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It is true that ‘Bette of Roses’ is often buried in the slickest production you’re likely to hear this side of Mariah Carey. On the other hand, the production is Midler’s most tasteful since her 1970’s heyday, and so-o much better than her 1980’s revival material. Gone are the clever production excesses of “Beaches” and “Some People’s Lives”. Instead, the production is much more restrained, allowing the meaning of the songs to shine through.
The album is not easy to classify – it has rock, R&B and jazz elements, in keeping with much of her material, but as other reviewers have noted, is actually much closer to what could be called modern ‘country’ than anything else (in particular “I Know This Town”). This is modern country before it became fashionable with the likes of Shania Twain and Faith Hill some five years later. Bette of Roses is very easy on the ear – it is something to listen to when totally relaxed. Yes it is subtle, but that is not to say it is not adventurous – Midler’s vocals in particular explore new experimental territory throughout the record, but most notably on “The Last Time”, the albums rockiest track, and the sublime “I Believe in You”. Thankfully however, it is one of those rare records you can listen to from start to finish, and at fifty minutes long, is quite a weighty offering.
In between these two songs, Bette sings a series of love songs, all new at the time except As dreams go by, for which the common theme is that Bette is in love with her man. Bette shows that she is well capable of singing this kind of song. Perhaps some fans would have liked some up-tempo songs to provide a bit of variety, but I think this is a wonderful album that creates its own mood.
If it doesn't appeal to Bette's traditional fans, this album should certainly appeal to some fans of contemporary pop-country music. While this is in no way a country album, some of the music here is not so far removed from some of what is today classified as country music.
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