Whenever there's a major trend in the music industry, you always compare the follow ups to the "originals". I use that term loosely because the originals are never really that innovative or whathaveyou. A lot of the time, they're just the first to get some attention, really. One of the major stars of the last couple of years, one of the major contributors to the "angsty femme rock" crew is the not-so-lovely Avril Lavigne.

The Canadian wannabe-punk popped up onto our TV screens and radios in spring 2002 with her hook-y first single and intolerable attitude. While people like Michelle Branch and Vanessa Carlton (two artists Avril is often compared to) were writing and producing their own stuff almost single handedly, 18 year old Lavigne was looked at like her production team The Matrix (Liz Phair) handed her everything to sing without any input. Nonetheless, this record skyrocketed up the charts, selling six million units on the strength of four very mixed singles.

Tracklisting:
Losing Grip (**** 1/2)
Complicated (****)
Sk8er Boi (***)
I'm With You (****)
Mobile (****)
Unwanted (*****)
Tomorrow (*****)
Anything But Ordinary (****)
Things I'll Never Say (*** 1/2)
My World (****)
Nobody's Fool (* 1/2)
Too Much To Ask (*** 1/2)
Naked (****)

Kicking off the record is one of the better tracks present, fourth single Losing Grip. This angst-y, frustrated track with the oddest effect in the background is one of Lavigne's most genuine performances, especially on the electrifying, chunky hook. The production is a bit smudgy but Lavigne shows that she can flash some nicely done rock when needed. Complicated, Sk8er Boi and I'm With You all were the reasons this record did as well as it did. The first, a swinging guitar-led not-exactly-convincing outsider-looking-in track, was what first drew me to her. Lavigne's vocals aren't as good as they could be, though; they sound extremely young and not done seriously enough (her pronounciation and inflection are annoying most of the time) and therefore knock the song down a few notches. The lyrics are solid but are too I'm-not-preppy-so-I-must-be-a-frickin'-genius-about-social-issues for my taste. Lighten up, woman. Ugh. The second, one of the worst songs on the record, has a decent lyrical concept put on an overproduced, rebel-who-has-to-be-home-by-9 track that's uber grating by the third listen. The constant magnified guitars are decent (but too glossy) but the chorus and verses blend in too much together and make this once continuous piece of music. That's a no-no, kids. She comes off Courtney Love-esque but she just has no passion in her voice. It seems a bit forced and like something she just didn't want to do which makes the song less entertaining. The last is a distant, introspective (well, as introspective as Avril can get) stripped down song with that Alanis-lite vibe and surprisingly strong lyricism. Lavigne delivers this lonely anthem-esque power ballad with a good amount of conviction (gasp!) and passion, although her semi-yodels toward the end aren't the best thing since sliced bread. I dig the more variety found in the instrumentation (the strings are gorgeous) and the fact that they back off and let Avril breathe.

Mobile, a country-ish upbeat little ditty of always being on the go, is next and is also a pretty decent song. Lavigne sounds much more humanistic and down-to-earth with lyrics that match that tone nicely. She drops the attitude and lays herself out on the line more, which I would like to see on the second record. The bouncy acoustic guitar on the verses is my favorite part, adding that on-the-road-again-impromptu-jam-session vibe that I like. Her vocals are extremely blah toward the end of the song (she eerily reminds me of Celine, though. And I like Celine, too) are fresh nonetheless. This is one track where her Canadian accent is more defined. Unwanted kicks some serious boot-ay. Her persona instantly darkens from the peppy last track, getting a melodic snarl that is so well done and equally as entertaining. Her intensity is just there and she controls the song from its wailing verses to the thunderous hook that will appeal to anyone. The guitar work is splendidly raw while the production fills in any holes that may exist. Finally, a great track. Woo hoo!

Tomorrow is just the opposite of the last track but I like it almost as much. The demure vocals surprise you at first but they fit perfectly, especially on the barren hook. The very full and captivating sound is almost new to the record while the production lets it be itself and sound more natural than some other tracks present. She shows her range wonderfully; her voice doesn't have a lot of runs in its bag of tricks but its expressive nature and homey tones make up for it. Anything But Ordinary is another good song that is carried by the hook. Lavigne pours it on during this time when the instrumentation goes from semi-schlocky and gimmicky (another major downfall of the record) to more electric oriented. You can tell her age as plain as day on this bob-along road song especially on the acoustic led verses.

Things I'll Never Say is yet another acoustic-led track, a not super confident track of conversing with the opposite sex. Its good she put one of these bad boys on here because it goes a place that not many of her peers go as consistently as you might think. Without it, this record is a much more bravado centered, overly confident mess of identity crises. She sounds nice on the verses, very looking-at-your-shoes-while-talking-to-someone and just vulnerable enough to be believable. The lyrics are good but nothing that will blow you...away. (Listen to the song and you'll get it) My World is the token autobiographical track with Avril discussing the first 17 years of her life with us. Its a sweet natured ode to Napanee with much more effort put into the vocals and a more noticeable melody to the song as a whole. The not-exactly-lush lushness is uber endearing while the schizophrenic, mini-statements are easy to follow. All the small town people will relate to this song, trust me. Isom isn't exactly a mecca for business...

And here we have it...the infamous Nobody's Fool. Ugh. Avril tries to rap on this song and fails miserably with her monosyllabic, lazy flow that will make hip hop fans lose more faith than they already have. With juvenille lyrics and an amateur-ish production, this song is just not my cup of tea. The hook is ok but the audacity of the verses is what sticks out. Be prepared, kids. Too Much To Ask and Naked end the record on a decent note. The prior is a good track but nothing sticks out except the silly phrasing and decent message disguised in a bland track. The latter is one of her most stark tracks with a refreshing lack of production for a good chunk of the song and a more open feel to the song. She finds a nice balance between nervous teenager Avril Lavigne, girl from Napanee and Avril, pseudo rock star.

The Avril record, despite how good some of it is, is so overrated that it's not even funny. She's good and all but there is definitely people who are better at what she does. Toby Lightman...Katy Rose...Fefe Dobson...among others. Maybe record two will be a bit less overblown and more real.

Great Music To Play While: getting so weird you freak yourself out (hello, counseling...), braiding your hair in a zillion braids, rapping like an idiot, writing your lyrics illegibly on your liner notes, wanting to blow someone...away, dominating Radio Disney to this day, trying to be punk and realizing your sh*t does in fact stink

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Recommended: No