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. . . . . . . . . . "Review: Marillion, 'Misplaced Children'
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. . . . . . . . . . . . . . by Mark Billie
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Marillion - Misplaced Childhood
Rating - 95/100
Style - NeoProgressive Rock
The Basics-
An acid-trip inspired tapestry of life woven by masterful lyricist and poet
Fish (Derek W. Dick), "Misplaced Childhood" is a roller coaster of emotion
propelled by the beautiful guitar and keyboard harmonies of Steve Rothery
and Mark Kelly underlying the passionate, very Scottish singing of Fish. A
must-own for anyone remotely interested in progressive rock.
The Play-By-Play
Pseudo Silk Kimono:
A moody introduction that well serves Misplaced Childhood, Pseudo Silk
Kimono is a rather simple yet emotional piece displaying some of Fish's
beautiful singing and writing ability. Short and to the point, PSK leads
into the first real "song" on the album, Kayleigh...
Kayleigh:
Though easily the most commercial song from Misplaced Childhood, don't
mistake that aspect for lack of depth. Kayleigh is a powerful song,
especially to anyone who is in a turbulent time relationship-wise. Take it
from a pro, this is a good song to hear whilst trying to get over a love
lost. It also flows nicely into what can be seen as the second half of the
song, the beautiful "Lavender"...
Lavender:
This was the first track by Fish that grabbed my attention, and was the
reason for my purchase of Misplaced Childhood. This play on a classic
children's song is charmingly done by Fish, who adds in a nice introductory
lyrical piece. Somewhat of a recovery from the loss in Kayleigh, "Lavender"
can bring a smile to my face. It also features a musical theme in the
chorus to be repeated in later movements. Lavender ends rather abruptly,
which is my only complaint-the mix I heard on a singles compilation had an
extra chorus and a nice outro... however in context, this song fits
perfectly.
Bitter Suite:
I- A Brief Encounter
II- Lost Weekend
III- Blue Angel
IV- Misplaced Rendezvous
V- Windswept Thumb
This is the first of the multi-sectioned songs from "Misplaced Childhood,"
the others of which will vary in length and style from Bitter Suite but all
retain the classic feel that Fish portrays so well. Bitter Suite opens with
some ambient noise, as Fish speaks in a low voice of a spider. This odd,
yet strangely compelling recitation of poetry culminates with the line "Your
carnation will rot in a vase." The piece then proceeds to the short Lost
Weekend, the focal point of which seems to be a girl who will perhaps become
the starring character in the Lavender-derived Blue Angel. Blue Angel
describes, in a very dramatic and romanticized way, an encounter Fish had
with a prostitute or "magdalene" in Lyon. From this, Fish takes us to a
"Misplaced Rendezvous" in the fourth movement of Bitter Suite. Short but
poignant, Misplaced Rendezvous is a depressing touch after the ironically
uplifting Blue Angel. It is very short, and leads into the piano driven
Windswept Thumb. Another one of Fish's seemingly irrationally inspired
movements, Windswept Thumb is oddly symbolic... of what, we may never know.
However its piano melody leads into one of my favorite parts of Misplaced
Childhood- Heart Of Lothian.
Heart Of Lothian:
I- Wide Boy
II- Curtain Call
Without a question, this piece portrays Fish's amazing lyrical and vocal
abilities beyond any shadow of doubt. He sings in such classic style for
him, with his bitter tone and perculiar (to a non-Scott) pronunciation.
This contains some of my favorite lyrics from Misplaced, "It's six o'clock
in the tower blocks, stalagmites of culture shock..." Though not as deep as
other portions of the album, the lyrics are sung beautifully and this
remains my favorite feel-good portion of Misplaced Childhood. The second
movement, "Curtain Call" is a surprisingly fitting conclusion to the
previous "Wide Boy". It's soft and mellow, and strangely captivating. This
leaves "Heart Of Lothian" as perhaps my favorite track (if one can be
picked) from Misplaced Childhood.
