Their songs are so cool. After the second chorus there’s a 90-second outro meaning that the song is like 50% not-song at all. Irish punters could turn €0.98 into hundreds of millions* with a bet on the Super Jackpot, The 50 most iconic songs of all time* have been revealed, QUIZ: Name all the countries of the EU that contain 2 vowels or less. Features; List; These cannabis strains would go great with these 10 music genres. Ghost Of You is the only big ballad of Three Cheers, and the mid-verse high-note riffing is reminiscent of Early Sunsets Over Monroeville. All told, it's the perfect excuse to revisit the band's perfect union of frightening metal riffs and knockout pop melodies. The video was also voted number one by viewers of MTV Latinamerica in the 2005 "100 Most Wanted Videos" and was named the seventeenth best music video of … Gerard’s androgynous “don’t I look pretty walking down the street in the best damn dress I own?” the valley-girl “A-wuh-oh”s. Tracks like this one suggest that the further MCR had continued, the more completely Gerard Way would have transitioned into Billy Corgan on Real Love or Perfect. With My Chemical Romance, May-Har Li, Tracy Phillips. Director: BRTHR. Guys Like Us was the epitome of Gerard Way taking a song and turning it into a story, told by a master craftsman. The titular lead single did a lot of the work with the opening notes and libretto that would have made infinitely more sense in a Broadway show before a big finale that Queen would have been proud of, with the pop-punk part of the the song taking up about two minutes in the middle. A new music service with official albums, singles, videos, remixes, live performances and more for Android, iOS and desktop. 7. Narrowing down the 10 best was no easy feat. It's all here. The song also contains a nice reference to “purifying flame” — a phrase Gerard used on the Sister To Sleep demo that came out around the same time as their first album. Directed by Marc Webb. By the time the band had grown up and dropped Danger Days, this message had become a lot more explicit in their music. Of course, MCR play it like they’re the backing band for Satan in Charlie Daniel’s The Devil went down to Georgia, while Gerard howls like an oversexed, lapsed preacher, so it’s still pretty special. This is the angst equivalent of mainlining morphine and my God is it sweet. The band had sacrificed not a whit of energy nor electricity to accommodate their new vision, and sighs of relief were breathed into stripy, fingerless gloves everywhere. Famous Last Words, however, feels like the final song written by the first iteration of My Chemical Romance. The lyrics pretty explicitly and repeatedly refer to a coworker the singer fell in love with who eventually left the office, causing the singer to conclude that “This happens all the time and I can’t help but think I’ll die alone.” Which would be really easy to make fun of if it wasn’t so damn relatable. It’s that showmanship that left MCR utterly separated from the rest of the bands with whom they’d have otherwise shared a genre — much in the way that Freddie Mercury turned Queen from a group of wonderful musicians into an experience. You Know What They Do To Guys Like Us In Prison is the first, and perhaps the best, example of Gerard Way’s penchant for vaudevillian vamping. Broadcast your events with reliable, high-quality live streaming. Luckily, Gerard Way and Ray Toro combine so well whether it’s haunting vocals over finger-picking or tortured howls over shredding that everything always fits like a bullet in a chamber. Skylines and Turnstiles is a great tune, but it’s hard to listen to it and not think that it set the whole tone for the band’s 11 years. The second track on Danger Days, Bulletproof Heart pretty much confirmed that MCR would be keeping The Black Parade’s polished, tightened sound rather than going back to the fret-sliding feedback-drowned style of their first two albums. Games. had the decency to turn it into one big joke with some party pop-punk that sounded like Andrew WK telling you your cancer is terminal. Hamming up his performance as a prisoner in the second verse, you’d have to say that Gerard was acting as much as he was singing. It was like somebody took Clueless and ran it through Instagram’s emo filter. If nothing else, Planetary (Go!) Probably more likely to cringe at the song’s lengthy title too. My Chemical Romance Is Finally Teasing New Music And Fans Are Slowly Losing Their Minds I brought you my bullets, you brought me this weird-ass video. When Gerard Way took emo to meet the wild, wild west he probably didn’t expect the two would fuse so comfortably. If you’re looking to get high to a specific type of music, these are the strains and terpenes to look for. Though the lead singer was a fine song-writer with an undeniable knack for melody, the band’s big-haired guitarist was able to pull out riffs and solos that simply weren’t