The Setup And Creation of Panic! At The Disco, the former band:
Panic! At The Disco was started in 2004 in a suburb of Las Vegas by ~18 year old Ryan Ross (guitar) and ~17 year old Spencer Smith (drums). The two were friends and had played music together since the 9th grade. To complete the band, they recruited Brent Wilson (bass), a boy from another high school that Ryan Ross was friends with. Prior to the official forming of P!ATD, these three formed a band called Pet Salamander, whose site seems to have lasted the test of time for now. Brent Wilson at some point recruited his friend, 17 year old Brendan Urie. Ryan Ross was originally the vocalist, but the band switched that over to Brendan Urie after hearing him during rehearsals. The name “Panic! At The Disco” was a reference to a lyric in Name Taken’s song, “Panic”. Despite this, they started as a Blink 182 cover band.
The group recorded 3 song demos on a laptop and posted them on PureVolume (a music sharing site) page. These sounds would go on to be in the first album as “Time To Dance” "Nails for Breakfast, Tacks for Snacks" and “Camisado”. On a whim, Brendan and Ryan sent these demos to Pete Wentz of Fall Out Boy over LiveJournal in 2004.
Pete Wentz was working on Fall Out Boy’s major record-label debut, From Under The Cork Tree, in Las Vegas when he received the demos. Pete Wentz went to listen to them practice after hearing 2-3 songs and got them signed immediately to DecayDanse, a sub-label of Fueled by Ramen that was owned by Pete Wentz and Patrick Stump (also of Fall Out Boy Fame). This was the first band on this new label and a lot of ire came at P!ATD once this news dropped. People were upset by the way P!ATD had been signed and looked down upon the fledgling band.
In addition to their rocky start in terms of the way they were signed, the band also had trouble getting off the ground in Las Vegas as well. This was due to numerous factors, such as the fact that due to their ages, they could only play at clubs until 9:00PM, due to only being able to be on the Las Vegas Strip until 10:00PM. Because of this, they focused more on song-writing and actually hadn’t played a live show before they signed with DecayDanse. In addition, the band cited the fact they weren’t playing nu metal or post-hardcore made it harder for them to fit in. In an interview when asked about the music scene in Las Vegas, Ryan Ross said:
“[...] There isn’t a real sense of community there, it’s more like, when a new band starts the thing to do is to talk shit on them rather than support them, the same goes for local bands amongst themselves. No one really wants to help each other, save a few exceptions. [...] We decided to go outside of the local scene because it was such a stagnating thing, the internet has become such a great tool for bands in so many ways, I mean we had almost five thousand friends on myspace before we had even played a show. We have most of our fans because of the internet and especially websites like purevolume that allow bands to put their music out there for free.”
This did not deter the band however. They were constantly hyped up by Pete Wentz, wearing shirts to reference them and discussing them in interviews. At the 2005 MTV Music Video Awards, Pete Wentz called out both his new sub-label and even more specifically, P!ATD themselves.
Album Processing And Personal Player Perril, An Early Start:
The band went to record their first album, but this did not come without some shake-ups at home. Given the ages of the bandmembers, they were at a delicate age where they were expected to finish up high school and get into college. Ryan Ross, the oldest, dropped out of college. This caused turmoil at home, causing Ryan to fall out with his father and be constantly threatened with being kicked out. Brendan Urie recounts how his parents kicked him out, even before he graduated high school, and he had to go looking for apartments while maintaining a job at a smoothie hut and band practice. Spencer Smith and Brett Wilson both finished school online. The band then went to College Park, Maryland– a place situated just outside Washington D.C.-- to record their first album from June to September 2005.
By the time the band had a chance to get into the studio, they had 5 of the eventual 13 songs written. The process of creating the album, including mixing and mastering, was done in 3 and a half weeks on a budget of 11,000$ USD according to Matt Squire, the producer of the album who P!ATD hand-picked. The band worked relentlessly during that time, Ryan Ross claiming they were in the studio 12-14 hour days for 5-5 ½ weeks (numbers differ in interviews). The band dealt with some friction between members, exacerbated by these long days and also their living situation, which saw the whole band living in a 1-bedroom apartment in bunk beds. By the end of the album, Brendan Urie’s vocals were blown from recording, the band hadn’t had a day off, and they had two weeks to “learn how to be a real band”.
Discussion About The Album, Including The Lyrics and Reception, While Not Actually Reviewing It:
The album is produced and the troubles have been covered, but what about the content of the album? The lyrics were all penned by Ryan Ross, who was strongly influenced by the work of Chuck Palahniuk (best known for Fight Club). These included quoting him (The second track, "The Only Difference Between Martyrdom and Suicide Is Press Coverage", is from Palahniuk’s book Survivor) and directly referencing the story of one of his works (“Time to Dance” is about Palahniuk’s Invisble Monsters, with "Give me envy, give me malice, give me your attention", one of the lyrics, being a quoted from the book.)
