Speakers and system for compressed recordings?

Crime of the century suffers from compression especially in the drum kit. It happened in the studios. I have the uhqr, mfsl regular half speed, a&m Canadian half speed, and the gold mfsl c.d. four audiophile versions. All show the same studio compression. It is used to control or restrict dynamics and distortion. And to give the listening public what they want: a uniform sounding product. Vocals forward not drums. Hate it or love it compression is a fact in most studio recordings. You just don't notice it when it is done right. Morph the cat by Donald fagan is very controlled and compressed. I still love the record and try to tune out the compression.

Opened a can of worms did I? Listen, I did not say darkside or crime are bad recordings. They are a product of their time, studios, producers, engineers, and record companies. A uniform good sounding product that speaks to the masses not audiophiles was the intention. My background is the music industry. I hear what I know. Compression is there. Most people don't notice it. It should not be noticed. I look for the flaws and the good in recordings. That is part of the history or DNA of a recording.

Just saw this:
http://news.cnet.com/8301-13645_3-20128489-47/is-music-too-loud/?tag=cnetRiver

A different approach: I am with you, Bigwavedave! I like the music I like and will not be forced into listening only to audiophile-approved records. Plus, while some remasterings are indeed great, who can afford $40 to $60 for an LP or remastered CD? Here is one idea: When I upgraded my speakers from my Vandersteen 1C to Ohm Walsh 2000s, I got something I did not expect. While good recordings do indeed sound wonderful, the bad ones have become much, much more listenable. Numerous times, CDs that I had thought were unlistenable have become enjoyable over my new Ohms. I have often thought, "oh, so this was what the engineer was hearing in the control room. Not great, but okay."

Why the change? I dunno. I am guessing that inexpensive crossovers at exactly the frequencies to which many are most sensitive, 2.5-5kHz, add to the badness of bad recordings. My Ohms run full range up to 8kHz (I have subs that come in under 80Hz as well). So, without a crossover to mess up the sound in that crucial range, the bad recordings are only as bad as they originally were, and the edginess is not increased by the loudspeaker. This, of course, does nothing to restore the flattened dynamics that you complained about, but at least I can enjoy these recordings again.

Try some speakers without crossovers, or no crossovers in that upper-mid to lower-treble range, like Ohms, Martin Logans, etc., and see if those horrible recordings are a bit more tolerable.

I can echo Bondman' experience with lesser recordings and some of the design attributes of speakers that can help make even most lesser recordings very enjoyable on the terms that the engineers and producers who created them intended. Even holds true for 80-90% of modern loudness wars type CDs that many audiophiles may find unlistenable otherwise, although these offer some additional challenges in terms of power and clarity needed to deliver lots of loud dynamics and transients clearly and in a digestible manner that can often actually be quite tasty.