Track Listing

1. Pseudo Silk Kimono
2. Kayleigh
3. Lavender
4. Bitter Suite
5. Heart Of Lothian
6. Waterhole (Expresso Bongo)
7. Lords Of The Backstage
8. Blind Curve
9. Childhood's End
10. White Feather

Product Details

• Amazon Sales Rank: #2746 in Music
• Released on: 2000-09-04
• Number of discs: 1
• Dimensions: .22 pounds

Amazon.co.uk Review
Contemporary critics of Marillion labelled them as clones of Peter Gabriel-era Genesis, based largely upon their extended songs, a prominent and Mellotron-influenced keyboard sound, distinctive other-worldly album artwork and the deeply fantastic and/or romantic lyrics of their Scottish frontman Fish. Initially a cult band appealing mainly to lovers of progressive rock, with the somewhat softer sound of Misplaced Childhood they came to the attention a much wider audience after the success of the single Kayleigh. With two continuous "suites" of music, one covering either side of the original LP, this album actually bears a much closer relation to The Wall-era Pink Floyd; like it, the music, although tuneful and expertly played, serves mainly as an emotional framework for a vehemently personal set of lyrics. Sometimes, as on the opening "Pseudo Silk Kimono", the lyrics are pretentious and empty; elsewhere, as on "Blind Curve", they are searching and punchy. Fish refined his vision to a peak on Marillion's next album Clutching At Straws, an often masterful examination of self-deception and self-loathing, before leaving the band for a solo career. --James Swift

CD Description
Marillion were at the forefront of the brief progressive rock revival of the 80s, and as such had to endure constant critical carping about their similarities to Genesis. Led at this stage of their career by Fish, they reached a creative and commercial peak with this 1985 release, a concept album based loosely around the singer's childhood. What saved the album from empty bombast was Marillion's sudden emergence as a skilled and melodic rock group, exemplified by the UK hit single "Kayleigh". While nothing else on the album was quiteable to match this song, the rest is still worthy of re-investigation.

Customer Reviews

You've never heard Misplaced Childhood? Where were you?
It seems you really did misplace your childhood... It's an album that by its very existance made growing up a more fulfilling experience... identifying with songs of lost love and memories gone by, and yet leaving the listener with a thoughtfull optimism which is really what makes the album work well as a whole, yet the majority of tracks stand out on their own merits both musically and lyrically.

Unlike other concept albums every song adds to the journey from the starting point "Pseudo Silk Kimono/Kayleigh" to its end "Childhood's End/White Feather", an effortless, beautiful experience.

I definately recommend this album to anyone old enough to remember the singles Kayliegh & Lavender - when you hear them here in context they send shivers down the spine!!

Personally, I blame Neil
I was watching the Young Ones, which the Australian Broadcasting Commission first showed about 11.30pm. In one episode the boys were watching the little blob of light and Neil was humming along to the tone signal. Then he mournfully enquired why they didn't play any music he liked, like Marillion. Now, understand that I was living in Townsville, in North Queensland, about as far away from the world as you can get, but I figured that if Neil liked something it must be good. So, next day I went to my favourite record shop and asked the proprietor if he'd heard of Marillion. "Oh God," Gary said. "I knew it wouldn't take long." He sold me a copy of Misplaced Childhood. I took it home and was utterly and completely blown away. The lines about the Magdelene are still hauntingly beautiful.

I'm hooked !
My first experience of Marillion was at the Reading rock festival in 1983. Being a young and brash new-waver, I immediately decided to have a snooze while these mullet headed bores droned on. "Have they not finished yet?" I enquired, when I arose from exquisite slumber, a quarter of an hour or so later. "No" I was informed curtly, "they're still playing the same song!!"

Despite liking 'Kayleigh', I studiously decided to give these embarrassing prog-rockers a double-wide berth. Waking up to 'Grendel' in a baking hot field with a half-eaten corn-cob on your head, I didn't think condusive to a lasting and rewarding relationship with even the liveliest combo. I switched on The Pastels, Blue Orchids and the Nightingales and deliciously forgot that Marillion ever existed.

The eighties passed, and despite them winning all sorts of Band of the Year polls in the British music press, I remained unmoved. Stoic in my un-yielding belief that 'Fish' (splutter!) and co held no interest for me whatsoever (just like this review hasn't for most of you!), and I'd rather be doused in petrol and set alight than have to listen to one excruciating note. Marillion (snigger!), were the uncoolest group in the entire world.

I don't know what happened next, but somehow, somewhere, in a friends lounge (outside time?), I found myself listening, grudgingly, to 'Misplaced Childhood'. And liking it a lot.
I couldn't believe it. A Concept album by Marillion, ye gods, what next? The Wall?(vapid trash), Ziggy Stardust?(ugly trash), Tommy?(well, maybe.. actually) I was sat, baffled, as this superb, dark, joyous, FULL-BLOODED music washed over me.

Do they sound like Genesis I wondered, desperately trying to become an immediate expert, and this accusation was one of very few things I did know about them. Don't know. Never listened to Genesis, but there is a little bit of the Who hidden in there somewhere, among the surging synths and adroit guitar (In fact Fish gives a telling little nod to the Who on the fade-out of track four).

There's supposed to be 10 songs here, but it's nearer 20, with the old prog trick of squeezing 4 or 5 into 'suites' (chortle!) well to the fore. I love this idea. It's a throwback to the early 70's, and part of Fish/Marillion's 'classic rock' ancestry, a VITAL and celebratory ingredient in 'Misplaced Childhood'.

And what of mountainous, mammoth-man Fish, I hear you ask? Well, on this particular outing, he's a revelation. You can imagine him in the studio, clumsily crashing into drum kits, knocking the tea over and banging his head on the booms as he lurches round like some behemoth Catweazle, unable to resist the sweeping, cathartic, ANGULAR music. Mad as a squirrel, mullet spinning like dreadlocks as he powerfully delivers his proud and significant words.

Fine words they are too: moving, poignant and defiant in equal measures. And beside him, in an organic sense as well as a locational one, guitarist Steve Rotherhay (from RotherHAM I hope!) is well up to the difficult task of coddling Fish's battered (sorry) words and ideas, and firing them out into the world, in dynamic, controlled bursts. It's a fabulous mixture, much more so because it's completely unexpected, takes you completely by surprise, runs you like sparks through the stubble.

As a fiery long-maccer, I would NEVER have given Marillion house room, but slightly older, one begins to perversely appreciate the uncool. The Geek (titter!). There's a certain dignity when you're championing the unchampionable, and great delight to be had grinning inanely when someone inevitably and incredulously exclaims "You-can't-possibly-like-them!!"
Oh but I do - when it's as good as this.

Apologies all round for years of neglect and worse, but like a sinner of his own redeeming, I now claim sanctuary in the fold.
Lost and now found (Oh Amazon, please employ a reviews editor, now!), I make the statement, bold and true: 'Misplaced Childhood' by Marillion is excellent. No ifs or buts. Excellent.
(There is a 'but' actually; there's nothing on M C as good as the fab 'Charting the Single', but I wont ruin everything by sycophantically revealing that!)

"Wide boys, wide boys born with Hearts of Lothian.." Born with hearts of lions on this showing.