A distinguished member of the Better Records Rock and Pop Hall of Fame.
The domestic pressings are Direct Metal Mastered, the imports are not. Not being mastered DMM did not seem to confer any real benefit to the sound, which to us was a bit counterintuitive, but that’s the reason we do shootouts, so we know the actual sound of the vinyl rather than the sound our biases would lead us to expect.
The sound is big, rich and solid, with much less processing and grit on Ferry’s voice than most copies. The space and ambience are excellent. The sound by track two is actually quite good (track one being a bit dull).
Bigger, richer and cleaner than any copy we played. No grain, no congestion, just sweet, sweet sound like you have never heard for this album before.
Import Vs. Domestic
We had some of both and both did well in our shootouts on side two, though the imports seemed to fall somewhat short of the better domestics on side one. In our experience it’s not really much help to know what country the record was pressed in.
Kiss & Tell
Day for Night
The Right Stuff
Seven Deadly Sins
The Name of the Game
Hooking up with regular Madonna collaborator Patrick Leonard as the co-producer of this album proved to be just the trick for Ferry. Bete Noire sparkles as the highlight of Ferry’s post-Roxy solo career, adding enough energy to make it more than Boys and Girls part two.
Here, his trademark well-polished heartache strikes a fine balance between mysterious moodiness and dancefloor energy, and Leonard adds more than a few tricks that keep the pep up… In sum, a great listen from start to finish.
Former Roxy Music maestro’s much-awaited follow-up to “Boys And Girls” harbingers well for his new association with Reprise. Like past Ferry solo efforts, this displays the singer/writer’s usual suaveness; tunes hinge on his familiar theme of l’amour moderne on the rocks. Tracks are uniformly solid, although “Kiss & Tell” and “Seven Deadly Sins” stand out.