滚石给出了两位对两位大佬新专的看法

R. Kelly tries out new moves, vows to 'get you mad pregnant' on a pervtastic opus
"Good evening, ladies," R. Kelly announces at the start of The Buffet. "Shall we start with hors d'oeuvres? I can tell your body's been lacking the platter of satisfaction your body deserves." His metaphor of choice on his 13th album might be culinary, but it's all sex on the menu. What, you were hungry for something else at Chez Kelly? That'd be like ordering sashimi at Western Sizzlin. After beginning with a spoken-word poem, titled "The Poem," he segues into "Poetic Sex," crooning, "My sex is poetic/I'm about to get you mad pregnant." He brings hip-hop cooks into his kitchen, from Lil Wayne ("Switch Up") to Juicy J, who guests on the clever "Marching Band" (which is what your bedsprings are gonna sound like, girl). The chef's choice is his lush Jhené Aiko duet "Let's Make Some Noise," though Tinashe sounds right at home in "Let's Be Real," where he begins with the pithiest couplet here: "No disrespect to the things that you want/But girl, you fucking crazy."
Kelly earns his title in the second half, which is where he stretches out stylistically. "Sufferin'" is some surprisingly gritty vintage Memphis soul à la Hi Records, and "Wake Up Everybody" and "Keep Searchin'" go for a plush early-1980s quiet-storm sound. The weirdest highlight is "Barely Breathin'" (no relation to the Duncan Sheik tune), where Kelly decides to duplicate the precise sound of a Foreigner power ballad circa Agent Provocateur – he even sings the word "lonely" exactly like Lou Gramm, the kind of achievement that Kelly clearly labored over. But a more typical sample from this buffet is "Sextime," which details the kind of time he desires to spend with you – as if there's any other kind of time on the Kells clock.

A master of R&B revisits his Eighties star-making moment on a smooth, gentle throwback LP
1989's Tender Lover marked the moment when Kenneth "Babyface" Edmonds entered the pop mainstream as a solo star after years spent playing with R&B groups and writing songs with L.A. Reid for acts like Bobby Brown. The album fused the energy of new jack swing ("It No Crime") and the cool of quiet storm ("Whip Appeal") into a new kind of groove that could work in the club or bedroom. Twenty-six years later, on his first solo album of original material since 2005's Grown & Sexy, Babyface is dreaming of the old days again.
After the high-energy opener "We've Got Love," Return of the Tender Loverrelaxes into a well-worn groove. Fellow R&B throwbacks El DeBarge ("Walking On Air") and After 7 ("I Want You") give the album a spark that flirts with gospel. After that, though the album's back half falls into starry-eyed ballads that are a perfect match for the just-got-home-from-work domesticity of the original Tender Lover.
Nostalgia isn't all Babyface has going for him – he continues to be a sought-after songwriter who's worked with contemporary stars like Ariana Grande, and he memorably offered a country guitar riff for the lovably crass singer Ty Dolla $ign's recent debut LP. A little more stylistic deviation like that could have helped Return of the Tender Lover feel more vital. Even when he's just dreaming of the past, though, the elegance of Babyface's songwriting remains untouched. When he sings "There are days I'm so mystified that you have chosen me/That I thank god that you've chosen me" on "Exceptional," it's a sentiment that would ring true no matter the decade.

West Coast R&B star pairs beautiful hooks with dirty-old-man lyrics
The gulf between exquisitely realized music and unapologetically crass lyrics is one that fans of Ty Dolla $ign have been forced to reconcile going all the way back to the L.A. singer's earliest releases in 2011. That divide hasn't gotten any slimmer in the intervening years, and it remains Grand Canyon-esque on his major-label debut – a record that can elicit a joyful head nod and a repulsed wince at the same time.
Free TC, dedicated to Dolla $ign's currently incarcerated brother, marries a diverse range of earworm-level hooks and genre-bridging rhythms to uncomfortably base themes. On "Horses in the Stable," he equates a staggering number of international hookups to a prized equestrian collection. On "Actress," he and R. Kelly, who more or less invented this pervy lane, rhapsodize about an unnamed female companion in off-putting detail: "We all off in this bitch, and I'm all off in that ass/I'm way past the speed limit, yeah I'm driving it fast," Dolla $ign brusquely declares. It's enough to make you wonder if his talents are being misspent – at least until you come across a song like the eight-minute epic "Miracle/Whatever." By the time the tune hits its Frampton Comes Alive talk-box climax and its magisterial full orchestra coda, you can't help but lose yourself in the sheer splendor.
Beyond its role as a showcase for Dolla $ign's outsized melodic skills and sexual braggadocio, Free TC is also a who's-who of big name and up-and-coming rap and R&B talent. Kendrick Lamar appears to tremendous effect on the brooding album opener "L.A.," Babyface does a star turn on the acoustic guitar-driven "Solid," and Future brings his one-of-a-kind charisma to the trap banger "Blasé." Sadly, Kanye West's 808s & Heartbreak-style singing on "Guard Down," which also features Diddy, comes across as undercooked. It's a rare moment when the combined effect of a major name's star power and Dolla $ign's own skills can't carry the day.

居然评了 太给面子了
虽然是灾难式的回归

Diana Krall is a jazz pianist and vocalist who has recorded Brazilian music, Thirties jazz and songs co-written with her husband, Elvis Costello. So this collection of favorites by the likes of Randy Newman, the Carpenters, Jim Croce, Bob Dylan and Elton John, among others, fits easily into her tastefully eclectic comfort zone. Krall's elegant, personalized readings and pop veteran David Foster's string-heavy production can give a song like 10cc's "I'm Not in Love" or the Eagles' "Desperado" the glint of a modern standard. Even a Michael Bublé cameo on Gilbert O'Sullivan's "Alone Again (Naturally)" can't wreck the power of Krall's beautifully desolate rendition.
@精致的狼 女神驾到 专辑应该叫 wolflower

说实话老流氓和脸叔这两张的评价都偏高，脸叔相对听感舒服点，难道美帝也流行情怀加分？