| |
Special Event: atrlcritic | Ed Sheeran's new songs after the upgrade
Member Since: 1/4/2014
Posts: 3,513
|
Quote:
Originally posted by Doc
Those twig girls will be next!
Not only are those all complete sentences,
but it's one review out of like 50+. Chill out! |
Mess at you shading her like that, but yas it's gonna be amazing. I don't know if I should review it on my first listen or after... Maybe a combination  I hope ATRL does her right and she gets universal acclaim, otherwise get ready for my meltdown!!
|
|
|
|
ATRL Senior Member
Member Since: 1/21/2012
Posts: 13,593
|
***Flawless (Remix) [feat. Nicki Minaj] - Beyoncé
With a newly added Nicki Minaj feature, It seems Beyoncé decided to remix ***Flawless. I have to be honest; I haven't heard the original. After hearing this remix, I don't really feel like I want to either. I've never been a fan of Urban music, but I can understand its appeal. ***Flawless just seems like slowly rapping (aka. talking) to a messy beat. The lyrics aren't really all that either. I just don't get it.
Verdict
I still don't get it.
3.0/10
|
|
|
|
Member Since: 8/19/2013
Posts: 14,942
|
Let me review this Flawless remix so the Hive can stay out my inbox!
Here it goes:
It's great. I love the instrumentals. I love the new verses. I feel Nicki's part was a bit too long. I don't like the way the song ended. The instrumental could have played more and I definitely could have done without the autotune. Bey is an artist that NEVER needs to use autotune. Overall, I love the flow and message of the song, but it simply doesn't match the greatness of the original version.
9.5/10
|
|
|
|
Member Since: 8/18/2013
Posts: 12,517
|
***Flawless
That's a good title for this song, because it is a Flawless song.
From the begin to the end, it just keeps getting my attention.
Beyoncé's rapping surprises everybody, it's better than average rap stars
The 'Of course sometime **** go down when it's a billion dolar ona elevator' line is so good
Beyoncé turned her own song that was almost flawless into a song that's 100% flawless even more
99/100 POINTS 
|
|
|
|
Member Since: 10/12/2002
Posts: 21,317
|
Doc, here's my review, please don't ban me
***Flawless is a, well, flawless! I honestly didn't know what to expect from the remix considering the original was perfect as is. I can't say that I like this version MORE than the original but I do love it. Both songs offer me two totally different things, the original is a great confidence builder, the second is a hard hitting anthem.
Nicki killed her verse, she really showed how amazing she can be as a rapper and I love that Beyonce saw that in her. Beyonce herself was amazing, her verse was perfect and the added production was great.
This is definitely one of the highlights from the ERA!
10/10
|
|
|
|
Member Since: 12/1/2011
Posts: 24,324
|
all these under 10 sentence reviews 
|
|
|
|
ATRL Senior Member
Member Since: 6/15/2007
Posts: 29,795
|
|
|
|
|
Member Since: 8/6/2012
Posts: 5,333
|
Beyoncé + Nicki Minaj - '***Flawless Remix' "I mean, I’m not going to lie. Recently, I thought it would never happen because I felt like if she (Beyoncé) was going to ask me, she would have asked.” It would seem as though Minaj and myself shared the same line of thinking and assumption. Which was if Beyoncé was going to work with her, she would have done so already. Over the past five years Minaj has seen herself work with legends such as Mariah Carey and Madonna, at some point it seemed as though everybody wanted a little piece of Minaj, except Bey. I almost came to the acceptance that it wasn’t going to happen, that it would always be something I would hope for, but not expect.
So on August 3rd, at 4:59AM, It almost never felt real to see Minaj tweet a link to a dedicated website for a "***Flawless Remix". Leading up to the date there were rumours with some substantial evidence, and I did believe it. But, It wasn’t until I was finally looking at it with my own eyes and hearing it with my own ears that I realised that prior to that moment, there was always some doubt remaining.
