Avril Lavigne - Love Sux [Review]

Love Sux is Canadian pop-rock musician Avril Lavigne's seventh studio album, a highly anticipated album by many for a couple of reasons. Not only did it simply feel time for a new album since it had been three years since Lavigne's sixth album Head Above Water, but Love Sux is a return to form for the singer. Ahead of the album being announced, Lavigne collaborated on a couple of singles with WILLOW and Travis Barker ("G R O W") and her current boyfriend MOD SUN ("Flames"), and both songs (whether intentionally or unintentionally, I don't know) served as precursors for what was to come on Love Sux. Much like her 2007 third studio album The Best Damn Thing, Love Sux is an album fueled by pop punk reminiscent of the likes of Simple Plan, blink-182, Sum 41, etc., and the album doesn't waste any time getting into that vibe, opening with the loud, heavy, and high energy punk rock number "Cannonball." "Cannonball" opens with the staticky sound of instruments plugging in, making it such a great way to open the album as that definitely sets the overall tone of the album. "Like a ticking time bomb, I'm about to explode!" Avril shouts after the instruments kick off. The chorus is a soaring, catchy melody that is sure to get stuck in your head after a couple of listens. I am not going to spend a whole lot of time addressing the lyrical meanings behind most of the songs on the album because many of the songs have a similar (if not the same) lyrical theme, and that is another way that "Cannonball" sets the mood for the album. Lavigne has stated that the song is "about being a fierce bitch," but, as is the case with most of the songs on the album, it addresses a bad breakup and how the speaker feels free and happier now that it's over: "You did me dirty," she aggressively proclaims in the first verse. "Now, I'm gonna live a life without you... and I'll be happy if we never speak again." (Like I said, that pretty much sums up the entire theme of nearly the entire album.) I like the melody of "Bois Lie" (the spelling of which is likely intended to be a reference to Lavigne's very early hit single "Sk8er Boi"), but I am not a huge fan of Machine Gun Kelly so don't love his being featured on it. One thing that does thematically stand out with "Bois Lie," however, is that it's not one-sided. Despite the title, MGK argues that "girls lie too," so we sort of get both perspectives of the failed relationship.

"Bite Me" is the album's lead single and is definitely one of my favorite songs on the album. It's so catchy, and I especially love Lavigne's "eh-oh" at the beginning of the chorus because something about it takes me back to old school Avril from Let Go and Under My Skin. It's such a fun song that, like I said, as is the case with most of the album's material, is about feeling free and empowered after the end of a bad relationship: "Should've held on, should've treated me right," the chorus advises. "I gave you one chance; you don't get it twice." (She also released an acoustic version which even got its own separate music video.) We then get the album's second single, "Love It When You Hate Me," a collaboration with alternative hip hop artist blackbear who solely commands the second verse. Avril has described the song as being "about ignoring all the warning signs and doing something knowing, full well, you shouldn't." With that in mind, I would argue that it's more specifically about the consequences of having jumped into bed with someone whom you knew wasn't right for you. While I am not spending a whole lot of time discussing the sonic elements of the music (the reason behind which I will explain shortly), I will say that there is a part in "Love It When You Hate Me" that reminds me a great deal of "Runaway" from The Best Damn Thing. Here in "Love It When You Hate Me," Avril's voice melodically soars in the pre-chorus, "...and I ignore all the warning signs...," and in "Runaway," she sings (interestingly, also in the pre-chorus), "...and I feel so alive..." The melody between these two parts is nearly identical, and they even both start with the same two words. Given that both songs (albeit in different ways) thematically address being impulsive, it's not a stretch to imagine that it might be an intentional callback to that song. As one would expect given that it's the title track, "Love Sux" (which sonically reminds me a bit of Under My Skin's "He Wasn't") is such a great representation of the album's overall story: "Na-na-na, not another breakup. When I think of you, I just wanna throw up." "Kiss Me Like the World Is Ending" is another one worth mentioning because, despite the title of the album, it addresses love from a more positive perspective. Written with and about her boyfriend MOD SUN, it is a lovey-dovey number about getting swept away in the honeymoon era of a relationship: "The stars shine for the two of us... so sweet and mysterious." 

