To begin work on the record, Panic at the Disco retreated to a cabin in the rural mountains of Mount Charleston, in the group's native state of Nevada. Upon growing dissatisfied with their final product, the band scrapped the entire album and spent time writing and recording Pretty. Odd. throughout the following winter. Production came together quickly and each song written made the cut. Additional recording, such as strings and horns, were produced at Abbey Road Studios. It is the only album to feature bassist Jon Walker, and last to feature vocalist and lead guitarist Ryan Ross as both left the band in 2009, a year after the album's release.
The record received a generally positive critical response, but under-performed commercially in the aftermath of its quadruple-platinum-selling predecessor, instead only achieving platinum status. The album spent 18 weeks on the Billboard 200, peaking at number two, and the album's lead single "Nine in the Afternoon" was certified triple platinum by the RIAA. The album has since gathered a cult following and sold 422,000 copies by 2011.[1]
Background
Cricket & Clover
The group, fresh off the major success of their debut A Fever You Can't Sweat Out, took a break after non-stop touring and began formulating ideas for their next record together during the winter of 2006.[2] After a short period of development regarding the ideas of the album, the band arrived at a cabin in the rural mountains of Mount Charleston, Nevada in March 2007 to begin the writing process for the new album.[3] At the time, the band set a tentative release date for autumn and had not yet settled on a producer.[4] By April, the band had four songs completed and planned to leave the cabin to head to Los Angeles to continue work on what Ross called "a modern fairy tale with a romantic twist."[5] Shortly before departing from the area, bassist Jon Walker remarked the album would be similar to a concept album and that the entire band would be involved in writing (all previous material had been composed by guitarist Ryan Ross).[5] "Nearly Witches (Ever Since We Met...)" was also written for this album; however, it was rejected for inclusion for Pretty. Odd., due to not fitting within the concept of the album. Urie and Smith later finished the song for the band's next studio album Vices & Virtues.[6]
Pretty. Odd.
When the group began settling back in Los Angeles in June 2007, they began tracking the album, and at that point, eight new songs had been written.[7] After recording the new tracks and performing them live over the summer, the band returned to their native Las Vegas as well as their old rehearsal studio, where they had written their debut record.[8] During this time, the band picked producer Rob Mathes to work on the album, who had previously worked with them on a cover of "This Is Halloween" from The Nightmare Before Christmas (1993). The band grew uninterested in the songs previously written and by August scrapped the entire new album (which Ross later revealed was "three-quarters" done)[9] and started over. "We wanted to approach these songs in the most basic form," Ross said. "We wrote them all on one acoustic guitar and with someone singing. I think that we kind of skipped that part of songwriting on the first record, and this time we're sort of paying attention to that. […] We've written a bunch of songs since we've been home [Las Vegas]. I think it's the most fun and the happiest we've been since we started." With simplicity the new focus and the old album shelved, the group settled in and began recording what would become Pretty. Odd.[8]
Recording and production
Abbey Road Studios, where Pretty. Odd. completed production and was mixed.
