My guess: When Guy (& and maybe Mark) speak about how a record "sounds", it might have been a totally other meaning than what we think has to do with sound. They developed a honest fetish when it comes to "sound" and "sonic" stuff - I mean Kill To Get Crimson is "spectacular" in Guy's ears... I wish they would skip this whole obsession with British Grove and searching for the one right of 15 identical Martin Acoustics to get "that" special sound and just play away like they did on the first Dire Straits album - that will never happen..
So if we think Bap's album sounds "good" (or better, if you think so, I never liked his voice), then it might be because how the music, well, sounds.
And not so much how it is recorded, balanced, mixed, etc...
Really, sometimes I would prefer another approach in record making then that one the are used to. I remember the pictures in Guy's "KTGC" diary of the book "how to play blues", I remember the stories about that special acoustic and "analog sound" of the Shangri-La record... and really, those records sound very much like any MK record. So much ado about nothing. Oh, they sound expectional well of course, but, KTCG sounds as good as GL, and GL sounds as good as Privateering...
LE