Artists' lps that don't get the respect deserved

I'll also second Ghost on The James Gang.  I'll take them over The Eagles all day long, but that's another minority position on my part.

Interesting comments here.  Putting aside jazz, blues, classical recordings and obscure singer/songwriter types, I'd add a few thoughts.

Rod Stewart's "Every Picture" isn't getting much love here and I think it's a terrific record.  So, that one might qualify for this thread.  After that, not so much.

I'll second Obligny on "Say You Will".  I'd say that  Buckingham's self-produced half (9 songs) of the CD  is a tour de force (acoustic and electric playing, production and songwriting - it's sung well within context, too).  IMO, Stevie Nicks' half of the album is much spottier in all respects (save the guitar playing), but includes some really fine tracks..... next to some head scratchers.  For me,  Dave Stewart's production work ranges from weird to wonderful, but the bad weighs down the good.

I personally think all of Buckingham's last three solo records are pretty damn spectacular, but they sell in the single digits, so they're in.

Staying with Fleetwood Mac, those first three Peter Green FM records probably qualify (Then Play On would, too, except I think it's too widely admired for this thread).

Karl Wallinger might be best remembered by music geeks as the second banana in The Waterboys, but I love the World Party stuff.

A lot of Todd Rundgren's post '70s records qualify.  Nearly Human is nearly perfect, IMO.

The New Radicals lone release had lots of commercial success, but it isn't particularly beloved by many people I know...except me.

Kid Creole and The Coconuts was a 70s dance band that fused left-wing politics, musical theater, Caribbean traditions, Latin Jazz, rock n roll, and disco with a truly sophomoric sense of humor.  They're mostly recalled as a disco band, but they're among my favorites.  I guess that says something about my sense of humor.

Lots of funk bands also qualify.  Until Daft Punk resurrected them, Chic was probably under appreciated.  The Bar-Kays, Funkadelic, and some of Chaka Khan's stuff are good examples.

Lots of early r n r/rockabilly artists would qualify for me.  In particular, the recordings of both Gatemouth Brown (on the Peacock label) and Louis Jordan (Tympany 5) are historically significant early rock n roll that get overlooked.  Carl Hogan, Tympany's guitarist, is a key player in the development of r n r guitar playing, IMO.

Mmakshak,

If your "three Peter  Green solo records, I thought there were only two" comment was in response to me, I was referring to the three (2 1/2 if you prefer) Fleetwood Mac albums featuring Green that preceded "Then Play On".

The problem in counting is that "Mr Wonderful" was originally a UK only release.  So, if you add in the first Mac record, that is two prior to "Then Play On".   However,.....

Because "Wonderful" wasn't released here in the US, we got "English Rose" instead.  That record has songs roughly eaqualy split between "Wonderful" and unreleased singles.  So, you could say that there were two prior to "Play On" or three.

As to solo records, I'm not sure how many Peter Green has out there. 

Loomis,

Another good thought from you (not unusual) for this thread: Albums that are often relegated to the bottom of that artist's catalog, but perhaps shouldn't be.  "Red Ledge" is a good example.  "War Babies" is another Hall & Oates record that qualifies IMO.  

They were just starting to really break through and tho  I think War Babies charted, it was  so radically different sounding than their first two (excellent) records that I'm sure it chased lots of potential fans away.  Still love it, tho.  It may be their least commercial sounding record, but I also think it's their most adventurous.

Ghost,

I generally agree re: early Hall & Oates representing the band's peak (the track Sara Smile, specifically).  However, Daryl Hall may be my favorite r'n'r singer, ever.   That guy can sing the phonebook, IMO.

The thing about War Babies is that it's just so far from either of the H&O  sweet spots (blue eyed soul and straight pop), yet I still find it weirdly compelling.  It doesn't hurt that Utopia is backing them and that Todd Rundgren simply shreds on a few tracks.  YMMV.