| |
Discussion: PF: RR Metacritic score so far
Member Since: 8/10/2010
Posts: 14,634
|
I predict low 50s or high 40s in the end.
|
|
|
|
Member Since: 4/22/2011
Posts: 5,090
|
|
|
|
|
Member Since: 3/3/2011
Posts: 23,567
|
Quote:
Originally posted by myNAMEisJAYR
Nicki tried to release the hip hop Born This Way. I expected her to get trashed by the critics.
The albums the critics don't care for end up being the fun, light hearted ones that everyone else seems to support and love tho.
I wanna see her first week predictions.
|
I don't understand how you can call it the hip-hop Born This Way and then try to excuse its failures by critic bias against the fun and light-hearted. Then again, Nicki clearly has no idea what the album is trying to do either, so maybe you're right.
|
|
|
|
Member Since: 2/17/2012
Posts: 33,611
|
58 is way too high right now. I can't wait until P4k's review.
|
|
|
|
Member Since: 6/10/2009
Posts: 10,622
|
Quote:
Originally posted by feuxtography
Are you ****ing kidding me right now? Any album with "Stupid Hoe" and "Roman Holiday" on it is far from being anything close to an album about self acceptance and embracing yourself.
Like, OMG. No just no.
|
By BORN THIS WAY I meant... trying to cater to EVERYONE.
NOTHING more.
You will not hear me calling this album deep or uplifting or inspiring at all.
Just Nicki trying to please all her different legions of fans in one colorful serving.
|
|
|
|
Member Since: 1/31/2012
Posts: 19,942
|
When all's said & done... Imma guess:
45
|
|
|
|
Member Since: 6/9/2010
Posts: 9,802
|
Quote:
Originally posted by feuxtography
Are you ****ing kidding me right now? Any album with "Stupid Hoe" and "Roman Holiday" on it is far from being anything close to an album about self acceptance and embracing yourself.
Like, OMG. No just no.
|
Hey calm down. This is nothing to fume over, seriously.
|
|
|
|
Member Since: 2/20/2012
Posts: 24,225
|
Quote:
Originally posted by Lyzz the Monster
2.5 stars on Amazon
|
4.5 on iTunes. 
Quote:
Originally posted by feuxtography
Are you ****ing kidding me right now? Any album with "Stupid Hoe" and "Roman Holiday" on it is far from being anything close to an album about self acceptance and embracing yourself.
Like, OMG. No just no.
|
|
|
|
|
Member Since: 8/20/2011
Posts: 12,590
|
At the end of the day, the critics don't matter. It's nice to have them on your side but they're not everything. It will all come down to how the general public feels about the album. That's the most important thing truthfully.
|
|
|
|
Member Since: 9/12/2011
Posts: 2,093
|
Quote:
Originally posted by LP54
At the end of the day, the critics don't matter. It's nice to have them on your side but they're not everything. It will all come down to how the general public feels about the album. That's the most important thing truthfully.
|
Exactly, sales figures are more important than 4 random critics' words. The same happens for movies, when critics are all like 'no, no, this is terrible' and then it makes over $50M box office in its opening weekend.
|
|
|
|
Member Since: 6/17/2011
Posts: 16,910
|
DJ Booth.
Quote:
Schizophrenia is a mental disorder characterized by a breakdown of thought processes which most commonly manifests itself as auditory hallucinations, disorganized speech and thinking, and it is accompanied by significant social or occupational dysfunction. I used to think that Nicki Minaj’s schizophrenic persona was concocted, but after listening to her new album Roman Reloaded, it now appears that life has imitated art so thoroughly that there’s no longer a distinction.
As is so often the case, I can only assume that Nicki Minaj’s schizophrenia was brought on extreme fame, a well documented cause of mental illness. Imagine for a moment that you’re one of the most famous women in music. Your last album sold over one million copies, literally thousands of people pay money to see you and companies are throwing endorsement deals at your feet. More importantly, everyone around you depends on you for a check, and so they do what anyone would do in that situation, they say yes: “An exorcist pageant at the Grammys – great idea Nicki!” “That track sounded great Nicki!” “Don’t listen to them, they’re haters Nicki!” Extreme fame creates an inescapable alternate reality for the superstar that’s nearly impossible to say sane in, and I can only assume that’s the reason so much of Roman Reloaded is so disconnected from reality.