The band continued writing for their follow-up in September 2007. In one month, the band had completed writing "six or seven songs" that contained a much more positive outlook to them, according to Ross.[9] In October, the band entered the Studio at the Palms Casino Resort in Las Vegas to begin recording the album. Ross became the primary spokesman for the band, remarking to MTV the band was "working backwards" for the release, stripping down its sound and going for a more classic rock approach.[10] With Pretty. Odd. the band was not concerned with succumbing to the pressures of living up to the success of their debut, instead writing and recording songs that made them happy.[11]
The first song written for the album was actually a hold-over from the scrapped record, "Nine in the Afternoon".[10] "We wanted to have a song people could just get on the first listen. ... It was one of those spur-of-the-moment songs that came together in a couple of hours. It's just a fun song; it's not really meant to be taken seriously," said Ross of the song.[12] The song inspired the band to write happier tracks, and, from there, the band buckled down, ripping through eight new songs in a little more than six weeks, then writing a couple more while ensconced at the Palms. By the end of the year, the group was well on their way to finishing production on the album.[13] The album came together quickly and each song written made the cut, with "Mad as Rabbits" being the final recorded.[11]
In January 2008, the band wrapped up recording at their home studio over one week, and headed to London's Abbey Road Studios to record strings and horns, which the band regarded as "truly a dream come true for us".[14] While there, the band also mixed the album with Peter Cobbin.[15] Mathes was involved in the instrumentation of the album, performing keyboards, acousticpiano, and the mandolin.[15] Mathes arranged and conducted the orchestra at Abbey Road for all tracks except "Nine in the Afternoon". A wurlitzer can be found on "Mad as Rabbits", played by Rick Ronick.[15]
Musically the album has been described as psychedelic pop,[17][18]psychedelic rock,[19][20]baroque pop,[20][21]pop,[22]pop rock,[21] and folk rock.[23] The sound of the album was described by the band as "more organic and mellower" than A Fever You Can't Sweat Out, as well as unintentionally and coincidentally similar to music of the Beatles, in both songwriting and scope.[13] "We all like all of that, from Rubber Soul to The White Album and all of that, but even before, we were into that theatrical element of things. We didn't want to do a Sgt. Pepper's thing," explained Ross. The band never had the intention of music similar to the Beach Boys and the Beatles, according to both Ross and Walker.[13] "It was like before we were writing these songs, we were writing things that were almost entirely orchestrated - and it kind of carried over into this stuff," continued Ross. "And I do think that half this record does sort of have that kind of 'fantastical instrumentation' thing, but we were just trying to fit the mood of each song. And in some cases, we just thought, 'We've got to have this.' "[13] The difference in age did not take negative effect on the band, instead inspiring them to look through a more mature perspective, according to singer Brendon Urie.[11][13]
Although there was no "clear vision" behind Pretty. Odd., the band knew that they "wanted to write songs differently in the sense that not all the songs sounded the same or were part of one set genre, you know, just doing something different. With this record, we listened to a bunch of different stuff, too, so that kind of helped broaden our musical taste."[11] Thanks to the new collaborative relationship with producer Rob Mathes, the roles within the band became blurred. Although most songs on the record are attributed to Ryan Ross, the entire band collaborated on each track, with Urie writing two tracks himself and Walker and Smith adding additional lyrics to several tracks.[11]The Washington Post reviewed the new sound of Panic positively: "Everything is new, if old, from the baroque instrumentation (the use of a fluegelhorn), songwriting (less wordy, more obtuse) and vocal phrasing (streamlined) to the Beatlesque chord progressions, melodies, hooks and stacked vocal harmonies, which also owe a minor debt to Brian Wilson."[24] The lyrics mingle ruined romances and neo-psychedelic aphorisms.[25]
"Nine in the Afternoon" received positive reviews and critics noted the change in direction from the band's debut and Pretty. Odd. James Montgomery of MTV regarded the song similar to The Band's Music from Big Pink,[26] and called final single "Northern Downpour" reminiscent of "an Abbey Road outtake".[27] "When the Day Met the Night", the record's eighth track, was heavily praised by music publications. Spin regarded it as the centerpiece of the record, calling it "a sunshine pop sing-along that's as blindingly bright" and a stark contrast to the "embarrassing" A Fever You Can't Sweat Out.[28]Gigwise called the song "the track everyone will want to see the band play live," and noting that its "brass backing and glorious string-based crescendo are that of Pet Sounds-era Beach Boys."[16]National Public Radio commented that Pretty. Odd. "experimented with psychedelic pop, vaudeville and unusual instrumentation."[17]
Promotion
Panic at the Disco, performing live at the Hurricane festival in Germany, June 2008.
