Second Label Signing - rumor

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Which songs they chose and in which order were careful considerations to give the LP it's identity. Pink Floyd were masters of this, "Wish You Were Here, The Wall, Dark Side of the Moon" as was Led Zeppelin and many others.

Though Albums don't have the near prominence as they once had compared to singles, according to this article, albums and song order still have relevancy in this next era

The Importance Of Album Track Order In The Digital Age
December 04, 2012

The sequencing of tracks on an album may have long been subject to artists' creative muses, but, according to A&R and streaming services decision-makers, the order in which songs appear on a set can have far-reaching effects on an acts', and labels', bottom lines, especially in an era of digital music consumption.

As digital music becomes the primary avenue by which many fans discover, sample, engage and share an album, label executives are paying closer attention to whether the track order of an album has grown or diminished in importance outside of the physical format.

In particular with subscription services like Spotify or Rhapsody, which pay labels on an agreed per-play basis, there has been interest to see if the order of tracks could have a significant enough effect on payouts made.

The Oct. 13 On-Demand Songs chart served, however, as a stark example that artists and labels may want to revisit the importance of songs' spots on albums. That week, as Mumford & Sons' sophomore set "Babel" debuted atop the Billboard 200 (with 600,000 copies sold, according to Nielsen SoundScan), 11 of the 12 cuts on its standard edition roared onto On-Demand Songs. More noticeably, the order of the songs on the album almost mirrors that in which they bowed on the subscription streaming tally that week. Lead single "I Will Wait" started at No. 15, followed by the title cut at No. 16 and "Whispers in the Dark" at No. 21. The tracks are the third, first and second on the set, respectively.

The album's next four titles - "Holland Road," "Ghosts That We Knew," "Lover of the Light" and "Lovers' Eyes" - entered On-Demand Songs at Nos. 24, 28, 32 and 35, respectively, with tracks 9-12 arriving also almost identically to their album placement. (Last song "Not With Haste" just missed the survey that week, although it debuted the following frame at No. 41).

Such data suggests that the earlier a song appears on an album, the more likely a listener is to stream it. At the same time, a music consumer's attention span may be even shorter than any artist wants to believe.

The best lesson to take from studying albums' track sequences may be that even in an era of streaming, in which listener behavior seemingly reflects a tendency to sample only portions of releases, the album format appears to have a bright future. Per the Oct. 13 On-Demand Songs chart, the 11 cuts that debuted from Babel each totaled robust sums of between 555,000 and 330,000 on-demands streams, according to Nielsen BDS. Says Spotify chief content officer Ken Parks, "The fairly even distribution of listens across all the tracks on that record means that people are enjoying that music as a cohesive collection."

"For artists that tell a story with an album, with an intro, a pacing, a mood that's set, and a narrative that's being told, that's great news," he says. "They can still make that music available as they intend to tell that story and still expect that people are going to listen to it."