In 1985 the band's third album, Misplaced Childhood, was released. Produced in West Berlin. It is about childhood and adolescence, from euphoria to depression. We are once again taken on an emotional journey. Above all, “Kayleigh” stands. Undeniably, along with “Lavender”, it is the band's biggest hit. In “Bravo”, the bible of young music listeners at the time, there were reports and posters. Of a prog band that also plays prog! After the LPs Script for a Jesters Tear and Fugazi, which were considered milestones of neo-prog, Misplaced Childhood was portrayed as having been sacrificed to the altar of the mainstream. The comparison with the band Genesis and Peter Gabriel was still stuck on their backs. Neither Fish nor the band denied seeing early Genesis as a role model. There are similarities, but Marillion were not Genesis. Misplaced Childhood was produced much better than its predecessors. More professional, cleaner, clearer. “Kayleigh” landed in the charts. However, this album is rightly considered one of the influential neo-prog vinyls, as prog experienced something of a small renaissance. Even though this album contains a good dose of melodic rock. Structured as a concept album with no breaks between the tracks, it contains a stringency that is characterized by a unifying theme.

The first song is called “Pseudo Silk Kimono” and it offers “Fish-esque” lyrical acrobatics: “Huddled in the safety of a pseudo silk kimono wearing bracelts of smoke, naked of understanding.” or “save in my own words, learning from my own words, cruel joke, cruel joke”. Is that pseudo-philosophical? Is the 100% meaning important? I don’t take the lyrics at face value, but they tempt me to interpret them. It creates a mood, it fits the music.
The biggest hit is “Kayleigh”. I didn’t include the song on my cassette later. I was tired of the song and found it distracting on the LP. I think differently now and Kayleigh makes sense. Because lyrically it’s not just another love song. The very first line shows us a love that began on the playground. “Do you remember, chalk hearts melting on the playground wall.” The end is inevitable. If you go along with it, it’s a bitter-sweet song wrapped up in melodic rock.
“Lavender” provides a melodic basis that is taken up again and again later. An almost childlike song and not without reason.
The following “Bitter Suite” is divided into 5 sections, here we find the “Lavender” theme again. “Heart of Lothian” delights us with its complexity in 04:04 minutes at the end of side A.

Side B begins with “Waterhole” and then “Lord of the Backstage”. “Lord of the Backstage” in particular could have been longer. It is just “… a creature of language”. “Blind Curve” is the next five-part suite, which can’t quite keep up with the first “Bitter Suite” (in my opinion). But it also has some nice passages. “Chieldhoods End?” and “White Feather” provide a worthy, more positive ending.

Without Marillion, my taste in music probably wouldn't have shifted so much, away from the radio mainstream and towards conceptual albums. Away from smooth pop songs. I'm not concerned with the structure (“but it's not really new or innovative”), but with the work as a whole. Is it too commercial? Does that really matter? Misplaced Childhood wants to please and the production is impeccable. The whole album captivates with Fish's (vocals) lyrics, Ian Mosley's (drums) drumming, Steven Rothery's (guitar) emotional playing, the bass (Pete Trewavas) on point and Mark Kelly's virtuoso keyboards. All of this creates a well-rounded and emotional concept album. And that's what matters. Which album do you have that has kept you excited since 1985? Highly recommended and not just for prog heads! Unfortunately, I can't post an official video of Misplaced Childhood. There is an official one from the band, but the (better) old singer Fisch is no longer there. The whole album is a must-listen anyway.

The photos are all from my LP. The rights to all motifs, logos, texts and fonts that can be seen in the photos are of course owned by the copyright holder.