The entire marketing campaign for Pretty. Odd. was based solely on grassroots and viral marketing.[29] The band's original intention with the record, according to drummer Spencer Smith, was to have a single out by Christmas 2007 and the album out by February.[9] The band first began promotion for the album in November 2007, with a snippet of "Nine in the Afternoon" audible in the Heroes episode "Cautionary Tales". On December 12, 2007 the group released a cryptic MySpace bulletin containing a link to their website and a message mysteriously stating "And so it begins …"[30] The link led to the band's official website, where a puzzle revealed what most seemed to agree read "You Don't Have to Worry." Inspired by an idea when the band got drunk while recording according to manager Bob McLynn, the viral marketing campaign was the first clues to what would reveal several more clues over the following weeks, including the album title, artwork and first single.[30]
"Nine in the Afternoon" was revealed as the first single from Pretty. Odd. through the puzzle aforementioned on December 14, 2007.[31] The original message was revealed to be a disclaimer in the record's first track, "We're So Starving", which debuted in a rough mix on the band's MySpace on January 2, 2008. The demo gained 45,000 listens by the end of the day, before it was removed.[14] The album's title, Pretty. Odd., was hinted at during the music video shoot for "Nine in the Afternoon" on December 22, where each band member wore a sash bearing the title.[12] The title was revealed by a spokesperson for Atlantic Records on January 9, 2008.[32] On the same date, the band unveiled a new logo and dropped the exclamation point from their name, effectively becoming Panic at the Disco, which soon caused outrage among the band's fanbase.[33] In April 2008, the band released a short film to promote the album, titled Panic at the Disco in: American Valley.[34]
Artwork and title
The album's title, Pretty. Odd. was conceived randomly while recording and the name stuck.[33] "It just happened one night. We were working on a new song, and we weren't even talking about album titles, but it was just something I wrote down, and I brought it up to the guys," Ross explained. "Like, Pretty. Odd. And then they all liked it, and that was a couple of months ago, so we just kept it since then." Smith added that the band thought it was "more fun" with the punctuation present in the title.[33] Meanwhile, the lack of punctuation in the band's name outraged fans and brought about a strange amount of press.[33] Geraldine Woods compared the punctuation to e.e. cummings and likened it to a form of "rebellion for creative people."[35]
"It seems like [Panic have] put some thought into the changes ... they're not just changes for changes' sake. Pretty. Odd. works because it conjures up images of something that is both pretty and odd, which is interesting, And it's grammatically interesting, because without the period, the word 'pretty' would be modifying the word 'odd.' So it takes on a completely different context."
- Geraldine Woods, the author of Webster's New World Punctuation: Simplified and Applied[35]
The entirety of the art direction for Pretty. Odd. was headed by Alex Kirzhner, with inspiration from Panic at the Disco.[15] The inside liner notes, which include the lyrics to each song, were illustrated by graphic designer Connie Makita,[36] and the majority of the rest of the illustrations were designed by Kirzhner with designer Tanapan "Bang" Puangpakdee.[15] The album art was revealed via the band's official website on January 23, 2008.[37] The album cover art consists of painted flowers and butterflies, which Slant regarded as a tribute to the Beach Boys.[38] The deluxe edition vinyl package was nominated for Best Boxed Or Special Limited Edition Package at the 2009 Grammy Awards, but lost to Radiohead's In Rainbows (2007).[39]
Release
Pretty. Odd. was released on March 25, 2008 in the United States and Canada, as well as various other dates for other countries. The album debuted at number two on the US Billboard 200 chart, with first-day sales of 54,000, and first-week sales of 139,000 copies in the United States.[40] Those figures marked the band's biggest sales week to that date, beating a previous record held by A Fever You Can't Sweat Out (which sold 45,000 during the winter of 2006). The record also debuted at "Current Alternative Albums" chart and #2 on the "Digital Albums" chart, the latter of which accounted for 26 percent of the disc's overall sales.[41] Online sales were very important to the early success of Pretty. Odd.; when the iTunes Store allowed customers to pre-order the album two months ahead of its release, it had already sold 8,000 copies the day before it was released. By May, the album had sold 235,280 copies according to Nielsen SoundScan.[29] By June, it had sold over 500,000 copies through online music services.[42] The number one position on the Billboard 200 chart was the self-titled debut from Day26, enjoying its second week at the top of the chart.[43]
