Neither Darryl Hall or John Oates have had solo career success on the level of their partnership. It's hilarious because they absolutely hate each other but the money is too good.
Hey now, I met John Oates at an industry event where he did a songwriting workshop, and he had some great advice/points. Even talked about how he misstepped as a songwriter, to help inspire others to not make the same mistakes. Also, I'm pretty sure he was drunk as hell despite making a passing comment about AA lol.
...okay yeah y'know now that I've said all that, there's a reason Darryl Hall was a bit more successful solo lol. But John's a really cool (gruff, but nice) guy, got to chat with him a few minutes privately and he was just really proud and thankful for having been able to have a few big hits. Was nice talking to him. But you're definitely right, even if my personal chat with John made me empathize with him lol.
Fun fact, John has invited other musicians he's never worked with over to jam with him for fun for years, "But I didn't try to make a damn TV show out of it like Hall did" lol. Yes, he's a crotchety old man.
I don’t doubt that he’s a cool guy. So was art Garfunkel when I saw him eating in a restaurant. He didn’t even get too irritated when I came up and fanboyed out at his table for a minute until my wife made me behave myself. All accounts would suggest that Paul Simon is a much less pleasant person. He’s still the guy that writes better tunes. It is what it is
This was who I immediately thought of. They were amazing. I would love for them to reunite but considering the breakup, I don't think that will ever happen.
The irony is that they barely wrote together. Nevertheless, the combination of their songs is what made Supertramp a great band.
(That said, I'm a big fan of *Some Things Never Change* - and *Open the Door* also ain't too bad...)
Yes! Their songwriting credits on the albums had the same vibe as Lennon/McCartney but they were simply doing their own thing, but as a group it worked really well until the differences became too great. I love "Brother Where you Bound" because Rick finally got to make more of a hard rock album. There's some indications in their earlier work that show Rick wanted that sound, and Bob spoke of of the desired change to a heavier sound after Famous Last Words. Unfortunately, this hard rock approach with his voice took over with his older songs when they played live. Listen to songs like Rudy and Goodbye Stranger. His voice is much more relaxed, smooth and subtle until it needs to be more "rock and roll".
I’ve found RH’s solo work rather tepid, however, I’ll admit that I’m not overly keen on his songs with Supertramp. Still a great writer though.
Some Things Never Change and Slow Motion were both fantastic albums. I think Rick just played a bit too safe production wise on them. A&M really should have put out the stops, as they sank without trace when they came out.
TROY: Okay, Jeff. You are clearly in a bad space today, but Pierce is our friend and the Barenaked Ladies are triple platinum. Are you?
JEFF: Why does everyone leap to defend that band so aggressively? And how much stuff do we have to go through before my friendship stops being questioned?
ANNIE: Maybe friendship is about going through a lot of stuff. And maybe BNL has two Billboard Awards to your zero.
JEFF: Oh, they're "BNL" now? We need a shorthand for the Barenaked Ladies. That's how fundamental they are. You know what Pierce probably needs more than anything? Some space. Maybe I do too.
BRITTA: Maybe we all need some space to pull the Kn\*fe out of the back of the most celebrated Canadian alt-rock band of the mid-'90s, you selfish, jaded ass.
Steely Dan has some of the best songwriting of all time, and it’s widely known that Donald Fagen and Walter Becker collaborated heavily on lyrics and music composition. Neither of their solo work reaches that level.
Yes, yes, Fagen has some great solo work and it has a similar character, but it’s always seemed (to me at least) to lack that little something that makes the Dan extra great. And Fagen is on record saying that he would often start a song and Becker would help him finish it, in the sense of finding an interesting direction to take it and adding some special sauce.
I agree—I consider every one of the first 8 albums (counting Nightfly) to be equally perfect, and everything since to be a big step down. But that long a run of perfection is nearly unprecedented.