Although I was extremely excited, I was nervous that it wouldn't be all I expected it to be, or that considering it was a remix that it would just feel a lessor collaboration. To my delight, the song wasn’t just a rehashed, cut and paste job in which Minaj inserted her verse into the existing "***Flawless" track. It felt like a different story with a different message. This wasn’t your typical remix, it was an alliance of two strong, black, powerful women making their presence known.
Into the second half of the track, Beyoncé summons Minaj over a “SpottieOttieDopaliscious” sample using her real name, “Onika”, which sent me into palpitation overdrive. As soon as this is heard you only know that Nicki is going to come through and ether her verse the only way “The Queen of Rap" knows how to, fierce and ferociously. Beyoncé mockingly touched upon Solange-gate, and started up a media frenzy without revealing or explaining anything, only the way Beyoncé can. And Minaj came through with a verse that rivals her career standout, “Monster”. The song set out to turn heads and make a stand, and that it certainly did.
*Hardest. review. ever. Please ignore comma splice and the uneasy writing style and accompanying flow. I had to keep talking about the song’s content to a minimum, as every time I started to write about content I would enter full Stan mode and just start writing inconsistently and really unprofessionally. At one point I even started to venture off into a SYG-esque **** your faves rant. 
*Doc's format
Reviews:
Sia - '1000 Forms of Fear' (Grade: D- | 1.6/10)
Drake - '0 to 100/ The Catch Up' (Grade: D+ | 3.3/10)
La Roux - 'Trouble in Paradise' (Grade: C- | 4.2/10)
Azealia Banks - 'Heavy Metal and Reflective' (Grade: D | 2.5/10)
Hilary Duff - 'Chasing The Sun' (Grade: F- | 0/10)
Nicki Minaj - 'Anaconda' (Grade: A- | 9.1/10)
Beyoncé + Nicki Minaj - '***Flawless Remix' (Grade: A | 10/10)
|
|
|
|
Member Since: 8/18/2013
Posts: 12,666
|
Y'all are so bias 
|
|
|
|
Member Since: 8/19/2013
Posts: 10,569
|
do yall really think ***Flawless was that great 
|
|
|
|
Member Since: 6/25/2012
Posts: 41,860
|
This is why this rate thread is never gonna work unless they stick to pitchfork artists 
|
|
|
|
Member Since: 12/4/2010
Posts: 37,894
|
Beyoncé f/ Nicki Minaj - “***Flawless (Remix)” At last. When Beyoncé dropped the remix to “***Flawless” in the dead of the Saturday night, the one word that kept flashing in my mind was ‘at last.’ As an avid fan of both artists, I have been fantasizing about this collaboration for years. Many doubted that it would ever happened, but that was tossed when rumors began leaking that the collab would soon be coming. Much hype surrounded this anticipated leak in the days before its release, and what we received on that Saturday night was far above what any hype could have generated. The song begins with the “***Flawless” instrumental stripped down, with Beyoncé delivering the same chants that laced Chimamanda Ngozi’s speech in the original track. It feels like mystique, it feels like anticipation, it feels like urgency, intensity. Then, it’s rap—surprisingly, it isn’t Nicki Minaj rapping, but rather the Queen Bey herself. She begins with a sultry, deep-voiced flow, gradually raising pitch and increasing melody through the verse. Although Beyoncé isn’t known for rapping, she has an extensive history of employing the art of rap-singing in her music, and it shines in this first verse. Laced with subtle but effective use of auto-tune, she sounds confident, cocky, and fearless while spitting punchlines after punchlines like the best of them. Then of course, Beyoncé drops the line of the year: “Of course sometimes sh*t go gown when it’s a billion dollars on a elevator.” Complete with a double-up in case you missed it, a loud cackle, and a good cash register sound effect, she punched out anyone and everyone who has wasted their time and energy on gossiping and speculating on her personal life and marriage. ka-ching!