The album also debuted at number two on the UK Albums Chart. However, weekly sales for the album sharply declined and the album dropped from number two to eleven within the next week, and it spent only six weeks within the top 100.[44]Pretty. Odd. debuted at number two on both the Canada's Albums Chart and the Mexican Albums Chart.[40] The album peaked within the top 10 of the charts of New Zealand, Austria, and Ireland.[40] The album debuted at number one in Australia.[45] The album was less commercially successful in countries such as Sweden and France, where the album barely cracked the top 40.[46][47] The album eventually went gold in the UK only, and went gold in the US in 2016.[48]
Although the album has been commercially viable and certified gold, the record failed to match the sales of the band's debut, A Fever You Can't Sweat Out.[49]Pretty. Odd. received relatively poor sales in competition with its predecessor, which was certified platinum in a matter of months. "It's really hard to judge how the album is doing based on record sales, you know?" Ross told MTV News. "We look at that, and we don't really know what that even means. All we can go off is being on [the Honda Civic Tour] and seeing that people are getting into the new stuff, and that's the only way we can tell firsthand if things are going well or not."[49] "It's a really weird time for music, and it's hard to tell where you stand, and all the things that used to tell you about your band have kind of gone away. So how you perceive yourself has changed," Smith added. "Luckily for us, rock bands have always been about playing live, [which is] good for us, because we're a real band who plays our own instruments, so we love being able to do it. And luckily that's always going to be there, because you can't download the concert ticket."[49] As of June 2008, the album has sold 600,000 copies worldwide.[50]
Pretty. Odd. created fan confusion and received a mostly mixed critical response, so much so that in 2011 Rolling Stone called the record one of the boldest moves in rock history.[61] At Metacritic, it currently holds a score of 70 out of 100 based on 22 reviews from mainstream critics, indicating "generally favourable reviews".[51] Of the original reviews, Spin generally was the most enthusiastic: "Pretty. Odd. lives up to its title because it dares to be optimistically beautiful at a time when sadness and ugliness might have won them easier credibility."[28]Billboard also was generally positive, calling the record "15 tracks of welcomed live drum sounds, symphonies and stacked harmonies."[62]Time called the record's songs smarter and said it provided a more exciting outcome for the band's future: "Where this band goes now is unclear, but the journey is a lot more interesting."[63] British publication NME viewed the album in a positive light, calling it a "victory for artistic ambition over cynical careerism" and "one of the feel-good psych-pop albums of the year."[56]
Alternative Press called Pretty. Odd. ambitious, while Blender called several songs on the record a "brush with greatness."[64][65] Rob Sheffield of Rolling Stone agreed with the latter statement, calling the songs "often beautiful," rounding out a less-than-impressed review with "Even when it's over the top, which is basically always, Pretty. Odd. sounds cheerful."[58]Entertainment Weekly's Leah Greenblatt called it "more pretty than odd," calling it a "headphones album, a dense, largely enjoyable layer cake of ideas and instrumentation that might actually alienate its teenage fans."[54]The A.V. Club's Aaron Burgess stated that Pretty. Odd. deserves "far more than a casual listen," praising the baroque orchestration and multilayered harmonies.[53]Stephen Thomas Erlewine of AllMusic called the album "a deliriously jumbled, left field delight."[52] Paul Schrodt of the online Slant Magazine dismissed the record as generic, but commended the "exuberant delivery" of the pop hooks.[66]
Mojo called the LP "too clinical and calculated" considering the young age of band members.[55] Fellow British music magazine Q expressed similar sentiments: "Ultimately, you're left wishing that Panic at the Disco had more to say about their own generation, instead of mimicking that of their parents'."[57]The Boston Globe reviewer Matthew Shaer agreed: "Pretty borrows liberally from the things that made those bands superficially interesting - the practiced eccentricity, the constant innovation - without paying tribute to the cultural and political sensibilities that made them great."[67]The New York Times called the record "wildly elaborate" and a "brave change," but offered less kind words to summarize: "For all its craftsmanship, Pretty. Odd. comes across as mannered and overbearing, more studied than exuberant."[68]The Village Voice called the record earnest and triumphant, but criticized the "hard to grasp" overarching narrative strand.[69]Uncut held that the album "tried too hard to be obtuse," but praised the band's artistic evolution.[59]
James Montgomery of MTV News has described Pretty. Odd. in retrospect as overlooked, writing that, "Give this one a decade ... we could have another Pinkerton on our hands," referencing the Weezer album that received a mixed response upon release but was heralded as a classic in later years.[70]
Touring
Urie and Ross performing in support of Pretty. Odd., April 2008.
