Hellelujah
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Post by Hellelujah on Jan 18, 2018 21:58:05 GMT
I dont nderstand how people can say this is not her best work. I mean I LOVE this album, except Black Star cringle. Hate that. But I love from the beginning to the end. My holy trinity is UMS, TBDT, GL This is her worst album based on Metacritic. 58/100 I love GL. But for me all the ballads sound kind like the same, the lyrics are not the best ones, the production of many tracks are not well done. With a better production the album could have been her best to date. And I really love this album but she worked like 4 years for this, WYWH is my fave song. |
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Franvigno
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Post by Franvigno on Jan 23, 2018 15:35:15 GMT
It deserves better
It's an album full of ballads and is perfect
Not my fave album but is pretty good for emotional people
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Anti
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Post by Anti on Jan 24, 2018 10:10:06 GMT
why I’m so excited for this album is this review of Goodbye Lullaby. For me, it’s one of the most honest and accurate reviews of the album, and perfectly depicts her standing as an artist (up to that point of course, but not much changed with the self-titled album after that). The last paragraph makes me have hope this record will be the best she’s ever done. In my head I can just imagine reviewers talking about the new album like that, that she’s finally grown into the artist we all knew she could be. And it seems as though she FINALLY has partners that are letting her do her thing and not fuck with her vision.
When Avril Lavigne's debut disc came out in 2002, she was hailed as the younger, sassier version of Alanis Morissette. Three albums later, Lavigne's old niche as the punky pop star has been taken over by Ke$ha, who is only two years younger. The former sk8ter girl, now 26, is marketing perfumes and fashion collections, and still looking for a credible way to segue from her old musical identity to a new one.
She hasn't found it on Goodbye Lullaby. This much-delayed album has been talked up as some kind of personal reckoning after Lavigne's divorce from Sum 41 singer Deryck Whibley, and maybe it felt that way for her while she was writing the direct but mostly forgettable lyrics. But the songs contain little to catch the ear of anyone who isn't already a fan. This is disposable, industrial pop, short on invention and buffed to a high gloss.
The big question for me, listening to this disc, isn't "Is Avril growing up?" but "Why doesn't someone teach her a few new chords?" In the middle of the album, there's a seven-song sequence in which six of the tunes use the same progression, in the same key (C major). The progression's a very familiar one: it's the basis of Pachelbel's Canon and about a jillion other pop songs. To beat that old horse six times out of seven, without moving your capo even once, must stand as some kind of record for bone-idle, crank-it-out songwriting.
But wait, that's not the whole of it: The album begins with another song, same progression and same key, called Black Star, which happens to be the name of Lavigne's first perfume. Are you getting the personal side of this yet? Three songs later, Pachelbel is back in the studio again, except that this time, Swedish pop Svengali Max Martin (the Britney Spears-Ke$ha-Pink collaborator whose name is on four of these tracks) has enough professional pride to change the key to E.
Melodically, the record is mostly a desert of pseudo-tunes – you know, those ditties that hover around the tonic the way a new swimmer keeps within reach of the pool's edge. You try to find some interest in the lyrics, and you're hit with lines like "I'm for real" and "All I wanna do is lose control" – on an album in which every sound has been filleted and steam-cleaned and Auto-Tuned to death.
A couple of songs push back at Ke$ha. Smile and What the Hell, Martin's bouncy single, would both have us believe that Lavigne is still ready to be really bad and kiss the wrong guy and maybe not even wash her hair for a day. Most of the disc is about a less smash-and-grab kind of existence, in which pretty much everything you've heard in other mediocre pop love songs is rehashed. The break-up stuff is mostly confined to that run of C-major photocopy songs. A few of those were produced by Whibley, which must have been a bit weird in the studio. The back story has more spice than the results.
The only song that sounds as if some real heart went into it is Goodbye, a ballad with strings and piano that is the only thing Lavigne did all by herself, including the production. It's high in her register, and she sounds a bit like an angel with tattered wings. It's pretty slick, but it's just genuine-sounding enough to hint at what Lavigne might be able to do if she scraped off the production makeup and got some partners who aren't just trying to wedge her into a viable slot among the competition.