Of course, that’s just my overly complicated theory. Roman Reloaded could also just be a bad album because, you know, people sometimes make bad albums. Either way, I defy anyone to enjoy listening to the album’s opening track, Roman Holiday. To be clear, this isn’t just the switching voices, hyperactive flow we got accustomed to on Pink Friday. Here both the production and Nicki’s delivery border on absurdist theater, at one point devolving into Nicki literally making noises. And I wish I could say that Holiday was the album’s low point, but that kind of musical decay pops up time and time again. Come on a Cone at first appears to be a tolerable straight rap cut before cutting into an almost impossible bad hook and according to the UN Human Rights Council, Stupid Hoe has been used to coerce confessions from innocent prisoners. It has to be said that Champion, featuring an excellent Nas verse, is one of Nicki’s most engaging tracks in memory, precisely because she drops the posturing and fame-hunting. It’s proof that behind all the acting is a legitimately talented artist.
And then, as is often the case with schizophrenics, the “rap” we’d heard on the first eight or so tracks of Roman Reloaded disappear and the album instantly becomes a parade of pop and club confections. Lead single Starships will undoubtedly be playing in a Coke commercial campaign this summer, as intended, and Pound the Alarm follows suit with an offering that European clubs will absolutely eat up. While catchy, ironically what makes Nicki unique disappears on tracks like Pound the Alarm – you could just as easily hear Rihanna giving the same performance, which apart from the quick rapped verse, also holds true for the more sex-focused Whip It. And I think we can expect Right By Your Side to be released as a single any minute now; it’s exactly the kind of bouncy relationship jam that’s dominated the charts lately. These tracks may not be particularly remarkable, but at least I can listen to them without cringing. Given a choice, I’ll take Nicki Minaj the catchy pop singer any day. Unfortunately, I don’t have a choice.
Roman Reloaded will most likely do well because music has become just another facet in Nicki Minaj’s branding campaign, and in an economy where generating headlines, and Facebook updates/tweets/etc., is your most valuable commodity, it’s no wonder that Nicki Minaj is a millionaire. I know while some will defend Roman Reloaded on the grounds that Nicki’s using the album’s extreme range to avoid being placed in a “box”, but ironically she’s only boxed herself in further.
|
Rating 2.5/5 Added to MC.
Full Here
|
|
|
|
Member Since: 8/16/2011
Posts: 12,539
|
I'm waiting for more reviews. 
I knew that they were going to be awful.
|
|
|
|
Member Since: 10/28/2011
Posts: 5,319
|
Most ppl are only in this thread so they can bash her..
Like you really have no lives.. its sad
|
|
|
|
Member Since: 10/29/2010
Posts: 29,249
|
Down to 44 
|
|
|
|
Member Since: 6/17/2011
Posts: 16,910
|
National Post ( Positive Review)
Quote:
I haven’t been able to make enough sense of Nicki Minaj’s self-mythology to understand who or what Roman Zolanski is beyond an alter-ego somewhat in the Hulk mode, but there’s enough evidence on Pink Friday: Roman Reloaded to suggest that Minaj would be better off if she left things in his/its hands. Roman Reloaded is alternately near-brilliant and bloated, transgressive and tired, and the split falls almost directly at the line where Roman and Nicki intersect.
That’s decidedly the weirdest song here, but the rest of this first half-dozen find ways to marry this kind of left-field inspiration to pretty effortlessly hooky rap music that fits right in among 30 years of solid progression. Come on a Cone leans toward a dirty south hardness and weaves in clever lines like “When I’m sitting with Anna / I’m really sitting with Anna / Ain’t a metaphor, punchline / I’m really sitting with Anna,” while I’m Your Leader apes a Dipset vibe — Nicki holds her own with Rick Ross and Cam’ron. The one-two of the laid-back Beez in the Trap and the braggy HOV Lane sound something like Jay-Z decided to rub the dirt into his shoulders, and the title track fills a minimal, pounding drum beat with attitude and bleary-eyed one-liners entirely fitting guest L’il Wayne (by far the best being “I hear the slick s–t, bitch you washed / All you hoes cryin’: Christopher Bosh”).
