..:: audio-music dot info ::..


Main Page      The Desert Island      Copyright Notice
 Aa Bb Cc Dd Ee Ff Gg Hh Ii Jj Kk Ll Mm Nn Oo Pp Qq Rr Ss Tt Uu Vv Ww Xx Yy Zz


Kate Bush: 50 Words for Snow

 A l b u m   D e t a i l s


Label: EMI Records
Released: 2011.11.21
Time:
 65:29
Category: Pop/Rock
Producer(s): Kate Bush
Rating: *********. (9/10)
Media type: CD
Web address: www.katebush.com
Appears with:
Purchase date: 2012.01.20
Price in €: 16,90





 S o n g s ,   T r a c k s


[1] Snowflake (Kate Bush) - 9:48
[2] Lake Tahoe (Kate Bush) - 11:08
[3] Misty (Kate Bush) - 13:32
[4] Wild Man (Kate Bush) - 7:17
[5] Snowed in at Wheeler Street (Kate Bush) - 8:05
[6] 50 Words for Snow (Kate Bush) - 8:31
[7] Among Angels (Kate Bush) - 6:49

 A r t i s t s ,   P e r s o n n e l


"Snowflake"
    Kate Bush - vocals, piano, bass
    Albert McIntosh - vocals
    Steve Gadd - drums
    Del Palmer - bass
    Dan McIntosh - guitar

"Lake Tahoe"
    Kate Bush - vocals, piano
    Stefan Roberts - vocals
    Michael Wood - vocals
    Steve Gadd - drums

"Misty"
    Kate Bush - vocals, piano
    Dan McIntosh - guitar
    Danny Thompson – bass
    Steve Gadd - drums

"Wild Man"
    Kate Bush - vocals, backing vocals, keyboards
    Andy Fairweather Low - vocals
    Dan McIntosh - guitar
    John Giblin - bass
    Steve Gadd - drums

"Snowed In at Wheeler Street"
    Kate Bush - vocals, piano, keyboards
    Elton John - vocals
    Dan McIntosh - guitar
    John Giblin - bass
    Steve Gadd - drums

"50 Words for Snow"
    Kate Bush - vocals, keyboards
    Stephen Fry - Professor Joseph Yupik (vocals)
    Dan McIntosh - guitar
    John Giblin - bass
    Steve Gadd - drums

"Among Angels"
    Kate Bush - vocals, piano


Arranged By [Orchestration] – Jonathan Tunick
Artwork [Key Sculptor] – Ogura Takahiro
Artwork [Model Making By] – Robert Allsop & Associates
Artwork [Mould Technicians] – Anne Cartwright, Chris Jack, Fred Roisin, John Eldred Tooby, Max Payne, Simon Warren, Tamzine Hanks
Concept By [Visual Concepts & Direction] – Kate
Conductor – Jonathan Tunick
Design [Album] – Kate*, Peacock
Illustration [Images Created By] – Robert Allsop
Mastered By – Doug Sax, James Guthrie
Mastered By [Assistant] – Eric Boulanger
Mixed By [Additional Assistant] – Jim Jones (7), Kris Burton, Patrick Phillips, Robert Houston
Mixed By [Assistant] – Stanley Gabriel
Other [Costume] – Hazel Pethig
Other [Model For 'among Angels'] – Mirek Holak
Other [On Set Snow Stand-by] – Victoria Burton
Photography By – Trevor Leighton
Photography By [Assisted By] – Michael Letang, Ollie Warren
Producer – Kate Bush
Recorded By – Del Palmer
Recorded By [Additional], Mixed By – Stephen W. Tayler
Recorded By [Assistant Orchestral Sessions] – Chris Bolster, John Barrett
Recorded By [Orchestral Sessions] – Simon Rhodes
Written-By, Producer – Kate

 C o m m e n t s ,   N o t e s


2011 LP Epitaph
2011 CD Anti
2011 LP Noble & Brite
2011 CD Fish People / Noble & Brite

Comes in a digibook.

Official release date according to Kate Bush website is 21 November 2011 though copies were available prior to this date. Also, actual release dates vary from country to country.

