The copy we are selling is similar to the one pictured above.
Side One: Mint Minus to Mint Minus Minus (barely)
Side Two: Mint Minus to Mint Minus Minus (barely)
- You'll find STUNNING Shootout Winning Triple Plus (A+++) sound or close to it on both sides of this vintage copy of Lang's 2nd solo album - exceptionally quiet vinyl too
- The sound of this rare import is rich, full-bodied, lively, and warm, with solid bass and breathy, clear vocals
- Includes Lang favorites Miss Chatelaine and Constant Craving - both sound right on the money here
- 4 stars: "... the craft of the album is impressive indeed, and few artists have reinvented themselves with as much poise and panache as lang did on Ingénue."
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By 1992 records like this were only released on import vinyl and typically went out of print soon after they started their descent down the pop charts. I used to sell them back in the day and supplies were extremely limited and unpredictable. And once they were gone they were virtually never reissued. All of those factors conspire to make the cost of acquiring the mintiest pressings from overseas fairly high, and of course the main reason you rarely see the album on our site.
Be that as it may, we have this copy available and it is not only very good sounding but the music is every bit as good as I remember it.
This vintage Sire pressing has the kind of Tubey Magical Midrange that modern records can barely BEGIN to reproduce. Folks, that sound is gone and it sure isn't showing signs of coming back. If you love hearing INTO a recording, actually being able to "see" the performers, and feeling as if you are sitting in the studio with the band, this is the record for you. It's what vintage all analog recordings are known for -- this sound.
If you exclusively play modern repressings of vintage recordings, I can say without fear of contradiction that you have never heard this kind of sound on vinyl. Old records have it -- not often, and certainly not always -- but maybe one out of a hundred new records do, and those are some pretty long odds.
What the Best Sides of Ingenue Have to Offer Is Not Hard to Hear
- The biggest, most immediate staging in the largest acoustic space
- The most Tubey Magic, without which you have almost nothing. CDs give you clean and clear. Only the best vintage vinyl pressings offer the kind of Tubey Magic that was on the tapes even as late as 1992
- Tight, note-like, rich, full-bodied bass, with the correct amount of weight down low
- Natural tonality in the midrange -- with all the instruments having the correct timbre
- Transparency and resolution, critical to hearing into the three-dimensional studio space
No doubt there's more but we hope that should do for now. Playing the record is the only way to hear all of the qualities we discuss above, and playing the best pressings against a pile of other copies under rigorously controlled conditions is the only way to find a pressing that sounds as good as this one does.
What We're Listening For on Ingenue
- Energy for starters. What could be more important than the life of the music?
- Then: presence and immediacy. The vocals aren't "back there" somewhere, lost in the mix. They're front and center where any recording engineer worth his salt would put them.
- The Big Sound comes next -- wall to wall, lots of depth, huge space, three-dimensionality, all that sort of thing.
- Then transient information -- fast, clear, sharp attacks, not the smear and thickness so common to these LPs.
- Tight punchy bass -- which ties in with good transient information, also the issue of frequency extension further down.
- Next: transparency -- the quality that allows you to hear deep into the soundfield, showing you the space and air around all the instruments.
- Extend the top and bottom and voila, you have The Real Thing -- an honest to goodness Hot Stamper.
Mint Minus Minus and maybe a bit better is about as quiet as any vintage pressing will play, and since only the right vintage pressings have any hope of sounding good on this album, that will most often be the playing condition of the copies we sell. (The copies that are even a bit noisier get listed on the site are seriously reduced prices or traded back in to the local record stores we shop at.)
Those of you looking for quiet vinyl will have to settle for the sound of other pressings and Heavy Vinyl reissues, purchased elsewhere of course as we have no interest in selling records that don't have the vintage analog magic of these wonderful recordings.
If you want to make the trade-off between bad sound and quiet surfaces with whatever Heavy Vinyl pressing might be available, well, that's certainly your prerogative, but we can't imagine losing what's good about this music -- the size, the energy, the presence, the clarity, the weight -- just to hear it with less background noise.
- Save Me
- The Mind Of Love
- Miss Chatelaine
- Wash Me Clean
- So Shall It Be
- Still Thrives This Love
- Season Of Hollow Soul
- Outside Myself
- Tears Of Love's Recall
- Constant Craving
AMG 4 Star Review
On her early albums, k.d. lang was a country traditionalist with a difference -- while she had a glorious voice and could evoke the risen ghost of Patsy Cline when she was of a mind, there was an intelligence and sly humor in her work that occasionally betrayed her history as a performance artist who entered the musical mainstream through the side door. And while the three years between Absolute Torch and Twang and Ingénue were full of controversy for lang that may have encouraged her to seek out new creative directions (among other things, she came out as a lesbian and her outspoken animal rights activism alienated many fans in the C&W mainstream), the former album suggested lang had already taken her interest in country music as far as it was likely to go.
Ingénue presented lang as an adult contemporary artist for the first time, and if she felt any trepidation at all about her stylistic shift, you'd never guess after listening to the record; lang's vocal style is noticeably more subtle on Ingénue than her previous albums, but her command of her instrument is still complete, and the cooler surroundings allowed her to emotionally accomplish more with less. lang's songwriting moved into a more impressionistic direction with Ingénue, and while the literal meanings of many of her tunes became less clear, she also brought a more personal stamp to her music, and the emotional core of "Save Me," "Constant Craving," and "So It Shall Be" was obvious even when their surfaces were evasive.
And the production and arrangements by lang and her longtime collaborators Ben Mink and Greg Penny were at once simple and ambitious, creating a musical space that was different in form and effect than her previous albums but one where she sounded right at home. Ingénue disappoints slightly because while lang was a masterful and thoroughly enjoyable country singer, she was a far more introspective adult contemporary singer/songwriter who seemingly demanded the audience accept her "as is" or not at all. However, the craft of the album is impressive indeed, and few artists have reinvented themselves with as much poise and panache as lang did on Ingénue.