Top 20 Pink Floyd Solo Songs

Pink Floyd’s solo catalog, just like the band’s principal discography, is usually considered when it comes to David Gilmour and Roger Waters. It is comprehensible since they’ve been the band’s opposing poles for thus lengthy.

However Pink Floyd existed earlier than Gilmour’s arrival and after Waters’ departure, with necessary contributions made in these eras by the whimsical Syd Barrett and the extra ruminative Richard Wright. Each often-overlooked figures discover a dwelling on our listing of Prime 20 Pink Floyd Solo Songs.

In fact, Gilmour and Waters dominate the remaining entries – even when neither of them may precisely be described as prolific solo artists. There have been 22 years separating Gilmour’s About Face and On an Island – although some followers might derisively describe Pink Floyd’s intervening A Momentary Lapse of Cause as a Gilmour album, too. Waters bested that by ready virtually 25 years between Amused to Demise and Is This the Life We Actually Need?

READ MORE: Richard Wright’s Greatest Pink Floyd Songs

Every nonetheless made their very own arguments for carrying ahead the separate musical visions that finally tore aside the classic-era version of Pink Floyd. Waters remained sensible and novelistic, sharply crucial, typically preachy. However, Gilmour turned towards emotive placidity as soon as he was now not pressured right into a sq. peg of diffidence or crankiness by Waters’ narrative contortions.

Collectively, the Prime 20 Pink Floyd Solo Songs may need made the band’s subsequent nice double album. They definitely have the same ebb and stream. Any hopes of a reunion have been apparently dashed, nonetheless, by Wright’s demise in 2008. By then, Barrett – the group’s misplaced soul – had already been gone two years.
 

No. 20. “Out of the Blue”
From: David Gilmour, About Face (1984)

The neatly episodic “Out of the Blue” was one in all three David Gilmour demos that have been finally discarded as Roger Waters constructed his didactic finale with Pink Floyd, 1983’s The Last Lower. They lastly discovered a house on Gilmour’s second solo LP. About Face typically suffers from this period’s mechanized sensibility (specifically on “Blue Mild” and “Homicide”), however “Out of the Blue” transcended these of-the-moment sounds. Starting with a diaphanous meditation on the suddenness of our fates, Gilmour fills the music’s center with a thunderous little bit of rage, earlier than settling into a superbly conceived, open-ended conclusion. That is what Gilmour was making an attempt for once more – however not fairly reaching – with “On the Turning Away” from Pink Floyd’s first LP with out Waters, A Momentary Lapse of Cause.

No. 19. “Lady of Customized”
Richard Wright, Damaged China (1996)

Arriving throughout an period when Pink Floyd’s The Division Bell was edited down right into a extra song-focused launch, Damaged China extra precisely mirrored the group’s rangy imaginative and prescient. “Lady of Customized,” like the remainder of this LP, wouldn’t be equally constrained. Impressed by his future spouse Mildred, Wright ended up making a shattering four-part meditation on melancholy – with this layered and intense music as a centerpiece. Anthony Moore, collaborator on a pair of late-period Pink Floyd albums, helped sharpen Wright’s concepts. A hanging cowl picture from the band’s longtime designer Storm Thorgerson framed all of it completely.

No. 18. “There’s No Manner Out of Right here”
David Gilmour, David Gilmour (1978)

Gilmour’s work with the Surrey-based group Unicorn included producing Blue Pine Timber and Too Many Crooks in 1974 and One Extra Tomorrow in 1977. Then he stole one in all their songs. That is an oversimplification, after all, however it’s not unfaithful. They met Gilmour whereas jamming at a marriage reception, and shortly Unicorn was being managed by Pink Floyd’s Steve O’Rourke. “No Manner Out of Right here,” written by Unicorn bandleader Ken Baker, had appeared on Too Many Crooks. It is simple to see why this fairly Floyd-like music appealed to Gilmour, who mainly recreated their method. Nonetheless, the one went nowhere. That offered an early indication that regardless of how nice the music, Gilmour wanted to work underneath the Pink Floyd banner to seek out his widest viewers. Inside a number of years, he would.