The song continues with the entirety of “***Flawless”’ original lyrical content before entering a newly written bridge. Here, Beyoncé croons just as confidently as she rapped, echoing the sentiments of the original song (“I wake up looking this good”). Her vocals are smooth and lush on top of the new production, creating a perfect segue into the second half of the song. Producer Hit-Boy brings in trumpets sampled from rap group OutKast’s 1998 banger “SpottieOttieDopaliscious,” and again, I am reminded of the same feeling received in the song’s opening. It too feels like anticipation, urgency, and intensity. But this time around, it sounds like there’s something greater lurking in the midsts, seconds from being unleashed. And just like that, as if summoning her to rise before us, Beyoncé calls out Minaj’s given name and awakens the Monster. Minaj begins her verse with a biting flow, riding the stripped-down, almost nonexistent beat with the ease of a veteran. Minaj’s high is short-lived, however—Beyoncé suddenly stops Minaj in her tracks, delivering a few lines and finishing off with a resounding roar that would give Minaj’s Roman Zolanski alter ego a run for his money. Returning, Minaj switches up her flow, taking on a slower, more serious tone as she raps about preserving through the negativity that comes with living in the public eye. As it dawns on her that she’s on a track with one of her biggest idols, Minaj’s verse starts to pick up in intensity and jubilance, relishing in her flawlessness. Each punchline is spit more quickly than the previous. Still, Minaj somehow manages to meticulously maintain her sharp and precise enunciation, proving yet again why she is the best in the game. Just as the beat flips, she suddenly switches up her flow once again as she spills about this track’s background. She raps that “He want Monster Nicki in Sri Lanka,” but at this point, it’s almost certain that she has just eclipsed her legendary Kanye West feature. Minaj wraps up her verse, figuratively and literally dropping the mic and concluding the song.
It’s almost an impossible endeavor to attempt to seek words proper enough to describe “***Flawless (Remix).” When two immeasurable talents release such a highly anticipated collaboration out of the blue, the blindside leaves one too speechless to even find the right words. For fans of the two artists, this remix is really nothing short of a religious experience. Unlike her previous remixes of Beyoncé tracks, Minaj did not just simply record a verse and insert it into the fold, calling it a day. No, this was a real collaboration—a meeting of the minds. Beyoncé and Minaj take cues from each other in both their verses, at one point even weaving in and out of each other. The pair took the song’s most important and popular elements and transformed them into something that proudly stands separately from the original. The original track, one of the most popular on Beyoncé’s December self-titled album, was a fabulous feminist anthem for women of color that included an empowering speech by author Chimamanda Ngozi. This remix, however, transforms “***Flawless” into the ultimate 'f*ck-off-haters' anthem. Amid a seemingly never-ending series of false and invasive reports about her life, family, and marriage, Beyoncé uses “***Flawless (Remix)” to shut the noise down. She accepts her flaws, but chooses to redirect her focus towards her best qualities, informing her haters that “you can say what you want, [she’s] the sh*t.” The singer makes is clear, however, that she isn’t using this song to needlessly brag about herself. Singing “I’m the sh*t // I want everyone to feel like this,” she speaks directly to everyone experiencing negativity in life. Similarly to the original track, Beyoncé tells her listeners to disregard negativity and redirect attention to positivity instead. Minaj continues these positive sentiments in her verse, as she raps about rising above people determined to bring her down and praises her own most flawless attributes. Beyoncé and Minaj came together to create something truly special. “***Flawless (Remix)” not only has top-notch production and incredible reply value, but also has an empowering message. Needless to say, the Queen of Rap slayed with Queen Bey. As for the detractors? “If you ain’t on the team, you playin’ for Team D.” _Grade: A+
I didn't realize I wrote so much. 
|
|
|
|
Member Since: 2/29/2012
Posts: 17,071
|
Quote:
Originally posted by Dollas n Diamonds
This is why this rate thread is never gonna work unless they stick to pitchfork artists |
nn I think I'll just stick to submitting for my faves when it's negative to neutral because the inflation in here is real. I don't understand the appeal when the entire lot of the forum is used for that, but okay.
