The Dreaming

My least listened to Kate Bush album, because for all of the weirdness it lacks the goodness. No bangers here, and too limited in its scope of plinky plonk circus songs.

It had its moment but compared to The Kick Inside this is horrible. like bjork mmets yoko in places, I couldnt get away with it.

This is definitely on the strange/experimental side. But after having just heard a Captain Beefheart album, it sounds much more conventional. I don't actually mind this, a lot of it is kind of cool. Not sure I'd go back and listen, but I can appreciate the vision at least. High 3.

Just didn’t care for this

This seems like the most “Kate Bush,”Kate Bush album.

Nan mais encore elle jpp putao

I once heard someone say that Kate Bush was ahead of her time.... No. I'm only one track away from the end of the album and I've wanted to turn it off 5 times. This just sounds like it was meant for musical theater.... and I *LIKE* musical theater. So this is just awful.

Vaya colección de soniditos raros

1.5

What's strange about Kate Bush is that she really reminds me of two of my favorite artists one contemporary of her and one who is definitely a protege. This album in particular gives me a strong Peter Gabriel vibe. In fact the title track honestly reminded me a lot of my favorite Peter Gabriel track cRhythm Of The Heat" from his fourth album which came out in the same week as *The Dreaming. But there are several tracks on this that reminded me of Gabriel's artsy productions of the time. Of course the Protege she reminds me of is Tori Amos whom I absolutely adore her 90s albums But for what ever reason I've never had the same affection for Kate's material as I do either Peter or Tori. I think it come down to she always feel too theatrical like a stage show. (probably why most of my friends who really enjoy her are the thespian type). But mostly when I hear her music I don't get the connection. At least not for me. (6.7) ★★★ I think I had *Hounds* at a 6.8 so slightly higher, but about the same.

This is the point were I really don't like Kate Bush. Too theathrical and her voice is awful at times. 2.5 stars

I don't like this really at all. It's like an off-putting musical, and Kate Bush's vocal delivery is like nails on a chalkboard to me. I could forgive the vocals if the melodies were stronger, but I don't find that to be the case. Sorry Kate Bush stans. The only song I kind of thought was alright was "Leave it Open". 1.5 stars.

A very good album. Gorgeous but also freaky and very well trekked in terms of worldy music influences - art pop with English chamber irish folk and hefty aboriginal elements. My favourite tracks are Sat In Your Badger Lap, Suspended In Badger Gaffa, Night Of The Badger Stripes Burning Bright In The Night and Get Out Of My Sett (sounds like donkeys have taken over at the end of this one. Kate bush must have spent too much time at Pleasure Island.) Good early use of Fairlight plus didgeridoo contributions from Rolf Harris in the first of his collaborations with Kate Bush.

I don't know a lot of ol' Kate so I guess I was very pleasantly surprised by how much I enjoyed this! Unconventional yet accessible and the influence clearly heard from the more obvious lineage of Tori Amos and Fiona Apple to perhaps the lese evident in someone like M.I.A.

This record is weird as hell, but quite enjoyable for some reason. There are lots of interesting sounds and the vocals are quite unique too. Favourite Track(s): Sat In Your Lap, Get Out Of My House, Houdini Least Favourite Track(s): There Goes A Tenner

Kate Bush is so screachy and horrible, I don't know how she was ever popular. Her music videos are super weird, too.

Mental enough to warrant four stars

The funniest thing is people who discovered Kate Bush through Stranger Things (me) thinking she just made albums like Hounds of Love over and over. This is her at her weirdest, most expermental. It kicks ass, but it's certainly hard to listen to at times. I imagine most people would just bounce off of it, and that's fair, but it's cool as all hell still and worth listening to.