The band was also influenced by what came before them. They took inspiration from bands in the scene and the aforementioned Name Taken in using long song titles for their names, aiming it to take it a step further than anyone else. Some songs had their own inside jokes, such as “I Constantly Thank God For Esteban”-- a reference to an infomercial for a brand of guitar. They also had lyrics to combat the reception they were anticipating. Brendan Urie recalls: ““London Beckoned for Songs About Money Written by Machines” came after we met with Pete and our management. They were explaining, “If this does take off, you will need to deal with webzines and interviews.” It kind of irritated us, just to the point we wanted to relay, “If we’re gonna do that, guess what — we’re going be your f—ing wet dream.” “
Urie also recounts: “Every song that we wrote for the first album made it.”
The band also got assistance from those around them. Pete Wentz helped oversee the creation of the album. Brendan Urie has said of his assistance, “Pete is such a smart lyricist, so he was always there to help out with a line here, a line there”. In addition, Matt Squire helped point the band’s album in a more cohesive direction. He recounts:
“By the time they got to the studio, they had this identity crisis. They didn’t want to sound like Fall Out Boy, so they wanted to do all this Beatles-y shit… I took them out to lunch and said, “Why don’t we tell the story of that creative evolution as the theme of the album?” You guys are from Vegas and you did some dance shit… now you’re exploring new territory, and that’ll be the second half of the album. They didn’t want to put the rock songs on the album. This was the only way I got them to agree to it.”
Finally, the album was released on September 27, 2005.
Upon being available for sale, the album was a smash hit, and eventually went on to become the band’s best selling record. However, the record’s reception by critics were divided.
On the more positive side, Rolling Stone, who gave the album a 3 ½ / 5 said:
“What makes Panic different (and excellent) is their use of dance-floor synths and roboto drums, which redeems the album's whininess. [...] On all fronts, Panic pillage two pop-friendly musical trends -- Eighties keyboard nostalgia and angry-boy pop punk -- and create something new. ”
Meanwhile, on the negative side, Pitchfork gave it a 1.5/10, saying:
“But of course, the asinine song titles and the moronic band name have nothing on the actual songs. The usual guitar, bass, and drums are augmented by drum machine beats and synths that would be more at home blaring over the P.A. at your local gym than in anything one might consider enjoyable music. The production, handled by Matt Squire, a guy who is certainly no stranger to radio-friendly emo, is slick and polished. Vocalist Brendon Urie's impassioned, warbling vocals are so strained it's as if he might just burst into tears at any moment. This poor guy's heart must get broken on a daily basis or something. And if it wasn't bad enough, someone convinced him to add some fancy effects on a track or two that make it sound like someone is lightly karate chopping him across the throat while he sings.”
Critics aside, it seems the band won in the end. In addition to the aforementioned record sales, A Fever You Can’t Sweat Out was certified platinum (by Recording Industry Association of America (RIAA)) by the next August. The band’s music video for “I Write Sins Not Tragedies” also won the award for Video of the Year at the 2006 MTV Video Music Awards.
Finally, A Show Played Lived In Front of An Enthusiastic Audience, and the First Replacement:
The band went back to Las Vegas and played their first official show on August 12th, 2005 at The Alley on West Charleston (though Brendan Urie states the first show was at his Mormon Church). Soon after, they were thrust into a full tour– The Nintendo Fusion Tour– with their mentors, Fall Out Boy (as well as Motion City Soundtrack, the Starting Line, and Boys Night Out ). The band notably performed the whole tour wearing suits.
On May 17th, it was announced Brent Wilson left the band, without much explanation at the time as to why. Matt Squire later recounts: “He wasn’t competent as a bass player, but I think they were OK with that because in the studio it was cool. I think he started not showing up live… They had to do what they had to do.”. There were allegations by the band that Brent didn’t even contribute to the album and was dismissed due to his lack of responsibility. Brent later sued the band for royalties for the album.
The band continued touring, replacing Brent Wilson with Jon Walker, who at the time was a guitar tech for The Academy Is…. The band gained fast traction, becoming a headliner in roughly a year. Their second headlining tour, Nothing Rhymes with Circus Tour, was notable due to it being the start of the band adding in theatrical elements to their live shows.
Personal Opinion: Review of The Album and Music Videos
Review: The Album
Album Rating: 8.5/10
Now, back to our scheduled programming: a personal section.
I know I can’t relive how I used to feel about this album. I knew that going in. This album came into my life in a certain time and place and captured me. I do want to pay homage to my younger self and acknowledge that as well.