"Avalanche" is another highlight, mainly because it's the first of only two occasions on the album that veers a bit away from the raw punk sound heard throughout most of the album which is exactly why, as previously stated, I am not spending a lot of time in this review discussing the sound of each song. Doing so would quickly get redundant because, as is one of my minor complaints with the album, it's a bit monotonous sonically. Although I have found this to frequently be the case with pop punk albums, The Best Damn Thing does at least offer up a lot more variety with tracks like "When You're Gone," "Innocence," and "Keep Holding On." Although a band eventually joins in, "Avalanche" begins on an acoustic note reminding me a bit of Head Above Water's "Goddess." I love the melody of the chorus, and I also love that it's one of the few spots on the album that doesn't address a relationship. It is instead about admitting that you're not okay emotionally, making it the one song on the album to which I most relate. I also really enjoy the guitar riff that fuels the chorus of "Deja Vu," and other highlights include "All I Wanted" (if for no other reason than that it features Mark Hoppus on guest vocals, an absolutely iconic name in the world of punk rock) and "Dare to Love Me" (the album's only soft ballad driven primarily by piano and orchestra). The album then closes on an upbeat note with "Break of a Heartache," perhaps (especially because of its speed) the most punk rock that the album gets. It's somewhat of a historical move for Lavigne because this is the first time that an album of hers doesn't end with a soft ballad. I overall have complex feelings about Love Sux. I am so happy to see and hear this return to form and there are some great gems on it, but one of the reasons why I love her 2013 self-titled album as much as I do is because of the variety on it, whereas, as previously stated, Love Sux gets a bit monotonous after a few tracks. The chorus of "Deja Vu" says it best: "It's the same thing over and over again." A close friend also pointed out that he felt that the equalization is off on certain tracks, and I went back and listened specifically for that and found myself agreeing; on the first three tracks especially, I am not sure if her vocals are loud enough, and on "Dare to Love Me," her voice seems to suddenly get a bit louder once the second verse begins. I think that, overall, this might be my least favorite Avril Lavigne album so far, but like I said, I am also thrilled about the return to form.

Avril Lavigne - Head Above Water [Review]

Head Above Water is pop rock musician Avril Lavigne's sixth studio album and her first album in over five years (her last one being her self-titled album), the delay most likely due to the singer and songwriter's battle with Lyme disease. Lavigne, who is best known for hits such as "Complicated," "Sk8er Boi," "My Happy Ending," "Girlfriend," etc., made a comeback in September of last year with the album's title track and then eventually followed that up with two more singles - "Tell Me It's Over" and "Dumb Blonde" (all three of which I reviewed here). The album is overall a rather mellow and acoustic effort a bit reminiscent of Lavigne's 2011 album Goodbye Lullaby, and as I predicted would probably be the case, "Dumb Blonde" is very much the "What the Hell" or the "Hello Kitty" of this album - sticking out like a sore thumb and not fitting the album's overall sound at all. Following the title track (which both opens the album and, on the Japanese edition, closes it with a version featuring backing vocals by Travis Clark - who also co-wrote the song) on Head Above Water is "Birdie,"definitely a highlight on the album. If there is one compliment that I have to offer this album, it's that it probably showcases Lavigne's best vocals of her career thus far, and "Birdie" is a prime example of that, as she shows off a rather impressive vocal range on this song and soars and trills on the chorus. (Her vocals are, in fact, very birdlike, which is probably not coincidental.) The song opens with a beautiful piano introduction and is overall carried by a light beat and electronic quavering production. The lyrics, which use the analogy of a caged bird flying free as it's meant to, speak of breaking free from a situation (probably a relationship) that feels like imprisonment: "Like a bird locked up in a cage called love, he clipped her wings when she was born to fly. He said, 'A pretty bird, you can't sing, but I buy you diamonds and ruby rings like a bird locked up in a cage.'" While I cannot substantiate this, the song could be about Lavigne's ex husband Chad Kroeger (frontman of alternative rock band Nickelback) with whom Lavigne had previously collaborated on "Let Me Go," since the two split several years ago. The reasons for the split have not, as far as I know, been revealed in detail, so, as I said, I cannot substantiate that.