Waterhole (Express Bongo)
The heaviest song on the album, and perhaps the heaviest Marillion have ever
recorded, Waterhole features yet more amazing lyrics from the master of the
pen, Fish. Singing intricate rhymes, Fish tells of "watering holes" that
the "wide boys" frequent... this one is rather easy to digest, but enjoyable
nonetheless. It drops rather abruptly into one of the happier songs on the
album, Lords Of The Backstage...
Lords Of The Backstage:
Another short one! This is fortelling of the last two tracks from Misplaced
Childhood in its uplifting spirit and mood. Not one of my favorite tracks,
but enjoyable nevertheless. This is somewhat of a love song, but with
Fish's typical style and fashion. "I'm so far out and I'm too far in."
Fish's lyrics more than make up for the almost overhappiness in the song.
It jumps back to a dark mood just as suddenly as it had jumped out from,
leading into the longest and perhaps most emotional piece on the album,
Blind Curve...
Blind Curve:
I- Vocal Under A Bloodlight
II- Passing Strangers
III- Mylo
IV- Perimeter Walk
V- Threshold
The first movement in Blind Curve erupts into a slow, sad song, rejecting
love and portraying a desire to be alone. A very emotional bit of singing
from Fish (as usual), as well as a nice musical section to sport. It leads
into Passing Strangers, which features more of Fish's delightfully odd
lyrics: "Strung out... below a necklace of carnival lights..." Reading
Fish's comments in the remastered liner notes to Misplaced Childhood, it is
easy to see how he is able to write so poetically... I imagine he would be
an interesting person to talk to. Passing Strangers fades smoothly (again)
into Mylo, a tale of a friend lost to Fish and his "wide boys". Mylo is not
particularly uplifting to say the least... the last few lines tell of Fish
reaching for a bottle and eventually sleeping pills. Blind Curve descends
deeper into the dark reaches of emotion with Perimeter Walk, easily the
darkest part of the cd. Fish's barely audible speaking falls inside a dark
and ambient keyboard sound, until he builds to a scream... "a childhood...
my childhood... give it back to me!" The song then erupts into the
pleasantly powerful Threshold. Perhaps indicative of the studio in Berlin
in which Misplaced Childhood was recorded, Threshold seems to focus on the
atrocities of war and outrages of humanity and justice. "How can we
justify? They call us civilised!" Fish voices his outrage in an extremely
passionate manner, singing with conviction unmatched by most. Threshold is
the final movement of Blind Curve, and the questions it poses are soon to be
answered in the final two tracks of the album...
Childhoods End?:
A beautiful emotional conclusion to Misplaced Childhood, Childhoods End? is
not even the conclusion! "There is no childhoods end" sings Fish, as this
uplifting song raises the spirits of even the most downhearted. Many
consider it to be the highlight of the album when Fish opens with his play
on words "And it was morning, and I found myself mourning..." This is a
much needed emotional recovery from the previous dark, emotionally heavy and
down Blind Curve. While it is more or less the final song, it does lead into
White Feather, an almost redundant yet still enjoyable final track on
Misplaced Childhood.
White Feather:
If Childhoods End? raised your spirits, White Feather is sure to have you
grinning. Almost too happy, (relax, only almost) this one has less appeal
than its predecessor, but nonetheless stands testiment to Fish's lyrical
brilliance and emotion. "I'm proud to own my heart, this is my heart."
Fish concludes this soul searching album with a powerful and personal
statement of a goal achieved, a longing satisfied, a desire fulfilled that
we all would like to experience. This one is best when one is happy, or
pleased with oneself. A wonderful end to a wonderful album!
It is worth noting that the second disc of the remaster contains some
interesting and enjoyable mixes of the songs from Misplaced Childhood, as
well as two non-album tracks. The first, Lady Nina is overly commercial and
somewhat boring, but Freaks is great, especially if you enjoy Fish's
distinctive styles both lyrically and vocally. After all, "she said all the
best freaks are here".
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. anada 104 by Mark Billie (c)2000 anada e'zine .
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