the traditional fare within a genre that generally preferred the safety of four-chords followed by a brief key change. With My Chemical Romance, May-Har Li, Tracy Phillips. There’s also a bit in the guitar solo that sounds like Woody Woodpecker laughing. This is what I came up with: It wouldn’t be very fair on any of MCR’s other songs, even the shakier ones, to stick them behind an interlude on a league table — so we’ll kick it off here. The movie-trailer music video for I’m Not Okay came with title cards — “If you ever felt ashamed/angry/used” — it was emo for everybody, emo on demad, the wuh-oh-piate of the masses. Toro’s guitar solos on To The End, Thank You For The Venom and I’m Not OK added a uniqueness that a band can only achieve when allowed to explore the full potential of their instruments. But like any good psychological thriller, the "911" video more than earns its twist. MCR tried their hand at a few ballads on The Black Parade but it took until The Only Hope For Me Is You for the band to find their comfort level. The 11-o’clock number chorus hinted at the kind of songwriting Gerard would produce in future, and if comic book writing doesn’t work out the man surely has good prospects as a composer on Broadway. MCR pretty much always banked on their listeners to stay with them until the pay-off, which often came in the form of Gerard Way delivering the exact right words the exact right way. That might not sound like a criticism, but it was quite a departure from MCR’s earlier work and sounded a little bit more polished than seasoned fans were used to. Special mention for the strong Coheed & Cambria vibes on this song, and lines like “We can live forever if you’ve got the time… I’m the only friend that makes you cry.” If there’s one MCR song you only need to listen to the second-half of, this is it. Way’s vox never sounded smoother than on the verses for Jetset Life, accompanied by church organ. Given that it’s the final studio album track we might ever hear from the band, The Kids From Yesterday really didn’t have any job other than to be poignant as fuck — a criterion it meets with relish. Webb was chosen instead of Samuel Bayer who directed "Welcome to the Black Parade" and "Famous Last Words" from their third studio album The Black Parade. Special mention for the closing line: “When I grow up I want to be nothing at all.” The song might be too short to match the impact of the rest of the band’s back catalogue, but as a quick curtains-up, it can’t be faulted. Three Cheers’ explosive finale is not an anthem. Learn the full song lyrics at MetroLyrics. Interlude has a moan-y sort of vocal thing going on that Romance just breezes straight past with some staticky Spanish guitar that kicks off the album in a creepy, cinematic fashion. Glad he found a use for it eventually. References to death and funerals. Music video. This quiet-loud dynamic only makes it all the more earth-shattering when Matt Pellissier’s drums kick in and tear the walls down. Gerard Way and the band are in a church performing during the funeral of a woman named 'Helena'. While the pomposity of MCR's work clearly had a big Bowie influence (and Way picked him in his Take 5 in 2015) the music on this track will take you back there in an even more powerful way. “We are young and we don’t care/ Your dreams and your hopeless hair/ We never wanted it to be this way for all our lives,” always suggested an interesting self-awareness about the self-pity inherent to emo lyrics. Though the chorus was a little clichéd, there’s no mistaking its power and the breakdown (“awake and unafraid, asleep or dead”), well, it’s hard to think of another frontman who put so much of himself into a performance. By the time MCR dropped their fourth album, gone were the over-the-top titles that were maybe cramming a little bit too much of “the vision” into a small space. 29. You have to respect the commitment. It’s a mad dash of a song, which is all the more fitting since it’s about a couple escaping from a hospital — and it gathers pace as the story progresses, with the vocals going from staccatic syllables to squeezing every inch of life out of “Well I thought I heard you to say to me…” It’s a mischievous moment of hope on a dark album, and it was desperately needed. It hurts to have it so low down, so that’s the reason I’ve confabulated. If nothing else, you have to admire the concept. First things first: if you put Liza Minnelli on a pop-punk track, that song is immediately issued a first-class, one-way ticket to your band’s top five, no questions asked. It’s a shimmering song, reflective rather than reactive, and a stellar way to cap off the My Chems final act. Track listing This is the kind of song that you’d write if you’d only been allowed to listened to the music from car commercials growing up. 'Dr Death-Defying' who opens the Na Na Na video, and his lair. 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