By Greg Michaels
Good Charlotte has spent the better part of a decade enjoying success as one of the country’s more popular pop-punk acts. With their new disc, Good Morning Revival, they hope to bring their trademark happy-go-lucky sound back to the masses and attract both new and old fans. Do they succeed?
The answer is not a yes or a no, but rather a maybe: Good Charlotte’s new record may appeal to old fans, but ultimately fails to bring anything new or extraordinary to the table. Revival kicks off with a pointless, synth-driven introduction/title track that seamlessly melts into the album’s second song, “Misery.” While it starts out promising enough, the synthesizers from the introduction running wild in the background, “Misery” falls flat on its face with its repetitive (albeit somewhat catchy) chorus. Joel and Benji Madden, twin brothers who founded and front Good Charlotte, begin to croon in the chorus that “misery loves company,” and that “misery is looking for them.” It sounds as if (Joel) Madden is struggling to keep his slightly whiny, emotive voice at bay as he sings.
Next up is “The River,” which is the record’s first single and one of its strongest tracks, thanks to guest appearances by Avenged Sevenfold’s M. Shadows and Synyster Gates. The two alt-metal artists bring an edgier sound to Good Charlotte, rounding out their poppy, hook-driven choruses with Shadow’s raspy voice and Gate’s hyper-driven guitar licks.
“Keep Your Hands Off My Girl” is probably the album’s most interesting track, with Madden faux-rapping in the verses and belting out falsetto during the chorus. It shows another side of the band, and with more mature lyrics and slightly better songwriting, this could have been a huge hit. Unfortunately, we’re subjected to lyrics about brass knuckles hanging from Madden’s chain, Chanel and Louis Vuitton clothing. It’s hardly appropriate for the tone of the song or the album itself, and has no place here. “Victims of Love” is another lackluster track that attempts once again to resurrect the ’80s, but ends up sounding pretentious. “Where Would We Be Now,” however, demonstrates Good Charlotte at its best, with a soaring hook in the chorus and catchy verses to boot. The only problem is the song’s tendency to sound over-produced, with a winding piano lick and strings in the background (reminiscent of 2004’s Chronicles of Life and Death).
“Break Apart Her Heart” joins “Victims of Love” as a monotonous waste of time and space: it merely fails to make a lasting impression. “All Black” and “Beautiful Place” see Good Charlotte coasting through the second half of the disc, with the same tedious melodies and dull subject matter heard previously. While the former sustains interest throughout due to its memorable (if a bit corny) chorus, the latter track suffers from dreary verses and an unremarkable hook.
“Something Else” stands out for better or for worse, with hurried-sounding lyrics and a pleasurably simple melody in the chorus. The final moments of Good Morning Revival are also some of its most memorable, as the Maddens finally achieve the effective ’80s sound they’ve been hinting at. “March On,” while seemingly routine, provides a suitable finale for the disc, reaching out with less pizzazz and energy than Good Charlotte began with.
Good Morning Revival can be called many things, and a masterpiece should definitely not be one of them. If you’re in the mood for some harmless, Bazooka Joe pop-punk that might brighten your disposition however, it may not be such a bad choice after all.
3 STARS
