I am going to focus on a few songs from Aerial in future features, but I wanted to do a more general overview and broader sweep this time around. I guess being a new mum did inspire creative urge and inspiration she might not have otherwise had, but even though she was still signed to EMI in 2005 – she formed her label Fish People, later, and is now working with EMI in a much lesser capacity -, there was not a huge amount of promotion.Īerial does not feature Bush on the cover ( The Red Shoes only featured her feet), and there are a couple of good interviews around the time, though she was more forthcoming regarding promotion by time she released Director’s Cut, and 50 Words for Snow in 2011. A lot of Aerial has Bertie running through its blood, and Bush was prioritising motherhood above recording. Her son, Bertie, was born in 1998, and she wanted to spend as much time with him as possible.

By 2005, Bush had pushed further away from the media. Although Hounds of Love’s The Ninth Wave has tension and drama throughout, there is something more relaxed and contemplative on Aerial’s A Sky of Honey. If anything, Aerial’s second side (or second album, technically) is more ambitious and astonishing. As I have explored in previous features – and I will come onto -, there are similarities between Hounds of Love of 1985 and Aerial, in the sense that both have first sides that are more conventional and are not defined by a theme/narrative, whereas there is a conceptual second side. There was always speculation and potential, but after twelve years, even the most ardent Kate Bush fans might have lost a bit of hope! Not only did she come back with an album: Aerial is Kate Bush’s only double album to date. Its anniversary happens on 7th November, and it was a huge event! Aerial arrived twelve years after The Red Shoes, and there was no real indication to suggest that there would definitely be another album. ( Len Brown, 'In The Realm Of The Senses'.Fifteen years of one of Kate Bush’s finest albums, Aerial. 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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