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greeneyedsoul
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Post by greeneyedsoul on Jan 24, 2018 10:41:56 GMT
This is such a bad review.  |
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greeneyedsoul
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Post by greeneyedsoul on Jan 24, 2018 10:55:31 GMT
I dont nderstand how people can say this is not her best work. I mean I LOVE this album, except Black Star cringle. Hate that. But I love from the beginning to the end. My holy trinity is UMS, TBDT, GL This is her worst album based on Metacritic. 58/100 I love GL. But for me all the ballads sound kind like the same, the lyrics are not the best ones, the production of many tracks are not well done. With a better production the album could have been her best to date. And I really love this album but she worked like 4 years for this, WYWH is my fave song. To be honest, she doesn't have a single album that has a higher score than 70 on Metacritic, and according to them UMS is her second worst album. The sites that review music for Metacritic are more into the artist's life than actually writing constructive reviews. Their averaging method is highly suspicions and inaccurate, with more relevant publications having a bigger impact on the total score than other magazines that were actually reviewing the music. Self-titled has two negative reviews and yet a better score that Goodbye Lullaby (which has also a better average than self-titled). And even the Metacritic editors said that an album should have more than 15 reviews for the score to be relevant, and in Avril's case that would only be "The Best Damn Thing". |
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BogoGog24
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Post by BogoGog24 on Jan 24, 2018 12:51:01 GMT
That review on GL is exactly one of the reasons I find this album to be subpar and frankly, dull. Many of the songs, particularly the ones she wrote herself, sound similar and the whole album to me is pretty boring because of that. I just think GL as an album had a great concept but it wasn’t executed as well as it could or should have been. It’s just... alright. I’ll never understand why people think this album is a “masterpiece” or why they love it so much. To me it’s boring and mostly pretty dull. I never listen to it. I think a few of the songs are very strong like Not Enough and Darlin. But many of the rest of the songs don’t quite reach that height of songwriting or production IMO. I’m hoping this new album will be like what GL should have been x 100.
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greeneyedsoul
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Post by greeneyedsoul on Jan 24, 2018 13:10:01 GMT
The non-singles on Let Go and most of Under My Skin are duller than the self-written songs on Goodbye Lullaby. Under My Skin doesn't have a single song that's objectively better than Remember When for example. Her fourth album does have songs with dubious quality like "Stop Standing There" though. Goodbye Lullaby is also her only album that is really emotional, she tried it before with tracks like Slipped Away and Who Knows but the atrocious lyrics and her pitchy voice during that era really killed the songs.
Quality-wise Goodbye Lullaby is her second best studio album.
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BogoGog24
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Post by BogoGog24 on Jan 24, 2018 18:34:05 GMT
Honestly I think Remember When is pretty overrated. I never understood the hype around it. The chord progression is a straight ripoff of Let It Be. It seems chord progressions aren’t one of Avril’s strengths lol
Let Go is my favorite album, so I don’t think any of those songs are dull at all. I think that whole record easily beats GL.
Maybe if I listened to GL now after so long, my opinion might be different, I don’t know. I remember listening to UMS after many years of thinking I hated it and found it to be pretty decent. I agree the songwriting on UMS is by no means fantastic, however I think it’s saved by the stellar production value. GL, IMO, has neither strong writing for the most part or good production.
I also never found GL to be that emotional, at least not for me. A few songs here and there like I Love You, Not Enough, Remember When, and Goodbye, sure. The rest... I don’t see it. Everybody Hurts especially I think is a track that tried to be emotional and just isn’t. Terrible lyrics IMO, flat and lifeless production, and highly overrated.
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Vasi Lynch
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Post by Vasi Lynch on Jan 24, 2018 19:20:20 GMT
Totally agree with Anti, I think exactly the same about GL, even my opinion about Goodbye coincides with yours. I remember her saying things like “back to roots” before the album, sounds familiar, right?  I believe it’s because she flopped hard only a year after TBDT (while after UMS she was relevant till TBDT), and lost her fan base, so tried to bring them back with those claims. I remember those fans were waiting patiently and only got a bunch of demoes, which was strange for the A-list albums seller Oh, and her cringy voice on it...killed Darling for me, for example |
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greeneyedsoul
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Post by greeneyedsoul on Jan 24, 2018 19:42:13 GMT
Goodbye Lullaby is by miles better than Let Go and Under My Skin (the later one being the most overrated album this decade). You can hear that she didn't write a single lyrics in Let Go and Under My Skin is bad mainly because of the lyrics she wrote (read: ripped out her diary that she wrote when she was 12). GL stood the test of time because of it's minimalist production, while UMS is just unbearable and sound very dated. Let Go has better highlights (the first three singles) than Goodbye Lullaby, but literally every other track is just below-average. On GL at least every song is good, not great but it at least has the overall quality her first two albums don't have. Let Go is popular because of its nostalgic sound, and not because of its non-existent quality.
