I wouldn’t use Grammys as a mark of much anything, Matchbox 20 has 4 grammy nominations.

@Conderman. Yes, I know, you like Pink Floyd. I looked at them and passed, but I’ll listen to more of their catalogue and reconsider.

@Marfield I looked at Van Morrison, but decided to pass. Do you think it’s better than Neil Young’s run? I didn’t even think about Stevie Wonder. What about Wonder 71-81? It looks like I have some Wonder to listen to.

@PackaCracka No way, no how to Nine Inch Nails on this list. In my mind, they only have 2 albums of consequence.

1988-now

Van Morrison, 1967-1977. “Astral Weeks,” “Moondance,” “Tupelo Honey.” “His Band and the St. Choir” and “Veedon Fleece” are underrated as well.

Lets Review…

1970
Atom Heart Mother – The “Atom Heart Mother” suite takes up all of side one, and is split into six parts, featuring a full brass section and choir which take most of the lead melody lines, while Pink Floyd mainly provide the backing tracks; a reverse of the 1960s pop music practice of using orchestration as the background, and putting the rock band in front. However, there is one section where a bluesy electric guitar solo by David Gilmour takes the lead.

1971
Relics – Relics is a compilation album. Until the more definitive release of The Early Singles (1992), Relics was most noted for its inclusion of Syd Barrett-era hit singles, “Arnold Layne” and “See Emily Play”, as well as B-sides to three other singles. It is notable that the Relics versions of “Paintbox”, “Julia Dream” and “Careful with That Axe, Eugene” are mixed in stereo

Meddle – Demonstrates the band’s change in genre from psychedelic rock, to progressive rock.

1972
Obscured by the Clouds – Based on their soundtrack for the French film La Vallée, by Barbet Schroeder. At this point in their career, the band were not new to scoring movies. They had already scored the films More and Zabriskie Point in 1969 and 1970 respectively. So when the band went in to score the movie, they had a lot more experience and therefore produced a much finer product.

1973
Dark Side of the Moon – a concept album. The album built on the ideas Pink Floyd had explored in their live shows and previous recordings, but it lacks the extended instrumental excursions that characterised their work following the departure in 1968 of founding member, principal composer and lyricist, Syd Barrett. The album’s themes include conflict, greed, aging, and mental illness, the latter partly inspired by Barrett’s deteriorating mental state.

1975
Wish You Were Here – Inspired by material they had composed while performing across Europe, it was recorded over numerous sessions at London’s Abbey Road Studios. The album explores themes of absence, the music business, and former band-mate Syd Barrett’s mental decline. Initial recording sessions were a difficult and arduous process but it was Roger Waters’ idea to split the centrepiece track “Shine On You Crazy Diamond” in two, and join each half with three new compositions. “Shine On” was a tribute to Barrett, who, in an ironic twist, made an impromptu visit to the studio while it was being recorded. The band failed initially to recognise Barrett, who had gained weight and changed his appearance.

1977
Animals – Animals is loosely based on George Orwell’s political fable Animal Farm. Various castes in society are represented as different types of animals (dogs as the enforcers of the law, sheep as the powerless pawns, horses as the working class, and pigs as the ruthless leaders). There is a significant difference between the book and the album – the album attacks capitalism,[4] while the book is a criticism of communism. This difference is not as great as it seems, however, as both the album and the book actually advocate a democratic socialist ideal that differs from both capitalism and communism.

1979
The Wall – he Wall is a rock opera that centres on the character, “Pink”, who is largely based on Waters. Pink encounters obstacles throughout his life, beginning with the loss of his father during World War II, continuing with abuse from his schoolteachers, an overprotective mother, and the desertion of his wife—all of which factor into Pink’s isolation from society, represented by the metaphorical ‘Wall’ of the album title.
As with most of their previous albums, The Wall is a concept album, but deals largely with the theme of personal isolation. The concept was inspired by an event that occurred during the band’s 1977 In the Flesh Tour, where bassist and lyricist Roger Waters’ frustration with the behaviour of the audience reached a point where he spat in the face of a fan at the foot of the stage. Waters would come to regret his actions, and spoke of his desire to build a wall between himself and the audience. The Wall features a notably harsher and more theatrical style than their previous releases. During production of the album, keyboardist Richard Wright left the band, but returned to perform during later concert performances as a salaried musician.