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Bush herself would come to regard ''The Dreaming'' as something of an OldShame, feeling she had pushed the experimention a bit too far to the point of alienating listeners, but in recent years it has been vindicated for its creativity and is considered one of her finest records.
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Bush herself would come to regard ''The Dreaming'' as something of an OldShame, feeling she had pushed the experimention experimentation a bit too far to the point of alienating listeners, but in recent years it has been vindicated for its creativity and is considered one of amongst her finest records.
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Upon release, the album significantly undersold in the UK compared to its predecessors. While it went to No. 3 on the UK Albums chart, its total sales only amounted to a silver BPI certification compared to the platinum status of ''Music/TheKickInside'' & ''Lionheart'' and the gold of ''Never for Ever''. In the United States meanwhile, where Bush had struggled to crack the market, it was a much different story, becoming her first album to chart there (peaking at No. 157 on the Billboard 200) and receiving substantial airplay on CollegeRadio and Creator/{{MTV}}, both of which would serve as important outlets for AlternativeRock throughout the decade. MTV had been playing Bush's videos since its debut the year prior. In the wake of this, Creator/{{EMI}} would reissue ''Music/TheKickInside'' and ''Lionheart'' in America, issue a self-titled EP, and belatedly release ''Never for Ever'' there as well.
''The Dreaming'' was supported by five singles: "Sat in Your Lap", "The Dreaming", "There Goes a Tenner", "Suspended in Gaffa", and "Night of the Swallow".
''The Dreaming'' was supported by five singles: "Sat in Your Lap", "The Dreaming", "There Goes a Tenner", "Suspended in Gaffa", and "Night of the Swallow".
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Upon release, the album significantly undersold in the UK compared to its predecessors. While it went to No. 3 on the UK Albums chart, its total sales only amounted to a silver BPI certification compared to the platinum status of ''Music/TheKickInside'' & ''Lionheart'' and the gold of ''Never for Ever''. In the United States meanwhile, where Bush had struggled to crack the market, it was a much different story, becoming her first album to chart there (peaking at No. 157 on the Billboard 200) and receiving substantial airplay on CollegeRadio and Creator/{{MTV}}, both of which would serve as important outlets for AlternativeRock throughout the decade. MTV had been playing Bush's videos since its debut the year prior. In the wake of this, Creator/{{EMI}} would reissue ''Music/TheKickInside'' and ''Lionheart'' in America, issue a self-titled EP, and belatedly release ''Never for Ever'' there as well.
well. ''The Dreaming'' was supported by five singles: "Sat in Your Lap", "The Dreaming", "There Goes a Tenner", "Suspended in Gaffa", and "Night of the Swallow".
Swallow".
Bush herself would come to regard ''The Dreaming'' as something of an OldShame, feeling she had pushed the experimention a bit too far to the point of alienating listeners, but in recent years it has been vindicated for its creativity and is considered one of her finest records.
Bush herself would come to regard ''The Dreaming'' as something of an OldShame, feeling she had pushed the experimention a bit too far to the point of alienating listeners, but in recent years it has been vindicated for its creativity and is considered one of her finest records.
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''The Dreaming'', released in 1982, is the fourth studio album by English art pop musician Music/KateBush.
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''The Dreaming'', released in 1982, 1982 through Creator/{{EMI}} in the UK and Creator/EMIAmericaRecords in the US, is the fourth studio album by English art pop musician Music/KateBush.
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* EvilColonialist: The TitleTrack, a ProtestSong decrying the treatment of Aboriginal Australians, is narrated by a white Aussie who proudly brags about how "the civilized keep alive the territorial war [and] erase the race that claim the place and say we dig for ore." The narrator even casually mentions remorselessly running over Aboriginal people who wander into the road.
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* CoverDrop: The cover art, depicting Bush engaging in SleightOfTongue, might be brushed off as a standard display of her artistic quirkiness in passing, but listen to the album and reach "Houdini", and the nature of the image becomes clear: "with a kiss, I'd pass the key."
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* CoverDrop: The cover art, depicting Bush engaging in SleightOfTongue, might be brushed off as a standard display of her artistic quirkiness in passing, but listen to the album and reach "Houdini", and the nature of the image becomes clear: "with a kiss, I'd pass the key."" Just to hammer the point in, the rear sleeve outright quotes the line.
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* InTheStyleOf: "Sat in Your Lap" is influenced by occasional collaborator Music/PeterGabriel's emphasis on rhythm in his solo work of that era.
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* InTheStyleOf: "Sat in Your Lap" is influenced by occasional collaborator Music/PeterGabriel's emphasis on percussion and rhythm in his solo work of that era.era, most prominently exemplified by the booming, frantic drumbeat that opens the track.
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* InTheStyleOf: "Sat in Your Lap" is influenced by occasional collaborator Music/PeterGabriel's emphasis on rhythm in his solo work of that era.
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A dramatic departure from the BaroquePop of her earlier work, this record marks a shift into far more aggressive and experimental territory, informed heavily by both Bush's prior work with Music/PeterGabriel on his similarly dark, percussive [[Music/{{Melt}} third album]] and her growing enthusiasm for the Fairlight CMI digital sampler and the flexibility it offered in composing and performing. Her previous album, ''Never for Ever'', had already made use of the device to a minor degree, but here Bush embraced it wholeheartedly, so much so that for the first time she elected to produce an album entirely on her own.
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A dramatic departure from the BaroquePop of her earlier work, this record marks a shift into far more aggressive and experimental territory, informed heavily by both Bush's prior work with Music/PeterGabriel on his similarly dark, percussive [[Music/{{Melt}} third album]] and her growing enthusiasm for the Fairlight CMI digital sampler and the flexibility it offered in composing and performing. Her previous album, ''Never for Ever'', ''Music/NeverForEver'', had already made use of the device to a minor degree, but here Bush embraced it wholeheartedly, so much so that for the first time she elected to produce an album entirely on her own.