And then: woah, man, does Roman Reloaded dial down pretty much everything interesting it was doing and try its damnedest to be an innocuous pop record. Starship is really the perfect example here: it is of course the kind of song that you basically can’t help but get into your head, its hooky beat downloaded straight off of whatever chart-potential-analyzing computer program they currently have approving Katy Perry and LMFAO records. And Minaj once again takes her lead from her surroundings: her sly anti-rhymes disappear, her studio-filling attitude settles comfortably into a drink glass, and now there’s no higher goal than to party. Just as a for example: HOV Lane has enough braggadocio to spit out a line like “I don’t do shots neither, I’m buying the whole bar;” Starship is content to let slip, “Have a drink, clink, found the Bud Light.” And that’s basically the difference in a nutshell: the Roman bits mix in gender-bending, raw aggression and an utter disregard for pop-girlie tastes. The rest — Starship, Pound the Alarm, Marilyn Monroe, Right By My Side, Young Forever — envision Minaj as nothing more than another teeny-bopper, albeit one wearing slightly more makeup.
It should be said that Minaj is a pretty adequate plain pop star, due mostly to the fact that she’s a capable enough chameleon to blend in even when the producers are doing everything they can to bland up her surroundings. But unlike some of her contemporaries, she’s also capable of genuine personality, catchy pop music that doesn’t just sound like the weighted mean of the weekly Top 40. If calling herself Roman is what it takes for her let it loose, then so be it: here’s hoping in the meantime that that particular persona manages to pull enough people in to justify killing off the indistinct side of her personality.
|
More Here
Not counted for MC
|
|
|
|
Member Since: 10/28/2011
Posts: 5,319
|
Quote:
Originally posted by Addicted
Trolling at its best  Some people are genuinely interested in reviews and the trolls are ruining the thread for us. |
right! Like why do they even care so much about the reviews?
they dont like her yet they're in every damn Nicki Minaj thread.. is so ridiculous 
|
|
|
|
Banned
Member Since: 11/24/2009
Posts: 61,404
|
|
|
|
|
Member Since: 6/8/2008
Posts: 24,791
|
Nicki: Posessed By The Evil Spirit Of Katy Perry
Is the album really this bad? I don't think so...
Quote:
When Nicki Minaj premiered her “Roman Holiday” single two months ago via the most baffling Grammys performance ever, fans who had high hopes for her second album began to express concern about the focus on her alter-ego character, Roman Zolanski, pausing from uttering “WTF” just long enough to say: Please, God, not a concept album.
Those particular worries could hardly have been more misplaced. “Pink Friday: Roman Reloaded” is about as concept-less an album as has ever been made.
It was telling that Minaj dramatized a gaudy exorcism in her Grammy number, because there are definitely two spirits fighting for control of the singular body of “Roman Reloaded.” Most of the first third of the album is straight-up hip-hop - usually vulgar, often clever, mostly discordant and hardly dull.
Then it suddenly transitions for most of its last two-thirds into a personality-drained pop-dance album in which Minaj seems possessed by the evil spirit of Katy Perry.
In other words, it’s an album with something to annoy everyone. If you’re one of Minaj’s hardcore fans, or even just would rather hear her rap than sing, there’s a good chance you’ll want to take the disc off after track 6, with 13 songs still left to go on the bloated standard version (and 16 still left to go on the super-extra-bloated deluxe edition!).
If you just want to hear Minaj sing generic pop, well, you’re probably 16 and will cherry-pick singles off iTunes anyway, rather than buy this entire behemoth. But if you do listen from the start, you will rightfully have all kinds of questions about the wacko opening numbers, starting with why Nicki is singing in a Sharon Osbourne British accent at the beginning. Also, you will learn a lot about oral sex.
Ah, yes, this is the Nicki Minaj who put in an appearance at the Kids’ Choice Awards two days before release date, right? Any parents fooled by Nickelodeon’s loose standards for kid-friendliness or Minaj’s adorable Day-Glo-glam persona into imagining that “Roman Reloaded” is suitable preteen fare should probably be slapped, if not slimed. It’s an album that would make Harvey Weinstein go, “Oh, yeah, NC-17, for sure.”
