Saturday, June 29, 1985

Marillion Misplaced Childhood hit #1 in UK

First posted 6/29/2011; updated 6/17/2020.

Misplaced Childhood

Marillion


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Released: June 17, 1985


Charted: June 29, 1985


Peak: -- US, 0.3 UK, 0.8 world (includes US and UK)


Sales (in millions): 47 US, 11 UK


Genre: neo-progressive rock


Tracks: (Click for codes to singles charts.)

  1. Pseudo Silk Kimono [2:13]
  2. Kayleigh [3:54] (4/7/85, #74 US, #2 UK, #14 AR)
  3. Lavender [2:33] (8/27/85, #5 UK)
  4. Bitter Suite [7:53]
    i. Brief Encounter
    ii. Lost Weekend
    iii. Blue Angel
    iv. Misplaced Rendezvous
    v. Windswept Thumb
  5. Heart of Lothian [4:08] (11/18/85, #29 UK)
    i. Wide Boy
    ii. Curtain Call
  6. Waterhole (Expresso Bongo [2:07]
  7. Lords of the Backstage [1:57]
  8. Blind Curve [9:29]
    i. Vocal Under a Bloodlight
    ii. Passing Strangers
    iii. Mylo
    iv. Perimeter Walk
    v. Threshold
  9. Childhood’s End? [4:32]
  10. White Feather [2:23]

All songs written by Dick/ Kelly/ Mosley/ Rothery/ Trewavas.


Total Running Time: 41:17


The Players:

  • Fish (vocals)
  • Steve Rothery (guitars)
  • Mark Kelly (keyboards)
  • Pete Trewavas (bass)
  • Ian Mosley (drums)

Rating:

4.432 out of 5.00 (average of 17 ratings)


Quotable: “The cornerstone of the entire ‘neo-prog’ movement” – Ryan Reed, Ultimate Classic Rock


Awards:

About the Album:

My favorite album of all time is Marillion’s Misplaced Childhood. Europeans who grew up in the 1980s may know the album. Fans of neo-prog rock may know the album. However, the general American public is clueless to its existence. On June 29, 1985, it debuted at #1 on the UK charts. It would be two more months before it even scraped the U.S. Billboard album charts, peaking at #47.

Marillion had been pegged as a neo-prog band which couldn’t escape comparisons to Peter Gabriel-era Genesis. They were seemingly destined for a similar career path devoid of mainstream success. Their first single, “Market Square Heroes,” scraped the bottom of the British charts at an unforgettable #60 in October 1982. Their debut album, 1983’s Script for a Jester’s Tear, soared into the top ten, as with the follow-up album and a live album after that, but comparable success with singles alluded them.

That all changed with Kayleigh, the lead-off single for Misplaced Childhood. The song’s theme of remorse over splitting with an ex-lover made for a topic of widespread relatability. The song hit the UK singles chart in May and climbed to #2 the week ending June 15. It didn’t grace American charts until August when it hit the Billboard rock charts and peaked at #14. In October, the song reached the pop charts as well, hitting #74.

I was a freshman in college in the fall of 1985. One’s teen and young adult years typically coincide with the period in life of greatest musical discovery. I was no exception. I soaked it up the tastes of my peers exploring musical genres that moved beyond my then-Top 40-leaning tastes. In branching out to more album-oriented rock, I heard the song “Kayleigh” and was sucked in. Fish, the band’s frontman, had penned what appeared to be an ironically bouncy pop ditty about lost love. It certainly had catchy lines:

Kayleigh, I never thought I’d miss you
And Kayleigh, I’d hoped that we’d always be friends
We said our love would last forever
So how did it come to this bitter end?

However, it was also infused with Fish’s typically poignant twists and sophisticated way with words:

Do you remember chalk hearts melting on a playground wall?
Do you remember dawn escaped from moon-washed college halls?
Do you remember the cherry blossoms in the market square?
Do you remember I thought it was confetti in our hair?
By the way, didn’t I break your heart?


Click to see the full set of lyrics.

It grew on me and by Christmas I was geared up to plunge into the whole album. For you young’ns, music discovery in 1985 wasn’t as simple as pulling up a bands website or trolling YouTube for video clips. In pre-Internet days, I couldn’t listen to music before buying it. I was wary. Who was this group? Would I like their other songs? I’d never bought an album solely on the basis of one song. I had to take a leap of faith.

