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Top 20 Rock ‘n’ Roll Solo Albums

Sometimes an artist finds their true voice when they've shut the door on others

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    This feature originally ran in 2013. With Rostam releasing his excellent debut solo album this week, we thought, why the hell not?

    Singer-songwriters going solo is like an actor saying they’d like to direct. They think they have the skills from years of playing in a group and can now take the reins themselves. Sometimes, it turns out horrifically, and the performers realize (or don’t) that strength lies in numbers — such as every KISS solo album or Shatner’s Star Trek V: The Final Frontier.

    However, sometimes an artist finds their true voice when they’ve shut the door on four or five of their bandmates. It’s only then that they’re able to forge ahead into territories they’ve always wanted to explore, whether it’s a particular instrument, a recording style, or another genre altogether.

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    With so many solo albums from so many singer-songwriters who’ve entertained in so many other bands … this obviously wasn’t an enviable task. We turned to our stacks upon stacks of LPs, sketched out the DNA of our favorite bands, and spiraled off names as they came to us. Needless to say, we lost our minds a couple of times.

    Alas, we came up with a list. Ahead of you are singer-songwriters in the rock genre who either nailed it on their first solo try or were able to hone their singular voice into albums that stand shoulder-to-shoulder with or maybe even head and shoulders above anything their bands ever did. Think we left anything off? (Of course we did.) Let us know in the comments.

    Artwork by Dmitri Jackson


    20. Eddie Vedder – Into the Wild (2007)

    into-the-wild-soundtrack-cover

    Member of: Pearl Jam

    Two years before Pearl Jam would triumphantly return with 2009’s Backspacer, Eddie Vedder reunited with his Dead Man Walking and I Am Sam collaborator Sean Penn for the filmmaker’s cruelly underrated adaptation of Jon Krakauer’s 1996 non-fiction novel, Into the Wild. The biographical survival film followed the at-times peaceful, at-times harrowing travels of the late Christopher McCandless, portrayed by a very gaunt and very bearded Emile Hirsch. Vedder was tasked to score the entire film, which would wind up serving as his first solo album, and what came to be is some of the most beautiful music the singer-songwriter has ever stamped his name on. He dutifully captured feelings of adventure, loneliness, and transcendentalism through a number of stirring compositions, from “No Ceiling” to “Society” to “The Wolf”, respectively. Considering the surfer by day and songwriter by night had never set off on his own, it was remarkable he came back with something that sounded so assured and so vibrant, as if this was lingering inside him all this time. How he stole Indio’s “Hard Sun” and made it his own was a revelation unto itself.   –Michael Roffman


    19. John K. Samson – Provincial (2012)

    John-K-Samson-Provincial

    Member of: The Weakerthans

    The Weakerthans always felt like more of a conduit for the hyper-literate, empathetic songwriting of John K. Samson than a proper band, so it came as no surprise when, in 2009, the Canadian artist began releasing 7’’ singles under his own name. Those singles culminated with the release of 2012’s Provincial, an eclectic, heart-rending collection of 12 songs inspired by roads in Samson’s home province of Manitoba. Upbeat tracks like “Heart of the Continent” and “When I Write My Master’s Thesis” could be mistaken for Reconstruction Site-era Weakerthans, but sweeping, symphonic tracks like “Grace General” and “The Last And” deftly distinguish Samson’s solo sound. Also of note is the singer’s geographical emphasis, a motif he dabbled in on songs like “One Great City!” but threads into a running theme on Provincial. The Manitoba he paints is flawed and frigid, rich with character, steeped in melancholy, and balanced by Samson’s wry sense of humor. “And some sarcastic satellite says, ‘I’m not anywhere,’” Samson sings on opener “Highway 1 East”, a lyric that says more in one sentence than most albums can say in 12 tracks. –Randall Colburn


    18. Thom Yorke – The Eraser (2006)

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    Member of: Radiohead

    Informally announced two months before its release, Thom Yorke’s first solo record came at a strange time for Radiohead fans — three years out from Hail to the Thief (a record that garnered a mixed response from fans), with no known plans of a new Radiohead record on the horizon. In typical Yorkian modesty and reluctance, he simply posted a link to the record’s future website on Dead Air Space and emailed an informal press release to some Radiohead fan sites. Nigel Godrich would produce. It would be more beats and electronics. That’s about it. What arrived was a kaleidoscopic, experimental IDM-pop record. It sounded intimate, like Yorke had recorded it in his bedroom just before going to sleep. But the songs had weight to them. These were great tracks, filled to the brim with blips and skitters, and even a Jonny Greenwood piano drop and co-writing credit on “The Eraser”. For better or for worse, it was a first step in Yorke’s ongoing journey towards becoming an individual and independent songwriter rather than just the member of a large-and-in-charge rock band. Several years later, he’s sporting major scruff, a ponytail, and having a little too much fun with his own side-project. He now performs cuts from The Eraser and his record, Amok, with Atoms for Peace. We have only laptops and LA surf culture to thank. –Drew Litowitz


    17. Neil Halstead – Palindrome Hunches (2012)

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    Member of: Slowdive, Mojave 3

    There’s one thing you can say about Neil Halstead: he likes to take his time. This doesn’t just apply to the dirge-like builds of Slowdive or the gauzy Americana of Mojave 3, but also to Halstead’s decidedly unhurried solo work, which peaked with 2012’s earthy, magnificent Palindrome Hunches. Smoldering wood might as well be crackling beneath the gentle strums and lazy fiddle underscoring tracks like “Spin the Bottle” and “Full Moon Rising”, both of which feature gorgeous vocals that could very well be knit from wool. And those vocals are key, I think, to truly appreciating Halstead’s solo output, which, so far, includes three LPs of pretty, meandering folk. Though his voice doesn’t assert itself like, say, that of John Darnielle or Jenny Lewis, on Palindrome Hunches it’s given a chance to shine in ways it never could in the more atmospheric work of Slowdive or Mojave. Just look at his bark-lined howl on “Love Is a Beast”, the way his voice clambers after its rising wisps of violin. I couldn’t recite a single lyric from memory, but what atmosphere did for his previous efforts, Halstead’s voice does for his solo work. –Randall Colburn


    16. Mark Kozelek (Sun Kil Moon) – Ghosts of the Great Highway (2003)

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    Member of: Red House Painters

    Mark Kozelek is someone that deserves more notoriety. Maybe he’s just off the beaten path enough musically — there’s not many people who can get away with entire albums of redone Modest Mouse and AC/DC tracks — to keep a low profile. However, his music can be heard all over close friend Cameron Crowe’s movies (soundtrack cuts on Vanilla Sky, Almost Famous). He released a few albums with Red House Painters, and one or two solo EPs, but it was his debut album as Sun Kil Moon, 2003’s Ghosts of the Great Highway, where Kozelek really shown through. Though on later Sun Kil Moon albums, Kozelek shared songwriting credits with the band, Ghosts is all Kozelek. Centered around beautifully told stories of boxers dying young (“Salvador Sanchez”, “Duk Koo Kim”, and “Pancho Villa”), a Judas Priest guitarist (“Glenn Tipton”), and meandering conversations of time (“Gentle Moon”), Ghosts brings together all of Kozelek’s gifts: ornate instrumentation, his lackadaisical tenor, and his mind-bending lyrical weirdness. –Nick Freed


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