in Disclosure Day, the batty and earnest new Spielberg film, Emily Blunt plays, in the film's jargon, an Experiencer. this means a whole lot of shit but for our purposes, it entails preternatural linguistic ability and super-empathy. all of this lands on a register that, depending on your willingness to take it seriously, will seem either deeply moving or cheesy and bizarre. Kate Bush, too, is an Experiencer. on this record, she bends her voice to embody a Cockney robber, an Aussie colonizer alongside the Aboriginal people he colonizes, a North Vietnamese soldier moments from death, her own conflicting thoughts. some of these embodiments involve what we might charitably call Accent Work. it should not work, and for many, it doesn't, and Wow, does it work for me. this is because of Bush's conviction, and her empathy. take the North Vietnamese example, in which, thankfully, there is no accent attempted. her voice still shifts, though, into a full-throated bark, gurgling up out of her throat. three words: "I Love Life." by the end of the song, they are bursting volcanically out of her, over and over again. in context, it is a reason to kill and combat. the narrator has to decide whether he wants to live more than he wants to avoid the guilt of killing, and he does decide. it is simple, and plainspoken, and wildly empathetic. again and again on The Dreaming, this is Bush's magic track. she is running over kangaroos in a van, she is detailing the love she could've given with the flickering voice of a ghost, she is shadowboxing with the different levels of her own ambition. she embodies every perspective with thought, sympathetic to all of them deserving. she again breaks out the harsh vocals, sounding - genuinely - like Couch Slut, Rolo Tomassi, Cloud Rat, and it is just fucking Stunning. this record is so stuffed with ideas, and it is so new to me, that i feel i'm not fully able to articulate what i love about it, but i think it is a stunning writerly feat, a wonderful box of musical ideas, and a great font of feeling. it doesn't get much better!

Kate Bush so never dull and always a bit bonkers.Putting the art into art pop. Maybe missing a killer track like her other albums. Somewhere between 3 and 4 stars. Rounding down today.

I'm all in on the weirdness

I really wanted to like this, but it was so fucking weird and unenjoyable!

Never really got the Kate Bush thing, but I like this so far. She isn't pretending, she's really this weird. Ok, that didnt last long. It's so difficult to listen to Descended into something can't follow. Income listen to the lyrics because I dont know when or where to expect them

I forgot what this was. but my guess it was a 2

Kat Buh has gone insane

Kates svåra men influtelserika album, många har nämnt den och jag kan därför köpa att den är med i boken. Men jag är inte så förtjust. Visst vi slipper barockbaletten från delar av Hounds of love men får teatral avantgardepop konsekvent rakt igenom istället. Dom starkt lysande topparna saknas helt, men jag räknar till tre spår (Leave it open, Night of a swallow och nån till) som ändå tangerar bra. Som alltid är det också fascinerande att höra Kate använda rösten, inte alltid vackert eller ens bra men just fascinerande. Den är en sjuhelsikes tillgång den där rösten måste man ändå tillstå. Två i de nedre spannet men aldrig fara för ettan

Hounds of Love är bättre.

Vi har redan haft Hounds of Love med Bush. Där fanns ett par bra spår, men efter hand blev det allt mer teatraliskt dravel. Här på föregångaren finns ingen Running up the hill. Bara teaterpop som kanske passar i nån menlös musikal. Den kan jag vara utan.

Bush spelar musikteater, hon gör inte musik. Dessutom spelar hon över i alla roller som hon gestaltar. Bush ska väl ha någon poäng för sitt egensinne. Men efter att lyssnat igenom albumet konstaterar jag att jag inte vill höra någon av låtarna igen.

Kate Bush is an artist that I really want to like, and I do enjoy some of her music, but the creative places she goes aren’t alway my cup of tea. This record is interesting, challenging, and innovative, but it’s difficult for me to get into.

I liked this album. Kate bush dream warrior frfr - will it into being up the sound!

When I started this album, I was expecting the biggest hit from Kate Bush in 1980s pop (meh). I don’t know what the hell I got but it definitely wasn’t that! This album was weird and funky and it liked it. I don’t know if it’s an immediate go back to, but this was kind of psychedelic pop with a whole bunch of oddity. It was almost like she had snorted an8-ball mix of Danny Elfman and Brian Eno. The song Leave It Open was I think my favorite one because featured her falsetto vocals and interesting combo of synth pop and almost sounded like Souxsie and the Banshees. I think the only song on here that actually sounded like the other album on the 1001 was the pop ballad All the Love, which was relatively straightforward piano and her vocals with a little bit of production in the back. This is kind of interesting and cool album.

Random thoughts: * This is an eclectic and wild listen. * I listened to it a few times. Her voice is all over the place. It has some broadway-esque sounds to it. * Not sure 3 Kate Bush albums are necessary on this list but here we are. * I can totally see how she was so influential and groundbreaking since she was doing things no other artist was attempting. * Glad to be exposed to this.

No puedo parar de escuchar a Toad durante todo el álbum, y, lamentablemente, eso me lo ha arruinado. Lo siento...