|
|
|
|
Member Since: 2/5/2014
Posts: 29,111
|
Beyoncé Featuring Nicki Minaj - Flawless Remix
__________________________________________________ _________________
Beyoncé remixed Flawless, the track with a thousand lives with Nicki Minaj. The original iteration of Flawless: Bow Down / I Been On, the internet buzz track released early last year, garnered a lot of negative press and criticism for being anti-feminist because Beyoncé assumed the role of Queen Bey, telling the lessors to Bow Down to her might and status. The criticism was unwarranted, the song was a powerful statement full of nuances that implied that it is ok for a hard-working woman to be on top (somebody has to be afterall) and came with the tacit challenge that any other girls could challenge Bey for the crown but were to bow down if they could not rise to the challenge.
Beyoncé’s surprise self-titled album gave a second life to the track, giving us an official version: ***Flawless (featuring Chimamanda Ngozi Adichie). The subtleties of Bow Down/I Been On were replaced by a heavy-handed excerpt from a TED talk on feminism given by Adichie that came across as Bey shaking the listener violently, saying: “this is what I was trying to say the first time, GET IT?!” The second portion of the song replaces the more interesting screwed down vocals of I Been On with the meme-ready, exaggerated statement of “I Woke Up Like Dis,” that also came across as insurance that ***Flawless would catch on with the internet and people who get distracted easily.
Enter the third iteration. The Flawless Remix featuring Nicki Minaj. This track begins with a rap from Yoncé sounding as unhinged as she ever has on record and is endlessly replayable just for the fun of hearing Yoncé rap; the rap is a nice call-back to the ***Flawless reference to the hip-hop rapping Girls Time (Bey’s original group that lost on Star Search to a group named Skeleton Crew) and further adds a layer to Yonce’s bragging, she won the game and can rap on a track now whenever she wants. However, while Yoncé has a great verse referencing the infamous elevator incident between herself, Solange, and Jay Z the rest of the track doesn’t gel together completely. For some reason, the line “my man make me feel so goddamn fine,” remains despite the rumored marital problems between America’s most famous couple, but even that line could be written off as Beyoncé sarcasm within the context of the track. Unfortunately, little else on the track can compare to the opening verse, Nicki comes in with a great verse, but is given a part of the track without much of a beat to ride. In the end, the track seems much longer than it is because of the endlessly meandering music after Nicki comes in. The new remix is more interesting on paper and discussion than to listen to; ironically though, the main flaw of the track is that it’s not the powerfully subtle Bow Down/I Been On.
__________________________________________________ _____________________
Grade: B
|
|
|
|
Member Since: 8/19/2013
Posts: 27,248
|
holyground: music in review 
7.5
"sexy, hard, insane"
highlight
"yo, like MJ doctor, they killing me
Propofol, I know they hope I fall"
| ***Flawless (feat. Nicki Minaj)
Beyoncé
I find it rather surprising that this song got remixed, whether is it for radio play or whatever. The original was supposed to be a sort of feminist preaching, possible stemming from when naysayers called her out on Bow Down/I Been On for being "degrading" towards women. To see that this song got reversed into Partition style was interesting. The song was completely flipped over into a brand new song instead of a remix.
First, we are greeted by an auto-tuned Bey. That was probably my least favourite thing. It might've sounded cool to some, but I thought it was kind of unnecessary. Then she goes into a Drunk In Love-like rap. Well, it is nice to see Bey showing this side of her more. After the original verse, there's a change in the instrumentation, and it's the best thing ever. The strings bring such an unprecedented grandeur that elevates the sex that drips throughout Bey's verse.
I like how Bey and Nicki share pretty much half the song each. Nicki starts off slow, with a threatening tone, with a deep sense of premonition. This was like a change from the blatant sexual nature of Bey's verse. And soon, Nicki goes out in full force, and once again it's like the best thing ever. The only thing I could complain is how the song ends, it was rather unsatisfying, like I was expecting more.
