Roger Waters' solo work displays the same balance of thematic ambition and brooding atmosphere that helped make Pink Floyd the cerebral heavies of classic rock. Over a string of concept albums, beginning with 1984's The Pros and Cons of Hitch Hiking, the singer sets his sights on global issues, including religion on the stomping “What God Wants, Pt. I,” and political corruption on a bluesy “The Powers That Be.” But also simmering in Waters' music is no small amount of personal pain. Indeed, the loss of his father to WWII emerges time and again, infusing a ballad like “Three Wishes” with a deep sense of longing.