Customer Reviews

The Dreaming

5 star:		(94)
4 star:		(12)
3 star:		(6)
2 star:		(1)
1 star:		(2)

 

 

Never For Ever was proving ground for Kate Bush's experimental weirdness. Her 1982 followup, The Dreaming, taken after the aboriginal concept of a link to God or heaven, takes that direction to the core and is Kate's most innovative and weirdest (in a great sense) album ever. Weird vocal stylings, clever instrumentation and lyrics characterize this album. The engaging single "Sat In Your Lap" is about someone who's too lazy to work, favoring the ivory tower of the intellectual, but has the misconception that "knowledge something that is sat in your lap." In the end, she sings "I hold a cup of wisdom, But there is nothing within. My cup, she never overfloweth, And 'tis I that moan- and groaneth."

"There Goes A Tenner" is about a heist that goes awry, with Kate affecting a slight cockney accent in parts and featuring a music hall-like piano. Throughout there are some male vocal interjections, such as the police and that classic line "What's all this, then?" Funniest lyric: "I hope you remember/To treat the gelignite tenderly for me."

"Pull Out The Pin" seems to be about a Vietnamese lying in ambush for an American soldier, ready to pull out the pin and toss the grenade at him. In the chorus, Kate's voice rises to a frenzied pitch when she sings "I love life." The sobriety of the song is underlined: "Just one thing in it/me or him."

I don't know what the heck gaffa is, as in "Suspended In Gaffa" and its skipping music-hall piano and a quick one-two-three string waltz, but the girl in there is clearly a timid soul, scared of change, unwilling to be a Pandora.

Kate "lets the weirdness in" in "Leave It Open." Her vocals are in many styles, distorted lower register, echoing high-pitched girlish, stretched tape vocals, and wailing. As for the weirdness, the male refrain keeps repeating, "Harm in us, but the power to arm."

The droning weird title track is about life in the bush, no, not Kate, but in the Australian desert, where the habits of white man play havoc with nature, be it hitting kangaroos in the land rover or exploiting aborigine land for mineral wealth. "The civilised keep alive/The territorial war./See the light ram through the gaps in the land./Erase the race that claim the place/And say we dig for ore, Or dangle devils in a bottle/And push them from the pull of the bush" demonstrates that "civilizing mission"

"Night of the Swallow" is about helping an escaped criminal by a hired plane, the swallow representing freedom. There's some Uileann pipes that give this a Celtic tinge during the refrain.

The lonely, one-sided, and reincarnated soul in "All The Love" wants people to love her, but is oblivious to the other people, represented by a young boy singing "We needed you to love us too. We wait for your move." Also present is the observation that dying brings out the grief and love and how she's turned on by the attention. The sighs and multiple phone message machines at the end is an interesting touch.

The soft piano ballad "Houdini" and some of the lyrics incorporate the album cover, where Houdini gets the key that'll unbind him from the water tank trick by kissing his assistant, who has the key in her mouth. Her bellowing voice comes in here: "With your spit still on my lip, you hit the water" and there are moments when she wishes he'd drown. When I heard the line "Rosabel believe" I thought it was "Roosevelt bleed" and I thought "What the...?" There is a nice lyrical string section that plays after the bellowing bits.

"Get Out Of My House" is a really bizarre one, told from the point of view of a woman with a house analogy incorporated, telling a man to, well... There are some erotic overtones "no stranger's feet will enter me/I wash the panes/I clean the stains" And in line with cleaning of the house, it seems to imply that men make a mess of her life, but there are multiple meanings, as the house also represents her neurotic mental psyche, as it's full of her madness, mistakes, and fight. She screams out the title, and even bellows like a mule (!!!) to demonstrate her stubbornness in not letting anyone in.

One of the weirdest but most wonderful from Kate Bush. Even though she seemed to go mainstream in her followup, she continued the innovation of the Dreaming in the concept album portion.

In her first three albums (THE KICK INSIDE, LIONHEART, and NEVER FOREVER) Bush established herself as an etherial-voiced, highly accomplished artist with a penchant for the macabre; in THE DREAMING she suddenly sheds the deliberately adopted artifice of her earlier work and simply explodes as a truly great iconoclastic musician of extraordinary vision with a ferocious passion that would daunt even the likes of American contemporary Patti Smith. The entire album is slickly done in terms of music; the sound, which relies a great deal on percussion and bass lines and synthesizers, is at once as smooth as spit and polish can make it and yet as emotionally raw as a gaping wound. And each track, although extremely diverse in terms of material, feeds into the overwhelming power of the album as a whole.

