Reception
The song received mixed reviews from critics. PopMatters described it as "dripping with sexual energy and cool" and is "sexy as hell, but contains a pretty unmistakable edge of hostility, macho swagger, and thunderous chest thumping." Entertainment Weekly wrote that it was an "appealing throwaway single" and lyrics such as "after you work up a sweat, you can play with the stick" are not seductions; "they're orders". MusicOMH wrote that the chemistry between 50 Cent and Olivia "is almost as explicit as the lyrics ... the bass line is made for grinding to". Author Ethan Brown, in a review of The Massacre, called the track "uninspiring" and "nearly identical" to his previous collaboration with Lil' Kim on "Magic Stick". He stated that 50 Cent seemed too content with his "hypersexual image" among other things and "not inspired enough to work beyond the same old attention-getting schemes." Pitchfork Media listed "Candy Shop" as a reprise of "Magic Stick" both "in beats and in timbre", and Stylus magazine said it was "more of the same" as his previous collaboration. Billboard wrote that 50 Cent "shows little growth lyrically" with the song being "typical playa-friendly fodder". The song was nominated at the 2006 Grammy Awards for Best Rap Song, but lost to Kanye West's "Diamonds from Sierra Leone".
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Famous quotes containing the word reception:
“I gave a speech in Omaha. After the speech I went to a reception elsewhere in town. A sweet old lady came up to me, put her gloved hand in mine, and said, “I hear you spoke here tonight.” “Oh, it was nothing,” I replied modestly. “Yes,” the little old lady nodded, “that’s what I heard.””
—Gerald R. Ford (b. 1913)
“Aesthetic emotion puts man in a state favorable to the reception of erotic emotion.... Art is the accomplice of love. Take love away and there is no longer art.”
—Rémy De Gourmont (1858–1915)
“To the United States the Third World often takes the form of a black woman who has been made pregnant in a moment of passion and who shows up one day in the reception room on the forty-ninth floor threatening to make a scene. The lawyers pay the woman off; sometimes uniformed guards accompany her to the elevators.”
—Lewis H. Lapham (b. 1935)