No. 17. “Gigolo Aunt”
Syd Barrett, Barrett (1970)

“Gigolo Aunt” deftly recreated the early Pink Floyd magic however, by this level, Syd Barrett was a hopeless mess. His second solo album could be the final – and that was apparent even because the badly faltering former Pink Floyd frontman tried to complete it. Co-producer David Gilmour resorted to fastening a Barrett warm-up session onto the start of the Byrds-y “Child Lemonade” simply to finish the music. “Maisie” was nothing greater than an prolonged jam with Barrett’s wandering lyrics on high. Solely “Gigolo Aunt” – and to a lesser diploma, “Effervescing Elephant” – actually confirmed how Barrett invented the template for subsequent successes by the likes of David Bowie, Robyn Hitchcock and Blur.

No. 16. “What God Needs. Pt. 1”
Roger Waters, Amused to Demise (1992)

Possibly Roger Waters’ greatest tackle the conflicts of organized faith, “What God Needs, Pt. 1” can be a showcase for the molten contributions that Jeff Beck made on Amused to Demise. Like the perfect Pink Floyd albums launched so a few years earlier than it, Waters discovered a few of his biggest success as a solo artist via a collaborative bond with a forceful and equally clever guitarist.

No. 15. “Scattered”
David Gilmour, Luck and Unusual (2024)

Taking a web page from Waters’ Is This the Life We Actually Need?, Gilmour makes a surprisingly direct reference to his storied previous: “Scattered” begins with a pulse straight out of Darkish Aspect of the Moon. That is the place the comparisons finish. Not like his erstwhile bandmate, Gilmour proceeds to construct a distinct form of music about mortality and the passage of time. Actually, at one level, the entire enterprise practically falls to items in a tumble of orchestral wreckage. When Gilmour rouses himself as soon as extra, it is with a cussed sense of hopefulness – or, barring that, a type of accepting reverie – that too usually eludes Waters. The whole lot of what made them so nice collectively, and what in flip tore them aside, is perhaps discovered inside this one music.

No. 14. “The Powers That Be”
Roger Waters, Radio Okay.A.O.S. (1987)

Industrial thrives like sequenced drums and programmed keyboards all however sink “The Powers That Be” on first hear. However kind via these aural missteps, and you will find a wise replace of Waters’ patented name to arms towards bloated paperwork and war-mongers — “They like concern and loathing / They like sheep’s clothes” — amid a deeply funky horn signature.

No. 13. “Towards the Odds”
Richard Wright, Moist Dream (1978)

Like Gilmour, Wright was itching for a inventive outlet as Waters’ muse started to take heart stage in Pink Floyd. Like Gilmour, he recorded his solo debut at France’s Tremendous Bear Studios. Like Gilmour, it went just about unnoticed – even with a undoubtedly noticeable however quite unlucky album title. Nonetheless, “Towards the Odds” makes the case for a reappraisal that in some way would not get underway till Steven Wilson remixed Moist Dream some 45 years later. Wright blamed a still-evolving solo musical imaginative and prescient however there was a protracted precedent for the subdued jazz-inflected dreamscapes created right here by a classes group that included Mel Collins and Snowy White, two members of Pink Floyd’s touring band. “Towards the Odds” sits comfortably alongside ethereal Wright contributions to “Us and Them” or the second facet of Want You Have been Right here.

No. 12. “So Far Away”
David Gilmour, David Gilmour (1978)

A number of songs within the Gilmour solo catalog gave the impression to be directed at Waters, together with “You Know I am Proper” from About Face. However “So Far Away” appears to talk to a deeper sense of confusion about the place their relationship – and Pink Floyd itself – was headed within the late ’70s. “Why am I suspended right here?” Gilmour asks, as Waters moved to take management of the group. “I get no selection, I simply have to attend. It might already be too late.” It was, after all. The Wall would subsequently seem with solely a smattering of his inventive concepts (together with a refrain development that is much like this music in “Comfortably Numb”), adopted by The Last Lower – which had none in any respect. Pink Floyd was coming aside on the seams. That added new gravitas to hovering moments of uncertainty and alienation like “So Far Away,” whether or not that was Gilmour’s intent or not.