Always attracted to macabre and violent imagery, Bush finally takes off her velvet gloves and reaches directly into some very dark material indeed: the futility of knowledge and the frustration of ambition, the spider-like evil of war and the destructiveness of colonialism, and the invasion of personal space made by modern society. The vehicles by which she conveys these themes are amazing: an American solider stalked by a Vietcong, presented from the Vietcong's point of view (Pull Out The Pin), a botched bank robbery (There Goes A Tenner), the adventures of a drug smuggler (Night of the Swallow), the ecological and social carelessness of the English in Australia (The Dreaming.) The result is surrealistic, horrific, passionate, and hypnotically fascinating from start to finish, and the passage of time has not so much dimmed its power as enhanced it.

A great many people--including many who count themselves fans of both her earlier and later work--loathe this particular recording for its dissonance (a friend who walked in upon me one day while I was listening to it actually mistook Bush for Yoko Ono) and violence, but love it or hate it Bush's THE DREAMING far outreaches the similar-sounding SECURITY and SO by Peter Gabriel, and it remains a landmark of 20th Century high-art music.

Okay, I'm not sure what category of music _The Dreaming_ REALLY belongs to. There is an emphasis on vocals, hooks, and strong melodies, yet the sheer musical eclecticism and wild performance make for something quite beyond your johnny-pop music. Perhaps if she had a discography of 1000 albums and she were very popular, she might be afforded her own section (at the music store: rock, jazz, classical, metal, Kate Bush). But this album's defiance of traditional characterizations is no small part of its allure, nor is it a mean artistic feat. This is Kate Bush' perfect marriage of eclectic imagination, enthralling performance, and acute songcraft. Insofar as experimental pop goes, few albums are this listenable and artistically successful.

And that performance...Bush sings like a woman possessed, essentially becoming different characters in each song. "Houdini", with its sensuous, snaky fretless bass and dreamy atmosphere, has Bush singing at times with the sweetness of the dappling of things and at others like an irate lioness. Musically, she is just as brilliant as she is with her voice. Her sense of rhythm and texture is remarkable, as is her ability to transform her influences (both in terms of artists and musical resources) into something very unique and strange. Her reconstruction of Celtic-folk dance on "Night of the Swallows" is sublime; her tense, driving beat and sneaky vocals on "There Goes a Tenner" is indelibly catchy; "Sat in Your Lap" kicks off with an infectious piano & drums shuffle, and Bush's vocals range from snappy utterances ("I see the people workin', I see it workin' for them") to faux-Broadway wails ("just when I think I'm king, I must admit..."). On "Leave It Open", Bush's singing altered with a malicious, metallic effect and is accompanied by chanting male voices and screeching synths, rising to layers of weird vocals caught up in heavy, gated percussion and terminating with Bush's voice run through tape-effects.

Despite this album's weirdness and somewhat introverted nature, it is catchy and unfailingly fun to listen to. This is gold, I tell you. Very highly recommended!

When listening to "The Dreaming" it is apparent that Kate Bush had certain influences in making the record (The Beatles' psychedelic era, Syd Barrett, Peter Gabriel's third album), but somehow the synthesis of elements, added to Bush's own unique character, created a witch's brew far more potent than any of the ingredients. There is nothing like "The Dreaming" in rock music, an album which demands to be digested on all levels: intellectual, emotional, psychic and spiritual. The increasingly arty aspirations of her work, which had blossomed on "Never For Ever", reach true fruition here. The musical tapesty is dense, harsh and thick, with the songs constructed around layers of sound and varying styles (music hall to irish folk to tribal chants to modern electronica, sometimes mixing them for full effect) more experimental than anything anyone else was doing at the time; the impression was that she had gone mad, and when listening to songs like "Leave It Open" and "Get Out Of My House", that is not so hard to believe. It is a brilliant madness, however, one that touches on topics and feelings usually alien to most people, but which form the basis of our primal subconscious thoughts (the album's only precedent had been Peter Gabriel's third, but even that sounds tame compared to what we have here): lyrical topics range from bank robberies ("There Goes A Tenner") to seances ("Houdini") to aboriginies (the title track) to rape ("Get Out Of My House"), and Bush plows through them all with her wizard's robe on, investing each line with all kinds of secret codes and confessions which take the bedazzled listener dozens upon dozens of listens to decipher. Each track plays like a mini-film, with Bush's supremely bizarre vocals exagerrated to levels (again) never heard of in rock; she can move from soothing pop diva to screaming banshee with the batting of an eyelid. The harsh musical textures and shrill vocal sounds no doubt turned a lot of "Wuthering Heights" listeners cold when released back in '82; however, for those willing to listen, "The Dreaming" is not only her finest work, but the finest art-pop statement of all time.

