Tag Archives: Let Me Go

ALBUM REVIEW: Avril Lavigne – Avril Lavigne

Time to "Rock" it.

Time to “Rock” it.

Why’d she have to go and make things so complicated? Canadian pop-punk princess Avril Lavigne is no stranger to the headlines, having just married Chad Kroeger of Nickelback, nor is she a stranger to the charts. However, at least for the past few years, single and album releases from her have felt like a non-event; something that should wake up the public only to stall out and fade away, now locked up somewhere in the top 40 graveyard. Here comes a delayed fifth full-length effort from her, self-titled, which accurately maintains her teen queen image (strengths and the weaknesses) but also shows some needed growth and variety in musical tastes. This one will fly under the radar, but it could be the best music she’s put out in years.

One of the first highlights is “17”, a fun and bouncy pop number reminiscing about a time when “we were livin’ so wild and free” and “it was you and me/We were living our dream/And we were 17”. The track was co-written with Martin Johnson and Jacob Kasher, who were also involved on first single “Here’s To Never Growing Up”, but this is the stronger of the two songs. It certainly holds more substance; it’s cute without being juvenile and would have performed better at radio as the leadoff single if given the chance. That was a major mistake on Epic’s part, and unfortunately, both the label and Lavigne have paid a bit for it.

Also ranking high on my list is track six, “Give You What You Like”, co-written with Kroeger and David Hodges. The darker, more understated song about a girl questioning the notion of love and her commitment to it plays nicely off an arrangement of guitar, hand claps and tambourine, as Lavigne tempts her counterpart: “I’ve got a brand new cure for lonely/And if you give me what I want, then I’ll give you what you like.” This one is better left as album material, but it wouldn’t sound out-of-place on 2004’s Under My Skin, which may be my favorite album from her. The tone of it is really likable and her character is strong.

Elsewhere, “Bad Girl”, featuring a guest appearance from Marilyn Manson, radiates shades of Blondie and Joan Jett and the Blackhearts. By far the hardest sounding track on the album, it’s the flavor that counts. “Hello Heartache” seems to be a fan favorite, which I also enjoy, a mid-tempo record in which Lavigne takes a few vocal risks and the more experimental nature of it makes it a standout. Finally, there’s “Falling Fast”, which is fairly textbook, a vulnerable acoustic-sounding ballad that builds gently as she sings, “Let’s take a chance/Take it while we can/I know you feel it too/I’m falling fast.” Straight out of the late 90’s, it can easily be compared to similar tracks in Alanis Morissette or Sarah McLachlan’s catalogues.

Unfortunately, this album also suffers some major missteps along the way. Cue “Hello Kitty”, track eight, which indeed proves that curiosity killed the cat. The “Gangnam Style” turned trashy dubstep number is loaded up “like a fat kid on a pack of Smarties” and I have no words, except perhaps that a Japanese audience will probably eat this up. After all, she has a significant fan base in that part of the world. The unnecessary cursing is also an issue on this one, just because it’s sounds so awkward. “Bitchin’ Summer”, I’m looking at you. Lastly, there’s the filler tracks – now granted, this was supposed to be released at the end of summer and maybe I would’ve given songs like “Sippin’ On Sunshine” a pass then, but that and “You Ain’t Seen Nothing Yet” bring the lineup down as a whole. I’m surprised there weren’t other considerations when it came to compiling a track listing.

Despite the lackluster tracks, I’m pleasantly surprised with how Avril Lavigne turned out. There’s a charm on this album, at least more so than on 2007’s The Best Damn Thing or 2011’s Goodbye Lullaby. However, it’s way too late to repair the damage of those two eras when it comes to the numbers. Lavigne’s audience has grown up, and though she has her moments of maturity, it can be lost considering its first two singles were childish and ran their course without making a significant impact. Couple that with the fact that Epic’s radio department has shrunk significantly this year and a general frustration of the record group from even its own acts like Cher Lloyd and Karmin and this will likely be an effort that fades from the charts pretty quickly. Nevertheless, it is one of the singer’s stronger albums to date, so I do wish her the best. Perhaps current single “Let Me Go” will act a rallying cry from the singer; after all the push backs and singles indecision, she deserves a better team behind her.

Listen to Avril Lavigne on BCharts. / Pre-order Avril Lavigne on iTunes.


Filed under Album Reviews

SONG PREMIERE: Avril Lavigne featuring Chad Kroeger – “Let Me Go” (+ Lyrics)

"Go" on with this era.

“Go” on with this era.

Debuting this morning on Los Angeles’s 104.3 MYfm (see streaming link below), it’s a new song from Avril Lavigne and husband Chad Kroeger of Nickelback, titled “Let Me Go”. It’s unclear at the moment whether this song will just serve as an album track or as the third single from Lavigne’s forthcoming self-titled album. (Current second single “Rock N Roll” is still gaining some airplay at the Hot AC format.) That LP will be in stores on November 5. Enjoy!

Listen to “Let Me Go”.  / Download “Let Me Go” on iTunes (October 15).


