Isn't that lack of dynamic range part of why they were dug up though? That through the loudness war that extra dynamic range...
There's a lot of nuance to the loudness wars, but you're conflating extra dynamic range with dynamic range compression (the exact opposite). Digital (including CDs) can go full square wave -1 dB (you'll likely destroy your speakers, but the media can handle it), but if you did that with a vinyl, if you could even cut the lacquer, plate them, and press the vinyl, the listener's needle would pop out all the time.
A perfectly pressed vinyl would theoretically have a maximum of 70 dB dynamic range. A CD, on the other hand, is 16-bit, which is 96.32 dB maximum dynamic range. For reference, a symphonic orchestra typically has a dynamic range of around 90 dB. There are plenty of comparison videos (IIRC, Red Hot Chili Peppers's Stadium Arcadium was highlighted quite a bit at the time) explaining the difference in the dynamic range compression between vinyl and digital versions, but they weren't typically because of the medium.
It was typically the mastering engineer who did the work, and, for a long time (even sometimes after LUFS [Loudness Units relative to Full Scale] standards were established) artists and (even more often) labels hunted down mastering engineers who would master anything that could hit the radio loud. By virtue of modernization, most stations don't have turntables, so if the label wanted it loud, the artist would often have their preferred mastering engineer do the vinyl. But part of it is even more complicated and boils down to the vinyl engineer working the lathe, which is why different pressings of the same album (even to this day) sound different.