12 page digibook (Cardboard packaging).
On page 12 ("Credits") of booklet:
Track 2: With special thanks to James
Track 3: Special thanks to Joel for his guitar
(regarding mixing credits): Many thanks to Del Palmer for his input
Published by Noble & Brite Ltd.
Orchestral sessions recorded at Abbey Road Studios
Elton John appears courtesy of Mercury Records Ltd.
Many thanks to: Mark Thompson, Jim Jones, Ian Sylvester, George Gilbert, Colette Barber, Leigh Tunick, David Hage, Isobel Griffiths, Gary Briley, Jackie & Gill, John McCarthy, Michael Wood & Deane Cameron
Special thanks to: Dan & Bertie, Hazel Pethig, James Guthrie, Stuart Crouch, Keith Peacock, Murray Chalmers, Geoff Jukes, Russell Roberts, Brad Gelfond, Pat Savage, Matthieu Lauriot Prevost, Barney Wragg, Remi Butler
*Intergalactic thanks to Marc Okrand: linguist, scholar & creator of the Klingon language - qatiho'
Very special thanks to David Munns
On back-sleeve & disc circumference:
℗ 2011 The copyright in this sound recording is owned by Noble & Brite Ltd.
© 2011 Noble & Brite Ltd. Made in the E.U




50 Words for Snow is the tenth studio album by English singer-songwriter Kate Bush. It is the second album to be released on her own label, Fish People. It is her first all-new studio album since Aerial from 2005, and marks the first time since 1978 that she has released two new albums in one year.

50 Words for Snow, her second album of 2011 after Director's Cut, was released on 21 November 2011. The album consists of seven songs "set against a backdrop of falling snow" and has a running time of 65 minutes. A radio edit of the first single "Wild Man" was played on BBC Radio 2's Ken Bruce Show on 10 October. The single, featuring both the radio edit as well as the album version, was released on 11 October. Andy Fairweather Low guest stars on this story of a group of people exploring the Himalayas who, upon finding evidence of the elusive, mythical Yeti, out of compassion cover up all traces of its footprints. Priya Elan in the New Musical Express greeted the single with enthusiasm, saying: "For those of us who have been secretly longing for a return to the unflinchingly bizarre and Bush's ability to conjure up strange new worlds, 'Wild Man' is a deep joy."

In an interview with the American radio station KCRW, Bush said that the idea for the album's title song came from thinking about the myth that Eskimos have 50 words for snow. She then decided to make up increasingly fantastical words herself, such as "spangladasha", "anechoic", "blown from Polar fur", and "Robber’s Veil". The album's songs are built around Bush's quietly jazzy piano and Steve Gadd's drums, and utilize both sung and spoken word vocals in what Classic Rock's Stephen Dalton calls "a...supple and experimental affair, with a contemporary chamber pop sound grounded in crisp piano, minimal percussion and light-touch electronics...billowing jazz-rock soundscapes, interwoven with fragmentary narratives delivered in a range of voices from shrill to Laurie Anderson-style cooing." Bassist Danny Thompson also appears on the album.

On the first track, "Snowflake", in a song written specifically to use his still high choir-boy voice, Bush's son Albert sings the role of a falling snowflake in a song expressing the hope of a noisy world soon being hushed by snowfall. "Snowflake" drifts into "Lake Tahoe", where choral singers Stefan Roberts and Michael Wood join Bush in a song about a rarely seen ghost: a woman who appears in a Victorian gown to call to her dog, Snowflake. Bush explained to fellow musician Jamie Cullum in an interview on Dutch Radio that she wished to explore using high male voices in contrast to her own, deeper, voice. "Misty" is about a snowman lover who melts away after a night of passion, and after "Wild Man", Elton John and Bush as eternally divided lovers trade vocals on "Snowed In at Wheeler Street", while actor Stephen Fry recites the "50 Words for Snow". The quiet love song "Among Angels" finishes the album.

