Bush knocked on Sutherland’s door and personally invited him to participate in the project. When interviewed by Daniel Robert Epstein, Sutherland revealed that he was ‘cast’ in the clip after Bush found out through Julie Christie’s hairdresser that the actor resided in a suite at the Savoy Hotel in London. As a young boy, Peter helplessly witnessed government officials arresting his father, and the song’s accompanying film clip – conceived by Terry Gilliam and directed by Julian Doyle – sees Bush playing the central figure of Peter while Donald Sutherland co-stars as Wilhelm. In true Bush fashion, Cloudbusting was inspired by literature – Peter Reich’s autobiographical memoir, A Book of Dreams – and documents Reich’s doting relationship with his inventor/psychoanalyst father Wilhelm. Well, that’s the Qur’an of music, and that’s surely what we’re looking for no easy answers or anything.” John Lydon is a massive fan: “Those shrieks and warbles, they’re beauty beyond belief to me… She supplies me with all the clues and it’s up to me to put the answers together. Kate Bush and her Fairlight CMI Bush in her wig for the ‘Cloudbusting’ clipīush exudes mystery, and you have to do the work to try and figure her out. 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. In Breakout Belter, Bryget Chrisfield explores a favourite record which spelled the lift-off to cultural stardom for an important act.
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