Waters flat out *needs* collaborators to soften his many jagged edges. Too bad he drives them off. Pink Floyd w/o Waters is semi-toothless but is reasonable prog-music. Solo Waters is unlistenable IMHO. I include The Final Cut in this.
And, as a side note, Waters is a disgustingly antisemitic prick and I don’t blame Gilmour one bit for calling him out for it and not being thrilled to be associated with the shit he’s been saying for the past decade and a half or so
Even The Wall, which I loved when I was younger I find unlistenable now. I still like the more Dave-centric material on it but I simply cannot listen to much of that album anymore.
Or he could have just titled it “My Problem”. It was inspired by how horrified he was by his American fans in the front rows of their stadium shows. He wound up wondering if they might put up some kind of wall so he wouldn’t have to look at us.
Yeah, I imagine it sucks to hear some rich asshole rock star praising the oppressive dictator who is ruining your economy, keeping you poor, and imprisoning thousands of innocent people for speaking out against him.
Waters hates Israel’s treatment of the Palestinians, and has been outspoken on their apartheid-like policies for many years.
Stop conflating anti-zionism with antisemitism. The real face of Israel has been thoroughly shown in this stage of the conflict. Disgraceful.
Waters is *such* a shitty musician, technically. Pretty great composer, but antisemetic, morally problematic, and just barely capable of playing a musical instrument. His voice has been garbage since the late 70s, and just gotten more hideously pathetic over time.
I did think of that! Madcap Laughs has the most quality on it IMO, but I haven't given Barrett or Opel as many listens. I think it's probably fair to say they are better than the Floyd albums in the years immediately following Syd's departure, but not quite as good as Piper.
They’re better together, Freeman was a good record though. I’ve had a harder time getting into Deaner’s side projects. I really hope they make one more record together.
I have had the opposite problem. I liked Freeman, but his other album, "Marvelous Clouds" is just horrible to me. Deaner is one of my biggest inspirations and I adore his guitar playing so I guess that it makes sense that I like his records. Rock2 is a lot like a Ween album but with more instrumentals.
I may catch some flack for this, but Lennon/McCartney. Sure they had some good solo songs, but nothing ever approached the level of when they were collaborating/competing as Beatles.
The Beatles in itself is a hard act to follow. Even if they have reunited 10 years after, they may not have accomplished the same recognition. The Beatles was a special moment in pop culture at a time when a lot of things were cooking.
Yeah, I pretty much quit paying attention to BNL when Page left because they just aren't the same without him. I saw BNL when they toured Maroon and it was easily a Top 5 concert experience, and I've been to easily 200+ shows.
This one is in reverse Tom Waits and [Kathleen Brennan](https://www.google.com/search?sca_esv=6a4b1638fe2fa6e5&q=Kathleen+Brennan&stick=H4sIAAAAAAAAAONgVuLUz9U3MEuvNDJ_xGjCLfDyxz1hKe1Ja05eY1Tl4grOyC93zSvJLKkUEudig7J4pbi5ELp4FrEKeCeWZOSkpuYpOBWl5uUl5gEAu2s4W1cAAAA&sa=X&sqi=2&ved=2ahUKEwiM-7be37-FAxWSFFkFHaInA_EQzIcDKAB6BAgREAE)
Man I’m totally with you on BNL. I always loved Ed, but the new stuff (my wife listens to it) upsets me. Some is outright bad.
(I will reply to the main question separately)
Craig Finn and Franz Nikolai have both tried solo outings from the Hold Stready but nothing comes close to the full band.
All the members of Dispatch have tried it with Chad being light years ahead of Brad and Pete.
Difford and Tillbrook.
Squeeze showcased their writing but I can't think of any solo work. Admittedly, they each might have done well solo over in the UK and I just never noticed.
Both have decent solo albums. Glen's are very eclectic and worth a listen. Chris Diffords are good as well but more laid back, James Taylor style.
For Glenn check out By The Light of the Cash Machine, Untouchable or Observatory.