THE DREAMING, now more than 20 years old, is still the most inaccessible work Kate Bush has produced. As such it is probably least favorite on many a listener's list, even among her fans. It's not a dance record, it doesn't have many "catchy" melodies (at least by pops' modern simplistic standards), and it doesn't really make great background music. It was also somewhat less than a commercial success at it's release. In short, it is not a pop record.

These are not criticisms, however. The album flies in the face of standards by which modern music seems to be judged, and defies categorization on those terms. It reaches for a high level of craftsmanship and musical excellence that demands close attention by the listener. That kind of attention was falling out of fashion in the '80's when the album was released, and is certainly out of fashion with the current iPod mania; but THE DREAMING deserves that attention. The album is full of rich textures, a huge palette of sound, complex rhythms and melodies, samples, effects and studio wizardry. Most songs remain fresh sounding (although the 'orchestra hit' sound, the first ever recorded, is now so cliched as to take away a little of the force of the title song). The songwriting is adventurous at its least points; at its best, nothing short of brilliant. Drumbeats stop and start as needed, dynamics are exceptional for its idiom, the variety of instrumentation is large (but never feigning the overused 'world music' trappings) and all is in service to - and in harmony with - the subject of the music. Nothing is out of place, yet nothing is held back, and Kate's voice goes from half sung whispers to animalistic screams, a showcase of range arguably only challenged by some of Bjork's recent work. There is a sense of passion about the music here that Bush hasn't really equaled (although she came close with "The Ninth Wave", the concept suite of songs from her album THE HOUNDS OF LOVE).

These music pieces are not abstractions, nor are they so experimental and removed from the norms of pop music influences as to be ranked with John Cage or Steve Reich. Kate Bush is a storyteller, and the story has never been in more focus than here. She envelopes us in a sonic storytelling experience that perhaps only Peter Gabriel has challenged in the rock/pop music culture (which is appropriate, since some of her inspiration for the album came from sessions she did on Gabriel's third self titled solo effort). The emotional payoff for the listener is rich and varied: joy, anger, excitement, desperation, fear, regret and more are communicated here in the characters she describes, follows and inhabits like short one act plays. I don't think it can all be received properly on one or two listens, certainly not on a casual listen as we're so used to these days. And it's that multilayered structure that will help it stand the test of time.

Kate recently released a new album as of this writing, ARIEL, after a decade of silence. I'm glad she's still writing, but THE DREAMING came at a unique time in her musical development, and we may never again be fortunate enough to receive from her its stylistic equal. That makes this one all the more special, and almost unique even in her own body of work. Some might find her musical adventures here a "difficult listening hour", to quote an old comedy sketch. They may find RED SHOES. ARIEL or one of her first 2 albums more palatable. But for those who want to experience a creative at her musical zenith, this underrated and misunderstood masterpiece is the album to hear.

I did not believe what everyone said about this album. What a fool I was.

I've known Kate Bush for a long time and have always liked her work. I got The Kick Inside and Hounds Of Love years ago (and I love them!), but I've always seen "The Dreaming" as "the strange album".

Then, a couple of months ago, I got it from a local store. It was an import (as Kate has never had any CD released in Brazil) and was a little expensive, but what the hell, Kate was worth a try.

I absolutely hated it. Every single song almost hurt my ears the first time I listened to it.

Then I read all those reviews you see here and simply could not understand everyone's hype. It could not be possible. Was I going crazy? I had to "get" the album's brilliance too!

I kept trying and listening to it every single day at least once. Then, suddenly, these songs started to grow on me, one by one. The first one (which eventually is my favourite) was Suspended In Gaffa. Then, Sat In Your Lap, The Dreaming, Houdini, Get Out Of My House (that song SCARES me!), every single one started getting me. Now I'm hooked bigtime!

Believe me, all of these songs are worthy. Every one tells a story with a diverse and sometimes absurd theme. It's impressive how Kate could think of those themes, create a magical space and take us there.

And, yes, the album is timeless. I have never heard any of these songs before January of this year and they do not sound old at all. The drums and keyboards are so perfectly arranged that you can't tell if they were recorded in 1970, 1982 or last year.

If I could ever choose one album to call daring, The Dreaming would be it. It is completely understandable that it did not have the chart success the others had, you need to listen to it many times and focus on the lyrics and the rhythm to be able to appreciate it fully. This isn't music you would find on the radio or on TV.

I've put off writing a review up until now of "The Dreaming" simply because I wasn't sure where to start with it. Yes, it's sheer musical genius, and, of course, it's one of my favorite albums of all time, but that by no means comes close to explaining what this album is and the effect that it has had and continues to have on me.

