But I stand corrected, Kate! Your songs are exquisite works of art-pop fabulism. Watching Cloudbusting’s accompanying music video back when it first came out, I remember wondering what the hell it was all about: why was Bush dressed as a young boy and wearing a bad wig to boot? I was an INXS-obsessed 15-year-old, and Madonna was the reigning Queen Of Pop, so I relegated Bush to a file labelled ‘too weird’. In the Bush-featuring Queens of British Pop short doco, Gabriel extols: “I think she was one of the first female artists that sort of started a creative community around her, and controlled it and shaped it, really, and was just unafraid to experiment, for better and for worse.” Peter Gabriel actually gifted Bush her Fairlight CMI, which is possibly why she hugged him so incredibly closely for the entire duration of the clip for Don’t Give Up(their famous duet). During an interview with Richard Skinner, Bush revealed that her bassist Del Palmer created the hissing sound, while the train’s whistle comes courtesy of her Fairlight. Then the whole sonic journey closes with the a steam train pulling into a station, while sounding its whistle. Enter that celebratory chorus – “Yay-ee-yay-ee-yay-eeeeeee-oooooooooh!” – which opens the gate for childhood memories to skip through: “But every time it rains/ You’re here in my head…” As the arrangement swells, we note Bush’s Fairlight CMI obsession before military drumming adds urgency. “I still dream of Orgonon/ I wake up crying,” Bush sings, after a single cello note is played. Kate Bush’s masterpiece-within-a-masterpiece continues to play out over the end titles – you’d swear direction was timed to ensure the action was complemented by lyrics and crescendos in the song. This time we’re taking a squizzle at Kate Bush’s Hounds of Love (1985).Īfter a pivotal scene in Season 3, Episode 11 of The Handmaid’s Tale, Cloudbusting soundtracks the final moments, which alternate between the Marthas acting as crime-scene cleaners, and June waking up and putting on her Handmaid’s outfit. You can return an item that is unwanted for a refund but you will be responsible for the cost of returning the item to us, unless we delivered it to you in error or it is faulty.In Breakout Belter, Bryget Chrisfield explores a favourite record which spelled the lift-off to cultural stardom for an important act. We will refund the same means of payment as you used to make your purchase.ĭue to inventory and accounting purposes, we do not exchange items received for different items than originally purchased. If you return a high-value item, we recommend you use a recorded delivery service. It is your responsibility to ensure safe return of the item(s) to us.
You will be responsible for the cost of returning the item to us, unless we delivered it to you in error or it is faulty.
When we receive it, you will be refunded the price of the item(s) within 14 days. Once you have cancelled the order, you must send the parcel back to us within 14 days. You can cancel/request a refund of your order within 14 days of receiving it by contacting us by email. REFUND POLICY: (not for Ticket Sales as these are final and non-refundable) Goods that are faulty or sent in error must be returned to Crash Records Limited, 35 The Headrow, Leeds, LS1 6PU within 7 working days of the item being received by the customer.
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