It does influence what I listen to now. Not so much 'bad recordings' but different production styles, along with advancing studio tech, I expect.
Some examples; I loved the Clash. And many of their contemporaries. But, compared to more modern electronic, trip hop and various alt genres, things from those days are bass shy (and sub-bass deficient). I don't have a system optimised for—or maybe just forgiving of—that stuff. Like my old JBL sandpaper-and-boom. Go back further in time and things get worse. Cream's White Room? Joplin's Piece of my Heart? Hendrix All Along the Watchtower? Although Jimi does it with raw talent. But you get the idea. Those recordings from another time aren't actually bad, it's like looking at black & white photos, still art, sometimes great.
Some things come through with less obvious patina: War's Four Cornered Room actually sounds pretty good on any terms. But Prog rock sounds quaint. Sabbath sounds slow (who'd have thought Poppy would hammer them into the ground, although her recordings are grungy). More recent stuff varies. Godspeed You! Black Emperor seem to be doing Marxist mono: wouldn't they sound much more amazing with depth and breadth to the soundstage? Massive Attack used to sound so very murky, dark and mysterious. I still love them, and especially Tricky, but there's a bit less sonic mystery in their classics, like Maxinquaye and Mezzanine.
Meanwhile, newer music just adds sonic complexity and gets away with it. Tricky's contemporary Björk keeps it interesting technically. But I can't imagine some younger artists' pieces, like FKA twigs Figure 8 existing—even in the imagination—a decade prior. Not really a bluetooth soundbar paragon. The creative arms race between artists' output and reproduction tech retains its tension.