As expected and predicted by several music publications, Panic at the Disco adopted a very different style for the touring in support of Pretty. Odd., in contrast to the dark, circus-themed elements of their previous stage shows.[73] Each show contained "woodsy set pieces, projections of flora and fauna, and mic stands wrapped in lights and flowers," and each band member dressed in a vest.[74] While reflecting on the theatrical nature of A Fever You Can't Sweat Out touring, Urie commented "We did it and it was a lot of fun when we did it, but this time around I think we wanted to get back to a more intimate, personal setting, and scale it down a little bit." Ryan Ross explained that "It's more about connecting with the audience and seeing what's gonna happen every night. It's not as scripted out and pre-planned. It makes it more exciting for us, and less monotonous every night."[74] A live album, ...Live in Chicago, based on live recordings from Chicago during the Honda Civic Tour, was released December 2, 2008.[75] An accompanying DVD contains photos from the tour, each music video from the album as well as behind-the-scenes footage of the videos and the tour, the short film Panic at the Disco In: American Valley, and the documentary feature based on the tour, All In A Day's.[76]
Pretty. Odd.'s touring was also defined by a larger effort to remain environmentally conscious. On the tour, the band worked with two non-profit eco organizations: Reverb, which facilitates environmentally friendly touring; and Global Inheritance, which seeks to inspire more eco-activism.[74] In a 2008 interview, Ross revealed that the band was traveling on a biodiesel bus, re-using plastics, and recycling more backstage.[77] The band also printed tour booklets on recycled paper, with soy ink, and organized an "eco-contest," in which profits from the tour went straight to environmental organizations.[74]
Lights and Sounds is the fifth studio album by American rock band Yellowcard, released on January 24, 2006, in the United States through Capitol Records. Lights and Sounds is Yellowcard's first concept album, which was inspired to reflect what the band was feeling at the time of production and how they have matured in the process. Lights and Sounds also departs from the sounds on Yellowcard's previous album, Ocean Avenue (2003), which broke away from its pop punk sound to a more alternative rock album.
Panic! at the Disco was an American pop rock band formed in Las Vegas, Nevada in 2004 by childhood friends Ryan Ross, Spencer Smith, Brent Wilson, and Brendon Urie. Following several lineup changes, Panic! at the Disco operated as the solo project of frontman Urie from 2015 until its discontinuation in 2023.
A Fever You Can't Sweat Out is the debut studio album by American pop rock band Panic! at the Disco. Produced by Matt Squire, the album was released on September 27, 2005, through Decaydance and Fueled by Ramen. The group formed in Las Vegas in 2004 and began posting demos online, which caught the attention of Fall Out Boy bassist Pete Wentz. Wentz signed the group to his own imprint label, Decaydance, without them having ever performed live. It is the only album released during original bassist Brent Wilson's time in the band, but the exact nature of his involvement in the writing and recording process became a source of contention upon his dismissal from the group in mid-2006.
"Miss Jackson" is a song by American rock band Panic! at the Disco, released on July 15, 2013, as the first single for the band's fourth studio album, Too Weird to Live, Too Rare to Die! (2013). The song features vocals from Lolo. A music video directed by Jordan Bahat accompanied the song's announcement as well as the album's title and release date, and headlining tour dates. It was the band's first release since 2011, and the first release to feature Dallon Weekes on bass. The Butch Walker-produced track has been described as "darkly anthemic". It reached the top 10 on iTunes on its release and sold 56,000 digital downloads in its first week to debut at No. 68 on the Billboard Hot 100 and No. 27 on Digital Songs. It also became Panic! at the Disco's first top ten hit on the Alternative Songs chart since "Nine in the Afternoon" in 2008. In January 2015, it was certified Gold by the RIAA.