"I Fell in Love with the Devil" is another song that was potentially inspired by Kroeger (as is "Tell Me It's Over," although, again, I say potentially because I do not know that for sure). While not necessarily a highlight, I love the verses of the song as they feature a beautiful and haunting melody that reminds me a bit of the melody of "Give You What You Like" (which is possibly my favorite song of Avril's entire career thus far). As previously mentioned, "Dumb Blonde" (which features a verse from rapper Nicki Minaj) sticks out on Head Above Water as it does not belong stylistically. I have already reviewed it, but I would like to add that a solo version of the song is found on physical copies - such as CDs and vinyls - of the album, something that I immediately noticed upon first listening to my CD copy. Instead of Nicki Minaj's verse, Lavigne offers a playful Gwen Stefani like verse of her own: "If you're a strong bitch, then bring it on, bitch. Then, sing along if you don't take no shit. When it gets fucked up, don't ever shut up. You gotta stand up and fight for it." I definitely prefer Lavigne's verse to Nicki Minaj's verse, especially since Nicki Minaj's verse kind of temporarily steals the spotlight away from Lavigne by rapping mostly about herself and making reference to her own works such as her song "No Frauds" and her album The Pinkprint. The middle section of the album - containing tracks such as "Dumb Blonde," "It Was in Me," "Souvenir," and "Crush" - is by far the weakest segment of the album (with "Souvenir" and Crush" especially being throwaway tracks in my opinion), with the beginning and the ending of the album being the strongest segments. I felt really disappointed upon initially hearing the song "Goddess" because when I first saw the album's tracklisting, I saw the title "Goddess" and expected the song to be about Lavigne's strength in having overcome struggles such as her Lyme disease and her split from her husband, but it really is not; it's an acoustic lovey-dovey pop song about feeling appreciated by a lover. The opening verse ("Dark times, hard times, I didn't know who I was for a minute.") likely makes reference to such aforementioned struggles, but that is it. I do like the playful and catchy chorus, but I just overall feel really let down by its cliché lyrical content.

"Bigger Wow" and "Love Me Insane" are two of my favorite songs from Head Above Water. "Bigger Wow" is thematically very similar to one of my favorite Avril Lavigne songs - "Anything but Ordinary" (found on her 2002 debut album Let Go) - as both songs are lyrically about taking risks and wanting to experience life to the fullest. My favorite aspect of "Bigger Wow," aside from the catchy chorus, is the playful and quirky strings, somewhat similar to what is heard on "Love Me Insane." I, in fact, love that the two songs are back to back on the album because they both put the same image in my mind - looking down at the world from a colorful hot-air balloon on a sunny summer day with a few tufts of fluffy clouds in the blue sky. (I don't really know how to explain why this is the image that the songs evoke, but it is.) "Love Me Insane," as the title would suggest, is another lovey-dovey song, but I love its charming and quirky nature - especially its piano accompaniment. The album closes with "Warrior" (co-written, oddly enough, with Kroeger), basically the song that I expected "Goddess" to be. It's a piano ballad about overcoming strife due to being strong. The title track and "Warrior" seem to be the only two songs on Head Above Water that deal directly with Lavigne's struggle with Lyme disease, which is disappointing to me because I expected the album to be more of a thematic work (similar, I suppose, to how nearly 100% of Björk's 2015 album Vulnicura literally chronicles her separation from her longtime partner Matthew Barney and the aftermath of the split). Most of the album, however, is comprised of love songs that seem to be about a new lover. A demo version of "Warrior" leaked, and it is, in my opinion, significantly better than the album version. More experimental and theatrical with a tribal beat and choir, I cannot imagine how Lavigne could have possibly seen the much more basic album version as an improvement. Several other outtakes - such as "In Touch" and "I Want What I Want" - also leaked, and most of the unreleased outtakes are more interesting than most of what the album actually offers, and I am overall disappointed with Head Above Water. While, as previously stated, the vocals are undeniably great, most of the songs themselves lack the inspiration and creativity that I have come to expect from Lavigne, and this is unfortunately my least favorite album of hers thus far.

