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Dreaming

4.7 out of 5 stars 77 customer reviews

Price: CDN$ 26.18
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Product Details

  • Audio CD (Jan. 1 1990)
  • Number of Discs: 1
  • Label: EMI Music Canada
  • ASIN: B000006MS3
  • Other Editions: Audio CD  |  Audio Cassette
  • Average Customer Review: 4.7 out of 5 stars 77 customer reviews
  • Amazon Bestsellers Rank: #78,598 in Music (See Top 100 in Music)
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1. Sat In Your Lap
2. There Goes A Tenner
3. Pull Out The Pin
4. Suspended In Gaffa
5. Leave It Open
6. The Dreaming
7. Night Of The Swallow
8. All The Love
9. Houdini
10. Get Out Of My House

Product Description

Product Description

Out of print in the U.S., this is the acclaimed British pop vocalist's fourth album. Contains all 10 of the tracks from when she first released it in 1982, including 'Houdini' and the singles 'The Dreaming' and 'Sat In Your Lap'. Also contains the original cover art. An EMI release.

Amazon.ca

A la fin des années 70, lorsque Kate Bush déboule avec ses chansons baroques, son piano et ses allures mi-fée, mi-sorcière, la petite anglaise déconcerte. En 1982, lorsqu'elle publie l'autoproduit "The Dreaming", elle est devenue une artiste établie, grâce à ses précédents singles "Babooshka" ou "Army Dreamers". Ce quatrième album trouve Kate Bush plus déchaînée que jamais. Elle a trouvé sa voix, s'éloignant du timbre enfantin des débuts, la module à la perfection sur une série de compositions brillantes. Ainsi "The Dreaming", qui donne son titre au disque, ressemble plutôt à un cauchemar halluciné sur un tempo martial, deux Kate se parlent, l'une décidée, l'autre paniquée. "Sat In Your Lap" est une sarabande passionnée aux arrangements riches, "There Goes A Tenner" louche du côté du cabaret avec un rythme martelé. Mais c'est "Pull Out The Pin" qui résume le mieux le style Kate Bush, avec ses faux airs confus, ses choeurs en bataille et sa mélodie en apparence sans queue ni tête. --Isabelle Chelley


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Customer Reviews

4.7 out of 5 stars
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Top Customer Reviews

Format: Audio CD
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...").
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Format: Audio CD
It was the fall of 2002 and my second year in college. I was talking to my English professor and he made a comment about the shirt I wore to class, the cover of Pink Floyd's Dark Side of the Moon. He said, "best album of all time... want to know the second best?" I said, "This one is the second best... the first would be Radiohead's Kid A." Anyway, to make a short story shorter, we traded. I lent him my copy of Kid A, and he lent me a copy of what he thought was the second best album of all time, The Dreaming. I saw the copyright date in the back, 1982, and thought, oh, it's probably gonna be some cheesy sounding early 80's music... to my surprise, this album did not sound "totally 80's" at all. It sounded like it had just been released this past Tuesday! I was in awe with it's muti layered sounds and "overproduction"... and the complexity and complete strangeness of it. FAR superior and WAY ahead of it's time... even for today's standards! I thought Kate's voice was brilliant. The music was brilliant. The effects were brilliant. This album is brilliant. So, now I'd have to say, I agree with my English professor. It is the second best album of all time... just behind Radiohead's Kid A.
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Format: Audio CD
i am leaps and bounds away from being an obsessive kate bush fan. i will admit that her music does have sort of a nostalgic hold on me, especially the music from this album.
this is undoubtedly the best kate bush album out there. more people are fond of "hounds of love," but i think that has more to do with the fact that it was her breakaway hit album. "the dreaming" is far superior in its scope, songwriting, production, and concept than anything before or after it.
what i really admire about the album is that it is almost a theatrical piece, with a strange and vibrant cast of characters and stories. she uses her voice in so many different ways and displays an enormous range of musical tastes on this album. she sings about bank heists gone wrong, intruders, houdini drowning, the moment of death, and many other bizarre and intriguing topics...but with great passion and intensity.
"all the love" is one of my favorite songs that i can think of. it is a haunting and beautiful song about death, and the things that can haunt you at that moment. and "houdini" is probably the most theatrical piece of the album, in which she is singing from the perspective of rosabel, who was houdini's stage partner and lover, who would pass a key to him with a kiss. it is a brilliant song, with beautiful piano and string accents throughout.
her song construction is at its most accomplished on this album. there is a effortless mix of fairlight and keyboard elements, percussion, multi-layered vocals, bass and guitar. if you listen to the album with good headphones, it is quite a revelation. she is at her peak here, and although like i mentioned before, most people refer to "hounds of love" as her best, i think that album sounds more dated, even though the songwriting is really just as strong.
also check out "never for ever." it was the release before this album, and is almost as good.
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Format: Audio CD
The Dreaming, or as my friends and I in the early 80s dubbed it "The Screaming", is Kate's most fully realized work. She herself has said it was emotionally wrenching to produce, and that emotional intensity comes through consistently on every track. In fact, I think this is the most emotionally intense music ever made with synthesizers. Constructed essentially with just her Fairlight (with some additional instruments added as textures), her voice sequenced in and out, she was able to construct a psycho-sonic landscape that conjured a state of mind and spirit in a state of high tumult with no promise of redemption.
On vinyl, the two sides of this masterpiece were reflections of one another, each track a mirrored response to its counterpart on the opposite side. The conscious search for knowledge on "Sat in your Lap" was answered by the unconscious revelations of "The Dreaming"; the heist gone wrong on "There Goes a Tenner" became a flight from the cops on "Night of the Swallow", and so on; culminating in the expressionist screams that close both sides: "Leave It Open", with its take-all-comers approach to experiencing what life throws at you, is contrasted with the get-the-hell-out-and-don't-ever-come-back she-mule of "Get Out Of My House". Kate new exactly what she was doing from beginning to end. In the making of this record - the first one of hers that she produced herself -- she demonstrated a remarkably confident command of art and technology, and this all coming from a 22-year-old.
The dynamics and textures used on The Dreaming were developed on it predecessor, Never for Ever, and mastered on its follow-up, Hounds of Love, but never were they as evocatively employed as on this album.
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