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These are songs of love and longing. Kd can sound strong, confused, yearning, confident, and sensuous. Underlying this expressive versatility is her compelling voice--it soars and warms, soothes and excites. The timbre and phrasing are spectacularly good, but never overwhelming. She completes the songs, rather than competing with them: She and the song are as one. The lyrics are simple but direct and effective; never forced, the words wrap around the music just as k.d.'s voice envelops the words.

Unlike most CDS (where there often are at least one or two disappointing numbers) every song here dazzles. "Sexuality" is a song to share with someone you love: Both playful, "how bad could it be, that you should fall in love with me," and bold "release yourself upon me," its hauntingly beautiful arrangement (augmented by Ben Mink's strings) is just one of many highlights here. "Believe in Me" is lushly arranged with viola, violin, guitars, cello, and keyboards. "Infinite and Unforeseen" basks in warm, languishing, contemplative colors; every note played and placed just right without seeming studied. The last song, "I want it all," embraces the dualisms of love:

"All the illusion, all of the truth, all the confusion, all of the proof; all of the pleasures, all of the pain, all I am losing, all that I've gained...oh-I want it all... "

Non-musical features include excellent liner notes, drawings by and pictures of kd, and the location of her official fan club website ... Strong, sensuous, supple, k.d.'s voice is a wonder! Buy this for yourself--or someone you love.


mesmerising - a short but perfect opus   May 15, 2000
 11 out of 12 found this review helpful

kd lang's voice could turn iron into moult, of that there is no contest. 'All You Can Eat', although a 5 year old recording now, still continues to deliver over its 30 something minute length. The songs flow as smooth as chocolate, and just envelop you in their warmth and sensuality. The playfully teasing 'Sensuality' is an invitation to indulgence (what the album's title infers), with a firm tongue in cheek from ms lang. Get Some & I Want It All continue with the theme of encapsulation and immersion to capacity. The album's real killers however come in the shape of ballads, revealing the sheer range and emotion of kd's crystal clear voice, and the magnitude of her song-writing abilities. 'Acquiesce' simply haunts the soul and stuns with the vocals, and the penultimate trak 'Infinite and Unforeseen' is a spellbinding lost classic which regrettably never saw the light of day as an airplay song. A haunting lullaby which bobs along guided by a guitar and kds vocals, singing of the stirring and memerising effects which love exercises without being able to resit - and you are glad she could not so that she and Ben could create a song of this capacity. It is tragic as that song would have catipulted kd to the top of her league, and definitely won the hearts of millions (and maybe a grammy or 3, we shall never know). Even all these years down the line, this album never fails to bore me with its rich textures and unforgettable charms. kd, I salute you.


Lang's "All You Can Eat" offers a pop feast   September 13, 2001
 11 out of 11 found this review helpful

When a left-of-center country/torch singer finds herself with a platinum record, Grammy award, and crossover hit single, what's next? Why, a nosedive into the mainstream, naturally. Luckily for us, this isn't at all the easy sellout it may sound like, and after "Ingenue" and its hit, "Constant Craving," made kd lang a household name, "All You Can Eat" proves she has the talent and taste in material to make sure it was no fluke.

In retrospect, it's amazing this album wasn't more of a Stateside success than it was; "If I Were You" and "You're OK" are the sort of irresistible pop/rock workouts you'd expect VH1 to cling to (imagine a subdued Sheryl Crow), and the tender ballad "Maybe" sounds like something Fleetwood Mac might have aspired to after "Rumours." Similarly retro and commercial-friendly is the organ-laced 60's feel behind "Sexuality," and the Beatles-heavy vibe found on "Get Some" provides one of lang's most joyous-sounding vocals and overall finest moments. "Acquiesce" is a bit of an oddity, with some moody "ooh"s and the repeating of the title attempting to pass as hooks, but the track isn't an unpleasant listen, and the tender, Motels-like ballad "This" and the sultry, slow-burn funk of "I Want it All" more than make up for any quibbles it may inspire.

Throughout the record lang's frequent producer Ben Mink keeps that glorious voice awash in crisp drum rhythms, tasteful instrumental flourishes and lush self-harmonies; this album is so polished you almost expect to see your own reflection in it. But what's especially striking here is the minimalist effect at work; most of the tunes have one verse and bridge, one chorus, a short solo, and another chorus leading to somewhat abrupt finishes that make you want to instantly start each track over again. Suddenly the Chinese-takeout theme of the packaging makes sense; like the old joke about eating Chinese and being hungry an hour later, you may well find that one -or two, or three- spins of this slick pop record simply isn't enough. "All You Can Eat," indeed.


Great vocals, dull songs   February 5, 1999
 8 out of 11 found this review helpful

While kd lang is unquestionably one of the finest vocalists in music today, "All You Can Eat" is not one of her better efforts. Her voice is in as fine a form as ever, but the problem is the material which leans heavily towards the dull side. Apart from "Maybe" and "You're OK" there is nothing especially memorable on this CD. Stick with "Drag, "Ingenue," or "Absolute Torch and Twang."


"Acquiesce" And Give This One a Re-Hearing   April 30, 2005
 8 out of 10 found this review helpful

I've always maintained that there was something delightfully subversive about k.d. lang. She may be (at this point in her career) avowedly gay, but she sings so STRAIGHT. You could play most of her stuff for Grandma and get an enthusiastic response. Even now, some of her audience may be uncomfortable with the full package--the sexual ambiguity, political activism AND the vegetarianism (any wonder she never quite fit in with the C&W crowd). But they can't deny the appeal of a hooky song like "Constant Craving," even if they prefer not to think about what that song means for the singer.

Some performers specialize in confrontational art, and some win hearts and minds-or at least a degree of tolerance, through playing the game more or less, well, staight. K.d. lang is not an avant garde artist, thank you very much. On this album, the most abstract she gets is the moody "Acquiesce." The rest of the tracks are the trademark songs of love and longing that she has come to specialize in over the years. Not that there's anything wrong with that. No one does `em better really.

Which is why I was somewhat surprised to see so many indifferent to negative reviews of this album both here on Amanzon.com and elsewhere. Yes, it's true that there is no actual "Constant Craving"-type stand out track, but actually several of the tracks were quite radio friendly in their own right ("If I Were You," "Maybe," and that less that subtly subversive but still fun "Sexuality"-if that one could ever get airplay). And the torch is onhand in abundance even as the twang subsides. "Infinite and Unforeseen" has a smoky, cabaret feel that k.d. was already mastering in the early `90s and which would reach its culmination with her follow up release DRAG a few years later.

Especially nice are the subtle arrangements, including Beatle-type psychedelic moments on the otherwise conventionally poppy "Get Some," and lovely So.Cal type background vocals on the aforementioned "Acquiesce" that could have been lifted from a 70s Ronstadt album. K.d. lang never quite realized her dream to be the next Patsy Cline, and thank goodness. She's gotten pretty darn good at being the first k.d. lang.