Although many valid points have been made, it is my opinion as a producer and recording engineer that the problem is that MOST artists, engineers, and producers do NOT know what the high end/stereophile sounds like. I do a lot of rock, pop, dance, and hip-hop, and I can tell you that the musicians and everyone associated with recordings really, really do care about the sound in almost every case. They slave for the best guitar tones, the most resonant drums, richest bass, fullest vocals etc., etc.. I find that they care very, very much about sound. But in most cases they are listening on mid-fi systems at best, and have never heard what a holographic soundstage with incredible amounts of depth, width, imaging, detail, and palpability are like. So it is like a person with blurry vision trying to paint a high resolution picture. Some of the aforementioned artists are known for their audiophile awareness, but they are the vast minority.
Often making an audiophile record does not take that much more time or money than making a poor one. It takes a little extra time and care, but mostly it takes an engineer or producer with audiophile ears to make the right calls with mic placements, choice of signal path, and mix decisions.
I believe that some artists are not even aware that there is a lot of variation in sound between their recordings. Heck, even Sir George Martin sometimes didn't meet his own standards with the Beatles: Strawberry Fields sounds awesome on a great system - listen to those cellos and drums! But other songs from the same time period or later are not nearly as well recorded (e.g. Penny Lane, Lucy In The Sky With Diamonds, Hey Jude).
Everything I mentiomed is as it pertains to the recording/mixing stage. Mastering is another story.
Most mastering engineers are working with audiophile systems and want to make a recording sound its' best. But they can't take a stereo mix and add depth or detail where there is none. Also most are loathe to compress the hell out of a mix to make it louder (it's the subject of much consternation in the trade mags), but artists and labels with less than audiophile ears often simply just want it louder.