Can't Be Tamed

| Miley Cyrus

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54.5%
  • Reviews Counted:11

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Can't Be Tamed

Can't Be Tamed is the third studio album by American singer Miley Cyrus. It was released on June 18, 2010, by Hollywood Records; it would become her final album with the label after signing with RCA Records in 2013. Cyrus wrote the project in 2009, while traveling internationally for her Wonder World Tour, and recorded it in 2010. Described by Cyrus as a "good [record] to blast in your car" Wikipedia

Critic Reviews

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  • Rolling Stone

    Four years into her career, Miley Cyrus is, like other bubblegum idols before her, getting cranky about her image. Cyrus’ 17-year-old ire — however genuine it is — just adds spice 

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  • The Guardian

    Can't Be Tamed launches Cyrus's new, raunchier image. 

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  • Common Sense Media

    Goodbye, Hannah Montana; too edgy for Miley's youngest fans.  

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  • Sputnik

    Can’t Be Tamed manages to hold its own and send Miley one step closer to creating her own unique musical identity.  

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  • UPROXX

    Cyrus has said she”s walking away from music for awhile. With “Can”t Be Tamed” she”s left us a set that will tide us over while she”s gone, but won”t make us pine for her return. 

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  • All Music

    She’s taken another step away from Hannah here, but there should be room for fun even in more adult musical territory. 

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  • Pop Matters

    When you get right down to it, not only is Can't Be Tamed a confused statement of a record, but it's a pretty boring listen as well - 

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  • Telegraph (UK)

    Cheesy teen melodies creep into Miley Cyrus's Can’t Be Tamed. 

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  • American Noise

    Can’t Be Tamed won’t set Miley Cyrus free any more than it will entice her rapidly aging fan base. Stranded in between, she’ll have to find some other avenue to demonstrate her maturity—just keep her away from hair clippers. 

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  • Digital Spy

    It's hard not to nod fondly and think, 'Oh she's just being Miley'. 

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  • Billboard

    Cyrus seems checked out of her vocal performances, singing with neither the tween-queen enthusiasm of her "Hannah Montana" material nor the confrontational energy of 2008's "Breakout." The lone exception is a delightfully campy robo-country cover of Poison's "Every Rose Has Its Thorn."  

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