Artists' lps that don't get the respect deserved

ghost, i would add hall/oates "along the red ledge", a sorta rock record that has some really excellent songs.
likewise, chris isaak's pre-stardom debut "silvertone"; supposedly one of the worst-selling major label releases ever, but a very solid rockabilly record.
skip spence, "oar"--an acid-damaged masterpiece by the ex moby grape/jefferson airplane guy that shows phenomenal range.
tom petty, "she's the one"--soundtrack for a little-seen film that went under the radar (altough "walls" was a hit).  for my money his best record--loose and funny, with great covers of lucinda and beck.

thanks guys. i was never a huge h&o fan, mainly because of o's mustache, but the hall projects "sacred songs" and "exposure" (both with fripp) were pretty great--weirder and more exploratory than you would think.
i'll toss out two more undeservedly bottom of the catalog disk, then get back to drinking myself insensible:
elliott easton, change no change--this was the solo turn by the cars' lefthanded guitarist. it seemed to have been virtually unheard (+ not avialable on spotify), and it got an oddly negative review on allmusic, who hate his singing, but i think it's a great record--the songs were cowritten with the great jules shear and are hooky as hell
townsend/lane, rough mix--no disrespect to the who, but their bombast and operatic seriousness can get fatiguing if you're in the wrong mood + i always preferred townsend's vocals to daltrey's. this one is a much looser, folksier  affair than the who or the faces, and sounds fresh 40 years after its release. for some odd reason, "keep me turning" always brings me to tears.

bdp, your analysis moved me to pull out "quadrophenia." which i've always regarded highly but rarely actually listened to. you're spot on--the playing, and in particular moon's ubiquitous fills and the heavy-handed synth, is so over the top as to be almost unbearable. which isn't to say that moon wasn't great, but he's sorta like a woman with very large breasts who insists on wearing a low cut bright purple shirt just in case your attention strays. in contrast, like you state, their early stuff like "sell out" is markedly restrained and, to my ears, vastly superior.

bdp, i like "live at leeds"--heavyhandedness and all--maybe there should be a different standard for live records, since if they mimic the restraint and/or precision of the studio records (as too many do) live albums wouldn't have a reason to exist. i agree that the guess who's "shakin" eviscerates the who's, but "i'm a boy" and "heaven and hell" are great and overall it's raw, as opposed to ponderous and overdone, like the later studio stuff.
 as for "i'm on fire," fantastic song with that incredible five-second guitar solo. "sincerely" on the same record is equally transcendant. moving back to the "overlooked lp" theme, you might check out his third, post phil seymour lp, "twilley," which has some great, lavishly produced pop songs. sadly, not on spotify.