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Kino Classics' three DVD set Fritz Lang: The Early Works collects some of the earliest, rarest efforts from the director of such provocative classics as Metropolis (1926), M (1931) and Fury (1936). Probably the most surprising thing about the trio of restored 1919-21 German silents assembled here is that they have very little of the austere, carefully composed visual style that Lang would later be well-known for.

When Prince broke up the Revolution in 1986, guitarist Wendy Melvoin and keyboardist Lisa Coleman, friends since childhood, decided to team up for a new musical project. The two had grown up together in Los Angeles, where both of their fathers were session musicians and encouraged their musical development from a young age. Coleman joined the Revolution in 1979 for Dirty Mind, and Melvoin signed on in 1984; in addition to their instrumental skills, the two also provided some of Prince's arrangements.

When Prince broke up the Revolution in 1986, guitarist Wendy Melvoin and keyboardist Lisa Coleman, friends since childhood, decided to team up for a new musical project. The two had grown up together in Los Angeles, where both of their fathers were session musicians and encouraged their musical development from a young age. Coleman joined the Revolution in 1979 for Dirty Mind, and Melvoin signed on in 1984; in addition to their instrumental skills, the two also provided some of Prince's arrangements. Wendy and Lisa played almost all of the instruments on their self-titled debut and co-wrote most of the material with ex-Revolution drummer Bobby Z. After backing Joni Mitchell on Chalk Mark in a Rainstorm in 1988, the duo added Melvoin's twin sister Susannah and recorded Fruit at the Bottom, a song cycle about the ups and downs of romance. Several more family members joined up for the widely varied Eroica, which mixed Wendy & Lisa's disparate influences (funk, jazz, dance, pop, rock); k.d. lang also contributed vocals. Eroica followed in 1990, and though the duo were less busy during the decade, they returned in 1998 as the Girl Bros.

k.d. lang followed through on the promise of her adult contemporary changeover Ingénue with All You Can Eat. A more experimental and realized record than its predecessor, there are more daring production touches on All You Can Eat it's clear that she has been listening to contemporary pop, not just torch songs. It isn't immediately accessible the production is low-key, the melodies are gentle and subtle (although her cutesy, tongue-in-cheek song titles suggest otherwise), and lang gives a nuanced, sophisticated performance. Though it lacks a standout song like the aching "Constant Craving," All You Can Eat has a more consistent set of songs and, given time, is a more rewarding listen.