Overall, this was pleasant, despite it being off so many of my pre-conceptions. Heck with feminism, twerk is in! Heck with Chimamanda, Nicki is the bitch! 'Cause the Queen B said so.
|
previous reviews
archives
...
chasing the sun - hilary duff - 6.5
anything goes - tony bennett & lady gaga - 7.1
anaconda - nicki minaj - 5.9
pixie lott - pixie lott - tba
|
|
|
|
Member Since: 1/1/2014
Posts: 43,331
|
Quote:
Originally posted by Mrs. Aaron Paul
I'm probably one of the few people who have actually heard of Pixie Lott before listening to this album. I remember seeing the video for her song Mama Do a lot and I thought it was a cute song. But then I heard her song Broken Arrow in a movie trailer and I dont think I even saw that movie but I listened to that song over and over again for weeks. I sang it all the time. Its a beautiful song with lyrics that I really connected to, and still connect to. I checked out her other music, but I found most of it to be pretty standard, forgettable pop music. Her voice has personality (and not much in the way of technique though she sounds at least decent almost always and she's far from the only popstar with this problem nor is she the most offensive case of it) but she isnt a particularly charismatic mic presence to save less than stellar material. I didnt know she had an album out but I was sort of curious to see how she's progresed artistically since I lost track of her.
Nasty: i liked how the song started off, and its catchy and has a nice soul vibe. i usually dont like that thing artists do when they spell simple words out in their songs. thats not lyricism  The production is really good though. Very clean but also fun. Vocals are kinda messy as usual with her, but it works in a way i'm finding hard to explain. Good opener.
Lay Me Down: I really like the melody of this song, its an excellent pop/HAC song and it has a great hook. The vocals, however, are thin and a little grating. And again, nothing much to see here lyrically. We Found Love teas in the chorus tbh.
Break Up Song: I immediately was not feeling the instrumentation/production of this song. The lyrics of this song were a little too earnest for my taste, but for the first time on this album, they sounded genuine. Kind of reminded me of a drunk call. The melody is probably the weakest of the 3 so far- doesnt mean its terrible though- its not. The vocals on the bridge, while unpolished, sound really emotional and fit the pleading nature of the song.
Champion: This song's instrumentation has a throwback disco sounding vibe (RAM its impact is so underrated tbh). Were back to the very basics lyrically ('float me like a butterfly' 'fight for your fight, i'll be your champion'). But this song is just nice and fun to listen to. It reminds me a bit of something you might hear in a musical melodically. Not a song I'll be returning to, but I'd be lying if I said I'm not enjoying it while its on.
Kill A Man: This song seems decidedly 'angrier' than the others thus far. Vocals are okay, a bit flat sounding at parts. I really like the instrumentation of this song- especially the bridge is great. Its got energy without being a mess. The melody is solid if unspectacular. The soul influence that's present throughout this album is very present here.
Aint Got You: The vocals on the opening of this are beautiful and I kinda wish it were acapella because the artificial sounding synthy instrument kinda ruins that beautiful moment a it. The emotional quality works throughout the song. Lyrics are standard, with a couple of poignant lines and a whole lot of cliches. The instrumentation in the later part of the song picks up a lot and there is actually quite a gorgeous melody here. The choir took it a little too over the top cheesy, but I'm very happy with this song on the whole. Highlight thus far.
Heart Cry: This song is one of the more interesting ones melodically and instrumentally, but ultimately it doesnt really go anywhere for me. The whistles are annoying.
Ocean: This song is weird. It has a lot of nice little moments, but is overall kind of a mess. The title is ironic because her vocals sound like theyre drowning in an ocean on this song. Whoever mixed this did way too much on the poor sis.
