Someone has to say it, but everything you listed is widely loved by critics and legitimate music fans, even if your average radio listener has never heard of it. It’s all GREAT stuff, too.
I’m going to go out on a limb and list a few things that are truly criminally ignored - even among critics and people that think Television are so well known that they’re practically mainstream - artists that truly seem to be forgotten by even the people that should be trumpeting their genius.
Judee Sill - early seventies laurel canyon singer/songwriter who did heroin and was into some weeeeeird gospel mysticism. Made two absolutely amazing records before OD’ing.
Jackson C. Frank - Cut from the same “suicide folk” mold as Nick Drake, Leonard Cohen, and Bert Jansch, he was an english folk singer who made one incredibly dark record called Blues run the game. So good it’s astonishing that he’s not more well-known than the aforementioned guys.
the Passage** - “Pindrop” - the Passage were trying to be the American Joy Division in 1980, and their impersonation ended up on some completely other mutation that doesn’t really sound like JD much but has that same vibe. “Pindrop” is a great record, all washes of echo and clang over thudding drums and synths. It’s the equal of JD’s “Unknown Pleasures,” and literally NOBODY ever talks about it.
Hackamore Brick** - “one kiss leads to another” - Hackamore Brick came out of NYC in the beginning of 1970 doing something very similar to what the Velvet Underground were doing on “Loaded” - spiritual yet free-wheeling post-sixties rock music with an emphasis on killer ballads and flat vocals. This record was supposedly recorded in the same studio as “Loaded” or with the same producer or something - all I know is that it’s become a straight-up sister record to “Loaded” in my mind. In many ways, it also reminds me of Big Star’s first record, vacillating and oscillating between poppy, unthinking rave-ups with names like “Oh, those sweet bananas” and ridiculously gorgeous ballads like “Peace has come,” which sound like Lou Reed and Chris Bell sitting down together over a bottle of quaaludes.
Budgie - especially their first, self-titled record - are so often overlooked that it’s truly criminal. People tend to think of them as one of many faceless Black Sabbath and Led Zep followers - and in many ways, they were, especially on their sludgy caveman stompers - but they always balanced it out with these unprecedentedly wispy and ethereal moments. “Everything in my heart” could be a Red House Painters song and presages the 4AD sound by almost two decades; coming on the heels of opening shredder “Guts,” it’s doubly effective.
Gong - it’s hard to talk about Gong because, like their quasi-peers Magma and Amon Duul II, they changed so much from one album to the next that we’re left to describe them with general terms that paint the broad picture of what they were about. I think of Gong as the “fun version” of Can - they worked in the same breakbeat-fueled soundspace, re-interpreting funk, dub, and psychedelia through the lens of prog rock, dadaism, and krautrock. They made a million really GREAT records, and in fact are still doing so, but 1973’s Angel’s Egg is my personal favorite. In every way that Can are paranoid, threatening, and Teutonic, Gong are jovial, fun, and hilariously Australian. Unlike Can, Amon Duul II, Ash Ra Tempel, etc., Gong don’t get namechecked as an influence by bands and are very neglected by critics.