Studio Album · No. 4
Folie à Deux Songwriting Credits by Fall Out Boy
Produced by Neal Avron, Brendan O'Brien · Engineered by Erich Talaba, Ted Jensen
Holds writing credit on 13 of 13 tracks
Authorship Breakdown 13 / 13 documented
Scored across the 13 tracks with documented writers, by whether Fall Out Boy carries a lyricist or composer credit.
Share of the 13 tracks where a band member is credited, by role.
By the Numbers
Folie à Deux is Fall Out Boy's most ambitious early album, with Pete Wentz writing all the lyrics and Patrick Stump composing the music. Stump said Wentz outdid himself lyrically, and the record packs in guests including Elvis Costello, Lil Wayne, Pharrell Williams, and Debbie Harry.
Folie à Deux is the fourth studio album by Fall Out Boy, released in December 2008 on Island Records and produced by Neal Avron. It was the most ambitious and polarizing album of the band's original run, featuring Elton John, Elvis Costello, Debbie Harry, and Lil Wayne in guest roles and a musical range that extended from orchestral pop to country rock in a bid for artistic legitimacy that divided the fanbase. Stump and Wentz wrote all material; 'I Don't Care' and 'What a Catch, Donnie' (featuring Elvis Costello) were the principal singles. The album debuted at number eight on the Billboard 200 with 153,000 first-week sales, a significant commercial decline from Infinity on High, and has been certified gold in the United States. Folie à Deux was followed by a four-year hiatus during which the band members pursued solo projects; the album's critical reception was mixed but has been substantially reassessed in subsequent years as critics noted the genuine ambition and the underappreciated quality of Stump's vocal performances. Folie à Deux's subsequent critical reassessment has positioned it as the most artistically ambitious and emotionally sophisticated album of Fall Out Boy's original run, with Stump's vocal performances on 'What a Catch, Donnie' and 'I Don't Care' now recognized as among the finest of his career and the album's commercial failure attributed to timing and marketing rather than quality.