This is a constant area of contention .
Some very disturbing listening test where conducted on a wide selection of younger listeners to determine what they liked better.
Without thier knowledge the differences where between LO-FI MP3 style recordings and HI-FI (uncompressed higher definition).
The results tended towards them liking LO-FI because they could hear everthing more directly .
YEP compression tends to give that illusion doesn't it.
Next is the recording industry itself.
Many engineers indicate that with master files (digital) that there is a significant difference between 44.1 , 96 and 128 Kbit recording.
BUt thats only the sampling frequency it does NOT indicate BIT depth IE 8 bit, 16 bit, 24 bit or higher.
Recording with 96 Kbs at 24 bit depth requires almost 10 times the data Memory space that recording at 44.1 with 16 bits requires.
Next is this idea that "Nyquist sampling theorum" actually accounts for a "complete" sample of any frequenices within the 20 Hz to 20 Khz spectrum. In my opinion it doesn't.
The Nyquist sampling theorum at 44.1 kbs sampling frequency breaks down due to all the instantanious or spurious information generated within normal music production .
Several reasons for this , including the fact that various musical instruments actually produce ultrasonic information within thier inidividual ranges. (IE CYmbals are a perfect example) If you consider that those ultrasonic frequencies actually modulate or re-modulate the frequencies within the spectrum that we can hear , then you've got some issues.
Vinyl wouldn't necessarily pick up those frequenccies , but because of the "continuous data collection" that ANALOG represents it will not disciminate either spurious information (like low sampling frequencies do) or filter the subsequent hamonic effects produced over time that lower sampling rates may tend to ignor in the data stream .
THe biggest issues come back to sampling rate versus storage and also a individuals taste in music and thier ability to discern high-quality versus something that sounds like music.
Another big issue within the studio/recording environment is that often an artificial sound stage has been created .
Our ears are actually extremely good at hearing differences in phase and whenever instruments are recorded within a studio environment they are usually recorded in various different sound rooms producing phase artifacts that our ears can in fact discriminate . Then the whole mess is mixed into a virtual reality sound stage that by definition has numerous phase differences that have no distinct reference (ie common point in time or space)
This is exactly the reason why many of the OLD recordings using 2 discrete microphones (typically ribbons) right off the stage, sound so coherant and product audible and definable sound stage . Thats usually very pleasing to listen to.