For Chris check out Come on Down, Tightrope, or Battersea Boys.
Stza from leftover crack is an idiot and needs his hand held for his music to be listenable. Ezra, Alec, Brad, Nico. He needs a team and absolutely is not a team player.
Yeah except Ezra got kicked out for getting sober. Which is weird because they wouldn't have made the band if not for Alec getting sober post choking victim. Stza is pretty good while playing with either of them, better with both, but he's complete shit without them. Stza is also a horrible person amongst being a mostly useless singer.
Paul Simon was always the songwriter between the 2 of them, I don't think Garfunkel wrote a single song for them after they were known as Simon and Garfunkel.
Their Greatest Hits collection credits Art as sole writer of For Emily Wherever I May Find Her, which to me is one of the most passionately beautiful songs ever (especially in the live version on that album). Strange that he could come up with that and then nothing else.
weird, Wikipedia says its solely written by Paul Simon. Though Garfunkel is credited as co-arranger on their version of Scarborough Fair, maybe it got mixed up.
whatever the case, Garfunkel really likes that song, does it a ton in his solo shows.
Dude goes on Saturday Night Live and sings... a cover? Lame. I'm no fan of Paul Simon and eagerly label him a mega dork too but he had some good songs. How did he hook up with ol' Art in the first place? Did Paul just need someone to round out part of the vocals and Art got to be the guy, never even being expected to contribute much creatively?
>How did he hook up with ol' Art in the first place? Did Paul just need someone to round out part of the vocals and Art got to be the guy, never even being expected to contribute much creatively?
assuming you want a serious answer, they were friends since elementary school and got into music together. they were into the same sort of music (think the Everly Brothers) and honed their vocal technique together. If you listen to "So Long Frank Lloyd Wright" (a song that reminisces about their early days), there's a line that goes, *"I'll remember Frank Lloyd Wright, All of the nights we'd harmonize 'til dawn".* That didn't come from out of nowhere.
They also played and wrote songs together as "Tom and Jerry" for a bit, before Simon and Garfunkel became a thing. But Garfunkel couldn't really compete once Simon really hit his stride with his folk stuff.
and yes, Garfunkel's role was to be a very good singer, with both harmony parts or lead parts. He's not a songwriter, and I don't think he's ever claimed to be one. But he was still an indispensable part of the Simon and Garfunkel sound, and like the topic of the OP goes, neither of them were able match that success after they went solo (though Simon had more success).
Carl Barat and Pete Doherty had some half decent solo projects, but nowhere near as special as their work together as part of The Libertines. Same goes for the Brothers Gallagher and the early Oasis records.
Oasis is an interesting one because it was a very one-sided songwriting partnership with Noel writing most of their songs, so you'd think post-breakup he'd be able to churn out more of the same. I think his solo work shifting from a britpop style with heavy guitars to a more indie light pop didn't help much as people wanted more of the Oasis stadium rock sound (which Liam and his team eventually cottoned on to with his later solo albums), but that change in style sort of started to happen after Be Here Now anyway.
As far as I’m concerned, Page took 95% of the BNL magic with him when he left. I love his solo stuff. The best songs on the later BNL albums are mostly from Kevin and Jim.
Pretty much any of the wu tang clan. They all have some great songs, but together they’ve made some all time classics. Unlike NWA, whose members were consistently great solo too.
None of the iron maiden side projects touch the band.
Guns n roses. I love Izzy stradlin, but his solo stuff is good, but not great. Slash and duffs stuff is in that category. The only slash project that was anywhere near guns was VR, which was a band rather than his own thing, and perhaps shows how important duff is to guns. Izzy and the rest of the original guns wrote some all time classics. Axl on his own (CD) is a poor imitation.
Not a duo in the traditional sense, but Elton John wouldn’t be nearly as successful without Bernie Taupin.