George Ryan Ross III is an American musician, singer, and songwriter best known for his work as the former lead guitarist, backing and lead vocalist, and primary songwriter of the American rock band Panic! at the Disco before his departure in 2009. He alongside former Panic! bassist Jon Walker formed the Young Veins later that same year, in which Ross was the lead vocalist and guitarist. They broke up in 2010.
Spencer James Smith is an American talent agent and former musician and songwriter. He is best known as a co-founding member and the former drummer of the rock band Panic! at the Disco. He recorded four studio albums with the band: A Fever You Can't Sweat Out (2005), Pretty. Odd. (2008), Vices & Virtues (2011), and Too Weird to Live, Too Rare to Die! (2013). The band's debut album went triple platinum and charted at No. 13 on the US Billboard 200, spearheaded by the hit single "I Write Sins Not Tragedies", which peaked at No. 7 in the Billboard Hot 100.
Brendon Boyd Urie is an American singer, songwriter, and musician who is best known as the former lead vocalist and frontman of Panic! at the Disco, the only constant member throughout the band's 19-year run.
Infinity on High is the third studio album by American rock band Fall Out Boy, released on February 6, 2007, by Island Records. Recorded from July to October 2006 at Pass Studios in Los Angeles, California, its music was composed by lead singer and guitarist Patrick Stump and the lyrics were penned by bassist Pete Wentz. The album features collaborations with new producers and guest artists, such as Babyface and Jay-Z, and sees the band experimenting with genres including R&B, soul, and flamenco. Fall Out Boy also utilized instruments such as horns, violins, and pianos, which had not been used on previous releases.
"Nine in the Afternoon" is a song by the American rock band Panic at the Disco, and the lead single from the group's second album Pretty. Odd.. It was the band's first song release that did not include the exclamation mark at the end of the "Panic" in the group's name.
"That Green Gentleman (Things Have Changed)" (often shortened to "That Green Gentleman") is a single by American rock band Panic! at the Disco, from their second studio album Pretty. Odd. The song was the second song written by the band after they decided to scrap an album's worth of material, but was not played with "When the Day Met the Night" and "Nine in the Afternoon" at the various festivals Panic performed at during the summer of 2007.
"Northern Downpour" is a song by American rock band Panic! at the Disco from their second studio album, Pretty. Odd. (2008). The song was released on November 14, 2008, as the fourth and final single from the album. The song was written by guitarist Ryan Ross and bassist Jon Walker, and was their final single with the band.
Folie à Deux is the fourth studio album by American rock band Fall Out Boy, released on December 10, 2008, by Island Records. As with their previous two albums From Under the Cork Tree (2005) and Infinity on High (2007), its music was composed by lead vocalist and guitarist Patrick Stump, with lyrics penned by bassist Pete Wentz. Regarding the writing process, the band considered Folie à Deux to be their most collaborative record.
Panic! at the Disco is an American rock band that originated in Las Vegas, Nevada. Their 2005 debut album, A Fever You Can't Sweat Out, reached number 13 on the US Billboard 200, and has sold more than 2.2 million copies in the US (pure) and been certified 4× platinum by the RIAA since its September 2005 release, spearheaded by the eight platinum top-10 hit single, "I Write Sins Not Tragedies". The band's second album, Pretty. Odd., was released on March 21, 2008, entering the US chart at, and peaking at, number 2 and is certified platinum by RIAA. Their third effort, Vices & Virtues, was released on March 18, 2011, and peaked at number 7 in the US and is certified gold by RIAA, spawned iconic comeback smash hit "The Ballad of Mona Lisa". Their fourth album, 2013's Too Weird to Live, Too Rare to Die!, entered and peaked at number 2 on the US chart, and contained hits such as "Miss Jackson", "This Is Gospel", and "Girls / Girls Boys". The band's fifth studio album, Death of a Bachelor, was released in January 2016 and became their first number-one album in the US. It has been certified 2× platinum in 2019. It is currently the most streamed album. Their sixth album, Pray for the Wicked, was released on June 22, 2018, and debuted at number one on the US Billboard 200. It has been certified 2× platinum by RIAA. It later became band's most successful era in terms of achievement and tour gross. Their seventh and final album, Viva Las Vengeance, released in August 2022, became the band's most critically acclaimed album to date.