Avril Chad

[Verse 1]
Love that once hung on the wall
Used to mean something, but now it means nothing
The echoes are gone in the hall
But I still remember, the pain of December

Oh, there isn’t one thing left you could say
I’m sorry it’s too late

I’m breaking free from these memories
Gotta let it go, just let it go
I’ve said goodbye, set it all on fire
Gotta let it go, just let it go
Oh (oh) Oh (oh)

[Verse 2]
You came back to find I was gone
And that place is empty, like the hole that was left in me
Like we were nothing at all
It’s not what you meant to me, thought we were meant to be

Oh, there isn’t one thing left you could say
I’m sorry it’s too late

I’m breaking free from these memories
Gotta let it go, just let it go
I’ve said goodbye, set it all on fire
Gotta let it go, just let it go

[Middle 8]
(And let it go) And now I know
(A brand new life) Is down this road
(And when it’s right) You always know
(So this time) I won’t let go

[Pre-Chorus 2]
There’s only one thing left here to say
Love’s never too late

[Chorus 2]
I’ve broken free from those memories
I’ve let it go, I’ve let it go
And two goodbyes led to this new life
Don’t let me go, don’t let me go
Oh (oh) Oh (oh) Oh (oh)
Don’t let me go (x4)

Won’t let you go
Don’t let me go

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Take That! Barlow and Williams “Go” Their Own Ways This Fall

If you’re a child of the 90’s and you grew up in Europe, then you know how huge Take That were and are, dominating the charts and selling out massive tours. In 2010, their Progress album in which all five original members reunited became one of the fastest-selling albums of all-time in the U.K., with sales close to, if not over, 3 million copies. While the band isn’t putting out any new material until 2014, fear not. Both lead vocalists, Gary Barlow and Robbie Williams, are each putting out solo singles and albums in November for what’s sure to be a very exciting Q4 race in the industry. Are you prepared for the mania? Check out this preview of what’s to come from the band mates on the battlefield:

Not setting the bar low.

Not setting the bar low.

Release Date: November 18 (?) (U.K.)

Given how much he’s been in the public eye in the United Kingdom in the last few years, it’s hard to believe that Barlow hasn’t put out a solo album full of original material since 1999. After a largely successful era with 1997’s Open Road, his first solo album after the breakup of Take That, it was another two years before Twelve Months, Eleven Days reached stores and unfortunately, it was one of the low points of his career as both the singles from it and album itself failed to achieve significant peaks. You can blame it on the musical tides shifting and a so-so crossover into the States for the loss of momentum in his home country. He did go on to lead a successful reunion of Take That in 2005, then gained prominence as a songwriter, and now finds himself judging another season of The X Factor in the U.K. and promoting this new single of his. It’s the leadoff release from Future, due on November 25, just in time for the holiday rush. Barlow last made it onto the charts with a #1 single, “Sing”, a song to commemorate the Diamond Jubilee which was performed with a collective group of musicians, The Commonwealth Band. Can his foray back into pop music connect with the British public as he did in the 90’s? Look for it to premiere in early October with a potential release date of November 18, the week before the album. However, there’s no been confirmation of it; it’s just my expectation given the schedule right now.

Swingin' on by.

Swingin’ on by.

Release Date: November 4 (U.K.)

Coming off a huge summer tour and his first #1 album in six years, Take The Crown, Williams is back on top of the British music scene again and looking to maintain that presence with his latest release. However, he won’t be doing it with his usual mainstream pop material; he’ll be going to back to the swing era once again with Swings Both Ways, on Island/Universal Records. It’s out on November 18, also cashing in on Christmas sales. The album features seven original songs and six covers and features a number of duets with popular acts like Kelly Clarkson, Lily AllenMichael Bublé and Olly Murs. It’s now been 12 years since his first fully swing album, Swing When You’re Winning, was released and certified 7x Platinum in the United Kingdom alone. A collaboration with actress Nicole Kidman, a cover of “Somethin’ Stupid” (originally recorded by Frank and Nancy Sinatra), went to #1 there for three weeks. Preview track “Shine My Shoes” from this album, not promoted as an official single, made the lower rungs of U.K. Singles Chart recently. “Gentle” was co-written by Williams along with Guy Chambers, a longtime collaborator with him on his first few albums like 1998’s I’ve Been Expecting You and 2002’s Escapology. Will the reunion of good friends and shift in sound give the superstar his eighth #1 single in the U.K.? We shall see as the track premieres tomorrow, September 27, on radio outlets there.

EDIT: It appears the release of “Gentle” has been pushed back. This was edited on September 22 stating that the single was meant to be out on the 27th, which has unfortunately not occurred. Apologies to all you fans out there, but it’ll be here pretty soon.

Do you have a favorite from the two singers above? Love Gary and Robbie just as equally? Still have their posters above your bed, the lunch boxes and bed spreads? Well then, you’re quite the fan, and you should still comment below and let me know what you think or find PGTC on social media by clicking the “Get Social!” tab.

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