A bit of a wild ride here. Frequently this is brilliant, something about the slightly abrassive but warm vocals are incredible - suspended in gaffa, pull out the pin, sat in your lap all have a quesy uneasiness which is unnerving but exciting. Despite understanding where the 80s production comes from and still being somewhat a product of that time, this is undenibly incredibly unique, playful, and adventorous. It must have been a proper trip to play around so joyfully with the mega-expensive 80s studio and treat it with such an impressive disregard for tradition. There's clearly also a big cauldron of influences here from dance, theatre and fashion that is sometimes explosive. Deducting point for frankly hammy and theatre based regional accents, what's going on here? Sometimes this is fun, but others boardering on just annoying or arguably offensive? There goes a tenner, night of the swallow. Cockney, aboriginal, is there actually a jamacian accent in there?That just totally jolts me out of the spell. This is a really impressive outcome of an individual vision. Definetly not one that doesn't have flaws.

Given that this was supposed to be her most experimental album, I’m surprised I liked this quite a bit more than Hounds of Love. Definitely a little weird in parts but not boring.

Kate Bush sets the experimental tenor early on The Dreaming; immediately in "Sat on Your Lap," she is pushing the boundaries of what her voice can do. She growls, she shouts, she sweetly whispers, and builds up what amounts to a delectable sonic tension. Her vocal exploration is almost entirely fruitful, and creates quite a musical spectacle. The instrument choices are wild, but intentional, and prove evocative throughout the album, though I would call the bagpipes on "Night of the Swallow" a personal highlight. "Intentional" is a word that sets this album apart from a lot of experimental music: the compositions are all carefully arranged, and nothing feels like an afterthought, and it nonetheless remains provocative music even today. Of course, not all ventues into new territory will bear fruit. I found some of Kate's vocal experiments on "Houdini" and "Get Out of My House" a bit too far-fetched. On top of that, some of the synth lines did not age as well as some of the albums contemporaries (e.g. Kraftwerk, Duran Duran). But the misses are incredible, and the hits are incredible, and I am still floored with the broad musical territory Kate Bush opened up on this effort.

Særegen stil, litt kult men ikke tipp topp. 3 av 5

woah. did not expect the same person who sings running up that hill to suddenly start making screaming donkey noises. but somehow it was very musical and i loved it

8.5

I've come to know and love the ethereal side of Kate Bush you get on 'Hounds of Love,' with tracks like 'Cloudbusting' and 'Running up that Hill' being my favourites of her's. I really don't think Bush's voice thrives here in such a clunky and aggressive soundscape. Although I do applaud the experimentation, it came together to produce a pretty irritating and obnoxious sound.

This felt less like an album and more like a collection of noises. Maybe some perfume adverts at best. Quite crap considering some of her songs are great, but not on here. Not really what I expected and disappointing.

Man, I love Kate Bush. Some well crafted songs here and of course I love the opening song, but most of it can be a bit too theatrical for me, but she clearly learned to balance everything out after.

Strange and unruly. One of the more challenging pop records I’ve gotten from the list. I have to respect how uncommercial and untethered this is. Still has her signature maximalism and singular voice, but pushes both even further to make something truly unique and weird. (She is basically doing screamo stuff on “Houdini”.) Looking forward to coming back to this one; I wanna take it apart like a clock.

Kate Bush you are one wacky sonuvagun. Gotta put some respect on experimental music, especially when it was done this long ago, and especially when it's done by a woman. Nice. Can't say this was my favorite thing to listen to, but hey, maybe I'll find more to love on further listens.

So rich, there are so many things going on in each track and in the record as a whole but they all fuse together to create a very cohesive work. It's so emotional and grandiose. I'm glad Kate Bush blew up recently because her artistry should be known by all nowadays. Art Pop in its purest and finest form.

Progressive/Experimental 80’s rock. A little weird for me.

---🎧re-listen--- old score: 4* new score: unchanged (strong 4) going into this one again after first listening to it about 2 years ago, i was maybe expecting my score to drop a bit for some reason, but nah, this is still an amazing album! i did have to listen to it a few times right now to get into it again but once i did it was great. i can clearly see that this album is not gonna be for everyone, though. Kate's vocals on here could be very polarizing, and there's also a ton of crazy theatrical things happening on each song. but personally, i like it :) it's crazy and fun! i remember my mental images on my first listen being so clear, my imagination was running wild the first time i heard this. my favorite song on this is definitely the "Night of the Swallow" song. "Suspended in Gaffa" is great, too. upon relisten i also liked the first track, "Sat In Your Lap" a lot as well.