Two stop-motion "Animation Segments" were posted on the Kate Bush Official website and YouTube, one to accompany a 2 minute 25 second section of "Misty" (called "Mistraldespair"), the other to accompany a 2 minute 33 second section of "Wild Man". "Mistraldespair" was directed by Bush and animated by Gary Pureton, while the "Wild Man" segment was created by Finn and Patrick at Brandt Animation. On 24 January 2012, a third piece called "Eider Falls at Lake Tahoe", was premiered on her website and on YouTube. Running at 5:01, the piece is a black & white shadow puppet animation that NPR's Dan Raby calls "... beautiful in its simplicity — emphasizing small subtle movements over big extravagance...The stark contrast between the black figures and the white world makes each set piece seem mystical." Directed by Bush and photographed by award-winning British cinematographer Roger Pratt, the shadow puppets were designed by Robert Allsopp.

50 Words For Snow received general acclaim from music critics. At Metacritic, which assigns a normalized rating out of 100 to reviews from mainstream critics, the album received an average score of 87, based on 32 reviews, which indicates "universal acclaim". On 27 November, 50 Words for Snow entered the UK album charts at #5, making Bush the first female recording artist to have an album of all new material in the top five during each of the last five decades.

On 14 November 2011, NPR played the album in its entirety for the first time. In her accompanying review of the album, NPR music critic Ann Powers writes: "Each song on Snow grows as if from magic beans from the lush ground of the singer-songwriter's keyboard parts. The music is immersive but spacious, jazz-tinged and lushly electronic – the 53-year-old Bush, a prime inspiration for tech-savvy young auteurs ranging from St. Vincent to hip-hop's Big Boi, pioneered the use of digital samplers in the 1980s and is still an avid aural manipulator. This time around, drummer Steve Gadd is her most important interlocutor – the veteran studio player's gentle but firm touch draws the frame around each of her expanding landscapes. But Bush won't be restricted. Like [Joni] Mitchell on Don Juan's Restless Daughter [sic], she takes her time and lets her characters lead." Powers chose 50 words for the new album, describing it as "Powdery fantasia. Contemplative. Winter matins. Playful. Opium reverie. Grounded. Ghost story. Sensual. Artistic recalibration. Unhurried. Drummer's holiday. Quiet. Ode to the white keys. Imaginative. Exploration of the lower register. Floating. Mother-son duet. Solitary. Snowed-in erotica. Collaborative. Joni Mitchell answer record. Inimitable. Supernatural space odyssey. What we'd expect from Kate Bush."

Stephanie Myers on the Australian music site, Music Feeds, calls the album's songs "hymns" to the season of Winter, and calls Bush "adept at creating slow, gorgeous song-stories that take their time to unfold." She goes on to say that "50 Words for Snow offers Bush at her prime; beyond a collection of songs just for completist fans, it's an album that's more than likely to nab her a new generation of devotees." The Guardian's Alexis Petridis notes that "For all the subtle beauty of the orchestrations, there's an organic, live feel, the sense of musicians huddled together in a room, not something that's happened on a Bush album before."

Will Hermes in Rolling Stone writes: "[50 Words for Snow is] an LP that finds a universe of emotions in its wintery theme – a sort of virtual snowglobe ... the music ... is full of plush, drifty ambience. The vocals sound nothing like the fierce cyberbabe on her 1982 LP The Dreaming, or the strange angels on Hounds of Love, but they are no less sublime ... she sounds utterly at home defining her own world. It's an amazing place."

Everything Entertainment Central's Tim David Harvey says: "The album begins with the beautiful fall of a song called 'Snowflake', before getting operatic, strange and even more sublime with 'Lake Tahoe' which is as deep and decedent as the place itself, it's that kind of picturesque music," and goes on to call the album "unique, concise, cohesive classic."

The Quietus' Joe Kennedy compares 50 Words for Snow to the work of such artists as Michael Nyman, Brian Eno, and Scott Walker, writing "Snow brings about a state of exception in which there's no pressure to exert ourselves on the outside world: instead, it invites contemplativeness and the prioritisation of personal and domestic relationships over professional ones. Bush's habitual provocations to abandon day-to-day concerns while cultivating romantic, internal landscapes have always felt slightly like the work of someone gazing from a window into a blizzard. This, one senses, is her natural territory...Where her past work has often been heavily-layered and breathless, 50 Words for Snow uses negative space to impressive effect; much of the album features little more than voice and flurrying passages of piano which gust across the stave, changing pace and melodic direction as if they're suddenly hitting updrafts."

