I'm more of a Swan/Anderson Superman reader myself. I especially liked the "Kryptonite no more" story (Superman "Sandman" series, beginning in SUPERMAN 233, by O'Neil/Swan/Anderson).
I also love Superman in the Kirby JIMMY OLSEN run (133-148), that with a lot of action and humor, played all the elements that make Superman exciting, both the science-fiction/time travel/interdimensional travel, as well as the more charming down-to-earth Superman/Clark Kent dynamic with all the characters at the Daily Planet. Kirby played both aspects well.
Kirby's FOREVER PEOPLE # 1 was especially effective in detailing Superman's dual identity.
Shooter's issues of SUPERBOY/LEGION with Mike Grell (issues 209-224, circa 1975-1977) were an interesting approach to Superman(Superboy). He left to edit for Marvel very abruptly, and left a storyline unresolved.
I was a huge Roger Stern fan on AMAZING SPIDER-MAN 224-250, and DR STRANGE 46-73.
And I would have been into his Superman run as well, except that they took the 4 superman titles after Byrne left, and smashed them together as one incongruous weekly series with 4 creative teams, instead of (as it was before 1986) 4 separate titles with 4 separate and unique creative approaches.
I would have loved to see Stern's vision alone, without it being diluted as one monthly chapter of a 4-part never-ending storyline.
I've periodically bought issues of the Superman titles over the last 20 years, and despite some nice art, the stories have been consistently disappointing. The new crop of writers don't seem to have a grasp of what to do with Superman.
One of the most interesting versions of Superman I've seen was in 1982-1985 by Marv Wolfman and Gil Kane (starting in ACTION COMICS 539-541), 544-546, and 552-554, and in several more SUPERMAN SPECIAL issues 1 (1983) and 2 (1984) issues with story and art by Gil Kane, and DC COMICS PRESENTS ANNUAL 3 by Roy Thomas and Gil Kane). A very interesting and unconventional Superman rendition.
I wondered what was different about Kane's work in this period, but the difference is he was inking his own work. And looking at Kane's BLACKMARK from about 10 years prior, his work was not different, he was just showing his long-established magic when doing complete art himself, without an inker getting in the way!
Some of Gil Kane's other interesting series work in this early 80's era was SWORD OF THE ATOM, and 1981-1982 run in CONAN THE BARBARIAN 127-130, (and inked by others in 131-134) and a CONAN ANNUAL 6 (1981) in the same period. Although the CONAN writing on those issues by Bruce Jones was unspectacular.
Jones really broke out in that period with his 1981 KA-ZAR run, with Brent Anderson (issues 1-19), and the magic of Bruce Jones' run continued was if anything even better with Bret Blevins art (issues 20-26).
In the late 70's/early 80's Marvel was way outperforming DC under Shooter's reign. Then there was a steady exodus of people from Marvel who hated Shooter, like Roy Thomas, Gene Colan, Marv Wolfman, George Perez, Doug Moench, Gene Day, Gil Kane, that were revitalizing DC with Marvel-style storytelling. By 1987, DC was out-marvelling Marvel!
For a while, the magic was all over at (driven to) DC.
The Shooter giveth, the Shooter taketh away...
Although possibly much of that talent wasn't fleeing from Shooter, but fleeing to self-publishing at Pacific, Eclipse, and First, to competitive offers at DC (certainly the case in Frank Miller's defection to DC), and later to Image Comics and elsewhere, where they made a ton more money.
