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(Credits: Storm Thorgerson \/ Sony Music Entertainment)<\/p>\n
Mon 9 February 2026 19:24, UK <\/p>\n
Pink Floyd<\/a>\u00a0is the exact opposite band that you\u2019d think would be the biggest rock and roll band in the world.\u00a0<\/p>\n They played music on their own terms and weren\u2019t about to play the singles game like everyone else, yet there\u2019s a good chance that they could sell out stadiums around the world if David Gilmour and Roger Waters miraculously manage to put the past behind them. But even with all of the mile-long solos and 15-minute experiments in their catalogue, sometimes the hit parade can find some room for them every once in a while.<\/p>\n Then again, the Syd Barrett era was going to be more single-friendly than what came after the fact. Barrett may have had some of the single strangest records that anyone had ever heard when he first came out with The Piper at the Gates of Dawn, but songs like \u2018See Emily Play\u2019 and \u2018Arnold Layne\u2019 at least had solid hooks compared to the rest of the band trying to do the same thing on tunes like \u2018Apples and Oranges\u2019.<\/p>\n Waters learned pretty quickly that they weren\u2019t a singles band, so it was much easier for them to play to their strengths whenever they performed live. A song like \u2018Careful With That Axe Eugene\u2019 was never going to get played on the radio due to its crushing length and Waters screaming over the top of everything, but you couldn\u2019t deny that it was entertaining when they performed the same piece in Pompeii once they had a lot more experience under their belt.\u00a0<\/p>\n They still weren\u2019t looking to have hits in the traditional sense, but that didn\u2019t mean that some hooks didn\u2019t stick out back in the day. Dark Side of the Moon was designed to be listened to as one continuous piece of music, but it takes a special kind of musician to be able to write a song in 7\/4 and have everyone on Earth grooving to the bassline like the one in \u2018Money\u2019<\/a>. But if there\u2019s an album that shouldn\u2019t have had hit singles, it should have logically been The Wall.<\/p>\n Because, really, how the hell would that even work? The whole album is one long operatic piece, and since it follows a linear storyline, how the hell was anyone supposed to enjoy one of the standout tracks when they were missing out on all the context? There were pieces that would have worked like \u2018Comfortably Numb\u2019 or \u2018Young Lust\u2019, but Bob Ezrin remembered the band being more than a little bit confused when he suggested stretching out \u2018Another Brick in the Wall Part II\u2019 for radio.<\/p>\n