Avril Lavigne - Head Above Water - Single / Tell Me It's Over - Single / Dumb Blonde - Single [Review]

Due primarily to personal strife such as a prolonged battle with Lyme disease and divorce from Nickelback frontman Chad Kroeger, French Canadian pop-rock musician Avril Lavigne took an extended break from releasing music, going six years without releasing an album (her most recent being the self-titled album of 2013) and three years without releasing a single (her most recent being the standalone single "Fly" of 2015). September of last year, however, saw Lavigne finally making a comeback with the emotional power ballad "Head Above Water" (the title track of her upcoming sixth studio album), a song that combines elements of pop, rock, country, and gospel and is lush with piano and strings. The song is written about the singer's aforementioned battle with Lyme disease (definitely making it one of the most personal songs that she has released to date, its reflective nature reminding me a great deal of Andrew McMahon's "The Resolution"), asking God to keep her alive: "God, keep my head above water," she pleads. "I lose my breath at the bottom. Come rescue me; I'll be waiting. I'm too young to fall asleep." The part about being too young to fall asleep is the most impactful line of the song in my opinion and really drives home how scary and life-threatening that the disease can be. Although "Head Above Water" offers some of Lavigne's most powerful and impressive vocals to date (something that I immediately recognized upon first listen), I was initially quite disappointed when I first heard the song back in September. I felt that the melody was weak and rather flat, never really going anywhere interesting, and I also did not like the religious references, as the song is really more of a gospel song than it is a secular one, hearkening back to Lavigne's very early days when she recorded songs like "Temple of Life." Ever since releasing her debut album Let Go in 2002, Lavigne has asserted herself as a rebel in more ways than one, so I initially found (and, to an extent, still do find) the fact that she was hitting Contemporary Christian charts to be a bit jarring. I am not Christian myself and therefore find the song difficult to relate to, but I have warmed up to its powerful message of hope, and I have come to love the melody. It's far from being Lavigne's best work to date, but I appreciate it much more than I did upon first listen.

Unlike the title track, the second single released from Head Above Water, titled "Tell Me It's Over," really did not take much time to grow on me, as I pretty much liked it upon first listen. The lyrics of "Tell Me It's Over" aren't as meaningful as those of "Head Above Water," as the song is ultimately just about a failing relationship nearing its end (probably written about her divorce from Chad Kroeger); Avril wants closure, pleading for her lover to "tell me it's over if it's really over." Despite the lyrics being relatively average (I mean, not only is the music industry inundated with breakup songs, but Avril's catalogue itself is - with songs such as "Together," "My Happy Ending," "I Can Do Better," "Everything Back but You," "Goodbye," and "Let Me Go" serving as just a few examples.), I still prefer "Tell Me It's Over" to "Head Above Water" because I, overall, find the melody to be more interesting, and I love the beat heard in the verses - a slow and waltzy beat reminiscent of vintage country and rock & roll from the '60s. (The country flavor found here on "Tell Me It's Over" reminds me of classic and vintage country like Dolly Parton, Skeeter Davis, and the vintage sound heard throughout much of She & Him's material.) Although the music video is not as visually impressive as "Head Above Water" (which was filmed on a coast of Iceland) is, I do love how colorful that it is, such as the colorful glows of the bedroom that change from magenta, to yellow, to blue (probably representing the different stages of the relationship seen throughout the video) and the bright sky blue of Avril's shirt as she sits at the piano outdoors. I really only have two issues with the music video - (a) some of the footage is replayed on a loop and (b) perhaps taking a page from Lana Del Rey's book (see here for an example), Avril is often barely moving her mouth as she lip syncs the lyrics, making it entirely unbelievable that she is actually singing (which, of course, we know that she isn't, but a music video should offer that illusion at least).

