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Showing 1-10 of 17 reviews(3 star)show all reviews
116 of 133 people found the following review helpful
on March 8, 2011
For an older guy like me, Avril Lavigne's first two albums were the ultimate guilty pleasure; I couldn't resist her infectious brand of rock despite her youth and the average age of her fans.

While I didn't much care for the direction of 2007's The Best Damn Thing, I still recognized her undeniable talent and remained hopeful her music would mature as she grew older.

Goodbye Lullaby is quite different from her previous releases, mainly from the standpoint that most of the musical rock edginess and looseness is no longer present. This is a collection of simple & repetitive, mid tempo, light pop songs. You'll hear a lot of strings and electronic percussion, familiar pop rock chord progressions and melodies, and thankfully a minimum amount of crazy special effects. If you were hoping for more upbeat, catchy pop hits like "What The Hell", you're basically out of luck. Don't get me wrong, there are hooks all over this album. But the songs seem to lack power, and it certainly doesn't help that there are no distorted guitars to be heard.

While the majority of tracks are very similar, a few do stand out. It's hard to not get excited listening to "Push", a song that really pushes Avril's vocal range, and good luck getting the chorus of "Wish You Were Here" out of your head after you've heard it a couple of times. Its triple-trifecta of hook phrases ("Damn, damn, damn", "here, here, here" and "near, near, near") is the finest example of crafty pop songwriting on the album. "Not Enough" includes real drums, good dynamics and edge, easily making it my personal favorite. "Remember When" and "Goodbye" are respectable ballads, containing perhaps the two finest vocal performances from Avril on the record. "Remember When" builds in intensity and is wonderfully melodic, and the excellent falsetto on "Goodbye" is something I haven't heard from her before.

A different approach to production would have helped this record, and Avril Lavigne is capable of much better. But overall, this is still an album I believe most fans will enjoy.
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on April 30, 2012
This has some decent songs and songs that will seem familiar to prior fans--even if they have not heard them. Derivative of prior CDs, it is as if Lavigne just tossed off a carbon copy. One thing Lavigne has failed to do is show a trace of growth. It's the same old, same old--teeny bopper affectations, echoing choruses, casual vulgarities, bizarre rhymes suitable to a teenager and Valley Girl overtones. A good example of some of that is the "What the Hell" number given air play--the "yeah, yeah, yeah" chorus and the echoed, spoken "what? what?" in that simpering Valley Girl tone. What was funny on "Girlfriend," which had the amusing lyrics to match the affectations, merely seems like a style mindlessly repeated here because she can't think of anything new. It's not bad, indeed it is quite bouncy in places, but in places it also seems more suitable for a 16 year old. In particular, it is not new. While most of it is pleasant enough, there is nothing that seems likely to be as memorable as past hits. The rest just seems to be Lavigne on auto pilot.
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on July 28, 2012
Avril Lavigne has to me always been between the music genres of pop and rock. This album has more ballads on it and less pop, the main pop song on the album is "What The Hell". It's an okay album, some songs are remakes of her past music. I have been an wavering Avril Lavigne fan. But there are some good songs on this album, which was the reason why I bought it.
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on October 22, 2013
I keep waiting for Avril to give me some rock. Let Go was fabulous. My World was pretty good. Under My Skin was okay. Avril totally changed her image with The Best Damn Thing... although, lot's of little girls liked it. Goodbye Lullaby is okay, but nothing really inspiring. Hope the next one's much better!
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on January 18, 2015
Not Avril's greatest. I really enjoyed her first three albums, and felt like those had very little padding. "Goodbye Lullaby" felt like almost all padding. I enjoyed "What the Hell" and the Alice in Wonderland bonus track, but the rest of the tracks were kind of middling at best.
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on October 8, 2013
The CD is scratch-less, but the booklet looks bad. It was stapled in a manner that it looks ugly and used. I expected much more from a product that says "New"
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on April 25, 2013
This is an OK album, nothing to get excited about. I think she makes a better songwriter than singer and should go in that direction.
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on January 25, 2013
Not my favorite cd though.......move onto a different one from Avril.....better off with one of her other good CD's!!! Sorry~
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0 of 1 people found the following review helpful
Avril Lavigne's fourth studio effort, Goodbye Lullaby, is the singer's greatest departure up until this point. On Lullaby, Lavigne sheds much of her `bratty,' `punkier' side in favor of a more serious, melancholy, `divorced' theme album. There are worthwhile moments, but overall, Goodbye Lullaby is more of a `bore' than a genuinely enthralling effort. Even since it has been edited to be approved by Lavigne's label, it still feels that some more appropriate, better conceived songs may have tightened this effort more. With a host of producers including Lavigne's victim of choice, ex-husband Deryck Whibley (Sum 41), the album still fails to achieve the fun of 2007`s The Best Damn Thing or better yet, her lauded debut, Let Go.

After an off-putting intro like cut, "Black Star," Lavigne smartly starts the album off right with the Max Martin & Shellback assisted first single, "What The Hell." The album's best cut arguably, "What the Hell" seeks to capture the "Girlfriend" (#1 hit off of her last album) demographic. While "Girlfriend" is most likely to be sealed in the pop history books as the more memorable cut, "What the Hell" is fun enough. "Push," produced by Deryck Whibley is the about the best showing from Lavigne's ex where he controls the board. The rhythmic guitars are a nice touch, but the verses, particularly the first, are a bit too wordy. While the chorus tries to atone for Lavigne's motormouthed antics, it just doesn't quite captivate as much as, well, "What the Hell."

"Wish You Were Here" is another victorious moment, in the same vein as "What The Hell." Why? Max Martin and Shellback are behind the boards, the songwriting is `bratty' and `immature' and it highlights the Avril that fans have come to respect (if that's the right word) and love. The vocal production surrounding Lavigne's vocals are perfect, highlighting her whiny timbre. "Smile," also contributed by Martin and Shellback is enjoyable, even if Lavigne may slightly grow overwrought with multiple expletives within the same line. Where production is concerned, "Smile" ranks highly on the `totem pole.'

"Stop Standing There" brings in Butch Walker producing, though Avril holds down the songwriting duties on her own. It's not bad, but marks the first true shade of inconsistency that rears its ugly head upon this effort. "I Love You" brings back the `dream team' of Lavigne, Martin & Shellback working in tandem with one another, but the airy nature of the cut just doesn't quite suit Lavigne. "Everybody Hurts" is ok, but by this point, Whibley's rhythmic guitar texture has grown to archetypical to live an air of mysteriousness about his productions. "Not Enough," another Whibley production (written by Lavigne and Evan Taubenfield) is merely average, with the redeeming quality being the layers of vocals that cap off the end.

"4 Real," which is all Avril - songwriting and production - is a better cut, though again, the light vibe of Avril is just so out-of-place it hurts the cut. "Darlin," another cut by Avril, finds her speeding up the tempo slightly, but still sounds only `second rate' to her best performances and career high watermarks. "Remember When" is bland, while "Goodbye" is pretty, but unmemorable. The Hidden cut "Alice" brings Butch Walker back on the boards, but doesn't save the second half of the album from falling into the abyss of the sheer unexceptional.

Goodbye Lullaby is a nice attempt by Lavigne to make a serious, break-up oriented effort that so many artists go for whether it be Marvin Gaye, Usher, Pink, etc. The problem is, Lavigne compromises herself as the artists that fans have come to know and love and this more `somber' side is less convincing and vivacious. There are enough good or solid moments to overshadow the uninspired and bland, but overall, Goodbye ends up being a mixed bag.
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on August 22, 2015
this might be her worse album.
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