Well, I can't say I necessarily agree w/ya, I found analyzing triads within chords has opened up a lot of new possiblities on how to approach these chords (improvise), sub-out, and arrange, especially when you get into jazz/be-bop theory and start utulizing neighbor/approach tones to outline chord tones and extensions.
As far as hearing these chords the way they are, well when you start getting into inversions it's a whole new can of worms.....G-7 in 1st inversion sounds an awful like Bb6.

A question for you about a couple posts back....I understand how the 4 chord can be used as a suspension, but what about all the other chords you listed?