UPDATE Hadn't listened to this closely in over ten years until tonight.
There are a number of flaws in the mix I'd forgotten about, many quite jarring.
Reelin' Covered in my original post.
Do It Again In addition to the alternate organ solo second half already mentioned, there are two guitar tracks (LF and RR) that are left open the whole song, unlike the stereo mix which punched out most of them. When you are asked to follow along with guitar fills throughout a track and you're not Rick Derringer, your batting average ain't gonna be 1000. This makes for quite a mess, distracting from the song's driving groove and mood. I really can't enjoy this version, sorry.
Fire in the Hole Extra vocalizations, including an opening grunt and a falsetto "Ah wa wa wa wa wa!" during the piano solo. We can do without either.
Only a Fool Would Say That One of the most irritating recurrent themes in surround "aftermixes" is an instrument -- often one highlighted in the original -- potted down too low for no good reason. Here the falsetto vocal lead into the solo ("Only a FOOOOOOOOOOOOOOL .... ") placed in the rear, is barely even audible. The high harmony vocal on "feel no pain", a track highlight, is also not loud enough.
Change of the Guard The chorus of "Na na na na na na na naaa" is almost dry, sounding quite awkward without the reverb of the original. It's the chorus, for God's sake. The electric guitar of the solo is both too low and too filled with reverb, smoothing over every edge of what should be one of the best of all Steely jams. This part should bark hard, but here it just whimpers.
Turn that Heartbeat Over Again Quite a few issues here with vocals, which are generally out of balance. Mostly the harmony vocals are too low, especially in the chorus where you really mostly hear Fagen's lead instead of a blend of three voices.
After that you might think there's no good news, but there is. Apart from these problems, some of which make the associated tracks unlistenable, there are several that are good and faithful to the originals, such as Dirty Work and Kings. Those two are just not as dramatic as I'd hoped for. Why, for instance, doesn't the appearance of the backing vocals in the former's chorus give me chills as they do in Elton John's Rocket Man? That's the art and science of mixing for you.
The standout track, for me, is Midnight Cruiser. Really expands from the stereo, although some purists will object to rears loaded with lead guitars and accoustic piano. It works for me, especially in the contrast created by the quiet passages' percussion.
Despite all the sloppiness and gimmicky reverb, its still one of the better 70's mixes. The shame here is how easily it could have been a better one.