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Posts tagged Ray Toro

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Title: “Interview Noise11 with Frank Iero & Ray Toro (2012)”
Source:
Noise11
Date: February 1 (video posted February 7)
Transcribed By:
Cassie

Translations: Italian [via Contaminated Days]
—-

[Note: The interviewer, Tim Cashmere, is named; so, he will be referred to by that or by TC.]

Ray Toro: Hey, this is Ray.

Frank Iero: And this is Frank from My Chemical Romance

Ray Toro: And you’re watching Noise11.

[end intro]

Tim Cashmere: You’re here on Noise11. My name is Tim Cashmere. I’m here with Frank and Ray from My Chemical Romance—the six-string part of the band.

Ray Toro: [shown laughing]

Tim Cashmere: Now you’ve got 4 records out now. That’s actually starting to be, like, a decent career once you get to 4—

Frank Iero: [laughs] Yeah, isn’t that weird? Ah, man, it’s kind of crazy. [looks at Ray] What is the-…What is the 4.

Ray Toro: Ah, yeah—like you have sophomore. Your first, your sophomore—

Frank Iero: We’re not seniors, are we? I feel like a senior sometimes. I almost fell down the ramp coming offstage. Like an old man [grins and laughs]. It was horrible.

Tim Cashmere: Oh, well… [good-natured gesture of brushing it off] Your 4th record, Da-..—I think it’s got to be the best name for a record. ever.—Danger Days: The True Lives of the Fabulous Killjoys, it’s, uh, that’s been out for quite a while now. It’s been out for over a year now—

Ray Toro: Yeah, it’s kind of funny coming over here because we’re doing press and stuff, and it’s funny to hear, like, “your latest album,” ‘cause our minds are already like on the next one a little bit, so it’s kind of—yeah, it’s interesting.

Tim Cashmere: Well, that was actually what I was going to say, because it has been out for so long, you have started thinking about the next record, then?

Ray Toro: Yeah, back in L.A., we just got a studio, so we’re kind of building that out and basically trying to make a kind of compound where we can be creative and be there whenever we want to be. That’s one of the tough things, you know, when you’re doing records in a kind of a cycle, you khave like maybe 3 or 4 months’ time window where you have to write and record a record. Sometimes that’s tough, and you can take longer, but you always feel like there’s something over your head like a time constraint. And, you know, now we’ll have our own place where we can go and make  music 24 hours a day, and it’s going to be great.

TC: So that’s— you’ve obviously never had your own studio to just—

RT: —No, no…

TC: Is that a—… Are you guys studio wizards? Do you know what you’re doing, or-

FI: [snorts with laughter in background]

TC: -is someone helping you build that, or-?

RT: No… We’re super—

FI: [grinning] This record’s going to sound like shit.

RT: [laughs] Yeah, if we’re behind the board… uhm, no, the guy—Doug Mckean, we’ve done our past, I guess 2 records with him. He’s an awesome engineer. So, he’s going to be working with us, and he knows everything. The dude’s a genius. He definitely, while we’re in the studio, helps kind of shape the sound of songs. He does funny stuff like, he’ll play back stuff in a different way, or sometimes change arrangements, and kind of trick our ears. We’ll be like, “Oh, that sounds awesome! Look what we did!” [Frank laughs] When it’s actually him behind the board kind of manufacturing his kind of vision sometimes. He gets involved really great and he works with us really well, so…

TC: So, with Danger Days, it’s kind of—it’s the second “concept record” that you’ve done, and The Black Parade was such a huge record for you. That really sort of kicked you up to that next level [air quotes] “super star,” if you will. Do you now feel like— Every time you do a record, you’ve done this big grandiose concept album, do you feel like that’s something you’re going to have to continue doing?

FI: Uhm, no. [smiles] I think what we feel like— It can’t just be a collection of songs. And I think, it’s never going to just be, “Oh! We have these 12 songs; so, record them real quick and put them out, and that’s it.” I don’t think anyone can really do that these days anymore without some sort of thought or vision behind it. I think the days of just filling the time and putting it on a disc is over, and I’m glad, because those are some of my least favorite records.

TC: But then you’ve got—a lot of music is being sold through things like iTunes and all of that now with people buying single songs, rather than—

FI: Yeah— No, and I think that’s cool. Like, write a song and just put it out. That’s great. I like the immediacy, but I’m talking about full albums. It’s no longer a “mixtape mentality.” I think there needs to be a reason why there’s 12 songs or 13 songs. It’s not just like, “We have a single, so we need 10 more filler, and put it out there,” but for us, you know, we’re fans of the album. We grew up listening to full records and having a A-side and a B-side. There’s something magical about that: about actually taking that record and flipping it over. Whether it be a tape, or something and hitting those— [pantomimes while looking at Ray] — remember you had to hit those two buttons and it would flip the tape?

