MCR's new song out on iTunes!!!

iTUnes never works for me. Oh well, the wait makes it more special I suppose... *sniffle*

where the hell is bob in the interview?

^ that's what I wanna know. Drummers are never recognized enough. Sigh.

He was probably in the hospital when they recorded it.

For those that don't have iTunes:
Click here.
If you can buy it, though, I think you should and support the band.

This means the video should be out soon.

I loved the interview! I love the song momma.

NEVER!!!! I refuse ANY spoilers of their new album and fully intend to have never heard a single song when I put it in my CD player for the first time.

argh! my itunes is being dumb,it cant connect. *groans*

you only hear like 6 seconds of the songs or like 10 seconds of them. and they all sound awesome. but it sounds very different from anything they have ever done. the song teenagers sounds cool and love the lyrics to it. but i will say pretty much every MCR will love the song teenagers on what the lyrics are about

damn,it sounds good....





i'm so calm,it surprises me,oh my god..



YEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEESSSSSSSSSSSSSSSSSSSSSSSSSSSSSSSSSSSSSSSSSSSSSSSSSSSSSSSS



wow,that lightens up

MyNameIsSaintJimmy:

NEVER!!!! I refuse ANY spoilers of their new album and fully intend to have never heard a single song when I put it in my CD player for the first time.

I kind of have no life, and I figured people wouldn't want the record to be spoiled, so I listened and transcripted the entire interview. It took all bloody night, and on word it is 13 pages long, but here you go:

G: Hey guys! This is Gerard.
F: This is Frank.
R: This is Ray.
M: And this is Mikey.
G: And we’re My Chemical Romance, and we’re here to talk about our new album, The Black Parade.

THE END
G: “The End” was basically this song where I think we, when we butted that up against “Dead” we realized we were making a really theatrical record, um, that was also going to be very big. We wanted something, I think, we wanted “The End” to sound a little like the beginning of “The Wall.” There’s a song called, “In the Flesh?” because it reprises later in the record. But, um, we wanted it very much to sound like that kind of beginning, like that you were about to be take on a journey, and I think that’s why that song is so big. And it tells a story right away. I think it just kinda pulls you into this story. So…

R: Like he said, this song really set the tone in the record, you know, the entire record. We had written it, um, in New York at SIR studios. As soon as all the drums and all the guitars kicked in really loud for that, from the acoustic guitar that first starts it we knew we were onto something big, something special.
(A/N: This is the song that opened the Hammersmith show, it is NOT called Father)

DEAD
G: “Dead,” was written probably right around that time too. (Ray concurs in background) It was one of the older songs that was written, and it’s the first one that kinda, it started out as this kind of scathing social commentary and then ended up being this song that very much fitted the story. I mean, you also notice on “Dead” it’s got this little bit of a nineties Brit-Pop feel to it, which is kind of intentional. It was inspired also by…

R: “Mr. Blue Sky”

G: “Mr. Blue Sky,” by Electric Light Orchestra, but there’s definitely some moments of Blur and Pulp a little bit. It’s definitely has got a Brit-Pop vibe, which is something that I’ve wanted some form to appear in the music at one point in our career. It’s cool to have it in there, and you know, it fits really great after “The End” cause it launches you right into the story.

F: It definitely has that Brit-Pop, like bouncy feel.

G: Yeah, the bounce, the meter, the song.

F: Um, I think then, going out of the chorus into the B section… There was definitely a section we wrote that was almost like a walking base line kind of thing when it was originally written, and then we talked about what we can put in there to make it go into a different world at that point because Gerard starts singing in different character voices and everything, things like that. I think earlier in, I was like, I really want tuba.

G: Yeah (Mikey laughs in background)

F: And I wasn’t really sure why.

G: I think Frank had heard horns, and I think it’s ‘cause the section reminded us of almost of “Sgt. Pepper’s,” and we wanted to take it there very right away in the record we wanted to take it to this “Sgt. Pepper’s” realm because there were really three major influences for this record aside from our lives and using metaphors to describe them. It was “Sgt. Pepper’s,” Pink Floyd’s “The Wall,” and Queen’s “Night At The Opera.” Those are the three main records that inspired this album directly. So it was good to have a nice little injection of “Sgt. Pepper’s” right away. I pictured this kind of hospital I “Dead,” and I pictured this doctor talking to this patient in this ‘doctor’ voice, and I think that comes across in that. And so, there’s all these ironic horns and these slams on the piano that are happening when they are talking about a problem with this guy’s heart.