Other critics take exception to some of Bush's choices, greeting the album with skepticism. Ludovic Hunter-Tilsley in The Financial Times warns that despite "slow eddies of piano chords and gentle percussion … wintry piano, atmospheric orchestral arrangements and an intimate, torch-lit vocal from Bush, who, at 53, has acquired a warm huskiness to her voice … the album wobbles with the hammy Elton John duet "Snowed In at Wheeler St", and topples over on the title track in which Bush invites Stephen Fry to dream up 50 terms for snow … 50 Words for Snow elucidates its wintry theme with flashes of brilliance but the odd treacherous icy patch too"; Vivoscene's Marin Nelson has trouble with the songs' long running times and Bush's "forced whimsicality"; she declares that "Bush was going for snowy surrealism, but we’re left feeling cold."

Australia's ABC Radio National declared 50 Words for Snow album of the week of 12 November 2011, calling the album "quiet, lush and otherworldly."

Mojo placed the album at number 5 on its list of "Top 50 albums of 2011" while Stereogum placed the album at number 11, Pitchfork placed the album at number 36 and Uncut placed it at number 40 on their lists.

The album won the South Bank Sky Arts award in the Pop category, beating fellow nominees Adele, for 21 and PJ Harvey, for Let England Shake. The same three albums were nominated for the Best Album award at the 2012 Ivor Novello Awards, won by PJ Harvey.





The sublime and the ridiculous: this is classic Kate.

Six years after Aerial’s bursts of summer sound, Kate Bush’s winter album arrives, each track exploring the long Christmas months. They reflect a season which brings out the profound and absurd in equal measure – the feelings of longing and loneliness that emerge as the dark nights bed in, the party-hat silliness that pops up when the same nights stretch out. 50 Words for Snow initially aims for the former value, with Bush’s son Bertie taking the opening vocal on Snowflake. "I was born in a cloud," he sings eerily, like the ghost of Little Lord Fauntleroy; he is constantly falling, all "ice and dust and light". His mother keeps appearing – he sees her "long white neck" – promising to find him, but we don’t find out if she does. On paper, it’s a lovely concept. On record, it treads an exceedingly fine line between the sublime and the ridiculous.

But this is classic Kate. On 1993’s The Red Shoes, Prince had to play second fiddle to Lenny Henry on Why Should I Love You?; on Aerial, Rolf Harris performed on two songs. But Bush has always been almost wilfully uncool, and this time around is no different. Take Stephen Fry taking the lead on the title-track, whispering fifty synonyms for the white stuff, from the lovely "blown from polar fur" to the frankly daft "phlegm de neige". It sounds embarrassingly cold, perhaps because of his ubiquity – if only Vincent Price was still alive, or Ian McKellen was available. Another guest, Elton John, fares much better on Snowed in at Wheeler Street, partly because his voice takes on a gentler quality than usual, partly because the song maps the movements of lost love very beautifully, and partly because John was Bush’s first hero; you can hear this depth of feeling as their voices mesh together.

The album only really reaches the heights Bush has set for herself when she appears centre stage. Her voice is noticeably older now, full of earth, heft and husk, and works stunningly well with little more than her piano’s sustain pedal – especially in Misty, her already widely-commented-upon love song for a snowman. Giving Raymond Briggs’ famous concept an X-rated twist – he is "melting in my hand", the next morning "the sheets are soaking" – its 13 minutes are spellbinding. The album’s finale, Among Angels, is even better, a torch-song for a friend in need, with a stunning central lyric: "I can see angels standing around you / They shimmer like mirrors in summer / But you don’t know it." Throughout, the piano sets a magical mood, all dark, loud and heavy.

Just after the song’s start, you also hear Bush stop for a second, take her fingers off the keys, and whisper the word "fine". In Lake Tahoe, the song also breaks suddenly at 8.44, leaving Bush to exhale one sharp, startling breath. 50 Words for Snow may threaten to lose its way in the blizzard sometimes, but it is moments like these – jolting us from her world for a moment, reminding us of how all-embracing her talent can be – that show just how much she can move us with her fire and ice.