The third (and, thus far, final) single released from Head Above Water is titled "Dumb Blonde" and is a collaboration with rapper Nicki Minaj. "Dumb Blonde" serves as a perfect example of why you should never judge an album by its lead single, seeing as how this song couldn't be any more different from "Head Above Water." The song begins with an aggressive marching band beat and Nicki Minaj saying "young money" (a shout-out to Nicki Minaj's record label, which, although sort of one of Nicki's signature marks, is awkward and out of place here given that this is an Avril Lavigne track, and Avril has no affiliation at all with Young Money). Avril's vocals are angry and aggressive in the anthemic chorus in which she declares that "I ain't no dumb blonde. I ain't no stupid Barbie doll. I got my game on. You gon' watch me, watch me, watch me prove you wrong." Her fiery vocals and the rock riffs remind me of many of the tracks found on her 2007 album The Best Damn Thing, with the cheerleader vibe reminding me especially of that album's lead single "Girlfriend" and also of Gwen Stefani's anthemic banger "Hollaback Girl" (the latter of which also has a similar theme of female empowerment and demanding not to be underestimated). This is, by far, my least favorite of the three singles so far, especially because of Nicki's awkward verse near the end of the song. I like Nicki (Pink Friday: Roman Reloaded and The Pinkprint are phenomenal albums), but "Dumb Blonde" was originally a solo song with Nicki's contribution being added last minute, and the choppy production where Nicki's verse is clearly slapped on makes that all too obvious. I also have a feeling that "Dumb Blonde" is going to be the "What the Hell" or "Hello Kitty" of Head Above Water, meaning that its style is going to be the one song that sticks out like a sore thumb. It might grow on me, but as of now, I am not too crazy for "Dumb Blonde," but I do appreciate the message of female empowerment behind it, although the irony of Avril having said that "women should build each other up" is not lost on me, given the fact that Nicki Minaj (who has done her fair share of throwing shade at other women especially in her music, with her most recent feud being with female rapper Cardi B) is featured on the track. "Dumb Blonde" might, as I said, have some room to grow on me, but in the meantime, I am looking forward to the other nine tracks from Head Above Water, which drops this coming Friday, February 15, 2019!

Avril Lavigne [Review]

It has only been two years since pop/rock star Avril Lavigne has released an album, 2011's Goodbye Lullaby, which, in my opinion, is a really fantastic album, even though I have heard some negative comments in regards to it. Avril is back with another set of tracks, her self-titled fifth album, and, once again, I am impressed. The only time that I have been disappointed with her (whom I have been loyally following for eleven years since her debut album Let Go was released in 2002) is when I heard her third album, 2007's The Best Damn Thing. The Best Damn Thing has since warmed up to me, but its style still does not appeal to me the way that the style of her other releases do. It is tough to identify the style of Avril Lavigne because it kind of goes back and forth between demonstrating sassy rebel and heartbroken pop princess. I would say, though, that it is a lot more mellow than I had been expecting it to be. I remember reading that it would be a departure from Goodbye Lullaby and be a lot more like The Best Damn Thing, more fun, but with some exceptions (such as "Hello Kitty"), I would disagree with that and say that it is definitely a lot more like Goodbye Lullaby than it is The Best Damn Thing. The Best Damn Thing served, in my opinion, as totally new ground for her, a complete and total departure from the angsty alternative Avril that I had known and loved from the first two albums (Let Go and Under My Skin) and ventured into a new preppy cheerleader Avril. Goodbye Lullaby returned to the alternative only without all of the angst and the edge. I think that this album is a culmination of everything but is less of The Best Damn Thing than I had been expecting, which I honestly really like.

The album opens with the poppy but edgy "Rock N Roll" which was released in August as the album's second single. This song is so much fun and makes me want to go outside and scream the lyrics to the sky. To me, it is lyrically about love feeling like rock & roll music, liberating you from authority and from having to conform to societal norms. It is definitely the anthem of the album, screaming to be heard. The song's music video, which features Avril as a soldier against a hybrid bear-shark species which has stolen rock & roll music, is probably my favorite music video to date, not just by Avril but ever. "Here's to Never Growing Up" is the second track on the album and serves as the album's lead single (which was released all the way back in April). The song is lyrically and stylistically similar to "Rock N Roll" (although I definitely prefer "Rock N Roll"), referencing the band Radiohead in its opening line: "Singing Radiohead at the top of our lungs, with the boom-box playing as we're falling in love…" It is a little calmer, more mellow, than "Rock N Roll" but has a similarly fun, upbeat energy, the lyrical content basically being: This is who I am. I can be immature. Deal with it. "17" strikes me as interesting because it is basically about looking back at that age with nostalgia and recalling pleasant memories, and Avril was seventeen when her first album was released, a detail which I find important to the album's theme in general.

