A Concept Album for the Outcasts

Mark McConville

In the wake of the loss of his mother, Mark McConville reflects on the impact of My Chemical Romance’s 2006 album, The Black Parade

I had this collection of songs on my iPod Classic when I was walking through the streets of desire, searching for something emphatic, empathic, and monumental. The days of ruin were settling in for me, and on that rainy day my heart pulsed to the unadulterated rhythms of an album that millions of others had found solace in for their own private, anonymous reasons. To me, this record was for the outcasts, the disenfranchised rebels, those keenly in tune with of the downsides of living. Their hearts were like mine: blood still coursing through their veins, but without that unmistakable thump of inspiration. (Is he referring to others, or himself here?)

My mother had passed away a year earlier. Life seemed to shudder and then collapse around me. The pieces of my youth surrendered to the sadness of death. I was under no illusion; I knew what it meant, and the reality of death had impaired my mind. In the aftermath, I decided to cry more and more until I had no tears left. Tears had become alien to me, eventually.

In 2006 a little act from Newark would catapult emo music into mainstream relevance, releasing their seminal record The Black Parade. It was such a surprising collection— an unalloyed rock opera similar in impact to Green Day’s American Idiot. My Chemical Romance conceived a concept record that offered many disaffected youth a subtle but persistent nudge to consider living on. This record wasn’t only astonishing in its musical stance; it actually aided people, including me, through their depressive slumps.

Breaking ground in the music industry requires immense luck and perseverance, and My Chemical Romance couldn’t have possibly known what the outcome would be when they first started playing small shows. The band was shocked by the reception of their magnum opus, as were critics and music experts. Of course, some fans did litter the internet with their opinions and distaste toward the record, but most pop-rock fans seemed to accept The Black Parade as a welcome addition to the overly pessimistic emo-core tradition.

The album made My Chemical Romance superstars. The previous release of their raw affair Three Cheers for Sweet Revenge had conferred on them cult star status, but The Black Parade not only popularized emo music: it created a revolutionary tale. Outcast kids like me jumped on the bandwagon, dressed for the part, and the whole Black Parade uprising felt like a movement taking hold.

For a commercial record, The Black Parade wasn’t a mediocre pop collection. Every song was meticulously presented and thought out. Gerard Way sang with urgency and verve. On the album opener “The End,” Way sings about what it's like to be in his skin. The raucous instrumentals vigorously compliment his unique voice:

‘If you look in the mirror and don't like what you see
You can find out first-hand what it's like to be me
So gather 'round piggies and kiss this goodbye

I'd encourage your smiles.
I'll expect you won't cry’

These lyrics reflected my feelings, and those of many people I knew: youth who tried their hardest to fit in but couldn’t find a space that felt like home.

The album then flows into “Welcome To The Black Parade,” similar to Green Day’s “Jesus Of Suburbia” in its sudden cultural relevance. Way sang with elegance until the guitars break through. This song encapsulated the album’s narrative:

He said, "Son when you grow up, would you be
The savior of the broken, the beaten and the damned?”
He said, "Will you defeat them—your demons—and all the
Non-believers, the plans that they have made?
Because one day I'll leave you, a phantom
 To lead you in the summer, to join The Black Parade’’

“Welcome To The Black Parade” was by far the standout track. Bold and brash, it galvanized both the heart and the head. Its massive influence on a generation can hardly be overstated. Other tracks like “I Don’t Love You” evoked lovers disbanding into the darkness. Way crafts a letter between them, singing, “Baby when they knock you down and out, it’s what you oughtta stay.” These songs were sonic representations of the musicians’ lives.

Emotional staple “Disenchanted” may not have garnered the same attention as the main hitters, but it was a pivotal song for the believers. Way croons “I hate the ending myself, but it started with an alright scene” with a certain grit, and the song powers on with riffs galore and moments of pure magic.

“Famous Last Words,” with its loud, fast-paced aura, helps the album reach a true crescendo. With an intensified riff and some expert solo work, the contribution blazed a trail:

I am not afraid to keep on living
I am not afraid to walk this world alone
Honey if you stay, I'll be forgiven
Nothing you can say can stop me going home

The lyrics offered a pointed optimism, and many fans indulged in this highly evocative track.

As a record for the outcasts, The Black Parade had given those people who feel lost something to hang onto. My Chemical Romance created a special album, one that touched onto the inner core of sadness, opening up the listener’s mind and heart. The Black Parade kept me going in terms of motivation, making me feel equipped for the days ahead. It made me feel attached to the world in some way, and it helped me deal with the passing of my mother. She died in 2005, and I thought everything was going to turn to black. 2006 was a year that saved me from falling into a state of disrepair, and this collection of songs resonated with me so deeply. My Chemical Romance should be commended for baring their souls, too.    

Mark McConville is a freelance music journalist from Scotland. He also likes to write dark fiction and a plethora of his stories have been published by Bristol Noir. His debut poetry chapbook is slated for release in October 2021. It will be published by Close To The Bone. @writer1990mark