I remember when and where I first heard Kate Bush, back in 1986, a sophomore in high school, and a friend popped in a cassette in the car, and "Sat in Your Lap" began to play. Immediately, I was transfixed, speechless, mesmerized, and in due course I went out and bought all of Kate's works, basically anything I could get my hands on. No other artist has had that kind of effect on me, one where I HAD to know more, right then. Kate seized my attention, pulled me into her world, turned around, slammed the door, and had forever thrown away the key.

"The Dreaming" is dynamic and complex. While "Hounds of Love" lulls you, "The Dreaming" assaults you and demands that you listen. It has frightening moments: the other-worldly shrieks during the nightmare waltz "Suspended in Gaffa" still give me chills, and the end of "Leave It Open" has Kate singing `we let the weirdness in' backwards, which creates, to put it mildly, an eerie effect. Digeridos and bullroars are alongside multi-layered vocal tracks that ensure you will likely hear something new each time you listen. Kate continues to explore the never-ending quest for knowledge in "Sat in Your Lap", then delves into aboriginal myth in the title track "The Dreaming". One of my personal favorites out of all Kate's songs is the passionate "Night of the Swallow", and "Houdini" has the most beautiful string arrangements I have ever heard. However, all of the descriptions I could give, chaos, passion, madness, fear, resignation, anger, barely begin to scratch the surface of what "The Dreaming" is. I simply suggest repeated listenings, though preferably not in a darkened house.

Kate produced "The Dreaming" and took many risks while doing so. Many were expecting more piano ballads similar to "The Kick Inside" and "Lionheart". Its sales faired poorly, and many reviewers weren't sure what to make of it. Amongst Kate fans, however, "The Dreaming" is generally recognized as her finest work. I truly adore "Hounds of Love" and it is the album I can identify and relate to the most, but if I had to pick only one album to listen to for the rest of my days, "The Dreaming" would be it.

I like Tori Amos, I enjoy P.J. Harvey, I appreciate the enigma that is Elizabeth Fraser of Cocteau Twins, and I truly am in awe of Lisa Gerrard and her work with Dead Can Dance, but, I must admit, all pale in comparison next to Kate Bush. She remains above everyone else, and I simply cannot imagine my life without her music. Many have likened Kate Bush to god, and I would certainly agree that, yes, she really is.

Kate's fourth studio album is uniquely intense. It's dark and angry - there's wailing aplenty and some lyrical gnashing of teeth going on here. This is definitely no picnic.

'The Dreaming' is not officially a concept album, although it sounds like one with its foreboding soundscapes and uncompromising production. In some respects it could almost be a prototype of 'The Ninth Wave' - the conceptual piece on Kate's next album, 'Hounds of Love'. Unfortunately 'The Dreaming' has always been in the shadow of its more commercially viable successor, which is a shame as it is such a remarkable album in itself.

Standout tracks include 'Get Out of My House' - this is an exquisitely furious and dramatic piece of music - listen out for the slamming car door lurking in the percussion! 'Night of the Swallow' and 'Leave it Open' I can only describe as sheer ear candy, while 'Houdini' (in stark contrast) is uplifting and disturbing in equal measure.

I think Kate reaches her creative peaks when she really lets rip - and there is a lot of that going on in 'The Dreaming'. This is a spellbinding album which treats the listener as an emotional punchbag. It'll leave you feeling shaken for sure. Only the brave need apply.

Kate is one of the most talented musicians on this earth. The Dreaming was underrated when it was first released, but I think that has to do with the fact that it was way ahead of its time. This is a superb album, tracks like Sat in Your Lap, Suspended in Gaffa, Leave It Open, Night of The Swallow, Houdini, and Get Out of My House proving this point. There's lots of anger on this album, as Kate put it herself many years ago, and it is her "darkest" effort to date, but it's pure brilliance! Buy it and be convinced.....

I keep worrying that if i had not read all the reviews on this album and got into Kate bush a lot lately via Hounds of Love, Kick inside,never for ever and red shoes i MIGHT have listened to this once and never again! Thankfully that wasnt the case and i played it a 2nd time was knocked of my feet and then of course the 3rd time i was in musical Kate Bush heaven! My fave tracks are pull out the pin, the way she shrieks "i love life" and is followed up the men chanting "pull out the pin" makes me shudder (in a good way) its fanatastic, "suspended in gaffa" and "night of the swallow" boast GREAT chrouses, espiecially the latter, "Houdini" is chilling and "get out of my house" makes me want to cower in fear but i cant i have to listen all the way through because its a masterpiece, the other songs are all great too, and "sat in your lap is a brilliant way to kick off" but this and let it become one of the strangest and most fanatastic albums you have ever owned!