This album has been submitted by a user and is not included in any edition of the book.
Misplaced Childhood is the third studio album by the British neo-prog band Marillion, released in 1985. It is a concept album loosely based on the childhood of Marillion's lead singer, Fish, who was inspired by a brief incident that occurred while he was under the influence of LSD. The album was recorded during the spring of 1985 at Hansa Tonstudio in Berlin and produced by Chris Kimsey, who had previously worked with the Rolling Stones. Misplaced Childhood is the group's most commercially successful album to date, peaking immediately at number one in the UK charts and spending a total of 41 weeks on the chart. It ultimately gained the Platinum status. It features Marillion's two most successful singles, the guitar-led rock ballad "Kayleigh", which reached number two in the UK, and piano-led "Lavender", which peaked at number five. Misplaced Childhood was listed as the sixth best album of 1985 by Kerrang! and chosen as the fourth greatest concept album of all time by Classic Rock in 2003. Like Script for a Jester's Tear and Fugazi, the original vinyl edition of Misplaced Childhood was released in a gatefold sleeve. The artwork was created by Mark Wilkinson who was commissioned to the role on all Marillion albums and 12" singles of the Fish-era. The front cover features a soldier drummer portrayed by Robert Mead, a then-ten-year-old boy who lived next door to Wilkinson.[8] Mead also appeared on the artwork of the album's three hit singles, "Kayleigh", "Lavender", and "Heart of Lothian", and can be seen in the music video for "Kayleigh". The Jester from the two previous studio albums is imagined escaping through the window on the back cover.
It sounds like a 70s Genesis album with an 80s production style. The lead singer might even do a better Peter Gabriel impression than Phil Collins.
Misplaced Childhood certainly has a timelessness about it. The transitions are expert, with only the slightest elevation change between tracks and suites. It's nice to hear a fully pop-oriented album in this vein, committed to staying on a single LP; Without rough edges, there's little to stick in the mind, a rush of colors, a pleasant word.
To me it sounds like any other prog-rock album
Marillion is for NERDS. 3/5.
I am a great enthusiast for progmusic and love what the band did with Steve H., especially with Brave and Marbles. The Fish era just did not do it for me, although it brought their biggest hits.
a light, repetitive pop rock without hype
As an 11 year old I had no idea Phil Collins or Peter Gabriel were anything but clever popstars. Genesis meant nothing to me and so I adored Marillion and Fish on face value. Even now I don't mind that they were unashamed copycats. They made the Genesis/Gabriel sound much more commercial, personal and relatable. I love the synth sound. The guitar, bass and drums are full-on '80s rock. The lyrics are introspective, poetic and pompous in an innocent and warm way. The melodies are infectious and the hit singles are glorious singalongs. Yes, this was my own submission and I believe it deserves inclusion in the original 1001.
Heavy Pink Floyd vibes (a little too much if I'm finding faults) and that operatic, declamatory vocal style wears thin for me - but it pulled out from that as it went along, and the music overall was strong and inventive enough to bring me around.
A really fun throwback! This feels like it came too late for the first wave of great prog albums but a bit too early to initiate a new wave or a nostalgia. But completely out of context and all on its own in 2024, it's a fun time! Reminds me a lot of Genesis.
Wasn't expecting that!
Wow, it’s like discovering a Genesis album you didn’t know existed. That’s a good thing. 4 stars.
I enjoyed it, but did feel it outwore its welcome at a point, maybe a little tighter would have elevated it for me.
Big soaring prog rock that’s trying so hard to be Genesis but ends up feeling goofy and boring in the process.