I think there’s something very charming about this album. I always seem to like a band’s first album the most, and for years, that’s been my feelings with P!ATD. Listening to it through (ad nauseam at this point) again, I still think it really holds up, especially when you consider everything. A 13-album song is no easy feat (I guess you could say 11 if you cut out the Intro and Intermission)… But a 13-album song with generally no skips? That’s phenomenal for your first album! Would I say I’m as in love with it as that 12-13 year old who first got their hands on it? Maybe not, but it’s still a pretty stellar album.
I think it does a great job of feeling like a complete piece of art. The progression of the album is so smooth– in how the songs flow well into the next and how it sonically morphs. Also, I really feel like it has some incredibly catchy melodies and lyrics. Do I feel the lyrics are the most intellectual and brilliant? Maybe not– but this was written by a 19-year-old, and they’re not bad (especially when you juxtapose these lyrics against Brendan Urie’s later works with the band… ). I do think I can understand some critiques about Brendan Urie’s voice on this album at points, but it’s not so bad that I feel it impedes the album.
While I don’t have the physical album so I can’t go over the full album’s design, I will say: I’ve always loved this cover. I think it’s striking and really captivating. It could be because of how many years I’ve seen this cover for, but it genuinely feels like a “yeah, that fits the music inside” type of cover.
This is an album that’s hard for me to pick a favorite song off of. Hell, no matter the year you would’ve asked me, it’s a hard feat! I’d probably go with “Time To Dance”. I just think it’s a really engaging song and “Give me envy, give me malice, baby, give me a break!” is just perfect as the chorus. Probably my least favorite is London Beckoned Songs About Money Written by Machines– I don’t even have anything really negative to say about it, nor do I think it’s a bad song. I just think it’s probably the song that I find least catchy.
Review: Track-By-Track
1."Introduction" (instrumental)
Works perfectly as an introduction! Short, sweet, like the sampling of what’s to come.
2."The Only Difference Between Martyrdom and Suicide Is Press Coverage"
As the “2ndary opener”, I think this also works well. It’s just a really catchy song– I especially like the instrumental around “Applause! Applause! No, wait, wait...”; I think it’s a nice diversion from the rest of the song– keeping it fresh (though don’t get me wrong, I love the surrounding instrumental as well).
3."London Beckoned Songs About Money Written by Machines"
As much as I like this songs, I do think it’s one of the ones that doesn’t stand out as much. I don’t think that’s a bad thing, because it’s not a bad song at all, but in an album that's so so strong, it’s one that isn’t quite as catchy. I do really like the switch-up like with the previous song (in this case, the interlude.)
4."Nails for Breakfast, Tacks for Snacks"
Again, I think for me this is a song that falls similar to the previous– it’s not bad by any means, but it’s not a favorite on the album. I really think the vocal effect on it does make it stand out and stand on it’s own in the album– but it’s just not a favorite. I do feel bad saying it because it’s apparently about Ryan Ross’ strained relationship with his father…
5."Camisado"
Another song that is about Ryan Ross’ dad and his history of alcohol abuse.
I really do love this song. Perhaps part of it is a personal nostalgia comfort that I won't get into, but I really do think its a really, REALLY good song. I think the progression of the song works out so well and the instrumentals really compliment the vocals so well. Perhaps one of the albums best, if not one of the best in their whole discography. The outro works so well here too; perfect.
Also on this deep dive I’ve learned “camisado” is a military maneuver which is a surprise attack at night/daybreak, which adds to the song’s lyrical meaning in my opinion (and I have to wonder if that’s also drawing a line to his father’s military background as well.)
6."Time to Dance"
This song details the story of Invisible Monsters by Chuck Palahniuk; As I haven’t read the book, I can’t say how well it does it, but while looking up things, I did see people say it fits the story.
I love this song. I think it’s so catchy and fun and everything works really well. I do have to acknowledge the elephant in the room of the lyrics of “Boys will be boys, hiding in estrogen”; Whether it was purposefully transphobic or just a stumbling line by 19 year olds in 2006 is up to the listener, but it is a part that if I think about too hard it makes me cringe a little. The quotes for the chapter intros (“Give me envy, give me malice, give me your attention/give me a break”) might be some of my favorite line deliveries in any P!ATD song.
7."Lying Is the Most Fun a Girl Can Have Without Taking Her Clothes Off"
I remember in more recent years this song getting heat for misogyny allegations and you know, with a title like this, I can definitely see why people would say that. It is a reference to the 2004 movie Closer, where Natalie Portman’s character says, ““Lying is the most fun a girl can have without taking her clothes off, but it’s better if you do.””-- both parts ending up as song titles on this albums.