This is awful. I know music is subjective... but I genuinely don't think I can be friends with someone who likes this album

1085 - "Here's your juice box and orange slice. Thanks for coming."

not as good as Joni Mitchell’s Blue

I found this remarkably irritating, was quite surprised how I didn't enjoy it. Maybe I was hoping for something in the same vein as Hounds of Love, and maybe it needs more listens. Not sure if I fancy the latter though.

I have not heard this before. I’ve said before that if Kate Bush dyed her hair black and wore thick eyeliner she’d probably be considered a goth act and it’s readily apparent here. The production is similar to an early Bauhaus or Siouxsie and the Banshees tape especially on the drums, and the music fits into that genre in the industrial chamber orchestra fashion. Maybe she should sing more about bats or dress like she wasn’t about to go apple picking. Anyway every song is a great example of art-pop and since the genre is so dang fashion focused maybe e can call it casual Friday goth.

Okayy

A sustained 40 minutes of bizarreness and artistry, musically and lyrically, journeying into the untold corners of sounds, yet managing to sail back with some beautifully melodic treasure

just absolutely wonderful. The fretless bass is my highlight here, it's produced perfectly, and I prefer it to Hounds Of Love actually

Kate at her mode creative and experimental is running up that hill with some problems.

So singular, so original. Not always my favorite sounds, but done in a unique way.

Love some Kate Bush songs, but an album is too much to swallow for me sadly.

Insane in a bad way.

Die Britin Kate Bush nahm The Dreaming von 1980 bis 1982 in London auf, verteilt auf die Advision und Odyssey Studios, Abbey Road und das Townhouse; gemischt wurde alles bei Advision. Es erschien im September 1982 bei EMI und ist ihr erstes Album, das sie komplett allein produziert hat. Als Art Rock ist es nur grob beschrieben, denn mit Pop hat es wenig zu tun. Der Fairlight-Synthesizer liegt fast überall unter den Songs. „Sat in Your Lap" prescht mit Trommeln los, als sei jemand vom Lernen genervt. „There Goes a Tenner" erzählt einen missglückten Coup im Ton eines Gaunerstücks. Im Titelsong spielen Rolf Harris das Didgeridoo und Percy Edwards die Tierstimmen, und der Song geht mir schon nach zwei Minuten unter die Haut. „Night of the Swallow" holt irische Folk-Musiker dazu, „Suspended in Gaffa" ist der Song, der am ehesten noch ins Radio passte. Ich brauchte mehrere Anläufe, bis mir das Album nicht mehr wie ein Kraftakt vorkam. Verkauft hat es sich schlechter als die Vorgänger, das hörte man ihr damals an, und ihr nächstes Album Hounds of Love (1985) ist deutlich zugänglicher. Ich verstehe beide Seiten: Wer hier nur Kratzbürstiges hört, hat nicht ganz unrecht. Wer die Dichte und den Mut darin überhört, verpasst das Interessantere. Ihr sperrigstes Album ist für mich auch ihr ehrlichstes.

An unquestionably brilliant piece of music. It’s a strong 4. Maybe a 5?

3/10

Don't know what the fuck this is.. sounds like cilla black

Super weird, even challenging, but also super different and interesting. An absolutely wild ride.

M'n derde Kate Bush album in deze lijst en dan begin je al ietsjes teleurgesteld aan zo'n album, maar potverdikkie dit is ook niet het beste album van haar wat mij betreft. Hele lelijke, goedkoop klinkende jaren '80 geluiden komen er uit de synth, de liedjes zelf klinken überhaupt wat gaar, vormloos. Uiteraard doet ze wat gek met haar stem en dat trucje ken ik inmiddels eigenlijk ook wel. Ik kom vandaag niet verder dan 2 sterren. En ik heb de laatste 2 nummers geskipped, m'n geduld was op. Weet je wat: Ik hou het op 1 ster.

aiuto

Сраный ковбой

Been almost a month since I've had a female solo artist. Shame it had to be this.

At first I disliked this enough that I questioned if I needed to revisit other Kate Bush albums to lower my ratings. But upon a second playthrough it did start growing on me. This was probably a bit too experimental for my tastes but the desire to understand the music did increase my enjoyment.

Very inventive. Sometimes the voices and all the little sounds are a bit too much together.