The fourth track is "Bitchin' Summer" and is light and fluttery. Lyrics aside, it melodically reminds me of the teen pop that I used to listen to on Radio Disney. It also, however, kind of reminds me of the sound that is present on her first album Let Go, especially because of the "Nobody's Fool"-esque rapping near the end. It is, to be perfectly honest, one of the weaker spots on the album, but it moves into the beautiful Evanescence-esque "Let Me Go" track, the album's third single. I was skeptical of the song when I first saw it on the track-listing because it is a duet with Chad Kroeger (Nickelback frontman and Avril's husband), and I don't care much for Nickelback; however, his vocals work very well for the song, which is a piano-driven rock song that essentially washes its hands clean of an ex-lover of the speaker. The next track is my absolute favorite on the album. "Give You What You Like" is haunting, featuring a slow, steady clap-like beat. The song has a country-pop sound to it, but it is also dark and brooding, heartbreaking, in fact, because of the sweetly innocent and naïve attitude of the speaker, with lyrics such as: "When you turn off the lights, I get stars in my eyes. Is this love? Maybe someday. I've got this scene in my head; I'm not sure how it ends. Is it love? Maybe one day…" My interpretation of the lyrics is that she is being used by her partner. What for is unclear - security or sex, perhaps - but she feels safe and wants to believe that they are in love. Stylistically, it really reminds me of Hilary Duff's self-titled album, with a sound kind of similar to songs such as "Fly," "Hide Away," and "Dangerous to Know." It's not heavy, but it has a melodically dark edge to it.

"Bad Girl" is the song that I was looking forward to the most because it features guest vocals by Marilyn Manson, and I love Marilyn Manson. It, however, is not as good as I was expecting (or hoping) it to be. Manson essentially serves only to give an edge to the song, as he is featured only minimally at best. The song is a heavy rock song that is wrought with sexual references such as: (1) "Just put your head in daddy's lap" (2) "you can fuck me and then play me" and (3) "choke me because I said so." It's a fun song, fast-paced, loud, and heavy, but I wish that Manson took up more space of it. I think that the song might be a comical response (comical because he is obviously in on it) to something that Manson said in an interview about Avril as a response to the apparent rumor that they had had some sort of sexual relationship with each other (Avril and Manson, that is) (Check it out here.). Avril's vocals are echoed so that it sounds like she is performing the song live, which I think helps make the song work. The following track is a very fast electronic Kesha-esque song titled "Hello Kitty" and is definitely new for Avril. It's difficult to take seriously and is probably my least favorite song on the album, essentially about having an out-of-control slumber party because the parents are away. I doubt Avril intends it to be taken seriously, though; it is meant to be fun and silly, and it is. The following song is "You Ain't Seen Nothin' Yet," and no, it is not a Bachman Turner Overdrive cover. Melodically and stylistically similar to "17," it is actually one of only two songs on the album penned only by Avril (the other being "Falling Fast," while most others are co-written with Chad Kroeger and ex-Evanescence member David Hodges), about how being in love only gets better and better with each passing day.

"Sippin' on Sunshine" is similar to "Bitchin' Summer" in that it is kind of teen poppy and is also about enjoying the beauty of summer. The title, for me, is a euphemism for something personal, but that's all that I am saying in regards to that. "Hello Heartache" is one of my favorite songs on the album. The track is moderately paced with a lyrically bittersweet chorus that is backed by a fun.-esque "la, la, la, la, la, la, la, la" chant. "Falling Fast" reminds me of very early Avril, the demos from before Let Go. It is very light and acoustic and is lyrically about an attraction to someone that is quickly becoming love, and I almost want to hear it in a Disney film or a cheesy romantic comedy. The closing song is titled "Hush Hush" and is the song that most resembles Goodbye Lullaby (so much so, in fact, that I wonder if it is left over from the Goodbye Lullaby era). It is a great way to close the album, as it is a heartbreaking farewell to an ex-lover whom the speaker still loves but has to face losing. Lyrics are as such: "So, go on; live your life. So, go on; say goodbye. So many questions, but I don't ask why." The song reminds me of "Goodbye" (the closing song on Goodbye Lullaby), not only because it is kind of similar melodically but because "Hush Hush" is difficult for me to hear; I cry almost every time that I hear it because it brings back unfortunate memories, and "Goodbye" is even more deeply personal for me because of the "brown eyes" and "sunshine" references. "Hush Hush" is slow and sounds like a lullaby, as if the speaker wanting her ex-lover to move on is like putting him to sleep. Songs such as this and "Let Me Go" were probably written about her previous husband Deryck Whibley, but I don't like to reduce songs to nothing but what the artist might have written them about in relation to his or her personal life.

