The single "Always the Sun" peaked at No. 30 in the UK Singles Chart. Dreamtime itself reached No. 16 in the UK Albums Chart, the lowest charting studio album during Hugh Cornwell's recording tenure with the band (1977–90).
The album was produced by Mike Kemp and the band itself. It is often viewed as an inconsistent record, though it contains enough pleasant moments to make it an enjoyable listen. In a sense, it functions as a mini concept album: Cornwell’s vision was to explore an ancient culture—specifically, the Aboriginal concept of the "Dreamtime," the idea that life was merely a dream before existence itself began.
Furthermore, this period saw Cornwell’s transformation from a rough-edged, unpleasant character into a sensitive gentleman in every sense of the word—a shift that left some long-time fans feeling uncertain. Nevertheless, the album yielded some strong tracks, such as "Always the Sun"—a polished, high-quality song that arguably deserved greater chart success. Another overlooked gem was "You'll Always Reap What You Sow," where country-inflected guitar work opened up new sonic horizons for the band. "Dreamtime" was another excellent track, distinguished by the inclusion of a xylophone and pleasing backing vocals.
Other tracks on the album, such as "Was It You?", touched upon paranoia—placing the blame for everything on politicians—with percussion that lends the song an air of uncertainty and loss. "Ghost Train" picks up the pace, supporting surreal lyrics about ghosts reenacting life—a concept somewhat related to certain Indigenous beliefs. Then there was the single "Nice In Nice," a distinctly pop-oriented track inspired by the band’s arrest by French police for inciting disorder. "Big In America"—another single who had a small rotation on MTV—dealed with the idea of "making it big" in the world’s wealthiest and most powerful nation. "Shakin' Like A Leaf" featured a powerful vocal performance and a thick bassline, though it ultimately failed to perform well on the charts. "Mayan Skies" a song that explored the Mayan culture, evoking vivid colors and a strong psychedelic feel, with Dave Greenfield’s keyboards providing the perfect finishing touch. Finally, "Too Precious" was a long, confusing track; despite its musical richness, the melodies feel odd, making it one of the album’s weaker moments.
Critics were mixed despite the album was a solid effort from The Stranglers—they brought a greater sense of diversity to a scene still deeply entrenched in the punk rock of the late 70s. While it may not be their strongest release, it remains a worthy addition to any collection of the band’s work. Some reviews said that the Stranglers are "a prime example of a band that has streamlined their sound and still retained much of their bite as well as their signature. Others in contrary felt dissapointed about the record despite some good songs the rest was forgettable.
