Henry's Dream is the seventh studio album by the Australian rock band Nick Cave and the Bad Seeds, released on 27 April 1992 by Mute Records.

It was the first album to feature long-standing members Martyn P. Casey (bass guitar) and Conway Savage (piano, organ, backing vocals), both Australian.

"[5] Cave later claimed the album's songs were heavily influenced by street beggars he saw in Brazil, where he lived for several years while married to journalist Viviane Carneiro.

[7] Australian pressings were available in a box set including with a three-track promo cassette and initial French pressings came with a promo CD including "Papa Won't Leave You, Henry," "Straight to You," "Brother, My Cup Is Empty" and "Loom of the Land."

[13] Nick Cave and the Bad Seeds promoted the album with an initial tour across Europe, North America, Japan and Australia in 1992.

The tour consisted of five legs and fifty-five concerts,[14] and began in Norwich, England on 26 April 1992 and concluded in Brisbane, Australia on 12 December.

In 1993, the band continued touring, adding a further two legs and twenty-three concerts in Australia, Europe and Israel,[14] beginning on 24 January 1993 in Melbourne and concluding on 10 June in Düsseldorf, Germany.

David Browne of Entertainment Weekly said that Henry's Dream "sets Cave's deep, dolorous voice and scab-picking lyrics to windswept, tote-that-barge arrangements" and "may finally demonstrate what the fuss is all about".

[26] However, The Village Voice critic Robert Christgau, in a negative assessment, wrote that "if this is your idea of great writing, you may be ripe for his cult.

"[29] In a retrospective review, AllMusic's Ned Raggett noted that the album "showed the band in fierce and fine fettle once more" and described Cave's lyrics as "a series of striking, compelling lyrics again exploring love, lust and death", adding that the songs "showcase the Seeds' peerless abilities at fusing older styles with noisy aggression and tension" and citing "Loom of the Land" as "one of Cave's best songs ever".

"[30] Alexander Tudor of Drowned in Sound called the album "a masterclass in narrative songwriting" and referred to its songs as "favela-punk", adding that "the album's atmospheric centrepiece conveys the mystery of faith (and the weirdness of folk traditions), rather than just rattling out a pretty tune.