![]() ![]() somebody in the industry, as a pop star or whatever, it's too distracting. For me to get into that creative process I have to have a sort of quiet place that I work from.On her song " Running Up That Hill (A Deal with God)", in a Radio 1 Classic Albums interview with Richard Skinner (26 January 1992).But we were told that if we kept this title that it would not be played in any of the religious countries, Italy wouldn't play it, France wouldn't play it, and Australia wouldn't play it! Ireland wouldn't play it, and that generally we might get it blacked purely because it had God in the title. You see, for me it is still called "Deal With God", that was its title. And I thought, "well, no, why not a deal with God!" You know, because in a way it's so much more powerful the whole idea of asking God to make a deal with you. ![]() you know, I thought a deal with the devil, you know. And really the only way I could think it could be done was either. And I think it would lead to a greater understanding. And if we could actually swap each other's roles, if we could actually be in each other's place for a while, I think we'd both be very surprised!. I was trying to say that, really, a man and a woman, can't understand each other because we are a man and a woman.Profiles in Rock interview (December 1980).And at the same time it is a forced importance - you know, football stars and theatre stars - It is man-made so the press can feed off it. or maybe not as important sometimes, and yet they have this huge aura of almost god-like quality about them, just because their craft makes a lot of money. If it speaks to them and they get something positive from it, it’s great. Sometimes people mishear my lyrics and think a song’s about something it isn’t. ( Len Brown, 'In The Realm Of The Senses'.I have intentions as a writer, but people - when they’re listening to a track - will take from it what they interpret. I'd like to think of myself as holding the centre, whereas in fact I'm - "WAAARRRRGGGGHHHH" - taking off all the time. Rather than "WAAAARRRRGGGGHHHH": being thrown from one end of the spectrum to the other. It's about following either of two extremes, when you really want to plough this path straight down the middle. 'Walk Straight Down The Middle' came together very quickly. Like 'The Fog', being scared because the water's deep, you could be drowned but actually if you put your feet down the bottom's there and it's only waist high, so what's the problem? Just get on with it: that's what I'm trying to tell myself. It's the idea of how our fear are sometimes holding us back, and yet there's really no need to be frightened. I fancied being Captain Beefheart at that point, and it just came to me: standing out, calling for help in the middle. She rushed in and said she'd heard some peacocks in the garden! How sweet! I can't take the song seriously now. My mother was down the garden when the funny bits at the end were being played. It's about try not to get caught up in extremes. It's a bit less worked on than the other tracks. Kate about 'Walk Straight Down The Middle' 'Walk Straight Down The Middle' was covered by Matches. In 2013, 'Walk Straight Down The Middle' appeared on the B-side of the 10" single for Running Up That Hill 2012 Remix. It was the last track to be finished for the album, created in just over 24 hours. Kate quickly wrote the lyrics and recorded the synth overdubs and vocals in a single day, using the next day for final overdubs and mixing. The track was based on an old backing track, originally intended as a B-side. Also included as a bonus track on the tape and CD versions of the album The Sensual World. Originally released as the B-side of the single The Sensual World. ![]()
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