Before the beards, before the fuzzy spinning guitars, before the "Legs" video, there was an electric blues trio, that little ol' band from Texas, ZZ Top. In five years in the 1970s, they made their finest albums and found their first success. They came, they conquered, and gargantuan blues riffs—not to mention the concept of the power trio—were never the same.

Anthologized and reissued many times since their release—Tres Hombres alone has been reissued on vinyl three times just since 2006—the band's first five albums have been reissued again in an impressive, limited-edition boxed set from Rhino called From the Top: 1971–1976.

I saw a real live frilled lizard at the Audiofest! It was wide-spanning and awe-inspiring and finished in Santos Rosewood. And instead of spitting saliva, it projected music!

The Kennedy Hi-Fi room was showing another product at the show that was creating a buzz: the Audiovector Trapeze loudspeaker ($25,000/pair), another product from Denmark, a country rich in high-end manufacturing. A 3-way floorstanding design, the Trapeze features a proprietary 12" high-power mid/bass driver, a 5" high-speed midrange, and an AMT (Air Motion Transformer) tweeter.

I’ve met Daniel Qvortrup, son of Audio Note founder Peter, a few times, and what I know of his music-listening side is that he’s a diehard music fan with very eclectic tastes in music. I’m not using the word “very” lightly here. He’s the type to listen to Tibetan monk throat-singing. So, I was not entirely surprised when the first thing he played for me in the Audio Note exhibit room was a 78 RPM recording made in 1931 of a woman yodeling.

Toronto retailer Star Electronics's room was offering some substantial sound, and by substantial, I mean thick toned, resoundingly harmonic, with solid, well-defined bass. Being demoed was gear by Yamaha, but this was not your daddy’s, or your youngers self’s, Yamaha, when the manufacturer’s audio products were entirely targeted to the mainstream market.

Now that’s what I call truth in advertising, because bliss was served! What sound! What grandeur! What an exquisite example of the best that sound reproduction can offer. Retailer Bliss Acoustics’s room was presenting one of my favorite demoes at the show, proving to me, at least—and this despite the fact that I’m not immune to sometimes feeling resentful toward gear I can’t afford—that the really expensive stuff can be worth the money. It just sounds better. It sounds expensive, in the sense that you know there’s no way you can get this level of performance at a discount.

Demos hosted by Canadian manufacturer Acora Acoustics invariably sound good whenever I hear them at a show, probably because the company’s speakers invariably sound good.

I saw a real live dragon at the Audiofest! It was tall and awe-inspiring and finished in Santos Rosewood. And instead of breathing fire, it breathed music! Okay, so it wasn’t an actual dragon, but...

What speaker design immediately springs to mind when you think of MartinLogan? If you’re like me, the answer is an electrostatic one. Which is why I was momentarily taken aback when I walked into the MartinLogan room and saw on display the more conventional-looking, three-way, floorstanding XT F100 speaker ($5999/pair) from the company’s Motion Series XT, and this despite the fact I’ve known about the Motion Series XT for a couple of years now.

I’m tempted to write in my report on the Charisma room that the sound of its demo was full of charisma! It wouldn’t be a lie, but I know it would sound forced and insincere, wordplay meant to be clever but that would ultimately sound lazy and induce a cringe-reflex in the reader.