Jude Rogers 2011-11-11 - BBC Review





Kate Bush's 50 Words for Snow follows Director's Cut, a dramatically reworked collection of catalog material, by six months. This set is all new, her first such venture since 2005's Aerial. The are only seven songs here, but the album clocks in at an hour. Despite the length of the songs, and perhaps because of them, it is easily the most spacious, sparsely recorded offering in her catalog. Its most prominent sounds are Bush's voice, her acoustic piano, and Steve Gadd's gorgeous drumming -- though other instruments appear (as do some minimal classical orchestrations). With songs centered on winter, 50 Words for Snow engages the natural world and myth -- both Eastern and Western -- and fantasy. It is abstract, without being the least bit difficult to embrace. It commences with "Snowflake," with lead vocals handled by her son Bertie. Bush's piano, crystalline and shimmering in the lower middle register, establishes a harmonic pattern to carry the narrative: the journey of a snowflake from the heavens to a single human being's hand, and in its refrain (sung by Bush), the equal anticipation of the receiver. "Lake Tahoe" features choir singers Luke Roberts and Michael Wood in a Michael Nyman-esque arrangement, introducing Bush's slippery vocal as it relates the tale of a female who drowned in the icy lake and whose spirit now haunts it. Bush's piano and Gadd's kit are the only instruments. "Misty," the set's longest -- and strangest -- cut, is about a woman's very physical amorous tryst with, bizarrely, a snowman. Despite its unlikely premise, the grain of longing expressed in Bush's voice -- with bassist Danny Thompson underscoring it -- is convincing. Her jazz piano touches on Vince Guaraldi in its vamp. The subject is so possessed by the object of her desire, the morning's soaked but empty sheets propel her to a window ledge to seek her melted lover in the winter landscape.

"Wild Man," introduced by the sounds of whipping winds, is one of two uptempo tracks here, an electronically pulse-driven, synth-swept paean to the Tibetan Kangchenjunga Demon, or "Yeti." Assisted by the voice of Andy Fairweather Low, its protagonist relates fragments of expedition legends and alleged encounters with the elusive creature. Her subject possesses the gift of wildness itself; she seeks to protect it from the death wish of a world which, through its ignorance, fears it. On "Snowed in at Wheeler Street," Bush is joined in duet by Elton John. Together they deliver a compelling tale of would-be lovers encountering one other in various (re)incarnations through time, only to miss connection at the moment of, or just previous to, contact. Tasteful, elastic electronics and Gadd's tom-toms add texture and drama to the frustration in the singers' voices, creating twinned senses: of urgency and frustration. The title track -- the other uptempo number -- is orchestrated by loops, guitars, basses, and organic rhythms that push the irrepressible Stephen Fry to narrate 50 words associated with snow in various languages, urgently prodded by Bush. Whether it works as a "song" is an open question. The album closes with "Among Angels," a skeletal ballad populated only by Bush's syncopated piano and voice. 50 Words for Snow is such a strange pop record, it's all but impossible to find peers. While it shares sheer ambition with Scott Walker's The Drift and PJ Harvey's Let England Shake, it sounds like neither; Bush's album is equally startling because its will toward the mysterious and elliptical is balanced by its beguiling accessibility.

Thom Jurek - All Music Guide
 

 L y r i c s


Snowflake

I was born in a cloud...
Now I am falling.
I want you to catch me.
Look up and you'll see me.
You know you can hear me.
The world is so loud. Keep falling. I'll find you.
We're over a forest.
There's millions of snowflakes.
We're dancing.
The world is so loud. Keep falling and I'll find you.
I am ice and dust. I am sky.
I can see horses wading through snowdrifts.
My broken hearts, my fabulous dances.
My fleeting song, fleeting.
The world is so loud. Keep falling. I'll find you.
My broken hearts, my fabulous dance.
My fleeting song.
My twist and shout.
I am ice and dust and light. I am sky and here.
I can hear people.
I think you are near me now.
The world is so loud. Keep falling. I'll find you.
We're over a forest.
It's midnight at Christmas.
The world is so loud. Keep falling. I'll find you.
I think I can see you.
There's your long, white neck.
The world is so loud. Keep falling. I'll find you.
Now I am falling.
Look up and you'll see me.
The world is so loud. Keep falling. I'll find you.
In a moment or two.
I'll be with you.
The world is so loud. Keep falling. I'll find you.
Be ready to catch
The world is so loud. Keep falling. I'll find you.