Different editions of the album have different bonus tracks, such as Avril's cover of "How You Remind Me" by Nickelback, her cover of "Bad Reputation" by Joan Jett (which I don't really understand because it was recorded several years ago during the Best Damn Thing era and is featured as a bonus track on the deluxe edition of Goodbye Lullaby), and "Rock N Roll" acoustic. The acoustic version of "Rock N Roll" is on the Target edition, which also has a much better album cover (as pictured below), as I am not too impressed by the standard album's cover. It looks like it was taken at night with a flash camera right above Avril's casket, as her face is whited out, and her eyes look lifeless; the white text does not mesh well at certain points because it blends with the color of her skin. The album itself, though, is definitely memorable, and I wish that (because of the summery songs such as "Bitchin' Summer" and "Sippin' on Sunshine") that it had been released in spring instead of autumn, and I wonder if, since the first single was released all the way back in April, it was originally intended to be released in the spring or summer but got delayed. It faced at least one delay, as it was originally supposed to be released in September and got moved to November, leaving room for three singles to be released before the album was even released, a rarity for albums and a definite first for her. It was worth the wait, however, as Avril Lavigne is a beautiful album, perhaps her most personal yet, as it demonstrates the evolution of a teenage girl to a young woman, and I, in fact, think that the album is self-titled because it is nostalgic of her earlier years as a musical artist and as a person in general, touching upon old territory while also venturing into completely new territory while being more her than her music has ever been. I just hope that since Avril once said that she was considering releasing a double album since she wrote that much music for this era, we will eventually get to hear the rest!

Avril Lavigne - Goodbye Lullaby [Review]

For me, Goodbye Lullaby, Lavigne's fourth album, has been one of the most highly anticipated albums of my lifetime, as I have ultimately been anticipating it for seven years. While The Best Damn Thing was released in Spring 2007 (which was still quite a long time ago), I was not too thrilled with that album (save a handful of songs), and Under My Skin was released in Spring 2004. Many months ago (it was, in fact, close to a year ago), I read that this album would be a closer return to Lavigne's earlier work as opposed to The Best Damn Thing, and I can agree with that.

While Goodbye Lullaby is not at all “heavy,” as some of the tracks found on 2002's Let Goand 2004's Under My Skin are (such as “Losing Grip,” “Unwanted,” “Take Me Away,” “Forgotten,” etc.), it is far from being the “cheerleader pop” (for lack of a better term) thatThe Best Damn Thing is, and Lavigne, with a majority of crisp melodies layered on top of simple acoustic accompaniment that is Goodbye Lullaby, affords her fans (such as this one of almost ten years) a very pleasant, refreshing experience. I do know quite a few people who loved The Best Damn Thing, so I apologize to them if I offend, but that certainly does not change my opinion.

In regards to The Best Damn Thing, Lavigne seemed to have retrograded, moving from a sophisticated, alternative style to adolescent high school craze with an array of songs that one might expect to hear at athletic games (such as “Girlfriend,” “The Best Damn Thing,” “I Don't Have to Try,” etc.), and for that reason, I was very disappointed with the album as a whole with few exceptions (such as “Runaway,” “When You're Gone,” “Innocence,” etc.).Goodbye Lullaby attempts to break away from that, painting a much more serene picture.

I purchased a physical copy of the album, so I have the benefit of seeing all of the graphics included in the package, and it is really beautiful; I consequently find myself quite impressed with that, as well. However, I also find myself in opposition to only one (rather trivial) feature; Lavigne, on the album cover (which, mind you, I do find very beautiful), looks rather morose, while the album's content is primarily very relaxed and gleeful, dealing with lyrical themes such as being in love and enjoying the beauties that life has to offer. I reiterate, however, that the artwork (meaning all photographs, designs and additional art) is very beautiful.

