album would have made a perfect double album follow up to SOTL. Thompson's written many brilliant songs but the sublime How Will I Be Simple Again and moving Al Bowlly's in Heaven rank among his finest work. Add the instant classics Nearly in Love (which if it hadn't been written by Thompson certainly would have been by Harry Nilsson. Nilsson may not be stylistically similar to Thompson but they share a kindred spirit).

Anyhow, this is a fine album. DA is less bitter and sad(is thee any Thompson album without a touch of sadness and bitterness)than Across a Crowded Room but just barely. What's interesting is the commerical production touches Mitchell Froom adds to the album. While Thompson's music has always been tuneful with intricate, interesting melodies, Froom adds a sheen that makes this sound almost radio ready. In an ideal world, this album would have been a top 10 hit. Sadly, we don't live in that world. Just take a look at albums released around the same time that made the top ten. Half of them won't be remembered by anyone. This album with all its flaws is almost as memorable as Shoot Out the Lights or Henry The Human Fly.

By the way the sticker on the front says that all the original artwork has been restored (yes, that's true but the original graphics were on the first CD issue as well) and includes liner notes (no, there isn't any at all).

Having seen Richard play live shows going back to Fairport's U.S. appearances backing Traffic, I now look forward to the fact that (since the mid 80's release of "DA") there is always at least one song from "Daring" on his play list. I get the feeling that each of these songs are among his personal favorites. Although nothing can substitute for a few hours with Mr. Thompson in a small venue, there is absolute beauty in these tracks. "Missy", "Lover's Lane", "Jennie" and "Al Bowley" will haunt your musical dreams. But please do yourself a favor and get out and support this true troubadour. He is remarkable as a live performer. Bless his dervish celtic soul.

Thompson's 1986 album "Daring Adventures" fits well into his output from the 1980's. Not only that, it has remained in print unlike most of his Capitol albums. It's not hard to see why. The driving Celtic-rockabilly song "Valerie" stands out here. Why wasn't it a hit? Who knows? "A Bone Through Her Nose" sounds a bit trite at first, but its hooks have this tendency to surprinsingly clamp onto neurons. The same rings true of the rollicking "Baby Talk". "Lovers Lane" is a haunting song about one of Thompson's favorite subjects: love gone bad. It wails and mourns about deception, co-dependency and their inevitable results. Lost innocence and youth pervade "How Will I Ever be Simple Again" as an observer tries to understand how a girl in a war torn area can maintain her childlike simplicity. "Al Bowlly's In Heaven" swings with a jazzy style rare for Thompson. Sung from the point of view of a disgruntled post-war soldier, it epitomizes the album's theme of loss and grief. A great album closer.

"Daring Adventures" contains more of Thompson's folky side than subsequent albums. Just listen to the amazing fiddle break on "Valerie", or the introduction to "Missie How You Let Me Down". Fiddles, recorders, accordians, dulcimers, and other instruments not typically associated with rock are everywhere. Capitol "folked him down" throughout the nineties with few exceptions (probably looking for big hits). The roots of that sound blare from this album, but don't yet dominate. Perhaps Mitchell Froom (who produced this album as well as most of Thompson's Capitol output) moved Thompson in that direction.

As great as Thompson's albums are, the hooks do not usually stick at first listen. This may explain why the big time has evaded him for so many years. Usually a Thompson album has to sink in. But once it does, there's no going back. "Daring Adventures" presents a very salient example of this phenomenon. Everyone should give this album at least three listens before abandoning it. At first listen it may sound like typical fare, but by the third its wonderfulness blossoms.

The first album in a series of Mitchell Froom productions whose participation was to become heavy handed on Richard's early 90s releases. This is a well balanced cohesive collection of finely crafted songs with great arrangements. Thompson's lyrics are as witty as ever, and most of the songs have memorable melodies. I don't know what album the gentleman from India was listening to? To say this is one of Thompson's worst albums is absurd. I've always found myself singing along with these great songs like Dead Man's Handle, Valerie, and Missy How You Let Me Down. The guitar work is fantastic as most listeners have come to expect from Richard Thompson. His vocals are very strong as well. Much stronger than his 70s work. This is Richard Thompson in full bloom. Enjoy!

This album showcases Thompson's mastery of many styles, from rock and pop to his folk roots. The opener, Bone Through Her Nose, is a bit silly but the next track Valerie is a catchy pop song with a fast tempo and melodic hook with a fabulous fiddle break. Missie How You Let Me Down is a sad song of regret that reminds me of the old country classic Good Year For The Roses, whilst Dead Man's Handle is a flowing mournful ballad with a lovely melody, and Long Dead Love is more of the same. The pace picks up for Nearly In Love, a melodic rocker with a commercial edge, but it's back to lost love and regrets on Jennie, a gentle soulful number with beautiful guitar and organ. Real rock `n roll raises it head on Baby Talk, a humorous number about sweet nothings. His folk roots surface on the real gem of the album, the tender sorrowful How Will I Ever Be Simple Again with its simple but hypnotic melody and poignant guitar work. Like a lullaby, it's sad and comforting at the same time, and stays with you long after the last note has faded.

I have listened off and on to this tape for several decades and am challenging everyone reading this review to judge this CD for themselves.This is good music from an outstanding artist.Period...

This is a HUGELY disappointing record from one of my absolute favourites. I've heard almost all of RT's work from the Fairport days down to "Front parlour ballads", and I have to say I have never come across an album quite so poor. Even the much maligned "First light" beats this one by quite a bit.

While the dated production is definitely one of the major reasons for this poor rating, the primary reason is that the melodies just aren't good enough. Some of these songs ("Bone through her nose","Cash down never never") are downright raucous, and even among the others there is hardly a melody that can stand up with RT's best work, save perhaps for the sublime "How can I ever be simple again". "Al Bowlly's in Heaven" really doesn't work for someone who's not into jazz, and the only other noteworthy melodies are "Jennie" and "Lover's lane", which collectively earn this record the two-star rating. In my opinion, this album needs to be bought only if you'e got absolutely everything else by RT and just need to complete the set. Otherwise, it's a must to avoid.