I have to say I do really like this song. I can understand people’s gripes on a larger level, but I think the song slaps and I can understand the sadness and underlying vitriol after reading how it was written after Ryan Ross’ girlfriend of 3 years cheated on him. There’s a certain level of desperation and sadness in the song which I think adds to it versus rather if it was just being angry. I can get the feeling of it sounding juvenile lyric wise– but also, again, this was written by a 19-year-old, so I can give it grace. I think some of Brendan’s more shaky vocals help some of it too actually lol.
8."Intermission" (instrumental)
Works well! I think it bridges the two album sections nicely. Not a lot to say with it. I do like the transition of sounds and the discordant swelling.
9."But It's Better If You Do"
I have to say I really like the continuation from the other half of the album. It helps marry it really well. I also do think it’s incredibly funny the idea of the song when none of them were old enough to enter a strip club, but I digress. It still continues the theme of Lying is the Most Fun… while bringing it to the “newer” part of the album.
I think it’s just a fun song and fits nicely into the cabaret world view they were trying to do with this half. It’s a great intro to this part. The outro of the song flows so nicely into the next as well.
10."I Write Sins Not Tragedies"
Iconic. I mean, truly, defined a time and place of music. Perfectly continues the theme of the last 2 songs (excluding the intermission) in theme. It’s just such a big number and so well executed. This song deserves the flowers it got at the time. Really, really good, fun. I think it also is a case of where some of Brendan’s more wobbly vocals work well for the emotion of the song, adding a certain nice layered feeling to the emotion.
11."I Constantly Thank God for Esteban"
A departure from other songs on the album, but in my opinion, the specific guitar sound they use for it just helps it make it stand so nicely on its own. Really really great song. Like the last 2, it just feels like such a big number of a song.
12."There's a Good Reason These Tables Are Numbered Honey, You Just Haven't Thought of It Yet"
One of my favorite songs on the album. The instrumental is so fun and I just love the fun of the story being told by the song, fitting perfectly in a murder-plot type of song. Another song also with a perfect outro too.
13. "Build God, Then We'll Talk"
This song has such a great marriage of instrumental and singing with the changes in tempo, especially early in the song. The cello and reference to The Sound Of Music sonically fits nicely. It does feel like a nice tie-up song too for the album, especially with the dour sounding cello playing it out.
Review: The Music Videos
The album has 4 music videos: “I Write Sins Not Tragedies”, “But it’s Better If You Do”, “Lying is The Most Fun A Girl Can Have Without Taking Her Clothes Off”, and “Build God, Then We’ll Talk.”
Let’s be real: This is iconic. Even if you’re not a fan of P!ATD’s other works, this stands out. The song itself is catchy and the music video is incredibly charming. The costuming and makeup is iconic– I really do love that red circus suit x tophat– that look carried middle school me in terms of the type of design I liked. Plus, I’ve always loved cabaret and circus aesthetics, so this always has been charming.
I think the MV tells the story well. Watching it more critically instead of being like 12, I just realized in this deepdive how Brendan Urie and Ryan Ross(? Sorry buddy, I have some sort of facial blindness) are two sides of the same person in the video, hence the ending.
Watching this after IWSNT is kind of rough because I naturally compare the two. I still like MVs that tell a story and if that story can fit into the song as well. I really like how they incorporate the old aesthetics and the intro. I also really like the flair for the dramatic. I also think the beats for the song’s melody work really nice with the video.
I guess the story isn’t as perfect as IWSNT (Sorry I keep comparing it to that–) in terms of the video’s story. It’s two people who end up cheating on each other… with each other and find out. Idk man I wouldn’t be smiling in the back of a police van if I was that girl… But that’s just me idk! Still a fun music video; Maybe not their most memorable but the song still is good so.
03. Lying is The Most Fun A Girl Can Have Without Taking Her Clothes Off
Probably the 2nd most memorable music video of the album. It does feel so painfully of it’s time with the fish = body count… Like I get what they're going for but it is kind of goofy. I will also say seeing the goldfish flop around does make me incredibly sad… Take care of your fish!!!!!
Complaints aside: I do think it does a good job in telling the story it set out to and it overall fits the song. I really think how they did the tanks is really cool too. Also, I’m clocking that iconic 2000s blue filter… The song itself also compliments the beats of the video in the tempo.
I remember this so well because I got to see it as a kid before age restrictions were a thing and I was shocked LOL. I probably would say it’s 2nd to IWSNT in terms of how much I like it. It’s such a weird concept that it’s stuck in my head years later and I still wonder how it was pitched– “So, there’s a mime who gets up on stage and performs mime sex alone, but it’s also a romance that goes awry”.
At times it’s goofy by the nature of it being… Well, a mime who mimes sex and his girlfriend gets back at him by having mimed sex too and this leads to a mimed fight of the mime and the invisible lover.
Sources
Here are all of the sources used for things in the history section/track-by-track reviews:
