Well, it’s playing with the idea of how [to put] up resistance… um… doesn’t do any good, really. The whole thing is to sort of go with the flow.

In interview with Vox’s Marianne Jenssen.

[It] was a lot of fun to put together. The song was written quickly with a one chord sequence and it was written as a release from feeling completely inadequate. I was at a point in the studio where I felt I might “snap”, so to try and make myself feel better I became a Rubberband Girl (sometimes creative frustration is useful).

Bush speaking in a letter to the fan club after a screening of the accompanying film.

Yes, and most of the formats retained the same tracks: “Big Stripey Lie” and the extended mix. The exception to this, of course, was the 7" vinyl which omitted the extended mix due to runtime limitations.

In the United States an additional CD release was made featuring the U.S. mix and the extended mix alongside additional b-sides “Show a Little Devotion” and “Home for Christmas”.

On [this track] the bass, drums and basic keyboards were all done together, but we did change the whole track afterwards in the sense of editing it digitally rather than re-doing tracks. The bass and drum sound was important because we wanted to have them consistent throughout the album.

When you put later tracks down, the earlier ones sometimes have to change because the whole feel of the piece changes. Sometimes we had to do the bass and drums three or four times, not because we were unhappy with the original performances, but because the feel of the song had altered as new tracks were added. [This was] one of the few that worked first time – it just has a basic rock feel with a riffing guitar, the backing vocals went down first and then we tried various lyrics and lead vocal ideas.

Del Palmer, engineer and mixer of The Red Shoes, talking to Future Music in 1993.