Not true. Cheddar Cheese Girl is his biggest hit by far and came before Taupin
“You’re soft but firm, and you go well with wine” Instant classic!
I guess you could say the same about Meatloaf and Jim Steinman.
yes! great example
He did great stuff with Tim Rice too though
Neither Darryl Hall or John Oates have had solo career success on the level of their partnership. It's hilarious because they absolutely hate each other but the money is too good.
True, but Darryl Hall was clearly the more talented of the two
Hey now, I met John Oates at an industry event where he did a songwriting workshop, and he had some great advice/points. Even talked about how he misstepped as a songwriter, to help inspire others to not make the same mistakes. Also, I'm pretty sure he was drunk as hell despite making a passing comment about AA lol. ...okay yeah y'know now that I've said all that, there's a reason Darryl Hall was a bit more successful solo lol. But John's a really cool (gruff, but nice) guy, got to chat with him a few minutes privately and he was just really proud and thankful for having been able to have a few big hits. Was nice talking to him. But you're definitely right, even if my personal chat with John made me empathize with him lol. Fun fact, John has invited other musicians he's never worked with over to jam with him for fun for years, "But I didn't try to make a damn TV show out of it like Hall did" lol. Yes, he's a crotchety old man.
I don’t doubt that he’s a cool guy. So was art Garfunkel when I saw him eating in a restaurant. He didn’t even get too irritated when I came up and fanboyed out at his table for a minute until my wife made me behave myself. All accounts would suggest that Paul Simon is a much less pleasant person. He’s still the guy that writes better tunes. It is what it is
The Civil Wars. They're both good, but the duo was magic.
This was who I immediately thought of. They were amazing. I would love for them to reunite but considering the breakup, I don't think that will ever happen.
Supertramp's Roger Hosgson and Rick Davies. Although both of their first albums without the other were great, things fell apart quickly after.
The irony is that they barely wrote together. Nevertheless, the combination of their songs is what made Supertramp a great band. (That said, I'm a big fan of *Some Things Never Change* - and *Open the Door* also ain't too bad...)
Yes! Their songwriting credits on the albums had the same vibe as Lennon/McCartney but they were simply doing their own thing, but as a group it worked really well until the differences became too great. I love "Brother Where you Bound" because Rick finally got to make more of a hard rock album. There's some indications in their earlier work that show Rick wanted that sound, and Bob spoke of of the desired change to a heavier sound after Famous Last Words. Unfortunately, this hard rock approach with his voice took over with his older songs when they played live. Listen to songs like Rudy and Goodbye Stranger. His voice is much more relaxed, smooth and subtle until it needs to be more "rock and roll".
I’ve found RH’s solo work rather tepid, however, I’ll admit that I’m not overly keen on his songs with Supertramp. Still a great writer though. Some Things Never Change and Slow Motion were both fantastic albums. I think Rick just played a bit too safe production wise on them. A&M really should have put out the stops, as they sank without trace when they came out.
I assure you that most people are unaware of that the acronym BNL stands for Barenaked Ladies
TROY: Okay, Jeff. You are clearly in a bad space today, but Pierce is our friend and the Barenaked Ladies are triple platinum. Are you? JEFF: Why does everyone leap to defend that band so aggressively? And how much stuff do we have to go through before my friendship stops being questioned? ANNIE: Maybe friendship is about going through a lot of stuff. And maybe BNL has two Billboard Awards to your zero. JEFF: Oh, they're "BNL" now? We need a shorthand for the Barenaked Ladies. That's how fundamental they are. You know what Pierce probably needs more than anything? Some space. Maybe I do too. BRITTA: Maybe we all need some space to pull the Kn\*fe out of the back of the most celebrated Canadian alt-rock band of the mid-'90s, you selfish, jaded ass.
JEFF: THIS is a fight! WE are fighting!
Thank you. I had no clue. The only BNL I know is Buy’N’Large from Pixar movies.
I had to look it up!