"New Perspective" is a song by American rock band Panic! at the Disco, released on July 28, 2009, as a single promoting the film Jennifer's Body. Vocalist Brendon Urie began writing the song two years prior to its recording regarding a lucid dream he had. The song was completed in the summer of 2009, and was co-written by producer John Feldmann. "New Perspective" was Panic! at the Disco's first single in aftermath of the departure of guitarist Ryan Ross and bassist Jon Walker, both of whom had no involvement in the track. It also saw the return of the exclamation point in their name, after it was retired during the Pretty. Odd. era.
Jonathan Jacob Walker is an American musician, singer, songwriter, and record producer. Formerly the bassist of Panic! at the Disco, Walker was also the lead guitarist and occasional split vocalist of The Young Veins, which is now on indefinite hiatus. Having gone on to release several solo recordings, he is now mostly songwriting and producing.
Take a Vacation! is the only studio album by American rock band the Young Veins, and the first musical project by Ryan Ross and Jon Walker after their departure from Panic! at the Disco. It is the only album released during the tenure of members Andy Soukal, Nick Murray, and Nick White, though the album was recorded prior to their recruitment.
Vices & Virtues is the third studio album by American pop rock band Panic! at the Disco, released on March 22, 2011, by Fueled by Ramen. Produced by John Feldmann and Butch Walker, the album was recorded as a duo by vocalist and multi-instrumentalist Brendon Urie and drummer Spencer Smith, following the departure of lead guitarist, backing vocalist and primary lyricist Ryan Ross and bassist/backing vocalist Jon Walker in July 2009.
"The Ballad of Mona Lisa" is a song by American alternative rock band Panic! at the Disco, released February 1, 2011, as the first single from the group's third studio album, Vices & Virtues (2011). Vocalist Brendon Urie wrote the song to express personal struggles and convictions many years prior to its official production for Vices & Virtues. The song impacted radio on February 15, 2011. The song has received positive critical reviews upon its release and reached number 89 on the Billboard Hot 100.
The discography of American indie pop band Fun consists of two studio albums, seven extended plays, 11 singles and seven music videos. Following the split of his previous band The Format, lead singer Nate Ruess formed Fun in 2008 with musicians Andrew Dost and Jack Antonoff, both of whom had previously toured with The Format. Fun began recording sessions for their debut album in September 2008 and embarked on a North American tour the following month. In May 2009, they issued their debut single, "At Least I'm Not as Sad ". Aim and Ignite, the band's first full-length album, was released by Nettwerk Records on August 25, 2009, and peaked at number 71 on the United States Billboard 200 chart. The album produced an additional two singles, "All the Pretty Girls" and "Walking the Dog", which were then followed by the release of the single "C'mon", a collaboration with American alternative rock band Panic! at the Disco.
Too Weird to Live, Too Rare to Die! is the fourth studio album by American pop rock band Panic! at the Disco. The album was released on October 8, 2013 by Decaydance and Fueled by Ramen. Recorded as a trio, the album was produced by Butch Walker, and is the only album to feature bassist Dallon Weekes since he officially joined the band in 2010. This was also the final album to feature drummer Spencer Smith, thus making this Panic!'s final album as a rock band, with further releases being made as a solo project fronted by Brendon Urie.
References
↑ Inc, Nielsen Business Media (8 January 2011). "Billboard". Nielsen Business Media, Inc. p.37. Retrieved 3 October 2016– via Google. a fever can't sweat out 1.8 million.{{cite magazine}}: |last= has generic name (help); Cite magazine requires |magazine= (help)
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