Over Christmas break, I kept wandering into a Camelot music store to check out the album. Ah, yes. Once upon a time people actually bought music in stores – and in malls, no less! The cover art fascinated me. It looked like an album I wanted to hear.

Once I’d liberated my wallet of a few dollars and brought the Misplaced critter home, I was immediately entranced. A room-filling keyboard sound opened the album, segueing into the intriguing words “huddled in the safety of a pseudo silk kimono…” half-sung and half-spoken by Fish. This purchase was one risk I would not regret.

Psuedo Silk Kimono flowed into “Kayleigh,” which was followed by Lavender, which was released as the album’s second single and hit the top 5 in the UK. Marillion’s new-found success gave them their best shot at stardom on American shores (alas, it didn’t happen) when they landed an opening stint for Rush.

The first half of the album also contained Heart of Lothian, which was released as the third single and hit the top 30 on the UK singles chart.

I’m pretty close to illiterate when it comes to grasping music theory, so I have no intelligent insight into why this album grabbed me instrumentally or vocally. I’ve just had to rely on gut instinct. Does the album’s overall sound work for me? It did here – in spades.

What made Childhood a regular fixture in my tape deck was its overall concept and witty lyricism. Fish crafted a story which explored well-worn themes of a relationship gone sour, a country ravaged by war, a man dipping into the abyss, and the disappearance of self at the hands of the rock-n-roll lifestyle. Part of the uniqueness stemmed from the conceit of tackling all these ideas at once. The other surprise of the album, however, was its unexpectedly hopeful finale – drug-induced, no less – of recovery via a return to childhood innocence.

Childhood dares to traverse the dangerous ground of “concept album,” going so far as to not even insert breaks between songs. Like classic conceptual works such as The Who’s Tommy, GenesisThe Lamb Lies Down on Broadway and Pink Floyd’s The Wall, the album can draw critical fire for feeling bloated and sacrificing songs in favor of ideas. However, when it comes to art, critics be damned. Fall in love with whatever you like and don’t feel obligated to justify it to anyone.

To my ears, Misplaced Childhood is a cohesive, focused, and seemingly autobiographical effort that takes the listener on a rollercoaster ride through the initial depression of a breakup, the subsequent acid-induced fall into the abyss, and the final realization that, as he sings in Childhood’s End?, “I can do anything and still the child/’cos the only thing misplaced was direction and I found direction/There is no childhood’s end.”

The album shines brightest the middle, when the album’s focal character is falling apart. In Blind Curve Fish sings, “it’s getting late for scribbling and scratching on the paper/Something’s gonna give under the pressure/And the cracks are already beginning to show/It’s too late.” In Lords of the Backstage, Fish explores the burden of maintaining a relationship under the stress of becoming a rock star, stating “a lifestyle with no simplicities, but I’m not asking for your sympathies/Talk, we never could talk, distanced by all that was between us/A lord of the backstage, a creature of language/I’m so far out and I’m too far in.”

With Misplaced Childhood, Marillion not only pulls off their master stroke, but creates a classic that even the most celebrated bands would struggle to top.


Notes:

A 1998 remaster added a second disc of demos and alternate mixes.

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Related DMDB Link(s):

Monday, June 10, 1985

Tears for Fears released “Head Over Heels”

First posted 2/1/2020.

Head Over Heels

Tears for Fears

Writer(s): Roland Orzabal/Curt Smith (see lyrics here)


Released: June 10, 1985


First Charted: June 22, 1985


Peak: 3 US, 3 CB, 3 RR, 5 AC, 7 AR, 1 CO, 12 UK, 11 CN, 21 AU (Click for codes to singles charts.)


Sales (in millions): -- US, -- UK, -- world (includes US + UK)


Airplay/Streaming (in millions): -- radio, 43.6 video, -- streaming

Awards:

Review:

Tears for Fears exploded in the U.S. market with their second album, Songs from the Big Chair. “Everybody Wants to Rule the World” and “Shout” were both chart-toppers on the Billboard Hot 100. They were followed by “Head Over Heels,” which reached #3.

The song evolved as a segue with the song “Broken,” which had previously been a B-side to the 1983 single “Pale Shelter” from the band’s first album, The Hurting. In live performances, “Head Over Heels” was sandwiched in between two parts of “Broken.” The band did the same thing on the Songs from the Big Chair album version with a live version of “Broken” preceding “Head Over Heels” and a reprise following it. A single edit version of the song cut the song before the “Broken” reprise.

