I'm confused - Different music...different speakers?

P / S - if a person after 30 years old listens to such music - I feel sorry for him - he remained a child ...

sometimes 1-2 songs can be listened to (if nostalgia)

Not sure about anyone else, but reading this, the term "Idiot" came to mind...

The OP brings up a very good point. Why do some types of music sound great on our systems and others, not so much? 

I think one of the detriments of high end audio is that as one's system becomes more and more resolving, the ability to enjoy marginal recordings gets less and less. While one could debate that the Allman Bros recording referred to is good or not, it is certainly NOT a high resolution recording with ultra realistic sounding 'live un-amplified' instruments. Therefore, the better systems will typically pull out its flaws more. Same goes for a lot of rock recordings from the 70's. OTOH, there is a chain of thought that the very best speakers and gear will still portray these albums like the OP is hoping to hear them. This is somewhat true, IME, BUT it is still a factor that the better sounding recordings will still sound far more realistic than these older rock recordings. Depends on what one is listening for, because IF one is happy with the rock sound that I think the OP is striving for, then a large horn based system is the way to go...and the other aspects that he likes so much will become secondary. It really is horses for courses with a lot of this music...IMHO. 

@daveyf - I think the OP does bring up a great point. I frequently read where "audiophiles" have their specific "audiophile" recordings (e.g. Diana Krall) they use for auditioning. I have several as well, but they run the gamut of my listening tastes. IMO, using the former approach leads folks into choosing equipment tailored only to specific music genres (e.g. female vocal, jazz, acoustic). Sounds wonderful with that limited material, but not optimal for other genres.

Secondly, a number of folks here have stated their inability to enjoy music that isn't perfectly (in their estimation) reproduced, to the extent that they, for example, can't ever enjoy music in a vehicle. They have *IMO* lost the ability to just enjoy the music itself, and are more interested in / moved by the reproduction than the music. Not to say that better reproduction doesn't, or can't, enhance the musical experience, but if you have to have the best or you can't listen, well I think you're missing the point.

I think what you are experiencing with “At Fillmore East” is more complex than it appears. The easiest issue to address is the lack of impact or slam as you call it. Impact, is largely experienced in the 40 hz to 50 hz range, created mostly with the kick drum and to a somewhat lesser extent, the lowest three to four notes of the bass. A 5.5” woofer is just too small to deliver impact, They just cannot move enough air. To move air you need a large driver. I know you can achieve impact with a 12” driver, but I do not know if you can achieve it with a 10” or 8” driver.

As others have stated, adding a sub should add a lot to your system, though beware, adding a sub can bring great pleasure, but if not implemented correctly it can bring immense frustration. I would look into the Audiokinesis swarm. The swarm is designed to help eliminate a lot of the issues that powerful bass reproduction can cause. It probably is also, pound for the pound the best value. The one draw back might be that the swarm, I think, uses 10” drivers, but if Duke says that they will supply the impact you are looking for, I would trust him.

Now having said all of that, in my opinion there is not a lot of impact on “At Fillmore East”. The kick drums are pretty much berried in the mix, which was pretty typical for the era. The bass is more prominent, but the lowest notes, in my opinion are masked by a 3 to 6 dB bump between 125 and 160 hz and another bump at around 500 hz. If you have a way of removing those bumps, then the low bass becomes much more prominent and more of a dominate factor.

Other things that may help you achieve more impact would be to look into room treatments and if you decide to add a sub to your system, would be to eliminate the frequencies that sub is reproducing from your main speakers. This is something, I believe the swarm is designed to do but I’m not sure if it can do it with the Cronus.

Have you mass loaded the Hawks?

Have you placed them on isolation platforms? Depending on the platform used, either with the ball bearings in the feet or without the ball bearings?

Have you driven them with other amplifiers?

Personally, I’d replace the Hawks. Since you are in a condo and have neighbor ’concerns’ a much higher efficiency (2 way max) with a much wider driver will allow for quality low SPL listening.

The Hawks need more power [and amplification with iron fisted control] than what you can achieve from the Rogue Cronus vis a vis the Hawks.

Rather than "fix" problems, starting fresh may be much easier and far wiser...speakers that are a better fit for your Rogue amp. Or depending on the speakers chosen, a different amp.

Just listened to the entire Fillmore East album while reading your thread and looking into your speakers and amps.

FYI. Former Totem Wind owner.