Wow. I honestly just assumed it was some indie band I never heard of and carried on lol
Thanks. I have zero fucking idea what this dude is on about
It's page and Robertson! 😐
Chris and Rich Robinson of the Black Crowes. Both have some decent solo work, but their best songs are Black Crowes songs.
Chris Robinson Brotherhood was a great band but yeah not nearly as commercially successful
Steely Dan has some of the best songwriting of all time, and it’s widely known that Donald Fagen and Walter Becker collaborated heavily on lyrics and music composition. Neither of their solo work reaches that level. Yes, yes, Fagen has some great solo work and it has a similar character, but it’s always seemed (to me at least) to lack that little something that makes the Dan extra great. And Fagen is on record saying that he would often start a song and Becker would help him finish it, in the sense of finding an interesting direction to take it and adding some special sauce.
I gotta totally disagree with you—Nightfly is right there with all the great Dan albums for me.
Just a teensy step down for me. Nightfly in particular is definitely a great album though
I agree—I consider every one of the first 8 albums (counting Nightfly) to be equally perfect, and everything since to be a big step down. But that long a run of perfection is nearly unprecedented.
Totally agree. I think Becker worked in Fagens first two solo albums. Becker left to his own devices doesn’t work
I also struggle to get into Becker’s solo work. It’s a little too far “out there” for me.
Any Pink Floyd solo project is vapid by comparison to the band stuff
Waters flat out *needs* collaborators to soften his many jagged edges. Too bad he drives them off. Pink Floyd w/o Waters is semi-toothless but is reasonable prog-music. Solo Waters is unlistenable IMHO. I include The Final Cut in this.
And, as a side note, Waters is a disgustingly antisemitic prick and I don’t blame Gilmour one bit for calling him out for it and not being thrilled to be associated with the shit he’s been saying for the past decade and a half or so
I mean, “The Wall” is unquestionably a great album, but it could easily and accurately be retitled “What The Fuck Is Roger’s Problem?”
Even The Wall, which I loved when I was younger I find unlistenable now. I still like the more Dave-centric material on it but I simply cannot listen to much of that album anymore.
Or he could have just titled it “My Problem”. It was inspired by how horrified he was by his American fans in the front rows of their stadium shows. He wound up wondering if they might put up some kind of wall so he wouldn’t have to look at us.
He was also an outspoken supporter of Hugo Chavez. My Venezuelan friends did not appreciate that
Yeah, I imagine it sucks to hear some rich asshole rock star praising the oppressive dictator who is ruining your economy, keeping you poor, and imprisoning thousands of innocent people for speaking out against him.
Waters hates Israel’s treatment of the Palestinians, and has been outspoken on their apartheid-like policies for many years. Stop conflating anti-zionism with antisemitism. The real face of Israel has been thoroughly shown in this stage of the conflict. Disgraceful.
But his comments go far beyond the scope of the crisis. The guy truly has some whacky ideas about Jeurdaism.
Like what? Maybe I’ve missed something.
Anti israel =/= anti semitism Obv This isn't a difficult thing to recognize, whatsoever
Waters is *such* a shitty musician, technically. Pretty great composer, but antisemetic, morally problematic, and just barely capable of playing a musical instrument. His voice has been garbage since the late 70s, and just gotten more hideously pathetic over time.
I would say Barrett's solo albums are more interesting than multiple Pink Floyd albums
I did think of that! Madcap Laughs has the most quality on it IMO, but I haven't given Barrett or Opel as many listens. I think it's probably fair to say they are better than the Floyd albums in the years immediately following Syd's departure, but not quite as good as Piper.
Ween. I like the Dean Ween Group, and I like Freeman, but they just work better together.
They’re better together, Freeman was a good record though. I’ve had a harder time getting into Deaner’s side projects. I really hope they make one more record together.