RT: Oh yeah—

FI: I like that. I like hearing what a band is up to when it’s not just writing a single. I think that’s when you get to really know what a band is all about. That’s when you love a band and not just the music. There’s a big difference between being a music fan, or a popular music fan, and a fan of a band. When you’re a fan of a band, you don’t have to like everything, but you have to follow them, because they know better than you do what their band is supposed to be doing. And when you do follow, and you do give it as many listens as it needs to have for you to like it or to appreciate it, then that band has opened your mind a little bit, and you’re a little better person because of that band, and that’s why you’re a fan of that band.

TC: And do you think your fans get that from coming to your shows and buying your records?

FI: I hope so. Otherwise, they’re wasting their time.

TC: Well, they could still just come and have a good time…

FI: No, no— I know! But, to really say like, “I’m a huge fan of this band,” like you’re a fan of an artist, I think you need to—. A lot of our fans are invested, and I’m glad because I want us to have that relationship for the long haul. I don’t want it to be fleeting. ‘cause if it’s fleeting then—… [smiles] That’s why I’m married; I don’t just fuck [laughs and makes hand gestures] Just to put it out there. Whatever. You know, some people love doing that, and I’m not— I’m a commitment guy.

TC: So, when you’re sort of committing to a whole album as a band, what comes first? Does someone come up with a seem. I mean, for example: the new record is set in the year 2019, then you’ve just kind of gone with that. Does the music come first, then you go, “hang on, this narrative would go well with it,” or-?

FI: It’s the key—

RT: Yeah-

FI: That was the key.

RT: Yeah it’s definitely—… You know, some times the theme can be influenced by a song, but when we have the theme of the record, it kind of gets under your skin, in your blood, and it changes the way you write. It changes the sound you’re looking for. So, that definitely helps guide the process. You know, Black Parade, we had kind of a vision from the beginning and that helped changed the songs, the arrangements and whatnot. And same thing with Danger Days, yeah.

TC: You know that the year 2019 will be here before you know it.

[Frank laughs]

TC: [smiling] Have you planned for that?

FI: [half-laughing and grinning] Ah, no. It’s a figure—… It could be anything. I mean, you could replace that year with any—, just know it’s in the future. It’s not too distant, but it’s the future. That was just an arbitrary number.

TC: So you won’t, once 2019 kicks over, you won’t be the like the writers of Lost in Space or something-

FI: No. Well, actually…

TC: You know that Jupiter II took off in [air quotes] “1997.”

FI: [laughing] Well, no, actually, we built in a—some sort of bot that when 2019 happens, the city opens and the characters jump and kill your parents. That’s horrible…

TC: Well, that’s cool.

FI: Yeah, well, you know…

TC: You know, actually, it’s probably throwaway comments like that that had Glenn Beck—

FI: [Grinning] Oh, I’m sure. I fucking hope so— [laughs]

TC: —you know, chasing you guys down. What happened there? Why did he come after you? Why does he care?

RT: Yeah, ah, Frank’s gonna-… This is gonna be good-…

FI: [still grinning/laughing] Why does he—? ‘cause. He’s just a fucking bag of hot air that needs to just spout this stuff that he doesn’t know anything about. You know? And that’s the beauty of it, because it wasn’t mentioned in anything after that. It was just this comment, and that was it. Just, he needs to get hot about something, and—at that point—I guess we were getting attention, so he leeches on, and then runs away.

TC: [joking] Wow. Poor Glenn…

FI: [laughs]

TC: You have to understand that from people who don’t live in America, people like Glenn Beck  and Bill O’Reilly just look like the most bizarre characters—…

RT: Good, good. Thank God.

TC: I don’t think there’s too many supporters here [mumbles]

FI: Geez, God forbid…

TC: Let’s talk about the closer on Danger Days, “Vampire Money.” I know— I hate to quote straight from Wikipedia, because I’m sure every band has read their Wikipedia—…

RT: [smiling while Frank laughs] The most reliable, best information out there…

TC: So, it’s saying that that song is kind of a retaliation to being asked to be on Twilight. To me, to be perfectly honest, the song seemed more broad than that [Frank laughing in background] maybe it was inspired by that, but uhm—

RT: Yeah, definitely inspired—

FI: That was the spark—

RT: —But more broad.

