The group took a break to focus on their personal lives before reconvening in early 2006, and eventually reconnecting with producer Don Gilmore.

He was dismissive of the new material that the band showed him, and on his recommendation Benji and Joel Madden left Los Angeles, California and settled in Vancouver, Canada.

[11] Dave Massey, executive vice president of A&R at Sony Music Labels Group, and Gilmore proposed that they reinvent themselves,[10] a view the Madden brothers shared.

[10] Gilmore suggested that the Madden brothers needed to escape from the Los Angeles scene to focus on the songs,[11] and recommended they go to Vancouver, Canada.

[5] The band were talking to Avenged Sevenfold during the MTV Video Music Awards and invited them to the studio to hear the album.

[15] According to Joel Madden, the group wanted to move away from the dark overtones of their past work as they found their contemporaries' music was becoming "really dramatic".

[12] They decided to move into dance-orientated territory,[12] incorporating hip hop and dance elements into their pop punk sound,[8] and borrowed guitar effects from U2 guitarist The Edge.

[13] Gilmore's production work on the first two Linkin Park records is evident in the guitar licks on this track, which recalled their Meteora album.

[8] "The River" features M. Shadows and Synyster Gates, members of Avenged Sevenfold, marking the first time the band had collaborated with another artist.

[12] Electro-disco track "Dance Floor Anthem" is reminiscent of the Rapture;[16] Madden said it is a break-up song that encourages someone to "[g]et out there and meet somebody, have a good time. ...

[28] "All Black" opens with the sound of a pipe organ before the rest of the band joins in,[17] toying with goth rock in the process.

[38] "The River" was released to radio on January 15, 2007,[39] and was followed the next day by a music video for "Keep Your Hands off My Girl", which was directed by Marvin Scott Jarrett.

[10] "Keep Your Hands off My Girl" was released as a CD single in Australia on February 24 with a Broken Spindles remix, a music video of the track, an acoustic version of "I Just Wanna Live" and "Face the Strange" as B-sides.

[41] Good Morning Revival was made available for streaming through AOL Music on March 26,[42] and was released the following day through Epic and Daylight Records.

[10] The Australian edition featured a DVD, which included "The River" music, a making-of video and an electronic press kit (EPK).

[44] "Dance Floor Anthem" was released as a CD single in Australia on June 30[45] with radio and album versions of the song and a Brass Knuckles remix of "Keep Your Hands off My Girl" as B-sides.

[16] In a review for Blender, music critic Andy Greenwald said the album was full of "Disney-channel-ready pop" that was "buffed and Pro-Tooled almost beyond recognition".

[31] Mike Haydock of Drowned in Sound said the record was "about as punk rock as the ironed-in creases on David Cameron's jeans", and that purchasing the album was "both pointless and foolish".

[29] The Guardian's Ian Gittins found the band swapping "grunge-lite punk-pop" for a "sleek angst-rock that would be rejected from the soundtrack of The OC for lack of emotional depth".

[71] Tom Sinclair of Entertainment Weekly wrote that a greater emphasis was put on "infectious choruses and razor-sharp melodic hooks".

[26] musicOMH's Alex Nunn noted that while there was a "cavalcade of saccharine hooks and uber-large choruses", the album basically amounted to the band "doing what they've always done ... and in the case of Revival, they do it as well as ever".

[23] The New York Times reviewer Kelefa Sanneh called it "a mystifyingly inept CD that includes some of the worst lyrics you will — or, with any luck, won't — hear all year".

[75] NME writer Mike Sterry dismissed the group's intention of a "complete reinvention" as the record was "still unmistakably Good Charlotte: vile, goth-jock pop with all the wit and nuance of a urine-soaked sock".

[72] Now's Evan Davies said that after several years of "hating every ounce" of Good Charlotte, "it seems now that the actual trick to enjoying their music on any plausible level is to go into the whole thing with absolutely no expectations.

"[76] Orange County Register writer Ben Wener remarked that it was "exceptionally crafted", flaunting "its money, studio expertise and synthetic window dressing in just about every air-tight sonic turn".

[73] Christian Hoard of Rolling Stone found the tracks "dark and sour", saying "shimmery electronics and some tortured emo choruses" abound.

[74] Spin writer Trevor Kelly said the album had a "few clunk dance tracks", but Madden's "search for love in the L.A. wasteland" provides it with "a certain charm".

[78] Sputnikmusic staff member Dave de Sylvia said the record was "inconsistent; downright sinful at times", with glances of "brilliance and some very creditable pop moments".

[119] The iTunes deluxe edition includes four additional remixes: "Misery" (by Steve Aoki), "The River" (by Apoptygma Berzerk), "Broken Hearts Parade" (by Vanderbilt and featured Prophit) and "Victims of Love" (by PBX).

"[122] Later that year, Joel Madden said it was his favorite Good Charlotte album, and that "people don't give it the credit it needs, as a record and for where we were at for our age.