Classic Cuts: My Chemical (Imbalance): Three Cheers For Sweet Revenge

I was perusing the FAN message boards after my “Emo THROWDOWN” article last week and I noticed it had sparked some conversation, so let’s take some time to clear some things up. LMFAO is NOT emo. I repeat, NOT emo. Sure, they are a terrible band (if you can even call them that) and they do evoke emotions (mostly anger and rage) but there are definitely not “emo.”

Yet, one thing that caught my eye on “the boards” was the discussion about the emo-ness(?), emocity(?), whatever, of the band My Chemical Romance. To be honest, I’m a little disappointed we are talking about this, guys. I mean, come on. Is this really up for debate?

My Chemical Romance’s album, “Three Cheers for Sweet Revenge,” was one of the most widely successful emo/punk crossovers in the early 2000s. Their hits like “Helena” and “I’m Not Okay (I Promise)” were anthems for all the kids with

hair that could do that flippy-thing (you know what I’m talking about), kids that do karate kicks in the pit at shows (which I’ll never understand), and kids that had a million of those Hot Topic stamp cards that get you 20% off your next purchase (I think I still have some of those or at least my mom does.)

Although Gerard Way has publicly dismissed the emo categorization and tried to separate MCR form the rest of “those bands”, he’s just plain wrong. I’m sorry you got cuckolded into a genre you didn’t like to be associated with, but it happened because you made one of the best records to come out of the emo category. So, suck it up and take it like a man because like or not Gerard (what a weird name), “Three Cheers” is this weeks, Classic Cut.

Cover:

Two blood-stained lovers are the central piece of this dark and gloomy graphic novel-esque cover. The comic book nature of the album art is not surprising since Way has worked (and still does)  in the comic book industry with his series, “The Umbrella Academy.” The best part about this cover is that there is a real, inherent sadness in this picture.  Not only is it well drawn, but it’s a cover that can mean so many different things to different people. My personal interpretation: It’s an “Us v. The World” type picture. This couple has just killed off a bunch of people, which they obviously have a hard time doing (duh) yet they are happy to still have each other, alive and well. You know, like something out of a Robert Rodriquez/Quentin Tarantino project.  I know that’s kind of a creepy storyline, but that’s just where my mind went.

Sound:

What’s great about MCR is that their sound can’t be held in one specific genre. It’s like Queen met The Misfits in a bar, had a couple drinks, made some bad decisions, and out popped MCR nine months later. On the song, “Thank You for the Venom,” Toro’s guitar is very Brian May-esque with the tone of Dave Murray (Iron Maiden). While on the other hand, “Give ‘Em Hell Kid” offers a Black Flag style riff and “The Ghost of You” has a nice swaying, sweeping guitar lick. Sure, they have their pop-punk sound on tracks like “I’m Not Okay (I Promise),” but musically, there is something deeper here that I think a lot of people overlook.

None of it would come together, however, without Way’s distinctive voice. Maybe it’s the Marlboro Reds he smokes, or perhaps he was just born with it, but his raspy tone is something to be admired. Plus, you can feel his presence while you listen to the album, which is a hard thing to achieve. I can only imagine what his live show would be like (well I can imagine it; the crowd would probably suck, but it’d still be a good show.)

 Lyrics:

Okay, this is where the “emo” comes into play and as God as my   witness I’m going to convince Gerard Way that his lyrics are, in fact, emo in the next two hundred or so words. Let’s just start with some examples, shall we?

“Cemetery Drive” –

“So I won’t stop dying, won’t stop lying (are you there at all?)

If you want I’ll keep on crying (do you care at all?)

Did you get what you deserve? (Are you there at all?)

Is this what you always want me for?”

I present to the jury, exhibit A.

“To The End” –

“He calls his mansion not a house but a tomb”

Exhibit B.

“Thank You for the Venom” –

“So give me all your poison

And give me all your pills

And give me all your hopeless hearts

And make me ill

You’re running after something

That you’ll never kill

If this is what you want

Then fire at will”

Exhibit C.

“It’s Not A Fashion Statement, It’s a Death Wish.” —

“For what you did to me,

And what I’ll do to you,

You get, what everyone else gets,

You get a lifetime”

Seriously dude, the “life is a punishment” metaphor? ARE YOU CONVINCED YET GERARD? You’re lyrics are emotional, but that doesn’t make them bad. Get over it, man.

Impact:

The impact of “Three Cheers” has about the same staying power of the Brand New or TBS records I reviewed last week. Although their next album, “The Black Parade” was kind of a Queen knock-off (I still liked it) and had some success, I always felt there was something intrinsically special about this band. Whether it is the vocals or musical composition, there was something different about MCR that set them apart. Even though their last album was garbage, I can still hope and dream for one of those magical AC/DC-like comebacks. But if not, oh well. “Three Cheers for Sweet Revenge” is and always will be a fun nostalgic, trip down memory lane.