The song is a fairly straight forward love song, although lines such as “It’s hard to be a man when there’s a gun in your hand” might cause a girl to file a restraining order. SF On a personal note, I misunderstood the lyric for years as “It’s hard to be a man when there’s a girl in your head.” I thought the line worked better since it suggested one had a hard time being himself when hung up on someone. The song also proved a pretty spot-on soundtrack for my own unrequited love the summer after my senior year in high school.

The video for the song was directed by Nigel Dick, who would also assume the director’s chair for Britney Spears’ “Baby One More Time” more than a dozen years later. Singer Roland Orzabal suggested the concept of meeting a girl in the library as well as random images like a rabbi and a chimp. There’s an homage to the movie Ghostbusters when cards come flying out of the catalog drawer. SF In 2008, a literal video was made of the song mocking many of the visuals. SF


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Saturday, June 1, 1985

Aha released Hunting High and Low

First posted 1/18/2009; updated 9/9/2020.

Hunting High and Low

A-ha


Released: June 1, 1985


Peak: 15 US, 2 UK, -- CN, 15 AU


Sales (in millions): 1.0 US, 0.9 UK, 1.9 world (includes US and UK)


Genre: synth pop


Tracks:

Song Title (date of single release, chart peaks) Click for codes to singles charts.

  1. Take on Me (9/16/85, 1 US, 4 AC, 2 UK, 1 AU, airplay: 3 million)
  2. Train of Thought (3/24/86, 8 UK, 47 AU)
  3. Hunting High and Low (6/2/86, 5 UK, 33 AU)
  4. The Blue Sky
  5. Living a Boy’s Adventure Tale
  6. The Sun Always Shines on T.V. (12/16/85, 20 US, 1 UK, 19 AU)
  7. And You Tell Me
  8. Love Is Reason
  9. I Dream Myself Alive
  10. Here I Stand and Face the Rain


Total Running Time: 37:19


The Players:

  • Morten Harket (vocals, guitar)
  • Magne Furuholmen (keyboards, guitar, bass)
  • Pål Waaktaar-Savoy (guitars, drums, percussion)

Rating:

3.750 out of 5.00 (average of 4 ratings)

About the Album:

Take on Me exploded in the States and the group never cracked the top of the charts again,” AMG “though the band spawned many further hits across the rest of the world.” AMG That song “is a new wave classic laced with rushing keyboards, made emotionally resonant thanks to Morten Harket’s touching vocal delicacy. It didn't hurt in the era of MTV that the song’s video was a hyperkinetic blend of mind-warping animation and filmed footage with a romantic thriller’s heart. Harket's hunky physique and cheekbones also didn’t hurt the video's chances at heavy rotation.” AMG

However, “anyone who dismissed a-ha as a one-hit wonder missed out on the band’s fine debut, Hunting High and Low.” AMG “It’s a shame, because the album contains a handful of songs that nearly match the manic energy and emotional crack of its big hit.” AMGThe Sun Always Shines on T.V. is just as thrilling. Starting as a sad ballad, it explodes into something much more, as chugging guitars and operatic synths keep pace with Harket's evocative vocal stylings. If ever a 1980s song qualified as Wall of Sound, ‘The Sun Always Shines on T.V.’ would be it.” AMG

“The remainder of the album sees a-ha switching deftly back and forth between dramatic overtures and classic new wave keyboard motifs. Train of Thought and Love Is Reason are reminiscent of early Depeche Mode or Camouflage, but Harket’s rich voice and flair make them purely a-ha. The band explores decidedly European terrain in the theatrical Hunting High and Low and dances a pop waltz with the sweet Living a Boy’s Adventure Tale, coming across like a marriage between the Blue Nile and Alphaville. Delightful song snippets The Blue Sky and And You Tell Me act as frosting on the cake or as glue between the theater and the dancefloor.” AMG

“One can’t escape the feeling that Hunting High and Low is a product of the 1980s,” AMG but this is “a cohesive album with smart pace changeups, and it rarely fails to delight or satisfy a listener’s need for a synth pop fix.” AMG “With highs like ‘Take on Me’ and ‘The Sun Always Shines on T.V.,’ and no lows in sight, a-ha’s debut is a treat worth relishing” (Raggett).

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