Going solo is an opportunity to create a separate narrative. It’s also an opportunity to spectacularly fail without the creative and musical input of bandmates who helped an artist to fame in the first place.
Some of the biggest names in rock created remarkable tandem solo careers that added to their already-established legacy, including members of the Beatles, Fleetwood Mac, Genesis, the Police and Pink Floyd, among many others. As shown with the following list of 5 Solo Careers That Should’ve Been Bigger, however, there are no guarantees – even for superstar members.
The potential stumbling blocks are many: Some solo albums simply sound too much like the parent bands. Others are so adventurous that they lose bedrock fans. Potential solo stars might find themselves so consumed with main group activity that they can’t build adequate momentum. Some may struggle to maintain the initial interest sparked by their departure from the group. Others may fall victim to changing musical tastes.
READ MORE: The Worst Solo Albums by Superstar Band Members
Along the way, a hard lesson is learned: Success in a collaborative situation doesn’t always translate into stand-alone success. Each of these solo acts eventually staged a reunion with their main band, with admittedly varying outcomes. Sometimes, as the old book title reminds us, you can’t go home again.
Any one of them could have been the next Paul McCartney, Stevie Nicks, Phil Collins or Sting. Instead, they’ve been left with 5 Solo Careers That Should’ve Been Bigger:
No. 5. Daryl Hall
Daryl Hall
Daryl Hall began his solo career with the strikingly experimental Sacred Songs, just before Hall and Oates became a multi-platinum ’80s-era juggernaut. Confused record-label reps shelved the album for three years – and then Sacred Songs stalled outside the Top 60. Apparently deflated, Hall resorted to releasing music that sounded just like Hall and Oates, except without the other guy. He didn’t come close to matching their success: 1986’s Three Hearts in the Happy Ending Machine remains Hall’s career-best finisher at No. 29.
No. 4. Lou Gramm
Lou Gramm
Lou Gramm had become frustrated with Foreigner bandmate Mick Jones‘ penchant for balladry. So, he struck out on his own as they struggled to follow up 1984’s Agent Provocateur. The more rock-leaning Ready or Not hit the Top 30 in 1987 and “Midnight Blue” went to No. 5. Gramm seemed to have been vindicated. He returned to the Top 10 with 1989’s “Just Between You and Me,” but then AOR fell out of favor. Gramm returned for one unhappy Foreigner album that is still their worst-selling ever. Only one solo LP followed.
No. 3. Dennis DeYoung
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As with Lou Gramm, Dennis DeYoung was yin to the yang of Styx bandmates Tommy Shaw and James “J.Y.” Young – though DeYoung was the platinum-selling ballad guy. He also had a strong solo start: 1984’s Top 25 hit Desert Moon boasted a No. 10 title track single. Unlike Gramm, however, DeYoung somehow never managed another Top 40 hit. He likewise tried a reunion but his best second-era finish with Styx was 1990’s Edge of the Century at a paltry No. 63. The always-theatrical DeYoung then briefly turned to Broadway songs.
No. 2. Pete Townshend
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When the Who‘s Pete Townshend tried as a solo artist (1980’s million-selling Empty Glass and its endearing No. 9 hit “Let My Love Open the Door”), he made it look effortless. Trouble was, he often didn’t try. Townshend has only issued three solo LPs since 1982’s Top 30 hit All the Best Cowboys Have Chinese Eyes. He also stayed off the road, playing just three dates between short tours in 1979 and 1985 and only two more before a series of shows in 1993. There was a much bigger solo career to be had: At one point in the 2000s, Townshend admitted he had some 200 unreleased songs – and perhaps 1,500 unfinished fragments.
No. 1. Mick Jagger
Fryderyk Gabowicz / Picture Alliance, Getty Images
Instead of forging his own identity away from Keith Richards and the Rolling Stones, Mick Jagger‘s solo albums too often felt like trend-chasing calculations. He dabbled with instantly dated technology (1985’s She’s the Boss) and wrongheaded videos (“Let’s Work,” which wrecked 1987’s Primitive Cool), then attempted to scale the charts with head-scratching duets (2001’s Goddess in the Doorway). Jagger didn’t try something honest until 1993’s Rick Rubin-produced Wandering Spirit – and mainstream listeners had lost interest by then. Goddess in the Doorway followed and a chastened Jagger returned to the Stones.
