Embarking on a solo journey offers a unique chance to craft an individual narrative in the music world. This venture also presents the risk of experiencing significant setbacks, especially when an artist’s initial fame was largely supported by the collaborative efforts of their bandmates. As seen in the careers of iconic rock musicians, many have successfully launched impressive solo careers that have enhanced their established legacies. Notable examples include members from legendary bands such as The Beatles, Fleetwood Mac, Genesis, The Police, and Pink Floyd. However, the following exploration of 5 Solo Careers That Should’ve Been Bigger reveals that success is never guaranteed—even for superstar artists.

The hurdles faced by these artists are numerous and varied. Some solo albums end up sounding too similar to their original bands, causing them to lose their unique identity. Others may take bold creative risks that alienate their core fan base. Additionally, artists might find themselves preoccupied with the activities of their main group, hindering their ability to gain momentum for solo projects. The challenge of retaining the audience’s interest post-departure can also pose a significant obstacle, especially as musical trends evolve.

READ MORE: The Worst Solo Albums by Superstar Band Members

Throughout this journey, a crucial lesson emerges: success achieved in a collaborative environment does not always guarantee triumph as a solo artist. Many of these musicians eventually reunited with their original bands, yielding various outcomes. As the saying goes, sometimes you cannot return home again. Any of these artists had the potential to be the next Paul McCartney, Stevie Nicks, Phil Collins, or Sting. Instead, they ended up with 5 Solo Careers That Should’ve Been Bigger:

No. 5. Daryl Hall

Daryl Hall launched his solo career with the audaciously innovative album Sacred Songs, just before he and John Oates achieved massive success as a multi-platinum powerhouse in the ’80s. Unfortunately, the album was delayed for three years by confused record label executives, and when it was finally released, it failed to even breach the Top 60. Feeling discouraged, Hall shifted his focus to producing music that mirrored the sound of Hall and Oates, albeit without Oates’ contributions. This change did not yield the same level of success; his 1986 effort, Three Hearts in the Happy Ending Machine, only reached a disappointing No. 29 on the charts.

No. 4. Lou Gramm

Lou Gramm, the lead vocalist of Foreigner, grew increasingly frustrated with his bandmate Mick Jones‘s inclination toward ballads. Seeking creative freedom, Gramm embarked on a solo career during a challenging period for the band following the release of their 1984 album, Agent Provocateur. His rock-focused solo album, Ready or Not, achieved notable success, hitting the Top 30 in 1987, with the single “Midnight Blue” soaring to No. 5. Gramm appeared to be on the right path, even returning to the Top 10 in 1989 with “Just Between You and Me.” However, as the popularity of AOR music waned, he returned to Foreigner for one disappointing album, which remains their lowest-selling project, followed by just one more solo LP.

No. 3. Dennis DeYoung

Similar to Lou Gramm, Dennis DeYoung played a crucial role in balancing the dynamic of Styx alongside his bandmates Tommy Shaw and James “J.Y.” Young, with DeYoung often taking the lead on the group’s more theatrical ballads. He enjoyed a promising start as a solo artist with his 1984 hit Desert Moon, which reached the Top 25 and featured a Top 10 title track. Despite this initial success, DeYoung struggled to replicate his chart performance, failing to land another Top 40 hit. His attempt to reunite with Styx met with limited success, with their 1990 album Edge of the Century only reaching No. 63. Following this, DeYoung briefly explored Broadway music, showcasing his versatility yet missing the opportunity for a robust solo career.

No. 2. Pete Townshend

When Pete Townshend of The Who ventured into solo artistry, he made it appear effortless, especially with the release of his 1980 album Empty Glass, which achieved million-selling status and included the beloved hit “Let My Love Open the Door,” which peaked at No. 9. The challenge, however, lay in his inconsistent commitment to the solo endeavor. Since the release of his 1982 Top 30 album All the Best Cowboys Have Chinese Eyes, Townshend has only released three solo LPs. His lack of touring between 1979 and 1985, along with minimal appearances before a series of shows in 1993, limited his exposure. Townshend hinted at a more significant solo career potential, revealing he had around 200 unreleased songs and possibly 1,500 unfinished fragments, indicating a wealth of creativity that remained untapped.

No. 1. Mick Jagger

Instead of establishing a distinct artistic identity away from Keith Richards and The Rolling Stones, Mick Jagger’s solo projects often felt more like attempts to chase fleeting trends rather than authentic expressions of his artistry. His forays into contemporary yet quickly dated sounds, such as in 1985’s She’s the Boss, and questionable music videos like “Let’s Work,” which marred the success of 1987’s Primitive Cool, did not resonate well with audiences. Additionally, his efforts to reach the charts through unexpected duets on 2001’s Goddess in the Doorway fell flat. It wasn’t until 1993, with the release of the Rick Rubin-produced album Wandering Spirit, that Jagger delivered a more genuine work, but by then, mainstream listeners had largely shifted their attention elsewhere. Following Goddess in the Doorway, a chastened Jagger opted to return to the safety and familiarity of The Rolling Stones.

Exploring the Best of Rock’s Solo Artists