What Are Your Reference Discs? or Specific Reference Tracks

in short, if a proposed new system can make both "Brothers in Arms" [metallic-sounding even on the best systems] and "The Forward Look" (K.O.J.’s reference-quality live stereo recording of Red Norvo in 1957) sound close enough in terms of being able to outright relax and enjoy them both, then that system is doing something right. the former should sound at least listenable, and the latter should sound utterly alive yet relaxed at the same time, like the best of live unamplified music. aside from those selections, i also would play the 1960 RCA Red Seal Fritz Reiner/CSO recording of "Scheherazade" as that is a tough one to get right on most systems i’ve heard, all too often the low-end details get buried in the murk of a murky system, when you should be able to clearly hear all the little musical noises [musicians breathing, chairs creaking, music stands rattling, sheet music shuffling] that are plainly audible in this reference-quality recording. the climaxes sound have that "bigger and bigger" quality with no sense of strain, just a warm loudness. too many systems i’ve heard this played on sounded strained and veiled. Supertramp’s "Breakfast in America" is another one that is frankly not listenable [too GD bright] on most systems i’ve heard it on. the 1963 verve recording of Count Basie/Fitzgerald is another one that sounds weak/desiccated on not-well-sorted-out systems, you should get a palpable sense of the drummer in the background as well as the bassline, and Fitzgerald’s alto voice should sound warm but not too plummy, on too many systems her voice on that record sounds foggy to me, and the bass/drummer sounds too distant. then there is the infamous Telarc 1978 recording of The 1812 Overture with its booming cannons, that is the ultimate test of bass resolution and power handling, on weak systems that avoid bottoming out the woofers, you hear something that sounds like a boat oar hitting the side of a big barrel, when in reality the engineers on this one captured the sharp attack and quickly followed visceral deep bass wallop that a real cannon produces. lastly i have a recording of the Organ Stop Wurlitzer [Mesa AZ] playing "Chattanooga Choo-Choo" which has bass down to about 8 cycles per second on the climax at the end, no system i've heard this on can reproduce that at full volume, it vibrates the air in the room in a totally tight lock. 

Stan Getz - The Lost Sessions
Hot Tuna - First (eponymous) disc                                                    
Oscar Peterson with Eddie "Cleanhead" Vinson
Most Chris Isaak discs
Jethro Tull - Stand Up  

I enjoy these 3 tracks in particular on any good system, all very well recorded too.
Late to the train by Lump (Laura Marling).
Red Right Hand by Nick Cave.
Think of Me by Jo Hamilton, a twee song but huge sound, a fine recording of female vocal.

I find that the best tool for evaluating new components in my system is human voice accompanied by solo piano. Try James Gilchrist on Linn CKD253 - Oh Fair to See - song cycles by Gerald Finzi. You should hear every inflection in Gilchrist's voice and a good system will bring out (forward) the piano - realistic piano sound too.

A good place to start is by searching for Paul’s Picks. This is from Paul MCGowan of PS Audio.  It is great. He also explains WHY each track is included.  Tidal had a play list set up of most of the tracks.   Another thing that is useful is his book and cd on speaker placement.  Very very helpful.