“A Game of Pool”. Classic Twilight Zone episode.
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I have given it a cursory listen (not at very high volume) and like Aja it sounds a bit “dead” to me. But I’m at a point in life where I’m starting to wonder if some of this is hearing loss, as other things have sounded similarly dull. Yet others sound OK? 
I need to play it at a bit louder volume but on the other hand, I don’t listen loudly anymore. Anything past a medium volume aggravates the tinnitus.
I may have to roll in some different tubes one of these days. I already swapped out an interconnect (from turntable to phono stage, or SUT to phono stage, depending on how I connect it) that was not performing as I would have liked it to. Odd that a homemade interconnect actually sounds better but eh, that’s life I guess.
The Gaucho pressing, though, is quite good. I’m glad that Analogue Productions finally invested in equipment to center their records (metalwork, actually) properly, as that was my biggest complaint over the years.
The QC for the UHQRs is impressive though. When I visited last May, the press operator running Pretzel Logic discarded a record because…the label had a flaw in it. Probably would have played perfectly.
I doubt there are many folks under the age of 50 that know of the original Minnesota Fats.
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I think there are some similarities but also differences between vinyl records and books. First, you are the press and sold out of the first run (which by the way, you had some reason to run that number of copies in the first place. Now what? Second run? How many? You clearly misread the market the first time. So you go ahead and do a second pressing of the same number but only sell 1/3. Now what do you do with the remainder? Keep in mind that many businesses are taxed on assets once a year (move them cars out before the end of January). Plus, you are going to have to store them in a climate controlled facility which is going to be an ongoing expense. And then there is the increased man power in moving them out in dribbles now as continuing but diminished orders come in. Now the difference. Some 25 years ago I published a textbook and at that time the price to the bookstore was $120 whereas it cost just $7.50 to print it in hardback and full colour (and in relatively small runs). With no direct knowledge I would still bet that the equipment investment per record is vastly greater than that per book. And printing books doesn’t require a new stamper every 1000 or so.
So you’re a label with a record already mixed and mastered and successful in the market place. Even so, I don’t think deciding on a reissue is trivial. On the other hand, I think Chad has positioned himself perfectly. He’s got production, distribution, and even creation.