It's been just over a year since (now) one-man-band Panic! at the Disco released their latest album, "Death of a Bachelor." In celebration of that, and in anticipation of the upcoming ten-year anniversary of their sophomore album "Pretty. Odd.," it's high time for an official ranking of albums, from worst to best. Sit tight, you might need to keep time; snapping your fingers isn't necessary, though. (I hope you get my reference.)

1. Too Weird to Live, Too Rare to Die

This album was released in 2012 and shows a bit of a departure from the earlier stylistic choices of the group and a movement towards more current pop trends of the day. There is a lot of electronic sounds, as well as simpler lyrics versus the longer winding lines of earlier albums. While "Too Weird" contains some hidden gems such as the dynamic "Collar Full," the touching "The End of All Things" that is comprised of lead singer Brendon Urie's wedding vows, and LGBT+ anthem "Girls/Girls/Boys," its overall quality is disappointing when compared to the albums preceding it.

Best Songs: "This is Gospel," written by Urie about fellow band member Spencer Smith's struggle with substance abuse, is full of amazing musical moments and heart-wrenching lyrics. Also, if you haven't heard the piano version of this that Urie has done, PLEASE listen to it. It's like heaven for eardrums.

Worst Songs: Is it bad that I have a three-way tie for this? Oh well, that's why it's in last place. "Girl That You Love," "Far Too Young To Die," and breakout single "Miss Jackson" are, to me, the worst songs on this album. The first two utilize far too much obvious autotune and not-as-well-handled vocoder as "This is Gospel," whereas the third just got overplayed and now makes me cringe whenever I hear it. It is catchy, though.

2. Death of a Bachelor

Urie's first album as the sole creative force behind Panic!, "Death of a Bachelor" is inspired by the Sinatra-esque musical structure and big band sound behind all the pop-rock Urie has come to embrace since 2012. Now, many people's favorite Panic! albums go chronologically, but for me, this album has just enough redeem-ability to it that it can beat out "Too Weird" by an inch or two. The jazzy influence is most recognizable in the title song, "Death of a Bachelor," the fiery "Crazy = Genius," and the somber final song "Impossible Year."

Best Songs: I actually have quite a few songs from this album that hold a special place in my heart, as this is the first album I really listened to when I got into this band. First place has to go to "Emperor's New Clothes," especially with its amazing music video tie-in to "This is Gospel," but "Golden Days" and "Hallelujah" are also bangers that some fans speculate have an emotional link to the band's past. (I'll get to that a bit later.)

Worst Songs: "The Good, the Bad, and the Dirty" just really gets on my nerves, you know? And "Don't Threaten Me With A Good Time" succeeds in its plot to be a party song, but that's not really what I've ever expected or wanted from this band, so it's also not a favorite. And it's also way overplayed. The "Rock Lobster" bass sample is fun though.

3. Vices & Virtues

Alright, now we're to the middle point. This album is the middle of this list, the middle chronologically, and the middle (or shortly thereafter) of much of the drama in Panic's! past. Basic overview: between the release of their second album "Pretty. Odd." and this one, what was once a four-member band split in two. Lyricist/guitarist Ryan Ross and bassist Jon Walker split with Urie and Smith to make their own band, the Young Veins, which released one album. While originally amicable, the split has since turned kind of nasty and is now stagnant. Smith and Urie no longer talk to Ross, and Walker occasionally tries to reach out to the other three - usually to no avail, but I'm still glad he tries.

Okay, now that you, my lovely readers, know that background on Panic! and their split, here's my overview of "Vices." This album seems to be a logical musical progression from the preceding two albums, combining some of the more orchestral sections of "Pretty. Odd." with the hammering drums and bass of many "Fever" songs. "Vices" is also the only Panic! album to contain a multitude of bonus tracks, which, to be honest, I haven't listened to often enough to include here - but props to them for making so many! As a fan of the strings utilized throughout both this album and the two before it, "Trade Mistakes" is a lovely listen. "The Calendar" is also a well-crafted song, written about the band's split, and "Sarah Smiles" is a bop and a half that Urie wrote for his then-girlfriend, now-wife of the same name. The lyrics of this album don't suffer the lack of quality Urie's later writing does, and this album has a very steampunk-sophisticated aesthetic that I would honestly love to be able to pull off as well as Brendon Urie does.

Best Songs: "Nearly Witches" is a relic of older times, the most recent song released that credits former member Ryan Ross as a songwriter - he wrote most of the verses, while Urie crafted the chorus and put the two together. This song sounds like if Halloween was a person, and I could not possibly enjoy it more. From the spooky glockenspiel to the French children's chorus and the spiral into nothing at the end, every aspect of this song comes together to make a masterful experience of music. They didn't make a music video for it, though, and I'm bitter.

