Pink Floyd - the death of collaboration (long OP)

I know purists may disagree with my definitions - for I treat "the classic" period of Pink Floyd as running from Meddle through The Final Cut, inclusive.

Even if we consider Atom Heart Mother, then the analysis is still valid (maybe more so).

So, AHM had an extended track on Side 1 - all 4 members of the post-Syd band were credited as well as outside collaborators. On Side 2 - Waters, Wright and Gilmour have a solo composition each, and a final collaboration (instrumental) by all 4 members closes the album.

Meddle has 6 tracks, 3 of which are credited to the entire band, including Echoes which is all of Side 2. 2 of the remaining 3 tracks were Waters and Gilmour, with only San Tropez being a Waters only composition.

Obscured by Clouds is their repackaged soundtrack effort - unusual for the Floyd, the longest track comes in under 6 minutes and it only has 1 Gilmour and 1 Waters composition. The other 8 tracks were all collaborations, including 2 by Wright and Waters and 2 credited to everyone.

DSOTM has 10 tracks, 3 of which were written by Waters alone (Money, Brain Damage and Eclipse) - and Waters is responsible for all of the lyrics on the album.

WYWH saw Waters write all the lyrics again, with 2 solo compositions out of 5 tracks. Now, the extended Shine On tracks were credited to the non-drummers, and there is one of the three (IMHO) definitive collaborations between Gilmour and Waters on the title track.

Animals marks the first of what I consider: "Roger Waters, with special guests, Pink Floyd" albums.

All Roger, except for Dogs (clearly the best track on the album) which is a collaboration with Gilmour, marking the second definitive one for the pair.

The Wall - no doubt about it every bit the masterpiece that DSOM and WYWH were, but recall that Wright - the soul of Pink Floyd, IMO - was fired by Waters then rehired as a side man. Setting the film soundtrack aside, the album itself was a double monster with 26 tracks - Waters has sole songwriting credit on 22 of them, singing at least part of the lead vocals on 23 of 26. Waters was never a great singer, and his voice was becoming very brittle and shrill at this point. The gem single of the album remains Comfortably Numb, the final in my list of 3 definitive collaborations between Gilmour and Waters.

The Final Cut is a special case, in that Waters intended it to be a solo album, but the record company convinced him to make it a Pink Floyd album (for the money, of course). Only Not Now John has Gilmour writing or singing any lead vocals.

An astonishing reversal from just DSOM forward, where it became increasingly about Waters' vision, not only for the band, but of the world.

Pink Floyd was at its best (post-Syd) as a collaboration between the non-drummers or, even better, all 4. Best substitute for that was a Gilmour and Waters collaboration. I think it is clear, in hindsight, Waters moved away from the band and ultimately out. He's done interesting things since then (notably Pros and Cons of Hitchhiking and Radio KAOS), but nothing to even compete with his best work with Gilmour, Wright and Mason in Pink Floyd.