To each their own, but it's interesting having Live At Earl's Court held up as a pinnacle. He sounds terribly out of breath already on "First of the Gang to Die" and cannot hit the high notes as he uniformly has in latter day performances - understanding that it was the end of a long and rigorous tour. The mix/mastering of the recording overall is also loud and unflattering, to my ear.
Nevertheless, I would go further and say that there have been several more "subdivisions" in his vocal career and a clear split doesn't exist between pre- and post-Vauxhall.
1983-1984 - Through Hatful of Hollow; the pre-trained, "journeyman" vocals
1985-1987 - The Smiths apex; establishing early control of his "instrument"
1988-1991 - The early solo years; further polishing and exploring the tools he developed in 1985-1987
1992-1997 - The "Lads" years; stepping back somewhat from the falsettos and "tricks" but fully emerged and resolutely comfortable in his range (the presentation on Southpaw being an exception because he sounded phlegmatic and ill - also because of a conscious decision to put the band front and center. Maladjusted, however, feels like a continuation from Vauxhall)
2004-2009 - The "operatic renaissance"; begins exploring the falsetto again and pursuing more bravura performances
2011 - Present - The "experienced crooner" - less active on stage (by choice and, at times, as dictated by health), utmost focus on vocal precision and interpretation
Again, it comes down to personal taste, but my perception is colored more by how I feel about the strength of the material and how it resonates with me. Certainly there is a continuation from the early days to an extent as there is in any expansive repertoire. But the newer (2009 and later) songs don't, er, "hit me in the feels" in the new parlance.