"Vinyl's an interesting case - there's something to be said about its distortions, but it's also because of the limits of mastering which resulted in the loudness wars not happening to it. (Note: it's possible to have dynamic-range-compressed masters sent to Vinyl, in which case they sound just as awful as the CD)"
Errr... you do realise that the "loudness wars" began before the Age of the CD, don't you? Over-compression was a common discussion point in the audio engineering trade & audiophile magazines in the 70's, and it was taken to extremes on rock/pop singles & compilations. Not only was it possible, but it was commonplace.
And that was on top of the necessity for a certain amount of DRC anyway, just to 'fit' the signal onto vinyl's limited dynamic range (55-65dB max for a pristine commercially-pressed album vs 96dB? for a CD). Better than that is theoretically possible - in the case of vinyl, careful cutting and a willingness to ignore the effects of pickup compliance on tracking can get you get up around 80dB (IIRC, the famous Telarc release of the 1812 Overture in the late 70's was up around there, but only the best turntables could track it through the cannon shots), but ultimately you're limited by the noise floor of vinyl at one end and the ability to cut/track the groove at the other.
So vinyl by definition requires noticeable amounts of compression, and the "loudness wars" of over-compression started well before the advent of CDs. CDs certainly made it worse, though...