You wanted opinions. I think ROG has it right.

It all depends on the desired outcome. If I WANT to feel like drums are thundering in a cavernous room, I have to hear the reverb (Think the opening drums on Big Country's In a Big Country from The Crossing) https://www.youtube.com/watch?v=KYxuH6LH-DI

If I'm making an 'intimate' acoustic track, then the back it off till you don't hear it idea applies. If I'm using synth patches in an electronic track, then I almost always juice the reverb till it's obvious.

Reverb can be used in so many different ways; bring the listener closer or put them farther away from the source, etc.

Here's another example: Sampled piano is almost always close-mic'ed. If you mix it in to a track where there is reverb on other instruments, then it's going to sound in-your-face and out of place. Dial up the reverb and dial down the direct sound to set it back into the mix. I do this almost always for the pianos that are in Garritan Personal Orchestra and the excellent 'Splendid' soundfont from Akai.

Also, there's bunches of different types of reverbs - THESE can lead you to a decade as much as anything else. Spring, plate, room simulation, etc. As for drums for tracks that have very little to no reverb; pretty much any of Steely Dan's stuff from the 70's are about as dry as you can get. Listen to Hey Nineteen, drums are dusty dry. However, tasty reverb on the EP and synth leads, vox. https://www.youtube.com/watch?v=ipc9pL27krs Nothing says 'the 70's' to me more than dead dry drums. This song by Steely Dan could easily be the theme song to the Barney Miller show. http://www.televisiontunes.com/Barney_Miller.html (Which I think includes Carol Kaye on the juiciest bass-line to ever grace a TV show theme)

So, sorry there's no right answer. It is probably one of the most abused effects.

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