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Their greatest commercial successes were with a concept album that shoved classic rock and smooth jazz styles into a prog rock format, a tribute album to their original frontman (whose main feature is a 25-minute synth-based art-rock suite, split in two), and a double-length rock opera released after the punk revolution.
This is a band that makes no freaking sense, and I love them for it.
There's little question in my mind that the band really figured out how to best focus its talents around 1972, around the time of Live at Pompeii and the DSOTM sessions.
On the other hand, while the earlier albums still found the band in its "research and development" stage, that doesn't mean they should be dismissed.
It's not that the songs that get played most often are bad (though some of the ones off The Wall are a mite overrated), but rather that it just doesn't seem like an unreasonable request for other great songs from the band's lesser known albums to get play once in a while.History has done a really strange job of treating the band's legacy, though.On the one hand, anybody who has ever listened to a classic rock station has had some level of exposure to them.As great as "Time," and "Money," and "Comfortably Numb," and "Wish You Were Here," and "Run Like Hell" might be, it doesn't seem right for them to completely overshadow "Astronomy Domine," or "Cymbaline," or "One of These Days," or far too many others.This doesn't affect me directly, of course, since I never listen to the radio anymore, but when a "big Pink Floyd fan" says they aren't even familiar with Animals, I always have to take a second to bite my tongue.