Lake Tahoe

Lake Tahoe.
Cold mountain water. Don't ever swim there.
Just stand on the edge and look in there.
And you might see a woman down there.
They say some days, up she comes, up she rises, as if out of nowhere.
Wearing Victorian dress.
She was calling her pet, "Snowflake! Snowflake!"
Tumbling like a cloud that has drowned in the lake.
Just like a poor, porcelain doll...
Her eyes are open but no-one's home.
The clock has stopped.
So long she's gone.
No-one's home.
Her old dog is sleeping.
His legs are frail now.
But when he dreams,
He runs...
Along long beaches and sticky fields.
Through the Spooky Wood looking for her.
The beds are made. The table is laid.
The door is open - someone is calling: It's a woman.
"Here boy, here boy! You've come home!
I've got an old bone and a biscuit and so much love.
Miss me? Did you miss me?
Here's the kitchen - There's your basket.
Here's the hall - That's where you wait for me.
Here's the bedroom - You're not allowed in there.
Here's my lap - That's where you rest your head.
Here boy, oh you're a good boy.
You've come home.
You've come home."


Misty

Roll his body.
Give him eyes.
Make him smile for me,
Give him life.
My hand is bleeding, I run back inside.
I turn off the light,
Switch on a starry night.
My window flies open.
My bedroom fills with falling snow,
Should be a dream but I'm not sleepy.
I see his snowy white face but I'm not afraid.
He lies down beside me.
So cold next to me.
I can feel him melting in my hand.
Melting, in my hand.
He won't speak to me.
His crooked mouth is full of dead leaves.
Full of dead leaves, bits of twisted branches and frozen garden,
crushed and stolen grasses from slumbering lawn.
He is dissolving, dissolving before me and dawn will come soon.
What kind of spirit is this?
Our one and only tryst.
His breath all misty,
And when I kiss his ice-cream lips
And his creamy skin,
His snowy white arms surround me.
So cold next to me.
I can feel him melting in my hand.
Melting, melting, in my hand.
Sunday morning.
I can't find him.
The sheets are soaking
And on my pillow:
Dead leaves, bits of twisted branches and frozen garden,
crushed and stolen grasses from slumbering lawn.
I can't find him - Misty..
Oh please can you help me?
He must be somewhere.
Open window closing,
Oh but wait, it's still snowing.
If you're out there,
I'm coming out on the ledge.
I'm going out on the ledge.


Wild Man

They call you an animal, the Kangchenjunga Demon, Wild Man, Metoh-Kangmi.
Lying in my tent, I can hear your cry echoing round the mountainside.
You sound lonely.
While crossing the Lhakpa-La something jumped down from the rocks.
In the remote Garo Hills by Dipu Marak we found footprints in the snow.

The schoolmaster of Darjeeling said he saw you by the Tengboche Monastery.
You were playing in the snow. You were banging on the doors.
You got up on the roof, Roof of the World.
You were pulling up the rhodedendrons. Loping down the mountain.
They want to know you. They will hunt you down, then they will kill you.
Run away, run away, run away.
While crossing the Lhakpa-La something jumped down from the rocks.
In the remote Garo Hills by Dipu Marak we found footprints in the snow.
We found your footprints in the snow. We brushed them all away.
From the sherpas of Annapurna to the rinpoche of Qinghai.
Shepherds from Mount Kailash to Himachal Pradesh found footprints in the snow.

You're not a langur monkey nor a big brown bear - You're the Wild Man.
They say they saw you drowned near the Rongbuk Glacier.
They want to hunt you down. You're not an animal.
The Lamas say you're not an animal.


Snowed In At Wheeler Street

Kate Bush:
Excuse me, I'm sorry to bother you but don't I know you?
There's just something about you. Haven't we met before?

