What were the skies like when you were young? They went on forever And they -- when I We lived in Arizona And the skies always had little fluffy clouds And they were long and clear And there were lots of stars, at night And when it rained it would all turn It -- they were beautiful The most beautiful skies as a matter of fact The sunsets were purple and red And yellow and on fire And the clouds would catch the colors everywhere That's -- it's neat Because I used to look at them all the time When I was little You don't see that Layering different sounds on top of each other Layering different sounds on top of each other Little fluffy clouds Little fluffy clouds and Little fluffy clouds and Little fluffy clouds and You don't see that You might still see them in the desert The most beautiful skies as a matter of fact Purple and red Purple and red and yellow and on fire
What were the skies like when you were young? They went on forever And they -- when I We lived in Arizona And the skies always had little fluffy clouds And they were long and clear And there were lots of stars, at night And when it rained it would all turn It -- they were beautiful The most beautiful skies as a matter of fact The sunsets were purple and red And yellow and on fire And the clouds would catch the colors everywhere That's -- it's neat Because I used to look at them all the time When I was little You don't see that Layering different sounds on top of each other Layering different sounds on top of each other Little fluffy clouds Little fluffy clouds and Little fluffy clouds and Little fluffy clouds and You don't see that You might still see them in the desert The most beautiful skies as a matter of fact Purple and red Purple and red and yellow and on fire
A faixa incorpora um trecho de entrevista da cantora americana Rickie Lee Jones, cuja utilização gerou descontentamento da artista e resultou em um acordo financeiro confidencial entre sua gravadora e os criadores da música.
O loop de guitarra presente em “Little Fluffy Clouds” foi extraído da obra “Fast” da peça *Electric Counterpoint*, de Steve Reich, lançada em 1988.
O ritmo da bateria da canção provém de um sample da música “Jump in the Fire”, de Harry Nilsson.
Ao combinar amostras de uma entrevista, de uma composição minimalista de Steve Reich e de um clássico de Harry Nilsson, a produção da faixa exemplifica a técnica de mashup característica da ambient dub dos anos 1990.
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