I guess I don’t like art rock. I found myself very confused at some of these samples

Experimental and creative but doesn’t always land

Somewhat ethereal, sorta spooky, pop

Kate at her tweest and most exhausting. Was reading, while listening to this, a reddit thread from someone recently transplanted here to Vancouver, where I live, who as recent transplants often do was struggling with our particular brand of reticence and surface friendliness and struggling to make friends or known why their eagerness wasn't getting a conventional human response, and reading them being all "Why doesn't anyone want to hang out with me? I have a radiant personality and my conversation is animated and well-informed" (Vancouver's antisocial nature is real but this person sounded awful, to be clear), I couldn't help imagine Kate: "Why don't they want to hang out with me? I know the secrets written on moonbeams and where the fairies gather their nectar." Anyway, I almost like this, and maybe if my son still talked to fairies I could like it in that context, but wow it's a lot.

those last two songs were absolutely horrible and took the album from a two to a one

I like some Kate Bush songs. I like parts of some songs on this album. Then boom donkey noises. I understand the point. Doesn’t make it sonically enjoyable to me.

Even more than Hounds of Love, this is a fully realized vision, fully articulated, and Kate is using every bit of her vocal range and talents to explore a wide variety of concepts and styles. This is just pure music bliss, cutting through direct to the heart. It's art rock with a real purpose, something that by 1982 had become a hard commodity to come by. Kate strikes at the essential core of things, akin to the glow of seeing beautiful art or tasting an exquisite meal. A really astounding record.

I like Kate Bush. She’s different, but a great voice and an innovator. Kind of like a female Bowie. I liked many of the songs - some not so much. Hope we get to hear more of her music.

Although it’s not my favorite, I’m glad this album exists. I like Kate Bush being weird and experimental. Particularly, I enjoyed the theatrical moments and even her haunted, spooky elements (tis the season). Not what I expected but not a terrible listen.

This album was weird. Sometimes this was good. Usually it wasn't. The theater kid energy is strong with this one. In summary, I got full bush when I wanted Bush light.

Not the strangest thing I’ve ever listened to but definitely up there. Strongly prefer Hounds of Love over whatever was happening on this album but even in its strangeness I was definitely having a good time.

I enjoyed this less than the last KB album we had.

Strange album. You kinda gotta stop resisting and embrace how weird this is.

this is the fourth album release by kate bush. being an art pop diva, this project was very ambitious and took about two years to record. it's considered to be very experimental compared to her other work, which is more suited towards radio airwaves. besides the odd instruments and recordings, this album is best known for exhibiting tracks that make use of the fairlight cmi. fans of kate bush and wonderfully weird art kids like me will be pretty enthralled by many of these tracks; it's certainly an album where she isn't afraid to get strange in all the right ways. it gets a little unconventional sometimes but her musical identity is unmistakable. even with the high quality music here, i'm going to classify this album as more of a hidden gem rather than a legendary must listen... but hey, what do i know. you might gag at her growls.

My 18 yr old self spent many hours trying to be convinced that this was her best work and I agreed while trying to impress the edgy girls in my dorm. After a listed 49 years later, I am finally understanding what they were saying. While less popular, the album seems like some of her most authentic and artistic pieces.

I like Kate Bush so unsurprisingly I like this.

I didn't know her. A few good songs, an OK album.

Muito bom. Canta muito, ótimas melodias, banda excelente.

weird and i love it

This was great. I’ve never really listened to Kate Bush outside of the popular tracks. This was felt ethereal, but sometimes dark and challenging to listen to. It really does sound like music you would run through a field in a long flowy dress in.

This was alright, some interesting songs on here but it didn't really capture me as a complete project. Probably wouldn't listen again.

Hey! So this is very, very, annoying! Best Song: n/a Rating: 4/10 Stars: 2

Just not for me. Be as experimental as you want but dont do silly voices.

Kate Bush comes with a warning even when I read the book to see why they suggested her. Here she's weird, here she's "gone crazy." Which, to me, always means she's just not acting like the demure perfection society demanded of women. And continues to. Less they be weird or a slut. She has moments of demonic voice, moments of ethereal, or whimsical, it's obscure, but respect for her lack of giving a fuck.

Can't believe I used to not like this album, it's incredible. Stroke of genius in Kate's already phenomenal discography, the peak of her experimentation and extravagance. The amount of complexity is simply stunning, the way she incorporates elements of opera and cabaret to create these massive, dense, surreal songs is incredibly cool. The instrumentation is amazing, so progressive, layered and rich, beaming with creativity. It's very over the top, especially with her vocals sounding weirder than usual. This album sounds magical.

6/10

Probably worst of the 3.

Like this was her art project.

Sat In Your Lap