The Hammer Sleeplord

The Hammer By Sleeplord

My Chemical Romance (often abbreviated as MCR) was an American rock band from New Jersey, active from 2001 to 2013. The band’s best-known lineup consisted of lead vocalist Gerard Way, guitarists Ray Toro and Frank Iero, bassist Mikey Way and drummer Bob Bryar. Founded by Gerard, Mikey, Toro, Matt Pelissier, and later joined by Iero, the band signed to Eyeball Records and released their debut album I Brought You My Bullets, You Brought Me Your Love in 2002. They signed with Reprise Records the next year and released their major label debut Three Cheers for Sweet Revenge in 2004. Shortly after the album’s release, Pelissier was replaced by Bob Bryar. A commercial success, the album was awarded platinum status over a year later.

The band eclipsed their previous success with their 2006 concept album, The Black Parade, which gained generally favorable reviews among music critics and was certified double platinum in the United Kingdom, the band’s first and only double platinum. After the departure of long-time drummer Bob Bryar in March 2010, the band released their fourth studio album, Danger Days: The True Lives of the Fabulous Killjoys, in November that same year, to positive reviews. After the addition of touring keyboardist James Dewees in 2012 and the release of Conventional Weapons, a series of singles recorded in 2009, released over the course of five months, the band announced its break-up on March 22, 2013, one month after the final release in the Conventional Weapons series. After the band’s split, a greatest hits album entitled May Death Never Stop You was released in March 2014. A tenth anniversary reissue of The Black Parade was released in September 2016 titled The Black Parade/Living with Ghosts.

Treat You Better

“Gold on the Ceiling” is a song by American rock band The Black Keys. It is the third track from their seventh studio album El Camino and was released as the record’s second single on February 25, 2012. The song was certified platinum in Australia and Canada.

Two videos were shot for the song. The first, directed by Reid Long, features footage from the band’s concerts, as well as candid shots of them on tour.

Will Hermes of Rolling Stone called the song’s keyboards “a serrated organ growl backed up with a SWAT team of hand claps” and cited it as an example of Danger Mouse’s prowess as a producer and co-writer.

Summarizing the song, Hermes wrote, “It’s Sixties bubblegum garage pop writ large, with T. Rex swagger and a guitar freakout that perfectly mirrors the lyrics, a paranoid rant that makes you shiver while you shimmy.” John Soeder of The Plain Dealer labeled it one of the album’s finest and said that it sounded like a hybrid of Norman Greenbaum’s “Spirit in the Sky” and Gary Glitter’s “Rock and Roll Part 2”.

Harley Brown of Consequence of Sound called the song “bombastic, slightly sleazy” and said that it “best sums up The Black Keys’ almost unbelievably consistent musicianship and success”.

Melissa Maerz of Entertainment Weekly said that the song, “with its swarm-of-bees organs and acid-trip gospel harmonies, could be a lost Nuggets gem”. Randall Roberts of the Los Angeles Times, writing about the song’s retro stylings, said that it “sounds as if it’s existed forever”.

Sam Richards of NME said that the song’s “brilliantly demented cowboy glam holler… is boosted by the band’s new trio of female backing singers wailing for all they’re worth”.

How Would You Feel

“Gold on the Ceiling” is a song by American rock band The Black Keys. It is the third track from their seventh studio album El Camino and was released as the record’s second single on February 25, 2012. The song was certified platinum in Australia and Canada.

Two videos were shot for the song. The first, directed by Reid Long, features footage from the band’s concerts, as well as candid shots of them on tour.

Will Hermes of Rolling Stone called the song’s keyboards “a serrated organ growl backed up with a SWAT team of hand claps” and cited it as an example of Danger Mouse’s prowess as a producer and co-writer.

