Pink Friday

~ Release group by Nicki Minaj

Album

Release Format Tracks Date Country Label Catalog# Barcode
Official
Pink Friday CD 17 Cash Money Records, Universal Motown (for Motown releases between 2005-2011 only) B001502102
Pink Friday CD 13 Cash Money Records, Universal Motown (for Motown releases between 2005-2011 only) B001502102 602527541846
Pink Friday Digital Media 16 Cash Money Records [none]
Pink Friday Digital Media 13 Cash Money Records [none]
Pink Friday CD 13 Cash Money Records 00602527541846 602527541846
Pink Friday CD 13 Cash Money Records B0015021-02 602527541846
Pink Friday (Deluxe Edition) CD 16 Cash Money Records B0015124-02 602527573038
Pink Friday (Best Buy Deluxe edition) CD 18 Cash Money Records B0015133-02 602527577364
Pink Friday (iTunes Deluxe edition) Digital Media 17 Cash Money Records
Pink Friday CD 16 Cash Money Records, Universal Motown (for Motown releases between 2005-2011 only) B0015124-02 IN02
Pink Friday CD 13 Cash Money Records, Universal Motown (for Motown releases between 2005-2011 only), Young Money Entertainment 2754184 602527541846
Pink Friday 2×12" Vinyl 7 + 6 Cash Money Records, Universal Motown (for Motown releases between 2005-2011 only), Young Money Entertainment B0015021-01 602527595030
Pink Friday (Deluxe Edition) CD 18 Cash Money Records, Universal Motown (for Motown releases between 2005-2011 only), Young Money Entertainment 00602527577364 602527577364
Pink Friday Digital Media 19
Pink Friday CD 13 Cash Money Records, Universal Motown (for Motown releases between 2005-2011 only) STARCD 7537 602527749716
Pink Friday CD 15 Cash Money Records, Universal Motown (for Motown releases between 2005-2011 only), Young Money Entertainment 00602527675602 602527675602
Pink Friday CD 20 Cash Money Records, Universal Motown (for Motown releases between 2005-2011 only) UICT1060 4988005644602
Pink Friday (Super Bass edition) CD 15 Cash Money Records 2774971 602527749716
Pink Friday CD 13 Cash Money Records 9787888800151
Pink Friday (Deluxe Edition) CD 16 Cash Money Records, Universal Motown (for Motown releases between 2005-2011 only), Young Money Entertainment 276 476-9 602527647692

Relationships

artist & repertoire support: Joshua Berkman
Allmusic: http://www.allmusic.com/album/mw0002030741 [info]
Discogs: https://www.discogs.com/master/295002 [info]
Wikidata: Q129684 [info]
reviews: http://www.bbc.co.uk/music/reviews/vd8r [info]

CritiqueBrainz Reviews

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Most Recent

It's been a while since hip hop, the planet's most testosterone-charged genre, had a female mouthpiece to truly mix it with the boys. Enter Nicki Minaj, five-foot-not-a-lot of Trinidadian-born, New York City-raised dynamite. Her debut album certainly explodes with requisite vitality too, even if a significant proportion of 13 potty-mouthed tracks fail to completely combust.

Replete with day-glo hair and cartoonish alter egos, Minaj employs mildly terrifying upfront sexuality last seen when Lil' Kim and Foxy Brown began trading catty pot shots in the late 1990s. Yet the rub leading up to this record was her major label paymasters would in some way desexualise Minaj's fearsome mix of potty-mouthed sass and fearless musical rulebook tearing.

The sceptics are made to look foolish on evidence of early loonfest Roman's Revenge, a schizophrenic alternate personality face-off with Eminem, she declaring loudly "I'm a c***", Slim Shady turning in his most vicious rhymes for many moons. It's a potent combination, a bass music-led match made possibly closer to hell than heaven. And Minaj is hardly holding back on the subsequent Did It on 'Em, threatening to - metaphorically or otherwise - defecate on all comers.

It's a frenetic start, but the pace doesn't last, handing naysayers an opportunity to point out where the label's artistic direction may come into play, setting eyes on the charts rather than breaking new ground. Fly, featuring Rihanna, and Right Thru Me are the first moments where a sensation of wasted opportunity begins to nag.

Several novelty crossover attempts are slightly excruciating (see Check It Out re-appropriating Buggles' one-hit-wonder Video Killed the Radio Star), Kanye West sleepwalks through Blazin' and Natasha Bedingfield is an incongruous name aiding closer Last Chance. But doubts are erased in the face of such self-aware diatribes as Dear Old Nicki, lyrics like "In hindsight, I loved your rawness and I loved your edge" approaching a missive to herself from the future.

Pink Friday isn't a classic by any means, then, but when Nicki Minaj is on fire nobody in hip hop - male or female - can extinguish her bright-burning talents.