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Hellelujah
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Post by Hellelujah on Jan 24, 2018 20:19:49 GMT
Goodbye Lullaby is by miles better than Let Go and Under My Skin (the later one being the most overrated album this decade). You can hear that she didn't write a single lyrics in Let Go and Under My Skin is bad mainly because of the lyrics she wrote (read: ripped out her diary that she wrote when she was 12). GL stood the test of time because of it's minimalist production, while UMS is just unbearable and sound very dated. Let Go has better highlights (the first three singles) than Goodbye Lullaby, but literally every other track is just below-average. On GL at least every song is good, not great but it at least has the overall quality her first two albums don't have. Let Go is popular because of its nostalgic sound, and not because of its non-existent quality. I don't think Anything but Ordinary, Things I'll Never Say and Mobile are below-average. While in GL from track 9 to track 13 it sounds like the same. Not counting Black Star. Gl is boring, I really love the album but that's the true. Maybe if GL would have had power-ballads and a better production it could have been her best album to date. |
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Anti
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Post by Anti on Jan 24, 2018 21:18:55 GMT
Point being, I’m excited for the new record because I hope (J.R. isn’t my first choice of producer), that the layers of desperate commercialbility and boxing her in are gone, and we finally get something truly raw from her. Her latest description makes me very hopeful.
Taylor writes about such a variety of topics. Avril has had that opportunity too over the years. What happened with Deryck? How do you feel about your long time friend Butch walker throwing you under the bus? Why did you marry Chad so quick? Why did it end? She writes so vaguely on every record. I want to hear her truth, and by finally being raw and honest, she’ll find that people relate to those feelings because they’ve had similar experieces
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greeneyedsoul
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Post by greeneyedsoul on Jan 24, 2018 21:33:10 GMT
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BogoGog24
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Post by BogoGog24 on Jan 24, 2018 22:29:33 GMT
Goodbye Lullaby is by miles better than Let Go and Under My Skin (the later one being the most overrated album this decade). You can hear that she didn't write a single lyrics in Let Go and Under My Skin is bad mainly because of the lyrics she wrote (read: ripped out her diary that she wrote when she was 12). GL stood the test of time because of it's minimalist production, while UMS is just unbearable and sound very dated. Let Go has better highlights (the first three singles) than Goodbye Lullaby, but literally every other track is just below-average. On GL at least every song is good, not great but it at least has the overall quality her first two albums don't have. Let Go is popular because of its nostalgic sound, and not because of its non-existent quality. I’ll just say the only thing I think we agree on here is that UMS is quite overrated  |
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Anti
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Post by Anti on Jan 24, 2018 22:48:04 GMT
Goodbye Lullaby is by miles better than Let Go and Under My Skin (the later one being the most overrated album this decade). You can hear that she didn't write a single lyrics in Let Go and Under My Skin is bad mainly because of the lyrics she wrote (read: ripped out her diary that she wrote when she was 12). GL stood the test of time because of it's minimalist production, while UMS is just unbearable and sound very dated. Let Go has better highlights (the first three singles) than Goodbye Lullaby, but literally every other track is just below-average. On GL at least every song is good, not great but it at least has the overall quality her first two albums don't have. Let Go is popular because of its nostalgic sound, and not because of its non-existent quality. Do we hear the same albums? Let Go is a diverse collection of rock, acoustics, electric guitar, and still has her best written material, even with four albums proceeding it. Under My Skin is good, but disappointing after such a promising and polished debut. UMS has shit production by Canadian producers that buried her vocal and didn’t know how to mix it. L.A Reid would have never let her work with that team coming off the success of Let Go. Every song on GL lullaby is good, but none are great. There’s no real “wow” moment, and with the words that were used to describe the record, it was built up to sound like a 21, and it was just ok. Standing on its own, it’s a fine album, but in the context of her career, it’s a disappointment because she’s released better material that articulated the downfall of love better than what many expected to be her best record to date. |
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I believe it’s because she flopped hard only a year after TBDT (while after UMS she was relevant till TBDT), and lost her fan base, so tried to bring them back with those claims. I remember those fans were waiting patiently and only got a bunch of demoes, which was strange for the A-list albums seller