Opinion
By James Pavel

5. Honey, this Mirror isn’t big enough for the two of us

It’s MCR at their most raw and vulnerable, a state that many die-hard MCR fans will eternally prefer. It was a band teetering on unpredictability and a singer making love to wonderfully-harmful toxins, the first chapter of MCR was immediately pulsating and made listeners eager to conquer any new additions to this faux-romantic novel.

4. Cemetery Drive

They were a rock band capable of swindling heartbreak into moving melody while keeping kids prone to screaming their lungs out content. A band obsessed with the darkness of death that inspired thousands to live, it was the juxtaposition of bleakness and MCR’S never-say-never sound that made this group a fleeting, but notable superpower in the past decade of music.

3. Famous Last Words

Venom shaken with bravery, it was fist-pumping bravado for youth finally ready to exit the shadows. It was the brief period when MCR ruled over the rock n’ roll kingdom, with their dark-royalty attire acting as perfect wardrobe for a group briefly considered the modern-day Queen. “Welcome to the Black Parade” was a wonderful choice for the opening single, but the knockout blow that made Black Parade their greatest contribution to music was this second single. “Famous Last Words” was mountain-scaling guitar riffs and lead singer Gerard Way practically spinning his new-found crown around his finger while fist-pumping a torch engulfed in inspirational fire.

2. The Kids from Yesterday

“Now this could be the last of all the rides we take,” was the opening line of their last great song. MCR went from standing on the edge of skyscrapers envisioning nightmares out loud of taking a step further to dreaming in Technicolor and fantasizing about the joys of summertime on their final album, Danger Days. “Kids from Yesterday” is a jackhammer of synth drilling a hole to nostalgia and understanding as Way makes a modern-day adage resembling “you don’t know what you got til’ it’s gone” when he roars, “You only hear the music when your heart begins to break.”

1.     Helena

The video was November Rain for the post-Marilyn Manson audience not afraid to dabble in something less satanic and more melodic. Nothing has ever been so simultaneously pleasing and eerie as Gerard Way’s pleading in the rising action to the climatic final stanza of “Helena.” It was the closing song for a career that was only just beginning. A band eager to fill the shoes of long-gone Smashing Pumpkins, they would deliver a satisfying discography that although will no longer be increased, it leaves enough for one to loathe them, or love them with all of one’s black heart.

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