Raise Up: I love the melody on this song. The vocals are great on the chorus, a little weak sounding on the verses. I love the instrumental- its prefect for the song and never overpowers Pixie on the mic while still having a crescendo. Lyrics are not good, but not the worst on the album, so that's something I guess- anyways I enjoy this song too much to care a lot, if I'm being honest. The vibe of it is great and it prefectly conveys its (very simple, uncomplicated, unoriginal) message very effectively
Bang: This song is very boring, and the parts that arent boring are bizzare. The bangbangbang part manages to be both, somehow, and the vocals are sub par
Leaving You: this song is pretty, and has pretty vocals. the vocals, like in break up song, are cheesy to the max but also sound genuine- thats aided by the vocal delivery which is both pretty and emotional. The chorus is pretty satisfying.
Cry and Smile: The acapella opening is a nice surprise, and pretty nice even if it would be better if the vocals were more on point. I think this is probably my favorite song on the album, lyrically. Not that the bar was sky high, but still. There's a nice melody here too, but I think it might be a little too close to the previous song in terms of vibe and that the album couldve been sequenced more effectively to let both shine. Because both are solid tracks.
[CENTER][B]Overall, this album is difficult to grade. I'm not really sure if I even liked it or not? Almost all songs had both good and bad parts. I dont think there are any standout amazing moments on this album but no song is devoid of redeeming qualities either. Overall, I think Pixie does a good job of keeping a cohesive sound while still mixing things up. The lyrics are on the whole very sub par. Vocals are hit or miss. Nothing on here is as good as Broken Arrow though, which I'll leave a link to because I think that song is underrated. Anyways, if you like pop and 'blue eyed soul' (i generally enjoy both of those, fyi) then its probably worth giving at least some of this album a listen, and you'll probably enjoy it too. But dont expect anything super memorable or brilliant.
Hightlights: Nasty, Aint Got You, Raise Up, Cry and Smile
Lowlights: Heart Cry, Bang, Ocean
GRAD |
You didn't give a score...
|
|
|
|
Member Since: 8/6/2012
Posts: 5,333
|
Quote:
Originally posted by Doc
Beyoncé f/ Nicki Minaj - “***Flawless (Remix)” At last. When Beyoncé dropped the remix to “***Flawless” in the dead of the Saturday night, the one word that kept flashing in my mind was ‘at last.’ As an avid fan of both artists, I have been fantasizing about this collaboration for years. Many doubted that it would ever happened, but that was tossed when rumors began leaking that the collab would soon be coming. Much hype surrounded this anticipated leak in the days before its release, and what we received on that Saturday night was far above what any hype could have generated. The song begins with the “***Flawless” instrumental stripped down, with Beyoncé delivering the same chants that laced Chimamanda Ngozi’s speech in the original track. It feels like mystique, it feels like anticipation, it feels like urgency, intensity. Then, it’s rap—surprisingly, it isn’t Nicki Minaj rapping, but rather the Queen Bey herself. She begins with a sultry, deep-voiced flow, gradually raising pitch and increasing melody through the verse. Although Beyoncé isn’t known for rapping, she has an extensive history of employing the art of rap-singing in her music, and it shines in this first verse. Laced with subtle but effective use of auto-tune, she sounds confident, cocky, and fearless while spitting punchlines after punchlines like the best of them. Then of course, Beyoncé drops the line of the year: “Of course sometimes sh*t go gown when it’s a billion dollars on a elevator.” Complete with a double-up in case you missed it, a loud cackle, and a good cash register sound effect, she punched out anyone and everyone who has wasted their time and energy on gossiping and speculating on her personal life and marriage. ka-ching!