No. 11. “Hen in a Gale”
Roger Waters, Is This the Life We Actually Need? (2017)

Waters’ comeback some 25 years after Amused to Demise was completely timed in its personal unhappy, bizarre method. Who higher to douse the period of polarization with a cauldron of seething anger? However Is This the Life We Actually Need? wasn’t all fireplace and brimstone. The looking out, starkly private “Hen in a Gale” allowed followers the uncommon alternative to see him as greater than an aggressive orator. After years of bitter public spats, Waters was additionally lastly able to take care of his former band’s always-looming specter. That is one in all his most Floyd-ish sounding solo moments, like “Welcome to the Machine” for a brand new age. On this method, he challenged the conventions of what a Roger Waters album might be, whilst he belatedly embraced his personal towering musical legacy.

No. 10. “A Boat Lies Ready”
David Gilmour, Rattle That Lock (2015)

Gilmour returned with a extra rock-focused album after descending into this studied quietness for a lot of On an Island and Pink Floyd’s virtually fully instrumental farewell The Countless River. These earlier albums have been attractive, largely meditative, and for some followers admittedly boring. But the reality was that Gilmour remained in mourning over the lack of Richard Wright, who’d succumbed to most cancers in 2008. He summoned up these billowing feelings in “A Boat Lies Ready.” Gone eternally was the “mix of his and my voices and our musical telepathy,” as Gilmour recalled in his emotional eulogy for Wright, however Gilmour’s grievously tender goodbye in some way discovered magnificence in that loss.

No. 9. “Dwelling”
Roger Waters, Radio Okay.A.O.S. (1987)

Regardless of being a part of a plasticine bid for MTV acceptance on Radio Okay.A.O.S., “Dwelling” rings true as Waters challenges us all to face as much as the creeping indignities that ultimately coalesce into true injustice. Better of all is when he hits a lyrical riff whereas speaking about any variety of surprising personalities who may sooner or later present the best hazard to our on a regular basis lives. Water could not have identified it, however he was neatly presupposing the sweeping concern that ultimately gripped the U.S. within the wake of 9/11.

No. 8. “On an Island”
David Gilmour, On an Island (2006)

Gilmour’s waltzing title monitor was based mostly on a twilit reminiscence from the island of Kastelorizo close to Greece and featured outdated collaborators Richard Wright, drummer Andy Newmark (who appeared on The Last Lower) and bassist Man Pratt (a part of the post-Waters touring items). However Graham Nash and David Crosby truly gave “On an Island” its emotional pressure as they settled in behind Gilmour’s ethereal vocals. Collectively, they uncover a spot that is very a lot “midway to the celebrities” simply earlier than Gilmour’s usually visceral solo. Delicate orchestrations by Zbigniew Preisner function each launching pad and tender touchdown. When Gilmour returns to the lyric, Crosby and Nash create a cascading counterpoint that solely provides to the music’s enchanting embrace.

No. 7. “Scent the Roses”
Roger Waters, Is This the Life We Actually Need? (2017)

Waters belatedly resumed his solo profession throughout a time of deep political turmoil. No shock then that Is This The Life We Actually Need? is maybe his most confrontational album – however, in a stunning flip of occasions, additionally his most musically sentimental: “Deja Vu” had already featured a Wall-like orchestral sweep when the hard-eyed “Scent the Roses” arrived with stabbing guitars and a barking canine proper out of Animals. (“Hen in a Gale,” discovered earlier in our listing of Prime 20 Pink Floyd Solo Songs, would have match properly on Want You Have been Right here, too.) This tended to present extra heft to Waters’ grievances, regardless of how acquainted. Blame nostalgia for an age after they have been all model new, if that’s the case inclined, however it labored.