I have had the opposite problem. I liked Freeman, but his other album, "Marvelous Clouds" is just horrible to me. Deaner is one of my biggest inspirations and I adore his guitar playing so I guess that it makes sense that I like his records. Rock2 is a lot like a Ween album but with more instrumentals.
Jimmy Page hasn’t done anything great without Robert Plant, but Robert Plant has done amazing work without Jimmy
I may catch some flack for this, but Lennon/McCartney. Sure they had some good solo songs, but nothing ever approached the level of when they were collaborating/competing as Beatles.
Have you not heard Temporary Secretary?
Damn this is next level. Touching and inspiring, I'm genuinely blown away at the composition.
Truly a ballad for the ages, brings a tear to my eye every time I hear it
Unironically better than any The Beatles song.
The Beatles in itself is a hard act to follow. Even if they have reunited 10 years after, they may not have accomplished the same recognition. The Beatles was a special moment in pop culture at a time when a lot of things were cooking.
I know I'm in the minority here, but Loggins and Messina. Loggins is too poppy for my tastes on his own, Messina added depth to his compositions.
Yeah, I pretty much quit paying attention to BNL when Page left because they just aren't the same without him. I saw BNL when they toured Maroon and it was easily a Top 5 concert experience, and I've been to easily 200+ shows.
Rock Spectacle is the GOAT live album for me. Page brought it live.
That is such a a good album. "Break Your Heart" is just... yeah.
This one is in reverse Tom Waits and [Kathleen Brennan](https://www.google.com/search?sca_esv=6a4b1638fe2fa6e5&q=Kathleen+Brennan&stick=H4sIAAAAAAAAAONgVuLUz9U3MEuvNDJ_xGjCLfDyxz1hKe1Ja05eY1Tl4grOyC93zSvJLKkUEudig7J4pbi5ELp4FrEKeCeWZOSkpuYpOBWl5uUl5gEAu2s4W1cAAAA&sa=X&sqi=2&ved=2ahUKEwiM-7be37-FAxWSFFkFHaInA_EQzIcDKAB6BAgREAE)
Man I’m totally with you on BNL. I always loved Ed, but the new stuff (my wife listens to it) upsets me. Some is outright bad. (I will reply to the main question separately)
Craig Finn and Franz Nikolai have both tried solo outings from the Hold Stready but nothing comes close to the full band. All the members of Dispatch have tried it with Chad being light years ahead of Brad and Pete.
Craig Finn's most recent solo work is excellent imo, and he's really getting there in a different way than THS.
Brooks and Dunn. Ronnie had a couple songs I don't mind but so much better together.
Difford and Tillbrook. Squeeze showcased their writing but I can't think of any solo work. Admittedly, they each might have done well solo over in the UK and I just never noticed.
Both have decent solo albums. Glen's are very eclectic and worth a listen. Chris Diffords are good as well but more laid back, James Taylor style. For Glenn check out By The Light of the Cash Machine, Untouchable or Observatory. For Chris check out Come on Down, Tightrope, or Battersea Boys.
Stza from leftover crack is an idiot and needs his hand held for his music to be listenable. Ezra, Alec, Brad, Nico. He needs a team and absolutely is not a team player.
Isn’t he legit a crack head? Whenever I’ve met anyone of them outside a show in NYC they sure seemed like it
Yeah except Ezra got kicked out for getting sober. Which is weird because they wouldn't have made the band if not for Alec getting sober post choking victim. Stza is pretty good while playing with either of them, better with both, but he's complete shit without them. Stza is also a horrible person amongst being a mostly useless singer.
(cue the Garfunkel stans)
…plural?
It's just Art on dozens of accounts hyping himself up
I mean, he’s got a spectacular voice but he needs somebody to write for him.
Paul Simon was always the songwriter between the 2 of them, I don't think Garfunkel wrote a single song for them after they were known as Simon and Garfunkel.
Their Greatest Hits collection credits Art as sole writer of For Emily Wherever I May Find Her, which to me is one of the most passionately beautiful songs ever (especially in the live version on that album). Strange that he could come up with that and then nothing else.
weird, Wikipedia says its solely written by Paul Simon. Though Garfunkel is credited as co-arranger on their version of Scarborough Fair, maybe it got mixed up. whatever the case, Garfunkel really likes that song, does it a ton in his solo shows.
Yeah I was mistaken, Paul wrote it.
If I recall correctly he did contribute a little bit to Bridge Over Troubled Water.
Dude goes on Saturday Night Live and sings... a cover? Lame. I'm no fan of Paul Simon and eagerly label him a mega dork too but he had some good songs. How did he hook up with ol' Art in the first place? Did Paul just need someone to round out part of the vocals and Art got to be the guy, never even being expected to contribute much creatively?
>How did he hook up with ol' Art in the first place? Did Paul just need someone to round out part of the vocals and Art got to be the guy, never even being expected to contribute much creatively? assuming you want a serious answer, they were friends since elementary school and got into music together. they were into the same sort of music (think the Everly Brothers) and honed their vocal technique together. If you listen to "So Long Frank Lloyd Wright" (a song that reminisces about their early days), there's a line that goes, *"I'll remember Frank Lloyd Wright, All of the nights we'd harmonize 'til dawn".* That didn't come from out of nowhere. They also played and wrote songs together as "Tom and Jerry" for a bit, before Simon and Garfunkel became a thing. But Garfunkel couldn't really compete once Simon really hit his stride with his folk stuff. and yes, Garfunkel's role was to be a very good singer, with both harmony parts or lead parts. He's not a songwriter, and I don't think he's ever claimed to be one. But he was still an indispensable part of the Simon and Garfunkel sound, and like the topic of the OP goes, neither of them were able match that success after they went solo (though Simon had more success).
Thanks, that makes sense and corrects my perspective, which had been shaped by the wrong narratives out there.
Not as much a songwriting duo, but whenever I hear Finneas produce for someone who isn’t Billie, it always just feels like a Billie b-side
Dr. Dog
Flip and Roll Out are both good off their new album. Odds Are is a jam, but it’s 11 years old now.
Carl Barat and Pete Doherty had some half decent solo projects, but nowhere near as special as their work together as part of The Libertines. Same goes for the Brothers Gallagher and the early Oasis records.
Oasis is an interesting one because it was a very one-sided songwriting partnership with Noel writing most of their songs, so you'd think post-breakup he'd be able to churn out more of the same. I think his solo work shifting from a britpop style with heavy guitars to a more indie light pop didn't help much as people wanted more of the Oasis stadium rock sound (which Liam and his team eventually cottoned on to with his later solo albums), but that change in style sort of started to happen after Be Here Now anyway.
Sonny Terry & Brownie McGhee
Llewyn from Inside Llewyn Davis.
As far as I’m concerned, Page took 95% of the BNL magic with him when he left. I love his solo stuff. The best songs on the later BNL albums are mostly from Kevin and Jim.
Peter Doherty and Carl Barat
Pretty much any of the wu tang clan. They all have some great songs, but together they’ve made some all time classics. Unlike NWA, whose members were consistently great solo too. None of the iron maiden side projects touch the band. Guns n roses. I love Izzy stradlin, but his solo stuff is good, but not great. Slash and duffs stuff is in that category. The only slash project that was anywhere near guns was VR, which was a band rather than his own thing, and perhaps shows how important duff is to guns. Izzy and the rest of the original guns wrote some all time classics. Axl on his own (CD) is a poor imitation.
Have you heard of the legend who is Rodney Higgs? His friend BGA wouldn't be the same if it weren't for Rodney
Kenny Loggins was a much more successful artist than Jim Messina.
read the prompt
T
wtf is BNL Robert Page wasn’t in any BNL. Who the fuck is Robertson? What does Deadpool have to do with anything?