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Nicki Minaj – The Pinkprint album review

Since bursting onto the hip-hop scene in 2010 with her debut album Pink Friday, Nicki Minaj has quickly established herself as the leading female rap artist in the industry. In 2012 Minaj released her second album Pink Friday: Roman Reloaded, which established her as a bona fide global superstar in part thanks to the huge success of Starships. Following a series of delays, Minaj finally unleashed her third album The Pinkprint just before Christmas off the back of lead single Anaconda.

Fans of Minaj often donā€™t know what to expect when it comes to the rapperā€™s albums. 2010 debut Pink Friday was commercial hip-hop and 2012ā€™s Pink Friday: Roman Reloaded was a mix of chart-friendly EDM and harder hip-hop beats. The Pinkprintā€™s first single was the surprisingly mellow Pills & Potions and showed off a softer side of Minajā€™s talents. The track didnā€™t really set the charts alight so the rapper followed it up with the commercial Anaconda, the music video to which caused plenty of controversy and made sure Minaj hit all of the headlines. The track couldnā€™t have been more different than Pills & Potions, incorporating a sample of Baby Got Back and praising the virtues of having junk in your trunk.

Based on The Pinkprintā€™s first two singles youā€™d be forgiven for not having a clue what direction Minaj is taking you in. If youā€™re more a fan of Anaconda than Pills & Potions youā€™ll be disappointed as The Pinkprint mostly stays away from radio-friendly, chart-assured smashes and instead is a surprisingly emotional record that shows Minajā€™s vulnerability as well as showcases her strengths. The record opens with All Things Go, one of the albumā€™s harder hip-hop moments as Minaj reflects on her life and the increasingly speedy passing of time. The pace doesnā€™t pick up much further than that for the next few tracks with standout I Lied featuring falsetto-inflected emotive vocals from Minaj.

Some of the albumā€™s finest moments come when Minaj chooses collaborators that bring out the best in her rather than try to shine more than she does. Ariana Grandeā€™s powerful vocals provide a solid chorus for the sexual Get On Your Knees and Beyonce packs plenty of attitude in for her parts on Feeling Myself complementing Minajā€™s tight raps.

Elsewhere on the album The Crying Game, featuring uncredited vocals from Jessie Ware is a beat-laden gem that could easily be a future single, Only sees Minaj trading expletive-ridden rhymes with Lilā€™ Wayne and soulful vocals from Chris Brown, and album closer Grand Piano finds Minaj reverting back to singing and itā€™s a beautiful ending to the record.

At 16 tracks The Pinkprint is a little longer than it needs to be and there are a few tracks weā€™d happily have left on the cutting room floor. Trini Dem Girls featuring Lunchmoney Lewis falls on the wrong side of annoying and The Night Is Still Young, whilst a decent enough song, doesnā€™t really fit with the overall sound of the record.

The Pinkprint is a stronger and more cohesive album than Pink Friday: Roman Reloaded. The overall sound flows better and itā€™s actually the moments that Minaj steps away from the bravado that shine the brightest. Thereā€™s an emotion and honesty in this record that we havenā€™t heard from Minaj before and weā€™re hoping she continues to explore this direction. The Pinkprint takes her away from the cartoon version of herself that her previous album created and re-establishes herself as a serious and important part of modern hip-hop music.

Pip Ellwood-Hughes
Pip Ellwood-Hughes
Pip is the owner and Editor of Entertainment Focus, and the Managing Director of PiƱata Media. With over 19 years of journalism experience, Pip has interviewed some of the biggest stars in the entertainment world. He is also a qualified digital marketing expert with over 20 years of experience.

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