Worst Songs: Listen, I want to like "The Ballad of Mona Lisa". I really do. But something about it is just slightly off, and I'm not sure what. It almost sounds like it should be part of the first album, "Fever," instead of a part of this one. That might be it. It's a good song, but to me it just doesn't quite fit with the rest of the album's musical themes and tone.

4. A Fever You Can't Sweat Out

Back to the place where we began...oh, wait. Wrong album. Nonetheless, Panic's first album has stood the test of time and will always be known as a staple of both the early 2000s and emo music. I'm not sure if there's a person my age who hasn't heard "I Write Sins Not Tragedies." This album, released in 2005, brings theatricality, guyliner, and obscenely long song titles to the stage with classics like "There's a Good Reason These Tables Are Numbered, Honey, You Just Haven't Thought of It Yet," "Lying is the Most Fun a Girl Can Have Without Taking Her Clothes Off," and "The Only Difference Between Martyrdom and Suicide is Press Coverage." (I'm proud that my hand didn't cramp while typing all of that as fast as I could.) When listening to this album, particularly on vinyl, it becomes obvious that it has two halves: the first half of "Fever" is more early 2000s dance electronic rock music, while the second half transitions into just as spunky but more burlesque-y songs with an abundance of piano and pizzicato string instruments. A lot of the songs on this album also pull references from film and literature, such as "The Sound of Music" and Chuck Palahniuk's "Invisible Monsters."

Best Songs: Yes, I know you all probably want it to be "I Write Sins Not Tragedies," but no, it's not that. It's actually a tie between "Camisado" and "Build God, Then We'll Talk." The former, while disguised as a dance song, tells a tragic story that was based on lyricist Ryan Ross' father. The importance of lyrics on this album shows through most here. "Build God" is the aforementioned song that references "The Sound of Music," and it's also the closing number on the album. It easily switches meter from 3/4 to 4/4 over and over, all while telling the stories of multiple people in a musty Vegas motel. I wouldn't recommend the music video, but the song itself is extremely well-crafted.

Worst Songs: "Nails for Breakfast, Tacks for Snacks" brings me back to a problem I mentioned earlier - far too much mechanical modulation to the voice for me to even want to listen to the song. Urie's got pipes, and this song obscures them so much that it distracts from the rest of the song. Also, I'm not a big fan of "I Constantly Thank God for Esteban," but there's no particular reason.

5. Pretty. Odd.

If you know me personally, you wouldn't have expected anything else to be in this spot. "Pretty. Odd." is a masterpiece of Beatles-esque aesthetic, musicality, and winding, wondrous lyrics in almost every song. Furthermore, Ross actually uses his own pipes on this album to add a bit more reality and lessen the Broadway-ish sound that Urie often brings to the table. Each song from this album feels like it should be played by a band of minstrels in a flowery meadow, perhaps with a pond nearby. The musical style is a sharp right turn from that of "Fever," which makes it all the more intriguing how these four young men progressed from heavy dance-emo-burlesque-rock to a flowy, somewhat mystical 60's feel. Ross' lyrics provide even more whimsicality on tracks like "Behind the Sea" and "She Had the World." There are more fast-paced, fun songs like "Pas de Cheval," "That Green Gentleman," and "Mad as Rabbits," all of which make me smile immediately upon hearing them. The joy and lust for life that radiates off this album are palpable, and it makes me want to go out into the world and achieve my dreams as soon as possible. The beauty of this album is made all the more heart-breaking when listeners realize that while the band coalesced perfectly to create such a wonderful album, their breakup not long after means most of these songs get pushed into relative obscurity in the scheme of things. A casual fan of Panic! would only know maybe one song from this album: "Nine in the Afternoon."

Best Song: "Northern Downpour" is what many fans consider to be Panic's best song. The music video carries a strong message of love and hope into the world, and while the lyrics may suggest something a slight bit bleaker, the sentiment is still intact. Urie no longer performs this song live anymore because it makes him cry, which makes me cry. Also, a very very very close second is "When the Day Met the Night." This song is the only love song on the whole album, and tells the story of the sun and moon falling in love. It's full of high-soaring violins, deep rhythms, and orchestration that surpasses the rest of Panic's discography combined.

Worst Song: I honestly don't know if I could choose a worst song for this album. I love them all dearly, but perhaps my least favorite is "Do You Know What I'm Seeing?" just because it's somewhat repetitive, which the rest of the album mostly avoids. It does have the bonus of having the wonderful line "I know it's sad that I never gave a damn about the weather, but it never gave a damn about me," which is just one example of the lyrical prowess Ross showcases.

Overall, I'm a huge fan of Panic! at the Disco's music. It's had its ups and downs over the years, but there will always be something magnificent that's come about because of this band and I will always be grateful to experience it.