M: What I love most about “Dead” is that huge ending. ‘Cause it’s like a huge tribute to all the bands that we all love, like The Beatles, Oasis, Blur… It’s like, just, this is great. It kinda like, refrains the song, and it’s like… I dunno…

F: It’s a really celebratory ending. It’s kinda like, ‘lalala’ sing along. I guess the melody kinda struck us when Rob came up with it.

R: Yeah, it just was great when we first played it in the studio. That was one of the most fun sections because it was like, really kind of the first time when me, Gerard, and Frank actually sang together. And it sounded so huge all of us singing that ‘la’s together (Gerard and Frank agree in background). It was just really fun, like this huge gang vocal to finish off the song, and it just is a great way to finish it.

SHARPEST
F: Well, “Sharpest,” I think was a…it started out as a vocal melody that Gerard was kicking around for a little while. Normally, we, from knowing Gee, we all know when there is something he’s real syked about that he wants to get on real quick, cause someone will have a guitar at that moment and it will like, turn into a song. But it was one of those melodies where we were like, ‘eh, lets work on it a little bit’ and we just kinda went on to other things. And then the more we got into recording, we were actually tracking at that point, Gee and Toro went into the other room and something about that melody just kept coming back, and he was like, ‘lets just try this.’

G: Yeah, it was one of those things that, that melody, it was almost more like… Me and Ray had test driven it a little bit at the Paramore, but I don’t think everybody was that syked on it. And then, I was like, saying to myself I just don’t think it is finished yet. And I still believed in the verse. But that was all that was really there, it didn’t have a powerful chorus or anything. But then something about it, I don’t know, it was just relentlessly in my head. So I remember one night Ray had loaned me his guitar, so I just sat down. It was one of the biggest moments of inspiration for me during the record. It was one of those cases where I sat down with a guitar and a bunch of sheets of paper and literally tried to write this whole song from start to finish with bridges and everything in it. And it was pretty crazy, the lyrics came immediately, and they were very inspired. I’d just play it on acoustic guitar, and sing it. And actually, that version to me has a lot of charm to it too. It sounds almost like a New Order song when you play it on acoustic guitar and just sing it. It has a lot of charm to it, but then the objective was to take that song that was almost just acoustic and just throw everything on it. Electronics, everything, and then strip away the elements to the point it felt like it was a rock band again. So it did start with a lot more electronics than real instruments. It was like a really intense tracking session because it lasted three days. And Rob Cavallo got crazed about the song, and we’re all just working really feverishly for three days and didn’t stop once that song came about.

M: I just remember that night, we were watching TV or something.

G: Yeah.

M: And he points in the air, and goes in the other room with a guitar and comes out with a chorus. And I was just like…

WELCOME TO THE BLACK PARADE
F: We wrote for a while before even starting in New York. We wrote while on tour. I think we started in Warped Tour, in the summer. We put a little mini makeshift studio in the back of our bus. We wrote constantly, trying to get into the mindset of writing before we got some time to actually sit down and do the record. But I think the oldest song on this record is actually the first single, “Welcome to the Black Parade.” Because it went through so many different forms before it even got to that point. We actually wrote, I guess the idea for it before the first record ever came out. And then it didn’t get finished for the first record, and we kinda abandoned it. And then before we wrote “Three Cheers” we brought it back, trying to see if it would work. And we just had so many other things that we wanted to work on, that it never got finished. And then when this record finally, we sat down to write this record, we were like ‘Oh, remember that song?’ And it started out really slow, and then we sped it up, and we recorded it and were happy with it, and then we listened to it, and were like this could be better. But I guess the whole process took three years for that song.

G: This song is like a real true testament to the band, how it’s grown. It’s a very prime example of the risks we took on the record. It encapsulates (A/N- I didn’t know that was even a word, but spellcheck says it is) really the themes of the record, a lot of what we’re trying to say which is to be very direct to our audience and any audience we might get it to say, you know…The last record was a lot about aggression, and maybe violence, and dealing with things in an angst way. Whereas this record, we wanted people to get over that. Stop being upset, and really carry on through anything bad that happened. It’s also the point in the record where this patient meets up with this Black Parade, and it takes him on this journey. As far as the song, it was the biggest, hardest song we every had to create to get together. It has 167 tracks.
R: Yeah, it like a, I think it’s a world record.

G: It’s got a marching band, it’s got multiple snare sections, it has horns, this section we refer to as the orphan section. Which is these kind of gang vocals that come in during the bridge which we really tried to shoot for it sounding like Little Orphan Annie.

R: It does kind of encompass what the whole record is about, this track (Frank concurs).

F: It’s a really good way as a first single, I guess, to really give you a little bit of a scope as to what the rest of the record will bring.

M: The weird part about this song is when we originally started writing it was the code name for it was, “The Five of Us Are Dying.”

R: Which I hated!

G: Ray is very superstitious. (Everyone concurs).

R: I’m really superstitious, and I remember. This was the last song that we in it’s previous form, we had tracked it and we were getting on a plane to go, to I think Europe. (Frank laughs)

G: England.

R: Yeah, we were going to England. And I remember I didn’t want to get on the plane. I was freaking out because it just so happened that this song was that last one we tracked, “The Five of Us Are Dying.” And then, ‘Oh, get on a plane and go play a show. Sure, have fun!’

G: Right.

R: And I almost didn’t get on the plane.

I DON’T LOVE YOU
F: “I Don’t Love You” is the song that follows “The Black Parade,” and that’s I think was our first shot at writing something sort of like a ballad.

R: Yeah, definitely.

F: Something more relaxed. I don’t know, for me, I guess I keep thinking it’s something that I would sing the shit out of.

G: Yeah, I try to riff after that second chorus just like him. It’s also another song that was written kind of early on as well.

R: Yeah, it was written on tour too. (A/N Any fan who has watched LOTMS knows that.)

G: I think we sound-checked it on the Green Day tour. I think Green Day was playing whiffle ball. (Ray concurs) And we sound-checked it, and it was pretty powerful even back then. The song is just very direct; we saw this song as the patient looking back on his life at a moment where he made some mistakes. That’s really kind of what this one is about.

R: Musically too, instrumentation wise, it is very inspired by Credence Clearwater, “Who Will Stop the Rain.” There’s B3 organ in it, which kind of fills out the sound real nice. But it is kind of interesting because this song, compared to “Black Parade,” feels much smaller. But I think that actually works on the record because “Black Parade” feels so big, and you kind of need like, um… “I Don’t Love You” is kind of very easy going, and has more room to breath (Gerard concurs), and it’s kind of nice to have that.

HOUSE OF WOLVES
F: “House of Wolves” was written in the Paramore house at a dark time in the writing process. I think we were kinda, all felt a little spent by things that were going on, personal issues. We really had put a lot into writing a lot of those songs up until that point, and I think that we were just at a point were like ‘alright, we just need some time to breath.’ And I remember kinda, just trying…wanting to play at that point for some reason. And I picked up Rob Cavallo’s really big red clunky acoustic guitar.

G: I love that guitar. I love it.

F: And I tried to write a song, really hard. But for me, when I say alright, I’m going to sit down and write a song, is when nothing comes out. So I just kind of sat there and stared at the wall for an hour, and then I just started playing stuff I thought my dad would like. And that kind of turned into the basis of “House of Wolves.”

G: Yeah, I remember him playing this thing and I walked into the room. And it almost reminded me of a really early Smiths song. The way he was strumming the verses were… It was kind of like when the Smiths were trying to do these rockabilly songs. There’s one in particular, the name escapes me, but… Initially the chords were extremely catchy, but naturally the vocal melody that went along with it was very Morrissey-like, and we just kept building on it from there. We ended up with all these great sections that we always wanted to use in songs like almost this suedo- Detroit Rock City section. And then this middle section which is just this ripping kind of, I don’t know how you… rhythm and blues like with stops and like shouts, and it just really crazy, so.

M: It’s like if Motorhead and The Straycats were hanging out in a club (everyone concurs) playing the jukebox, that song would come out.

F: (Several things I can’t make out) It’s my favorite. The Looney Tunes thing?

R: Yeah, yeah, yeah… And it’s weird too…I remember when Gerard was writing the lyrics, and just the music kind of lent itself to, this like, this song is kind of about sin and hell. I remember when hearing it, picturing fire and kind of brimstone. I also like how the song starts. It’s kind of like a tom drum thing, something that you could hear in a jazz club. And I imagined, maybe the patient walking into this like, club where there is just like fire and brimstone. And I remembered back to Looney Tunes cartoons. I can’t remember the specific one, but there’s this one where the character gets knocked out and he descends into hell.

G: He actually dies.

R: Yeah, yeah. I can’t remember.

M: I actually know of the cartoon.

G: It’s a wolf character who dies.

R: Yeah, yeah… He dies, and he goes into hell, and it is this jazz club where this jazz band is playing and it’s wolves playing the music. And there’s fire everywhere, and there’s horns here and horns there.

G: We should’ve mentioned too that the record is the tightest concept record we’ve ever done. It’s based off of the very simple theory that when you die, I always like to believe that comes for you however you want subconsciously. And maybe it’s a manifestation of a strong memory. So this character, The Patient, is dying young in his thirties in a hospital his strongest memory is of his father taking him to see a parade in the big city when he was a little boy. So that’s why death comes for him in the form of this Black Parade. So when it finally does come to him, he goes on this odyssey of looking back at his life, looking at other people’s lives. And this is the one moment on the record, “House of Wolves” where I felt that he was maybe getting very afraid that he was going to hell. Like he wasn’t sure where he was going, but he was pretty sure he was going to hell. And maybe he walked into this seedy bar in the after life and he is reminded the wages of sin. That’s what I kind of pictured.

CANCER
G: “Cancer” is arguably a collective favorite. (Ray concurs)

F: Yeah, it’s my favorite by far. I think this is my favorite song actually that I’ve ever heard. Not even just the songs we’ve done, but by far the favorite we’ve ever done, but I think it is probably my favorite song of all time.

G: I think it’s the most emotionally impactful (A/N that however, is not a word. Go figure) song we’ve ever written. I think we’ve gotten to a point as songwriters where it’s so terrifyingly honest and in your face, and it needs to be. But it garners an immediate response from people. People can’t help but listen to the song, they can’t help but shut up when it’s playing. And that’s part of the idea. Cancer effects one in every 3 people and it’s something that has affected all of us and we take it very seriously. And that’s why the title had to be so brutally honest. I think people may argue that the title is heavy-handed or that it’s trying to get a reaction out of people, and the only reaction it is trying to get out of people is to face the honestly of it, and I feel that the song is actually very empowering. It was, I don’t know if it was difficult to write so much as it’s difficult to perform a little bit. But it was one…a lot of those takes were one of the first three takes. It was Rob on piano, I was doing vocals live with him. And it was one of the first three takes. You know, Rob always had this saying that your initial takes are what you want because that’s your first, most honest response. We then laid the drums over because I felt in the second verse when those drums come it, it gives you a sense of hope. Which is what the song really needed, it needed a sense of urgency, of hope, empowerment that I think is in there. I think the song was very successful in that regard. It’s the most pure form of song.

F: It’s hard for me to even really listen to it without getting emotional. It’s just one of those songs that tugs of whatever that thing inside of you is. And you’re stuck with the honesty and the beauty, and the horrificness of what he is saying. It’s something, in a good way or a bad way, it strikes home with everyone who hears it.

G: Yeah, like I said before too, I believe that people can argue about the song all they want, but I think some of the greatest songs ever written were ones that people argued about, or the ones that people say ‘they didn’t have to go that far’ and I think we did have to go that far with this song. And I think that’s why I’m so proud of everybody in the band for having the courage to put this song on the record.

MAMA
G: I’ll start off with “Mama” and we can tell our own stories about “Mama.”

F: Yes, we all have stories about “Mama.” (Mikey laughs).

G: I was in, we were in this arena in Chicago. I was very almost defeated; we’d been touring a long time. And I was backstage, and I got this phrase in my head, ‘Mama, we all go to hell.’ And I hear just this kind of bouncy, Doors like, almost Alabama song riff in my head with it. And I was like, ‘This would be cool.’ So I like asked Ray to come backstage, and he played this kind of um-beh-um-beh, and it was exactly how I described it and how I wanted it, and it started coming together. So I think immediately we brought it to sound-check, and we said, ‘Guys, we have something new. Lets check it out.’ And then everybody, it was immediately like we’re on to something new. So when we finally got a chance to look at “Mama” again, we were in New York and we dug her up. And we said, ‘Okay, lets work on Mama,’ and we knew it would be a procedure, you know? We played “Mama” and then we all just let the song tell us what it wanted to be. And we worked on it accordingly. But we knew once we’d almost completed that song, that a new creative bar had been raised for ourselves, and that’s when a lot of song started to get cut. That was when we threw out a lot of these songs that were just simple punk songs, ‘cause we knew they weren’t going to make it anymore. And we knew that “Mama” fit in very much with the story and this theatricality and the grandness. It was a song that evolved, it was one of the longest songs next to “Welcome to the Black Parade,” to track ‘cause of so many layers, so many instruments, glockenspiels…

F: Everything needed to be exactly right.

G: Yeah, it had to be perfect. Liza Minelli, who’s phenomenal, worked on the track with us, and sang this one line that I really wanted this voice that carried a lot of sorrow and strength. And carried with it a tradition. The song needed it, ‘cause the song was kind of Cabaret, the song has this big chorale ending, it was almost Broadway, and it needed her and it needed all the elements in the end. So, I know that everybody has a story about this song.

F: It’s one of those songs where you hear the first couple of bars of it, I remember when Ray and Gerard were kind of working on it, and was one of those things. Sometimes they come up with something, and you’re like ‘Alright, this is going to be a hard one to write to, and write with and find an ending,’ you know? But this one just kinda kept going. I had all this ideas, all these melodies, and I think we should poke their heads at this point or that point, and maybe it should go (Frank creates sound effect) downhill here and come back up with this different thing. It was one of those songs that just stayed in your head constantly, and you’d stay up at night thinking about it. And we finally got the chance to work on it in New York, and it really took off running I think. It was one of those things where we were like, ‘Alright, should we pull back the reigns on it? Should we let “Mama” be this entity and go off? What should we do?’ And I think we made the right decision and just let it grow into its own thing. As far as stories go, I think this is the most theatrical, visual song that tells a story that we’ve ever done. Man, it’s one of my favorites on the record. I just think…I’m just so happy and proud that we didn’t pull back reigns on it.

G: It’s like one of those magical moments where your like, ‘Oh, it’s all these crazy sections’ but it doesn’t feel like we were pull a rug out from under people.

F: Exactly. Yeah, that was one of the concerns with it. We’re like, ‘Alright, we get it, it doesn’t confuse us, but anybody else that just listens to it that hasn’t lived it yet, are they going to get confused?’ And that’s the cool thing that no one has said that to me yet, ‘Oh this is really confusing.’

R: Yeah, I think people who, um, people on first listen of that song really do get taken for the ride with it. You just really, really lose yourself. Right off the bat, just from the first lines of the lyrics… are delivered, you get taken into the trenches. You know, and you’re there with this guy who’s scared as hell to be where he is right now, and you’re there with him through the whole story. In that regard, I think it is one of the most successful things that we’ve done because of that, because you’re there. You picture what’s going on as he’s telling the story. It’s pretty great.

SLEEP
G: We should mention that sleep is inspired by a Toto song the “Dune” soundtrack that actually to me is one of the most powerful pieces of music I’ve ever heard. I think it’s called “Final Dream.” It’s about a minute and 10 seconds long. And it’s one of the most emotionally moving pieces of music (Frank is laughing throughout this description) ever.

F: I’ll never forget the night that you guys were like, ‘We gotta write a song that has this feel to it.’ And I remember coming down one night, and was like, ‘You guys are up all night just watching nerd movies.’ (Everyone laughs). That’s exactly what came out of my mouth. And the next day it was like, ‘Man, nerd movie come to life.’

G: It just inspired a little bit of the music. But the song was actually inspired by these nightmares that I used to have at the Paramore, which were way worse than nightmares actually, and way worse than night tremors. It was like I felt my heart stopping, like I was being choked. I wasn’t breathing, I wasn’t sleeping. I was sleeping like a half hour a night.

M: Well, I think it’s so amazing that is, I always wanted us to write this big guitar rock kind of driving… something that reminds me of the early-mid nineties. That’s exactly what this song reminds me of. While we’re playing it you can, you know, just imagine those bands. Those bands that your grew up listening to.

G: Yeah, very Pumpkins.

M: Yeah, Smashing Pumpkins for sure.

G: It, like Frank had mentioned earlier, it was in a very dark period where writing this record there were some emotional problems. It was, you know, the culmination of all the stress and fear I had just wrapped into one song. And it’s very much about, you know, fear and really just a desire for peace. And musically, I think it is the most epic thing we’ve ever captured. Rob devised two different guitar tones for this song. One is called “Black fire,” and the other is called “Nemesis.”

F: (Breathing into mic) “Nemesis.”

G: “Nemesis,” heh, which is the greatest guitar tone to me ever. (Mikey laughs) It’s so punishing and large.

F: As soon as he developed it, too, I think Ray hit a chord and one of the walls just fell down (Ray laughs).

G: Seriously, there was this makeshift wall that we were using to close in some sound. I think “Nemesis” knocked it over. It crumbled.

F: Under the foot of “Nemesis.”

TEENAGERS
G: “Teenagers” (Frank and Gerard laugh) “Teenagers” is, um, it’s the craziest song on the record. It’s one of the craziest songs. It was the source of heated debates many a night. I was riding the train into rehearsal at SIR in New York, and I had found that I had become very paranoid and very out of touch at living a normal life. Every time school would let out, I would get very scared, and I didn’t know why. I just… every thing made me nervous. I was always on my toes, afraid of what kind of attention I would draw to myself. Even before the band, I would always draw, attract negative attention because I’d always wear black or something. But since being in the band, it got a lot worse, so I always got nervous on subways. And I had to ride them every day from Queens to come to practice. But, um, you know, one day on the train, I just wrote these lyrics and this melody in my head. And I came to practice and showed it to everybody, and I think most of the people, if not all of them…

R: (Laughs) Not all of them.

G: …thought I was absolutely crazy.

R: That’s what sold me on this song.

G: And that’s what initially sold… Yeah, Ray was all about it right away because of that. He was like, ‘This is, this is…’ What did you say?

R: I think I might of actually used the word ‘genius.’

F: Heh, yeah.

R: I may have said genius.

F: Yeah, alright, through my eyes, what happened was, I think I walked in…

R: (laughs) Through a sane persons eyes, this is what happened.

F: And I kinda walked in them jamming on this kind of T-Rex vibe kind of thing. And I was like, ‘Oh man, this is going to be funny.’ And I sat down and we all just started playing it, and you know, I was laughing and I was playing. And it didn’t change from that first day. The song ended, and it was like ‘Alright, so, what was that?’ And they were like, ‘Oh, what did you think?’ And I was like, ‘I thought you guys were joking around.’ (Ray laughs) And everybody that would come into the studio after that, you know, Gerard was like, we gotta play on “Teenagers.” I was like, ‘Are you serious?’ (Frank laughs).

G: Yeah.

F: But it was one of those things where I think that everything changes once you really listen to what is being said. And you really have to pay attention to what Gerard is talking about, what he’s singing about. And then it ties everything in, and it really is a very serious song, and I think it’s really important to this band and for the record.

G: We needed the record to… We needed the lyrics to really drive the point home of what we were trying to say. I mean, it’s a very important song, it talks about how teenagers are engendered to violence and how they’re watched over and how they are over-medicated and how they are a group of people that a lot of them are made to feel like they can only solve their problems with violence. A lot of them are made to feel invisible. This is a song that addresses a lot of issues about kids lashing out against other kids, lashing out against society. And you know, it worked. It was one of those things. It’s like it’s almost crazy enough to work, and it does. So, you know we are all pretty proud of this one. I think more so than, almost as much as “Cancer,” that I feel that this song shows how much courage that everybody involved in the project to want to say this in this type of way on the record.

DISENCHANTED
F: “Disenchanted” was kind of, was written when we were supposed to be practicing for our last headlining tour. (Everyone concurs) And we really hadn’t written in a really long time, ‘cause we were on tour and working, and really busy and just didn’t have the time to sit down and play together. It was one of those itches that needed to be scratched, or at least maybe shot in the face. We all just kinda got together, and were like, ‘Alright, you know the songs we’re going to play. Lets just play something else.’ And we started to write a some that became “Disenchanted,” but in a different form. And we kind of incorporated it into the set for the headlining tour, and I think by the end of the tour we were like, ‘Eh, it’s a good song, but we have other stuff we really want to write on.’ And we kind of just tossed it to the side. I remember…

R: Mikey. Yeah.

F: I remember in the Paramore, Mikey was ‘Oh we gotta play “Disenchanted.” And we were like, ‘Ah man! No!’

R: Yeah, and at that point we had like 18 or 19 songs.

F: Yeah, so many songs.

R: And it was just like, to us, except to Mikey, to us it was just like another song. It didn’t have anything special about it. I remember, yeah, he was like… He would whisper while you were sleeping, ‘Disenchanted’ (Frank laughs, Gerard concurs) to get you the next day to think about it.

