Pink Floyd: the worst and best solo albums by the band's members according to Ultimate Classic Rock

Countless rankings have been devoted to the best Pink Floyd albums. Ultimate Classic Rock magazine, however, took a different approach, selecting the best and worst solo works by members of the legendary English band. "Not all of Pink Floyd's solo careers have been regarded equally, despite the decisive contribution all five members made to a history studded with platinum records," notes Nick DeRiso in the introduction. "There is, however, one common thread: none of them ever showed real interest in building an ongoing solo career with the aim of becoming a star in their own right, not even after officially leaving the band." Either way, there's no shortage of points of interest in the solo output of each member of the British lineup.

Here, then, are the solo albums picked as "worst" and "best" for each member of Pink Floyd, with an excerpt from the reasoning provided by Ultimate Classic Rock (full feature here).

Roger Waters

Peggiore: “The Pros And Cons Of Hitch Hiking” (1984)

A concept project built as the 41-minute dream of a man grappling with an extramarital fantasy, it's an ambitious but unfocused record. Modest sales and a convoluted narrative structure limited its impact. Waters himself downplayed it, essentially calling it "a record about sex," compared to the far greater scope of "The Wall".

Best: “Amused To Death” (1992)

A return to form through more cohesive songwriting and a decisive collaboration with Jeff Beck on guitar. Central themes: war, organized religion, capitalism and media culture. The album combines lyrical density with musical solidity, emerging as Waters' most accomplished solo work, with tracks like “What God Wants, Pt. 1” and “The Bravery of Being Out Of Range”.

David Gilmour

Peggiore: “About Face” (1984)

An album hampered by a typically '80s production, with mechanical, synthetic sounds that weigh down material that's partly worthwhile. Some tracks could have strengthened “The Final Cut”, but the whole is uneven.

Best: “On An Island” (2006)

A rarefied, contemplative work, recorded after almost 20 years of solo silence. Nocturnal atmospheres, measured songwriting, the guitar tone taking center stage. An intimate, controlled record that recovers the lyrical and melodic dimension of Gilmour at his best.

Syd Barrett

Peggiore: “The Madcap Laughs” (1970)

A fragmentary debut, recorded during chaotic sessions with multiple producers. The result is disjointed, at times confused, though shot through with brilliant flashes like “Terrapin” or “Dark Globe”. It remains a raw testimony to his state of mind.

Best: “Barrett” (1970)

A more compact and structured second album, co-produced by Gilmour and Wright. The psychedelic atmospheres give way to sophisticated, sometimes surprisingly modern pop songwriting. Tracks like “Baby Lemonade” and “Gigolo Aunt” show a compositional talent still very much alive.

Richard Wright

A project dominated by the synth-pop aesthetic of the era, made almost entirely with the Fairlight. Wright himself called it an “experimental mistake”. His personal contribution comes across as barely recognizable.

Best: “Broken China” (1996)

A concept album about depression, structured in four movements. Musically closer to the Floyd aesthetic than his previous solo work, it features polished arrangements and a cohesive thematic framework. Among the most intense moments of his career outside the band. And featuring a gem like “Reaching For The Rail”, alongside Sinéad O’Connor.

Nick Mason

Worst: “Profiles” (1985, with Rick Fenn)

A collaboration steeped in formulaic synth-pop. Adherence to the era's sonic clichés dilutes the project's musical identity, despite a few notable guest appearances.

Best: “Fictitious Sports” (1981)

Recorded with Carla Bley, it's an atypical work: more sophisticated jazz-pop than a Floyd offshoot. Mason slots in as drummer within a compositional framework defined by Bley. A side project, but a coherent one, with a clear identity of its own.

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