Elton John:
We've been in love forever.

Kate Bush:
When we got to the top of the hill we saw Rome burning.
I just let you walk away. I've never forgiven myself.

Elton John:
I saw you on the steps in Paris, you were with someone else.
Couldn't you see that should've been me? I just walked on by.

Kate Bush:
Then we met in '42 but we were on different sides.
I hid you under my bed but they took you away.

Elton John:
I lost you in a London smog as you crossed the lane.
And I never know where you're gonna be next but I know that you'll surprise me.

Kate Bush:
Come with me, I'll find some rope and I'll tie us together.
I've been waiting for you so long, I don't want to lose you again.
Don't walk into the crowd again. Don't walk away again.
I don't want to lose you.

Elton John:
I don't want to lose you.

Kate Bush:
I don't want to lose you again.

Elton John:
There's just something about you.

Kate Bush:
Have we been in love forever?

9/11 in New York, I took your photograph.
I still have your smiling face... In a heart-shaped frame.

Elton John:
Snowed in at Wheeler street, just two old flames keeping the fire going.
We look so good together.

Kate Bush:
Can't we just stay there forever? We were so happy.
I'd live that day over and over but the world won't stop turning.

Elton John:
When we got to the top of the hill we saw Rome burning.
I don't want to lose you, I don't want to lose you again.

Kate Bush:
Don't walk away again. Don't leave me lost again.
I don't want to lose you.

Elton John:
I don't want to lose you.

Both:
I don't want to lose you again.

Kate Bush:
I don't want to lose you.

Elton John:
I don't want to lose you.

Both:
I don't want to lose you again.

Kate Bush:
Oh no, not again!

Elton John:
Not again!


50 Words For Snow

1 drifting
2 twisting
3 whiteout
4 blackbird braille
5 Wenceslasaire
6 avalanche
Come on man, you've got 44 to go,
come on man, you've got 44 to go.
Come on man, you've got 44 to go,
come on man, you've got 44 to go.
7 swans-a-melting
8 deamondi-pavlova
9 eiderfalls
10 Santanyeroofdikov
11 stellatundra
12 hunter's dream
13 faloop'njoompoola
14 zebranivem
15 spangladasha
16 albadune
17 hironocrashka
18 hooded-wept
Come on Joe, you've got 32 to go,
come on Joe, you've got 32 to go.
Come on now, you've got 32 to go,
come on now, you've got 32 to go.
Don't you know it's not just the Eskimo.
Let me hear your 50 words for snow.
19 phlegm de neige
20 mountainsob
21 anklebreaker
22 erase-o-dust
23 shnamistoflopp'n
24 terrablizza
25 whirlissimo
26 vanilla swarm
27 icyskidski
28 robber's veil
Come on Joe, just 22 to go,
come on Joe, just 22 to go.
Come on Joe, just you and the Eskimos,
Come on now, just 22 to go.
Come on now, just 22 to go,
Let me hear your 50 words for snow.
29 creaky-creaky
30 psychohail
31 whippoccino
32 shimmerglisten
33 Zhivagodamarbletash
34 sorbetdeluge
35 sleetspoot'n
36 melt-o-blast
37 slipperella
38 boomerangablanca
39 groundberry down
40 meringuerpeaks
41 crème-bouffant
42 peDtaH 'ej chIS qo'
43 deep'nhidden
44 bad for trains
45 shovelcrusted
46 anechoic
47 blown from polar fur
48 vanishing world
49 mistraldespair
50 snow


Among Angels

Only you can do something about it.
There's no-one there, my friend, any better.
I might know what you mean when you say you fall apart.
Aren't we all the same? In and out of doubt.
I can see angels standing around you.
They shimmer like mirrors in Summer.
But you don't know it.
And they will carry you o'er the walls.
If you need us, just call.
Rest your weary world in their hands.
Lay your broken laugh at their feet.
I can see angels around you.
They shimmer like mirrors in Summer.
There's someone who's loved you forever but you don't know it.
You might feel it and just not show it.

 M P 3   S a m p l e s


Currently no Samples available!