No. 6. “The Piper’s Name”
David Gilmour, Luck and Unusual (2024)

Although he usually appears settled into one in all them currently, Gilmour all the time had his toes in two distinct worlds: He is by turns brooding and contemplative or flinty and eruptive. Gilmour begins right here once more within the former, with a trickling guitar determine and whispered entreaties to keep away from life’s darker temptations. It is a really feel made acquainted by Gilmour’s latest solo work. Then, at in regards to the midpoint of “The Piper’s Name,” drummer Steve Gadd’s heartbeat rhythms turn into extra insistent. Conductor Will Gardner begins to construct a sweeping sense of anticipation. Appears Gilmour’s different foot is able to mash down on a guitar pedal. A solo of wit and sudden fury unfolds, placing his total solo profession in perspective.

No. 5. “Watching TV”
Roger Waters, Amused to Demise (1992)

This exceptional music arrives inside a broader idea – Amused to Demise decried the affect of mass media – however like “5:06 AM: Each Strangers’ Eyes” from 1984’s The Execs and Cons of Hitch Mountain climbing, it really works as a separate assertion. Waters duets with Eagles star Don Henley on a devastating refrain, utilizing the demise of a single pupil as a prism to debate the 1989 Chinese language youth motion towards Communism. The result’s possibly essentially the most sadly stunning factor he is ever tried.

No. 4. “Quick and Candy”
David Gilmour, David Gilmour (1978)

Co-written by Roy Harper (who later issued his personal model), “Quick and Candy” combines the sweetly romantic sound of Gilmour’s voice with a serrated guitar edge. Consider it as a form of precursor to the extra extensively identified “Run Like Hell” on The Wall – and that is the story of Gilmour’s debut disc, actually. David Gilmour was supposed to claim some measure of independence however his temporary reunion right here with Bullitt, an early Gilmour group, would not final. Gilmour rapidly folded again into Pink Floyd, and this album – aside from the rock-radio deep minimize “There’s No Manner Out of Right here” – turned largely forgotten. Gilmour would rejoin Waters at these identical Superbear Studios in France to work on The Wall, the place Pink Floyd continued its disintegration.

No. 3. “Three Needs”
Roger Waters, Amused to Demise (1992)

In a wise twist, this man finds a genie in a bottle, and makes his needs – solely to appreciate that he’d included lofty notions like peace within the Center East however not one thing much more personally related, like fixing a damaged relationship. Sound acquainted? The thrice-divorced Waters did not simply assemble one in all his greatest narrative arcs with this introspective triumph, he’d grown snug sufficient in his personal pores and skin to skewer even himself.

No. 2. “A Pocketful of Stones”
David Gilmour, On an Island (2006)

An excruciatingly stunning music, “Pocketful of Stones” connects with the identical shattering sense of loss that outlined Want You Have been Right here however with a contemplative orchestral counterpoint that provides new depths. Gilmour’s most necessary contribution right here is vocally. “Pocketful of Stones” stands as maybe his most delicate work ever on the mic. Quietly confidential, strikingly open, Gilmour’s method to the lyric is the proper accompaniment to a usually looking out solo. Collectively, they create one thing concurrently surprise stuffed and so very nonetheless, a music with this darkness across the edges that could not be much less like what we have come to count on from him with Pink Floyd, and even as a solo artist.

No. 1. “Image That”
Roger Waters, Is This the Life We Actually Need? (2017)

“Image That” as soon as once more returned to the machine from Want You Have been Right here, however this time we discover a world inside that is on the verge of shattering – quite than a coronary heart, as with “Hen in a Gale.” Both method, relaxation assured that no punches are pulled: “Image a shithouse with no f—ing drains,” Waters seethes at one level. “Image a frontrunner with no f—ing brains.” Better of all? A long time after he unceremoniously dumped Richard Wright simply earlier than The Wall tour, he lastly reintroduces the cerulean keyboard thrives that all the time served to steadiness out Waters’ newest spittle-flying invective. He’d plumb new emotional depths elsewhere on this LP with moments like “Await Her” – however “Image That”? This was classic Waters vitriol.

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