How about the early Elton John records, from say, 1971 (the madman LP), up through 1975 (Captain Fantastic)
These records have wonderful sonic attributes as well as great songs and musicianship. They just sound so fat.
Marvin Gaye's masterpiece from 1971, What's Going On
The Yes Fragile, I can remember sitting in my bedroom as a 14 year old one cold and snowy Saturday in february of 1972 just marveling at the sound of Bruford's snare drum (and all the rest of it).
I also think Joni Mitchell's records from 1973 through 1978 are stunning sonically, that would be Court& Spark, Hissing Of Summer Lawns, Hejira, and Don Juan's Reckless Daughter.
I remember George Benson's 1976 Breezin' lp excited a lot of us at Berklee College of Music at the time.
Stevie Wonder's 1979 Power Of Love was a big step up sonically.
Chicago 6 and 7 are fantastic soundind records (even if 5 is perhaps their all time best). They were cut at Carabuo in 1973 and 74.
I can recall a distinctive change in the way records sounded broken down by the following eras I've lived through, roughly:
Around 1965 with Rubber Soul one starts hearing more bass drum and a "richer" sounding bass.
Late 60's, with the advent of volume, records (some) get louder.
Early 70's; you really begin noticing a deadness and isolation cropping up.
By 1983/84, things really change as ambience and the now cliche gated snare make their appearances.
Then it's the sampling and computerized plug-ins generation, where nothing can be allowed to pass through that sounds normal; a drum set must sound like a box of tissues and a box of tissues must be sampled and reconstituted as a guitar and.......well, you get the idea.