The song continues with the entirety of “***Flawless”’ original lyrical content before entering a newly written bridge. Here, Beyoncé croons just as confidently as she rapped, echoing the sentiments of the original song (“I wake up looking this good”). Her vocals are smooth and lush on top of the new production, creating a perfect segue into the second half of the song. Producer Hit-Boy brings in trumpets sampled from rap group OutKast’s 1998 banger “SpottieOttieDopaliscious,” and again, I am reminded of the same feeling received in the song’s opening. It too feels like anticipation, urgency, and intensity. But this time around, it sounds like there’s something greater lurking in the midsts, seconds from being unleashed. And just like that, as if summoning her to rise before us, Beyoncé calls out Minaj’s given name and awakens the Monster. Minaj begins her verse with a biting flow, riding the stripped-down, almost nonexistent beat with the ease of a veteran. Minaj’s high is short-lived, however—Beyoncé suddenly stops Minaj in her tracks, delivering a few lines and finishing off with a resounding roar that would give Minaj’s Roman Zolanski alter ego a run for his money. Returning, Minaj switches up her flow, taking on a slower, more serious tone as she raps about preserving through the negativity that comes with living in the public eye. As it dawns on her that she’s on a track with one of her biggest idols, Minaj’s verse starts to pick up in intensity and jubilance, relishing in her flawlessness. Each punchline is spit more quickly than the previous. Still, Minaj somehow manages to meticulously maintain her sharp and precise enunciation, proving yet again why she is the best in the game. Just as the beat flips, she suddenly switches up her flow once again as she spills about this track’s background. She raps that “He want Monster Nicki in Sri Lanka,” but at this point, it’s almost certain that she has just eclipsed her legendary Kanye West feature. Minaj wraps up her verse, figuratively and literally dropping the mic and concluding the song.
It’s almost an impossible endeavor to attempt to seek words proper enough to describe “***Flawless (Remix).” When two immeasurable talents release such a highly anticipated collaboration out of the blue, the blindside leaves one too speechless to even find the right words. For fans of the two artists, this remix is really nothing short of a religious experience. Unlike her previous remixes of Beyoncé tracks, Minaj did not just simply record a verse and insert it into the fold, calling it a day. No, this was a real collaboration—a meeting of the minds. Beyoncé and Minaj take cues from each other in both their verses, at one point even weaving in and out of each other. The pair took the song’s most important and popular elements and transformed them into something that proudly stands separately from the original. The original track, one of the most popular on Beyoncé’s December self-titled album, was a fabulous feminist anthem for women of color that included an empowering speech by author Chimamanda Ngozi. This remix, however, transforms “***Flawless” into the ultimate 'f*ck-off-haters' anthem. Amid a seemingly never-ending series of false and invasive reports about her life, family, and marriage, Beyoncé uses “***Flawless (Remix)” to shut the noise down. She accepts her flaws, but chooses to redirect her focus towards her best qualities, informing her haters that “you can say what you want, [she’s] the sh*t.” The singer makes is clear, however, that she isn’t using this song to needlessly brag about herself. Singing “I’m the sh*t // I want everyone to feel like this,” she speaks directly to everyone experiencing negativity in life. Similarly to the original track, Beyoncé tells her listeners to disregard negativity and redirect attention to positivity instead. Minaj continues these positive sentiments in her verse, as she raps about rising above people determined to bring her down and praises her own most flawless attributes. Beyoncé and Minaj came together to create something truly special. “***Flawless (Remix)” not only has top-notch production and incredible reply value, but also has an empowering message. Needless to say, the Queen of Rap slayed with Queen Bey. As for the detractors? “If you ain’t on the team, you playin’ for Team D.” _Grade: A+
I didn't realize I wrote so much. |
Yes Doc, come through a bit. 
|
|
|
|
Member Since: 5/16/2012
Posts: 12,486
|
Quote:
Originally posted by tigerlily13
Y'all are so bias |
As long as users can articulate why they love the song instead of just saying "it is my fave" and "my fave is perfect", I don't see a problem. We all love certain artists due to the music they create so obviously the artists you like are going to get higher scores. And we all know stans will be quick to check their fave if they don't like a song by them. 
|
|
|
|
Member Since: 3/25/2012
Posts: 10,076
|
These scores  ATRL is not capable of giving objective reviews and this concept is a flop.
|
|
|
|
Member Since: 8/6/2012
Posts: 5,333
|
Quote:
Originally posted by Starburst
These scores ATRL is not capable of giving objective reviews and this concept is a flop. |
Explain. This concept is great and it has been a huge success so far...
|
|
|
|
|
|
