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With such a gratifying front end, it's easy to dismiss Roman Reloaded's subsequent pop tracks as a paying of the piper
While Roman Reloaded may be scatterbrained and uneven, it nevertheless shows Minaj putting her money where her mouth is.
If there was ever an album so utterly representative of current mainstream music trends and an aptitude for nailing itself into the heart of radio playlists, it’s Roman Reloaded.
As it stands it’s an intermittently great, but ultimately scattershot effort that’s undermined by its efforts to please everyone.
In her quest to avoid becoming just another female rapper, she inadvertently settles for being just another pop star.
Roman Reloaded feels more satisfying than Pink Friday by some distance: it’s not a classic album, but its contents implicitly argue that the concept of a “classic album” has become irrelevant in 2012 anyway.
With so many duffers, you have to wonder why the album is 19 tracks long
Pink Friday: Roman’s Revenge isn’t bad because of Minaj’s cross-dressing it is bad because she often tries on some very banal, characterless outfits.
If Pink Friday’s main fault was that it tried to tick too many boxes, then Pink Friday: Roman Reloaded repeats that mistake and then some.
Minaj forgot who she was, odd and proud, in the journey to be not only something she’s not (a stereotypical pop songstress), but something she’s far more interesting than.
If Nicki Minaj were Tracy McGrady, this would be the point in her career where her back gives out and she unceremoniously fades from the highlight reels and marque.