Initially, it’s a relief just to realize that the titular character won’t be making any more appearances after the opening “Roman Holiday” -- nor will Roman’s irritating Cockney mother, or anyone else to remind us that Nicki did some theater in high school. But ultimately it’s a dispiriting sign of how the reins got away from such a promising artist that she ditched her central idea in favor of bulking the album up with lame Top 40 bait while keeping the title as a testament to her compromised ambition.
“Come on a Cone” provides the record’s most fun moments, early on -- and it’s probably the only track that’s slightly less salacious than it sounds. The rapper spends the entire tune basking in high fashion, wealth and media attention, not sex(Funniest lines: “When I’m sitting with Anna, I’m really sitting with Anna/Ain’t a metaphor punch line, I’m really sitting with Anna!”).
By the time she starts chanting “My ice is so cold, it should come on a cone” in a series of maniacal voices, you realize you’re listening to the world’s most gleeful representative of the One Percent.
The materialism just keeps on coming in “I Am Your Leader,” in which Minaj brags, “When I fly it’s one letter and one number,” encouraging her fans to share her disdain for all the losers who fly commercial first class. It’s an old joke, all this hip-hop money-hoarding, but unlike some of her male contemporaries who’ve exhausted the gag over the years, she’s at least in on it, as is clear from the unbashful comic extremes to which she takes her hysterical voice on these raps.
Then, in the title track, Minaj defensively raps, “Only thing that pop is my endorsement op ... Gotta run and reinforce the glock.” Inexplicably, this is her cue to go pop for nearly the entire remainder of the album.
On a few transitional selections, she does some singing and lets superstar male guests round it out with some rapping. On “Champions,” over some uninspiring new-agey synth riffs, she sings “This is for the single mothers,” and even names a few. Sweet, right? Then Drake comes in with lines like: “Makin’ hits in 3-acre cribs ... /Lots of bad bitches, but they good to me/I make her do the splits for a rap.” Yep, he’s every bedraggled single mom’s dream.
Things get even more balladic and less rap in the duet with Chris Brown that follows, “Right By My Side,” which is extremely innocuous by recent Brown standards. Still, you have to wonder what they were thinking when Minaj says, “Wait, let me see your phone,” followed by another reference to “bitches” in light of what we know about the the Brown/Rihanna incident.
That’s followed by the leading contender for Worst Song of 2012, the R. Kelly-style “Sex in the Lounge,” a collaboration with Lil Wayne and crooner Bobby V in which Minaj barely even shows up. Yes, it is literally a song about the joy of annoying people by making love in the club, in which Weezy drops Oprah’s name. Won’t Oprah looooove finding out she’s invoked as a metaphor for prostitution on one of the year’s most anticipated albums?
As if chastening herself for Lil Wayne’s sins, Minaj spends the rest of her album being kind of a bore. The current single is a rave-pop number with the hook, “Starships were meant to fly ... “ You suppose they’ll run into any fireworks up there?
“Beautiful Sinner” is competitive with the worst of Madonna for sheer banality (“You are the type of bad that feels so good” - did she really want her name on these credits?).
The uncharacteristically self-pitying ballad “Marilyn Monroe,” another one you can’t believe Minaj had a hand in at all, is basically an extreme narcissist’s version of “Candle in the Wind.”
“Gun Shot” and the impossibly hokey “Young Forever” sound right off Rihanna’s reject pile and prove that just because Minaj can easily adopt RiRi’s subtle patois doesn’t mean it’s at all advisable that she should.
When Minaj eventually makes one stab at returning to her original persona at the end-with the previously issued “Stupid Hoe,” where her idea of a brilliant girl-on-girl putdown is “I’m Angelina, you Jennifer” - you might not be sure whether to prefer the bland Nicki or the sometimes bluntly nasty one. But at least Mean Nicki knows how to have some oddly rhythmic, tonally bizarre fun. If we were to pick one side or the other of her to exorcize, it’s got to be the sellout.
|
http://www.vancouversun.com/entertai...375/story.html
|
|
|
|
Member Since: 2/17/2012
Posts: 33,611
|
Quote:
Originally posted by Stepfon
Is the album really this bad?
|
Yes. 
|
|
|
|
Banned
Member Since: 4/30/2011
Posts: 38,486
|
Too much. 
|
|
|
|
|
|
