Not too many rock bands’ stories begin with comic books, but that’s exactly where lead singer/songwriter of My Chemical Romance, Gerard Way, began his journey.
While working in the comic industry in New York City, Gerard experienced first hand the devastation of the attacks on Sept. 11, 2001. Deciding to “do something with his life,” Gerard wrote a song inspired by the events and eventually recruited his brother Mikey Way to play bass, along with guitarists Ray Toro and Frank Iero, and drummer Matt Pelissier (later replaced by Bob Bryar).
With the massive, platinum success of their second album “Three Cheers,” fans and the band alike were anxiously waiting to see what My Chemical Romance would come up with next. Released on Oct. 24, 2006, “The Black Parade” is the follow up they have been waiting for.
Intentions are clear through and through on “The Black Parade” – My Chemical Romance desires to shed its emo/pop punk label and do something grander and more theatrical than ever before.
“The Black Parade” is a true to form, dramatic concept album that ties together various vignettes surrounded by the theme of death. This is not such a far cry thematically from their past albums that have rested comfortably in this subject, but “The Black Parade” heightens the themes presented in earlier albums to a new level.
The album loosely chronicles the tale of “the Patient,” a young man dying of cancer in a hospital bed who flashes back on his undistinguished life upon the moment of his death. The band reportedly got so into this project they considered themselves not My Chemical Romance, but a band called The Black Parade. Even their style has changed to a degree with the members donning similar marching band wardrobes, Mikey losing his glasses, and Gerard cutting and dying his trademark long black hair in exchange for a short, white cut to take on the look of “The Patient”.
This behavior can be seen as a direct, if not intentional, tip of the hat to “Sgt. Pepper’s Lonely Hearts Club Band.” Other allusions such as those to Queen’s “A Night at the Opera” and Pink Floyd’s “The Wall” are equally deliberate as MCR dropped these names like wildfire throughout their pre-release press tour.
In a similar way that mid-90’s alternative rock harkened back to the early days of hard and progressive rock, “The Black Parade” borrows heavily from such influences while all but making carbon copies of such influences filtered through “Three Cheers For Sweet Revenge.” Comparisons are easily drawn between Pink Floyd’s “In The Flesh” and the first “Black Parade” track, “The End.” The guitar work by Iero and Toro reflect a strong alliance of pop and arena rock rhythms with the melodic lead of Brian May.
Piano, an instrument previously void from MCR’s repertoire, permeates throughout the album as do strings, horns, and marching band theatrics. And while this all sounds far removed from MCR’s previous efforts, rest assured faithful fans that this is still the My Chemical Romance you know and love. In fact, Brian May inspired solos are nothing new to Ray Toro and any true fan knows that theatrics and dramatic storytelling are well steeped into the band’s genetics.
Putting aside comparisons, “The Black Parade” stands on its own as a cohesive, somewhat diverse rock album and a triumph for what is heard on much of today’s top 40 radio. The first track, aptly titled “The End.”, serves as an introduction to the album’s second track, “DEAD!”, an energetic, classically crafted MCR tune with 70’s rock overtones. “DEAD!” along with “This Is How I Disappear”, “The Sharpest Lives”, and “House of Wolves” comprise the most familiar sounding of the tracks on “The Black Parade.”
The first single “Welcome To The Black Parade” serves well as a representation of the album as a whole, bringing together all the elements that make “The Black Parade” the theatrical and heart-felt album that it is.
Tracks such as “I Don’t Love You”, “Sleep”, and “Disenchanted” offer a more a subdued and cordial brand of familiar MCR sounds, while the piano-centric song “Cancer” truly highlights the attempts by the band to diversify their sound by tapping into their pop-ballad roots.
The most intriguing intro on the album belongs to the eastern-European influenced “Mama”, complete with Liza Minnelli cameo, contrasting the American boogie-rock rhythm of “Teenagers”.
The soon to be second single, “Famous Last Words” brings the listener on an anthemic journey that rounds out the end of the album perfectly.
While “The Black Parade” isn’t exactly the most original album of the year, it has a lot to say about the band that made it and where they are going.
Even if it is a recycling of bygone greats, it is still better than 95 percent of what is on the radio today and the theatrics dreamt up by My Chemical Romance add an element of amusement and majesty to an otherwise typical album.
The Limited Edition version of “The Black Parade” is housed in a hinged longbox that’s wrapped in black velveteen and contains a 64-page book featuring Gerard’s drawings, making-of-the album notes from the band, and four photo art cards.
It is rather pricey, going for nearly $40, but the art is great and is worth the extra money for big time fans.
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