FI: It’s about being asked to do anything that you don’t want to do over and over and over again. Not specifically from anywhere, but in general. [taking on a two-voice dialogue] Like,

"Hey, wear this t-shirt."
"I don’t wanna wear that t-shirt."
“[with more emphasis] Wear this t-shirt…”
"I don’t wanna wear that t-shirt."
“[raising palms] Well, somebody said it would be a really good idea if you wore this t-shirt, because then more people would like your band.”
"I don’t wanna wear that fucking t-shirt!"
“Please just think about wearing this t-shirt!”

RT: [laughs] But not specifically for that. For the movie. He’s just talking in broad terms

[everyone laughing and talking at once]

TC: Dammit, I’m gonna write a song about this t-shirt.

RT: He’s talking in t-shirts. He’s talking about that shitty t-shirt. That “T-shirt Money”

FI: [clearly joing, as he is wearing a shirt with the Qantas airlines logo on it on which he has written on the inside, but is visible through and backward to the camera: “Large amounts of people like my band”] —That Qantas wants me to wear. I was like, “I don’t wanna wear that Qantas t-shirt.” They’re like, “Wear that fucking t-shirt….”

RT: Dude, we’ve flown Qantas so much these past couple weeks—

FI: [grinning] That’s why  I’m wearing my Qantas shirt—…

RT: Give us a bone. Give us a bone, Qantas.

TC: Ah, I didn’t even notice until you pointed that out. Quick, zoom in on that, we can get some money out of Qantas. That must happen more as you become bigger and bigger. More people are sort of knocking on your door—

FI: Yeah, you know… It’s the devil and the angel, you know. You get asked to do a lot of things that are like, “Wow! I can’t even believe we’re getting included in something as amazing as this that I’ve always wanted to do.” And then it’s stuff that it’s like, “I respect that you’re doing that; I personally don’t want to be involved in it, so cool…” And then there’s other stuff where it’s like, “Oh, you’ve got to be fucking kidding me with this.” [Ray laughs]. So, you get those 3 things a lot.

TC: Well, I’m glad that we’ve asked you to do this interview and you’ve wanted to be involved in it, so

FI: Yeah! No, totally… It was a pleasure.

[Ray and Frank shake hands with Tim Cashmere]

RT: Thank you.

Filed under Frank Iero Ray Toro 2012

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My Chemical Romance Big Day Out 2012 Fan Interview

Title: “My Chemical Romance Big Day Out 2012 Fan Interview”
Source:
Big Day Out Official
Date:
January 15, 2012
Transcribed By:
Cassie
Translations: Italian (via contaminated-days)
—-

[Set Up: Self-recorded. Frank turns on the camera and is holding a list of questions. Ray and Mikey are seated before him.]


Frank Iero: Ready?

Ray Toro: Ready!

Frank Iero: [showing list to camera] These are questions for My Chemical Romance.

Mikey Way: [waving] Hey, guys!

Frank Iero: Carly Cooper would like to know, “What part of Big Day Out are you looking  forward to the most?”

Ray Toro: For me, Big Day Out the last time we did it was a lot of fun. I’m looking forward to doing it with Frank this time!

Mikey Way: Yeah, yeah!

Ray Toro: We didn’t get a chance to do that last time.

Frank Iero: Good answer.

M: Frankie Strikes Back.

Read more …

Filed under Ray Toro Mikey Way Frank Iero 2012 Big Day Out

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Hot 30 Countdown Interview with Ray Toro, January 27

Source: Hot 30 Countdown:  January 27, 2012
Transcribed by: Cassie
Translations: Italian (via contaminated-days) |

[LISTEN]

__

Hot 30: Yeah, My Chemical Romance, they are in the country. Ray is on right now. Good to talk to you, mate!

Ray Toro: Yeah, good talking to you too!

Hot 30: I love the album and a lot of people on our our Twitter are saying they love it as well. We do a thing called “twinterviews” here where we let the fans write questions on Twitter for you guys. All you’ve got to do is go to “#Hot30Twinterview” if you do want to send one through.

Now, we had [Username] has sent one that said, “Would you guys ever consider doing another concept album like you did for The Black Parade?”

Ray Toro: It’s tricky. Uhm, we try not to repeat ourselves as much as we can, you know? I feel like each album we do does have some kind of connection or some kind of concept in a sense like that. Black Parade, I think, was our best attempt at a concept record. I don’t know. If we do go back to that, I think it might be a while. We’re always trying to find a new thing for us. You know: keep us excited, keep us interested and keep people listening to us. That’s the most important thing, I think, for music—for our music—is to constantly change and reinvent ourselves and find what the new sound is.

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Filed under Ray Toro