Summarizing the song, Hermes wrote, “It’s Sixties bubblegum garage pop writ large, with T. Rex swagger and a guitar freakout that perfectly mirrors the lyrics, a paranoid rant that makes you shiver while you shimmy.” John Soeder of The Plain Dealer labeled it one of the album’s finest and said that it sounded like a hybrid of Norman Greenbaum’s “Spirit in the Sky” and Gary Glitter’s “Rock and Roll Part 2”.

Harley Brown of Consequence of Sound called the song “bombastic, slightly sleazy” and said that it “best sums up The Black Keys’ almost unbelievably consistent musicianship and success”.

Melissa Maerz of Entertainment Weekly said that the song, “with its swarm-of-bees organs and acid-trip gospel harmonies, could be a lost Nuggets gem”. Randall Roberts of the Los Angeles Times, writing about the song’s retro stylings, said that it “sounds as if it’s existed forever”.

Sam Richards of NME said that the song’s “brilliantly demented cowboy glam holler… is boosted by the band’s new trio of female backing singers wailing for all they’re worth”.

Let Me Love You

Two videos were shot for the song. The first, directed by Reid Long, features footage from the band’s concerts, as well as candid shots of them on tour.

Will Hermes of Rolling Stone called the song’s keyboards “a serrated organ growl backed up with a SWAT team of hand claps” and cited it as an example of Danger Mouse’s prowess as a producer and co-writer.

Summarizing the song, Hermes wrote, “It’s Sixties bubblegum garage pop writ large, with T. Rex swagger and a guitar freakout that perfectly mirrors the lyrics, a paranoid rant that makes you shiver while you shimmy.” John Soeder of The Plain Dealer labeled it one of the album’s finest and said that it sounded like a hybrid of Norman Greenbaum’s “Spirit in the Sky” and Gary Glitter’s “Rock and Roll Part 2”.

Harley Brown of Consequence of Sound called the song “bombastic, slightly sleazy” and said that it “best sums up The Black Keys’ almost unbelievably consistent musicianship and success”.

Melissa Maerz of Entertainment Weekly said that the song, “with its swarm-of-bees organs and acid-trip gospel harmonies, could be a lost Nuggets gem”. Randall Roberts of the Los Angeles Times, writing about the song’s retro stylings, said that it “sounds as if it’s existed forever”.

Sam Richards of NME said that the song’s “brilliantly demented cowboy glam holler… is boosted by the band’s new trio of female backing singers wailing for all they’re worth”.

Something Just Like This

“Gold on the Ceiling” is a song by American rock band The Black Keys. It is the third track from their seventh studio album El Camino and was released as the record’s second single on February 25, 2012. The song was certified platinum in Australia and Canada.

Two videos were shot for the song. The first, directed by Reid Long, features footage from the band’s concerts, as well as candid shots of them on tour.

Will Hermes of Rolling Stone called the song’s keyboards “a serrated organ growl backed up with a SWAT team of hand claps” and cited it as an example of Danger Mouse’s prowess as a producer and co-writer.

Summarizing the song, Hermes wrote, “It’s Sixties bubblegum garage pop writ large, with T. Rex swagger and a guitar freakout that perfectly mirrors the lyrics, a paranoid rant that makes you shiver while you shimmy.” John Soeder of The Plain Dealer labeled it one of the album’s finest and said that it sounded like a hybrid of Norman Greenbaum’s “Spirit in the Sky” and Gary Glitter’s “Rock and Roll Part 2”.

Harley Brown of Consequence of Sound called the song “bombastic, slightly sleazy” and said that it “best sums up The Black Keys’ almost unbelievably consistent musicianship and success”.

Melissa Maerz of Entertainment Weekly said that the song, “with its swarm-of-bees organs and acid-trip gospel harmonies, could be a lost Nuggets gem”. Randall Roberts of the Los Angeles Times, writing about the song’s retro stylings, said that it “sounds as if it’s existed forever”.

Sam Richards of NME said that the song’s “brilliantly demented cowboy glam holler… is boosted by the band’s new trio of female backing singers wailing for all they’re worth”.