G: Mikey always believed in this song. I’m glad he did, ‘cause he helped us pull together in the end.

M: Like I remember when Gerard came up with the initial vocal melody we were practicing for the headlining tour. And he was just free styling on the microphone. And this song just wrote so fluidly.

G: Yeah, it did write itself. So much that we had to reevaluate it and rewrite it (A/N Yes, the lyrics and sound have changed dramatically). It was one of those things that you got so inspired so quickly that it wrote a little too quickly.

R: A little too fast, yeah.

G: Yeah, and we kinda had to be like, we need to make a little more structure. It needs to say a lot more than simply the chorus melody over and over again. Which is the way we played in on the headlining tour, but it needed to say a lot more. So, we restructured it in such a way that I think it became a way more effective song, and the first time we heard it tracked, we were blown away. And we were so happy that Mikey encouraged us to keep pressing on with this song.

M: I listened to it like 30 times once it was done tracking. I grabbed the headphones (Gerard laughs).

G: Yeah, any chance Mikey got to listen to it.

M: I was like, ‘Lemme listen to “Disenchanted”, please!’


FAMOUS LAST WORDS
R: “Famous Last Words” is the last track on the record, and it’s my favorite track. What I love about it so much is that it really sums up what the whole record is about. Really, the message that we are trying to convey through the story is for people to live everyday like it’s their last, and live it to the fullest, and really enjoy life. The song has, for me, the most inspiring chorus. The lyrics are… they make me want to wake up in the morning, you know, and have a great day. That is the best way to describe this song (Frank laughs).

F: That rules.

R: And that, it’s actually heavy and really powerful as well. It’s pretty interesting because it’s one of the more of a moderate tempo for us, which most of our songs are either slower, slower tempo or like mach speed. And this one kind of falls in the middle, and it kinda becomes way heavier because of that. Yeah, like I said, it’s just one of my favorite tracks. It’s a great listen.

G: It’s one of the most emotionally powerful songs on the record. It is an extremely difficult subject to personally talk about. It’s one of those things that is very hard to put into words. It’s almost one of those songs that you just have to hit play for somebody and maybe they’ll understand you by the end of it. It’s heavy. Every time that song comes on, it’s so emotionally heavy I kind of like get taken aback. And I’m like, ‘Oh man, this song.’ But you know, I think it’s the most powerful chorus we’ve ever written together. And it hits you in the stomach like a hammer. It’s Brian, our manager’s favorite song that we’ve written. It’s special to everyone in the band in different ways. It’s a great way to end a record. It’s a nice sentiment. The best part about this album is we got to say a lot of things to our fans that before we could only say to them in live performances in between songs. And the great thing about this record is that we got to say it in a song, and this is one of those songs. It says it very directly in the song, and I think it’s really very much saying ‘I can do this alone sometimes. I really can get through this. I just have to be strong and I can get through this. I can,’ you know, ‘I can make it. I want to live.’

there two on mcrs itunes page, one has just the single..... and theres one called welcome to the black parade- ep which has the single and interview. also the single is like the radio edit.

MyNameIsSaintJimmy:

NEVER!!!! I refuse ANY spoilers of their new album and fully intend to have never heard a single song when I put it in my CD player for the first time.

That's what I'm like
I keep saying
'Just buy it they deserve the money'
And then I'm like
'But the wait wont be worth it'
So, once I have the album, I'm gonna buy this interview...I wanna listen to them talk..





Thank you so much for writing the whole interview out. I love you.

I hate my dad! I ask him if I could download iTunes to get the song and he told me that
first, he hates iTunes and don't want it on the computer
and second, he don't want to pay for a song I'll get on the cd.....
I told him it was only .99 and that the cd was out in WAY too long but he wouldn't listen...I'm so sad....

Chemical_Romance:

Thank you so much for writing the whole interview out. I love you.

Bess:

I_am_the_Penguin (sorry I don't know your real name!) you are AWESOME.
Thank you so much for taking the time out to write that for those of us who can't hear it! It was amazing, thank you <333

Sure, no problem. It gave me something to do for once. Damn finishing college and having to wait for basic training....

Oh, and my name is Cassie.

cool my name is Cassie too.


But yeah, since I downloaded that interview yesterday I've listened to it from start to finish like 5 times. So that about...200 minutes! WHOA. O_o.

haha on the interview i love the part where Frank says aww man No!
i laughed when i was listening to it.