Re. the sounds of certain eras, and whether or not we want to recreate them.

Here is an example of a great drum sound from the early 90's:
https://www.youtube.com/watch?v=_ptL6Xc4f_M

I love it *except* for the snare reverb. During the chorus it's mostly obscured, so I guess it's there mostly to add content in a certain range, but the reverb tail is long enough to hear it long after the dry snare sound. I don't like it much, for starters I would have turned the treble right down on the reverb, and/or shortened it so much we don't hear that tail very much. Longer reverbs can work well on toms, esp. a deep floor tom sound, but I think it's a corny cliche on snare.

So if I were mixing a tribute band for this group I'd deliberately recreate that late 80's / early 90's exaggerated snare reverb. But if it were a band playing their own new material and maybe one or two covers of songs just because they love them, and included this one, there's no way I would use the same treatment on the snare reverb. I'd modernise it somehow.

For the rest of the 90's the drum sound changed and IMO that defined the fashion for rock drum sounds now. This recording has quite a "roomy" drum sound, to me it sounds like the kick and snare might be close miked but the rest of it sounds like a combination of overheads and a smaller amount of room mics.
The Grunge movement used quite a natural drum sound - sometimes there were close miked toms for effect but as a rule they moved to a quite realistic drum sound. The fully close-miked, very dry drums sound always seemed like a 70's thing to me; for a while the fashion was for a super dead and flattened sound - eg some of those 70's Stevie Wonder albums used it, as did many disco hits.

For live music of course you base the drums sound on close miking but I try to use overheads too, even in relatively small rooms that normally wouldn't suit it. But it only works with the right overhead mics when the rest of the backline is so close. I've had excellent results using X-Y stereo miking with MK-102's, then I tried something else and it didn't work out. Strangely the cardioid X-Y pair sounded more focused on the drums with less spill from the rest of the stage than when I used hypercardioids instead (shrug) no idea why. But I probably had them too high above the drums too