be released before the main hearing, Ferry was to pay a third of the royalties into a joint account with E.G. – which they would receive if they were to win the case. E.G. later won the case and they marketed the album in Canada and the United States. The album was released in the United States by Reprise Records. Reprise Records 25598 debuted on the Billboard chart November 21, 1987, and spent 31 weeks on the chart peaking at No. 63. 1988–89 tour Ferry toured Australia, Japan, United States, Canada, and Europe to promote the album. The Edge from U2 joined Ferry on stage at the Dublin show to perform the Irish folk song, "Carrickfergus" (which Ferry had previously recorded in 1978 for The Bride Stripped Bare) and Johnny Marr joined the backing band for "The Right Stuff" at the Manchester show. Roxy Music saxophonist and oboist Andy MacKay also joined the backing band for a few numbers at the London Palladium and Wembley Arena dates. Several of the songs from the Glasgow show were included on several Bryan Ferry CD singles between 1993 and 1995. Line-up Bryan Ferry – lead vocals Clifford Carter – keyboards Neil Hubbard – guitars Jeff Thall – guitars Chester Kamen – guitars (1989 Dates Only) Luico Hopper – bass Andy Newmark – drums Steve Scales – percussion Andy Mackay – saxophones (Guest at the London dates) Michelle Cobbs – backing vocals Ednah Holt – backing vocals Yanick Étienne – backing vocals Video release The Bête Noire Tour movie was released 10 November 2008 by the EMI Productions studio. The DVD features a pair of solo performances by Bryan Ferry, the first performance previously released as New Town, was filmed during his 1988–89 Bête Noire European Tour. The bonus show is the previously unavailable Virgin Germany 25th Birthday concert in Munich in 2002. Critical reception Reviewing retrospectively for AllMusic, critic Ned Raggett wrote of the album, "Bête 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." The critic Robert Christgau wrote of the album, "As with Mick Jagger, of all people, the signal that self-imitation has sunk into self-parody is enunciatory ennui—vocal