These are what we call the 'YMMV items.' Things that some people find in this work. We call them 'your mileage might vary' because not everyone sees these things in the same way. This starts discussions in the trope lists, a thing we don't want. Please use the discussion page if you'd like to discuss any of these items.
Growing the Beard - While Kate was always a serious musician, some people didn't like her high-pitched girly voice. These people usually prefer her work from the '80s on, when her voice matured.
Hell Is That Noise - "Get Out of My House" contains a sudden processed backmask of Kate's voice shrieking "Get outta my..." that remains intensely disturbing even after repeated listenings.
The garbled cut-up bits of speech that show up a couple of times over the course of "Waking The Witch" are pretty unnerving too, as is the sudden burst of helicopter sound effects towards the end of the same song.
Hilarious in Hindsight - Kate recorded a French-language version of "The Infant Kiss" to serve as the B-side to "Ne t'enfuis pas". The problem? While "Un Baiser D'enfant" may have passed muster back in 1983, in contemporary French "baiser" means "fuck", making the title "An Infant Fuck". Oddly enough, this also fits the song's subject matter:
Based on the movie The Innocents, it is the story of a governess who is frightened by the adult feelings she has for her young male charge (who is possessed by the spirit of a grown man).
She recorded the hilarious, Isaac Hayes-quoting "Ken" and some small instrumental parts for The Comic Strip Presents episode GLC: The Carnage Continues, which reimagined the political conflict between GLC leader Ken Livingstone and Margaret Thatcher that led to the GLC's dissolution in 1986 as a Hollywoodized action film with Charles Bronson as Livingstone. Fourteen years later, Tony Blair's government created the Greater London Authority, with the first election for mayor being won by Ken Livingstone. The fact that he went on to serve two terms as mayor and has just been reconfirmed as Labour's candidate for the next mayoral election just makes the song funnier.
Narm - Kate Bush has a tendency to write great songs that are nearly ruined by a line or two of Narm, like "Mmm, yes, I said mmm, yes" from "The Sensual World".
Though on the surface this would appear to be Narmage, the song is based around Molly Bloom's soliloquy in the final chapter of Ulysses where the word "Yes" is featured prominently.
How about "Wuthering Heights" and its video? "Heathcliff! It's me, Cathy, I've come home! I'm so co-o-old, let me in-a your window." Combine that with her extremely bizarre dancing, which eventually turns into random spinning, and her bright red lipstick and dress, and you've got an incredibly Narmy ballad.
Then there's the disturbing video for "Experiment IV". It's creepy enough that the scientists are being forced to create a sound-based weapon and test it on human subjects, but when the "sound creature" as it's sometimes nicknamed comes in...
Tear Jerker - "This Woman's Work", "And Dream of Sheep", "The Man With the Child in His Eyes", "Cloudbusting" (song and video), "The Kick Inside", "Breathing", "Moments of Pleasure", "A Coral Room", "The Fog", "Never Be Mine".
"Wuthering Heights" is quite haunting.
The Hounds of Love-era B-side "Under the Ivy" can be this, purely through sheer unadulterated romantic cuteness.
"Mother Stands for Comfort", while one could say has a positive undertone, is performed in a very somber tone and could bring up some Manly Tears for the subject matter alone.
The Dreaming is getting much more recognition as a great album these days.
When she started her career, she was considered something like Lady Gaga's Hatedom pictures her: getting by on her looks and sheer weirdness rather than her talent. See Not the Nine O'Clock News's portrayal of her as a ditsy Cloudcuckoolander as an example. (Her early performances and videos were a bit heavy on the fanservice.) Now she's one of the most critically-acclaimed artists of all time.