The album opens with the very short (only 1:34) “Black Star,” and most fans should remember this from her Black Star fragrance commercial, in which a small portion of the song is featured. While I am slightly disappointed with the fact that the song is so short when I had been expecting it to be full-length, “Black Star” is one of my favorite songs from the album, as it is an incredibly beautiful, simple song accompanied by a simple but catchy melody composed of very high notes on the piano. The song sounds very much like a lullaby and would serve as a good introduction if "What the Hell" didn't follow it, since it is a very rough transition.

“What the Hell” is the album's first single and is the closest that the album comes to The Best Damn Thing, and, because of that, it, with the risk of using a cliché, sticks out like a sore thumb. When I first heard the song, I didn't like it a whole lot, but when I began to find it consistently stuck in my head, it really began to grow on me, and I do really love it now, even though, again, it really doesn't belong on this album. Next, we hear “Push,” a song that sounds a lot like Alanis Morissette's style. I really like the song, especially with the male vocals, which I am assuming are Evan Taubenfeld's, since he co-wrote the song with Lavigne.

The fourth track is titled “Wish You Were Here,” another one of my favorites on the album. “Wish You Were Here” operates as Goodbye Lullaby's “When You're Gone,” since it is nearly identical thematically (while it reminds me melodically of "Innocence"), and I am sure that it will be a single. “Smile” is a fast-paced song with attitude but is still a great deal of inches away from nearing The Best Damn Thing territory; “What the Hell” is definitely closer. “Stop Standing There” and “I Love You” are both mellow songs about being in love, and “Stop Standing There” is possibly the closest the album comes to Let Go, while “I Love You” is, for lack of a better description, an adorable song about loving someone for exactly who that person is, having no desire to change him or her. It is definitely a stand-out track, sounding a bit like something that would fit on Under My Skin, and it may just be me, but I think I hear a mandolin in the song.

The eighth track on the album is titled “Everybody Hurts.” Yes, when I first learned of the album's track-listing a few months ago, I wondered if the song would be an R.E.M. cover, which it is not; it is, however, nearly identical thematically; “Everybody hurts some days,” the refrain advises. “It's okay to be afraid. Everybody hurts; everybody screams. Everybody feels this way, and it's okay.” It would seem to me like Lavigne draws inspiration from the R.E.M. song and attempts to recreate it for her generation. The song sounds a lot like something from Lavigne's days prior to Let Go having been released.

“Not Enough” is nothing special, definitely not making any attempt to stand out on the album. However, like “Everybody Hurts,” it also reminds me of Lavigne's “demo” era, reminding me especially of “Get Over It.” The tenth track, “4 Real,” has a beat and a melody that are guaranteed to stick with you, and while I definitely love the song, it sadly loses a bit of credibility due to its use of the number “4” in place of the word “for.” I am not amused when artists do that, especially not ones for whom I have a lot of respect. Pay mind to the fortunate fact that you are not Kesha (or should I say Ke$ha?), Avril.

“Goodbye” seems to lack a component without that, especially since I expect it, but the strings are beyond gorgeous.

Next on the album is “Darlin,” and I love this song because of how positive it is, seeming to be an attempt to cheer the listener up, reminding him that the world is a beautiful place in which he is loved. "Darlin" was written when Lavigne was only fourteen or fifteen years old, which is another reason that I love it. “Remember When” and “Goodbye” are slow, beautiful tracks with very similar stories; they are both memorandums in which the speaker apologizes for having to temporarily leave her lover physically but reminds him that he is very loved, while explaining why. I love “Goodbye,” because lyrically, it has sentimental value to me. I only wish that “Goodbye” had ended the same way as “Remember When,” that is, included a band at the end of the song.

The album closes with an extended version of “Alice,” including an additional verse in between the original first and second verses. Fans will remember the song being featured on the Alice in Wonderland soundtrack last year, titled Almost Alice, and if one did not know that the song has ties to the film, either the title or the line “I found myself in Wonderland” should give that away. The standard edition of the album ends at this point, but the deluxe edition (the one that I purchased) includes acoustic versions of “What the Hell,” “Push” and “Wish You Were Here,” as well as the cover of Joan Jett's “Bad Reputation” and a bonus DVD. Overall, I am very happy with the album; it was worth the wait and definitely worth the money.