Retro Review: Marillion - Misplaced Childhood

When I first discovered modern progressive rock, the first band I found was Spock's Beard. This led me to Transatlantic, then to all the members' bands, starting with The Flower Kings, then Dream Theater, and then finally Marillion. Although maybe not quite as progressive as the other bands (you'll find much fewer odd time signatures and fiddly self-indulgent instrumental solos), Marillion still have many elements of prog, including poetic lyrics, strong musicianship and songwriting, and concept albums like Misplaced Childhood.

Not only is Misplaced Childhood the best of Marillion's concept albums, but it is, to me, the template from which all concept albums should be based. Many concept albums are buried under their own weight. They're just too long, too grand in scope. Many of the early ones span multiple LPs, and newer ones span multiple CDs, each one packed to their hour-and-twenty-minute max. It's just too much for one sitting, and the concept sometimes gets lost among the sheer magnitude of music. Not Misplaced Childhood. It was written as a concept album in two acts, each act fitting on one side of a traditional LP. The whole album clocks in at under 42 minutes, which can easily be digested in one sitting.

The concept of Misplaced Childhood is a happy childhood/young adulthood contrasting with a disappointing and unfulfilled adulthood replete with lost loves and alcohol abuse. The lyrics, written by singer Derrick Dick a.k.a. "Fish," are semi-autobiographical as he has fought the same battles with alcoholism and depression (he would leave the band for these very reasons after their next album, Clutching at Straws).

Act one starts out with the wistful "Pseudo Silk Kimono" before going into "Kayleigh" and "Lavender," two love songs that follow the theme of the album - "Kayleigh" is about an adult relationship while "Lavender" is about a childhood relationship. Although the two acts of Misplaced Childhood have no breaks (the songs transition smoothly from one to the next), both songs were broken out as singles and became Marillion's most popular songs of their career, elevating the band to super-stardom in the UK. "Lavender" is based on the children's song of the same name and shares some lyrics in the refrain, although the verses are original. The act then resumes with "Bitter Suite," one of the two long-form songs on the album (each act has one) before ending with the soaring, anthemic "Heart of Lothian," where Fish celebrates his proud Scottish roots.

The second act starts out with the heaviest songs on the album, "Waterhole (Expresso Bongo)" and the short "Lords of the Backstage," then goes into the second long-form song, "Blind Curve." While act one was all about the despair of a disappointing adulthood, act two is all about redemption and the reclaiming of happiness, which is what "Childhood's End?" and "White Feather" are all about. The protagonist reclaims the heart he lost from his childhood and defies anyone to try to take it away, as this lyric from "White Feather" illustrates: "I won't wear your white feather/I won't carry your white flag/I will swear I have no nation/But I'm proud to own my heart." It's a triumphant end to the story that will leave listeners emboldened about their own lives. I challenge anyone to listen to this album in its entirety and not come out feeling like you could take on the world.

The music is slightly anachronistic as its sound is firmly rooted in 1985 - Steve Rothery's Strat is drowned in layers of reverb and delay and is never too distorted as to offend, keyboardist Mark Kelly makes liberal use of period analog synths, Pete Trewavas' bass thumps quietly in the background, and Ian Mosely's drums are loud and booming. Despite this, the album holds up well and is still enjoyable in a modern context. The production is typical of its age but it strengthens the album, not weakens it. Fish's delivery is reminiscent of Genesis-era Peter Gabriel but is unique enough as not to sound derivative, especially as he sings through a thick Scottish brogue. In fact, one of the highlights of the album is the spoken word intro to "Bitter Suite." It's no wonder Fish became a popular radio DJ later in his career - he has a voice you could listen to all day.

Misplaced Childhood proves that a concept album doesn't have to be long to be great, and with a strong concept, well written lyrics, thoughtfully reused lyrical and musical passages and a quick pace it can be much more satisfying than a two-plus-hour-long double CD that struggles under its own weight. If it has a flaw, it is that it's almost too short. This can be seen with "Lavender" - the song is only 2:26 long on the album, but the single edit, which has an additional refrain and a guitar solo, clocks in at 3:40. The additions really improve the song and it's a shame the band couldn't find an extra 1:14 to include them on the album.

These are just minor issues with what is a classic prog album. Misplaced Childhood is one of the best concept albums of any era and should be part of any progressive rock fan's collection. I give it an easy 5 out of 5 stars. Do yourself a favor, go pick it up. You won't be sorry.