There is no objective top ten of athletes who became musicians: the available lists choose different names, and “best” and “worst” depend on taste. This ranking weighs three things: sustained musical work, recognition beyond sports fame, and the response to the work—keeping chart visibility distinct from critical approval. It ranges from athletes who built a second profession to those whose music was a brief or poorly received experiment.
The 10 best and worst athletes turned musicians
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Wayman Tisdale: the strongest sustained career
The former NBA forward made jazz bass a serious second career after basketball. Bleacher Report wrote in 2011 that Tisdale released eight albums and that Face to Face topped Billboard’s Contemporary Jazz chart in 2001. That combination of continued output and chart recognition makes him the clearest “best” case here. The same outlet reported that he played 12 NBA seasons, averaging 15 points and six rebounds per game. Bleacher Report’s profile of athlete-musicians.
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Bernie Williams: a musician’s education and collaborators
The former New York Yankees center fielder pursued music beyond the occasional celebrity recording. MLB.com reports that Williams returned to school for a music degree, recorded with Bruce Springsteen and Béla Fleck, co-wrote a book with Paul Simon, and received a Latin Grammy nomination. Bleacher Report also describes his classical guitar training and reports that two of his albums reached the top five of the U.S. Jazz chart. His formal study and activity with musicians outside baseball give this crossover unusual depth. MLB.com’s account of baseball players who make music.
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Mike Reid: from defensive line to country songwriting
Reid played defensive tackle for the Cincinnati Bengals before pursuing music. Stadium Talk identifies him as a standout athlete-musician and lists his albums, making him a compelling country crossover. The evidence available here is less detailed on his songwriting credits and industry honors than it is for Tisdale or Williams, so the case rests on the breadth of his move from professional football into recorded music rather than a specific award claim. Stadium Talk’s athlete-musician ranking.
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Shaquille O’Neal: rap records and DJ Diesel
O’Neal’s music career spans rap and electronic dance performance. GRAMMY.com describes his work as extending across decades and notes his DJ Diesel identity. Stadium Talk reports that his 1993 album Shaq Diesel went platinum and that “(I Know I Got) Skillz” reached No. 35 on the Billboard Hot 100; those figures are secondary-source reporting, not a complete measure of his musical standing. The longevity and shift into DJ performance make this more than a one-album curiosity. GRAMMY.com on athletes’ music careers.
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Manny Pacquiao: a singing career with chart and regional recognition
The boxer’s crossover is vocal rather than instrumental. GRAMMY.com reports that Pacquiao appeared on the Adult Contemporary chart in 2011 and had two certified-platinum albums in the Philippines. Those milestones suggest audience reach, though they do not by themselves establish critical acclaim or a sustained international recording career. His inclusion also shows why a ranking like this needs to account for different markets and musical roles, not just U.S. pop charts. GRAMMY.com’s Pacquiao profile.
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Barry Zito: a country EP after baseball
Former MLB pitcher Zito released No Secrets, a six-song country EP, in 2017. MLB.com covered the project and quoted Zito discussing a possible lineup involving teammates; FOX Sports later described the EP as helping open other music opportunities. That is evidence of a real post-baseball effort, but the cited coverage does not establish chart success or major critical recognition. His place is therefore stronger as a committed crossover than as a proven hitmaker. MLB.com on Zito’s music.
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Clint Dempsey: one purposeful hip-hop collaboration
In 2006, the U.S. soccer player recorded “Don’t Tread” with Texas rappers for a World Cup promotional campaign. Bleacher Report and Stadium Talk both identify the Nike campaign context. It was a memorable sports-and-music tie-in, but a single campaign track is not evidence of a sustained music career. Dempsey ranks here as a notable one-off, not as a musician with a documented second profession. Bleacher Report’s account of “Don’t Tread”.
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Bronson Arroyo: a covers album that divides opinion
The former Boston Red Sox pitcher released Covering the Bases in 2005, an album of rock covers. MLB.com notes contributions including spoken word by Stephen King and appearances by Theo Epstein and guitarist Michael Landau. Bleacher Report calls the album weak; MLB.com’s account is more favorable in its description of the project. That split is a reminder that “worst” is not a settled verdict: the collaborators and concept are concrete, while reception varies by reviewer. MLB.com on Arroyo’s album and Bleacher Report’s assessment.
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Deion Sanders: chart visibility, harsh reviews
Sanders released the rap album Prime Time, which included “Must Be the Money,” and performed on Saturday Night Live. MLB.com reports that the album reached No. 70 on the R&B/Hip-Hop chart and quotes a negative AllMusic assessment; Stadium Talk describes the record as widely panned. Chart presence shows that the project was noticed, not that critics embraced it. The contrast makes Sanders one of the clearest cases where fame and measurable visibility did not translate into strong critical reception. MLB.com on Sanders’s album and reception.
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Carl Lewis: a notorious pop attempt
The Olympic sprinter released the album Modern Man in 1987. Stadium Talk judges the record harshly and also cites Lewis’s 1993 national anthem performance. “Worst” is an editorial label, not an objective category; in this ranking, Lewis lands near the bottom because the cited coverage presents the work as a cautionary example rather than a sustained or independently recognized music career. Stadium Talk’s assessment of Carl Lewis.
What makes an athlete-musician crossover work?
Sports fame can introduce an audience, but it is not evidence of musical craft or staying power. The strongest cases above show commitment over time, recognition in music contexts, or meaningful collaborations. Some projects were promotional singles or celebrity releases; others became sustained work. Taste still matters, and a chart position measures audience activity rather than critical quality.
Music can also play a role in athletes’ lives without becoming a public career. GRAMMY.com quotes eight-time Olympic champion Usain Bolt saying, “We enjoy music as athletes. It helped hype us up or calm us down depending on the type of genre.” That describes music’s place in sport, not a claim about recording quality. GRAMMY.com’s feature and quote from Bolt.
Newer crossovers can change the list
The category keeps evolving. FOX Sports’s August 2025 overview discusses LiAngelo Ball’s song “Tweaker” and reports a $13 million Def Jam deal following the song’s attention. Because the deal claim is reported by a sports outlet and can change with later developments, it is best treated as a reported contemporary example rather than a settled measure of a lasting music career. The same FOX Sports article revisits Barry Zito’s six-song EP, illustrating the difference between a brief opportunity and a long-established body of work. FOX Sports’s 2025 overview.
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