Hi Grant! I'm a frequent Bill I. basher, partly for the mono issue but mainly for his sonic choices; that tinny, midrangy, bright sound frequently evident on Rhino products drives me nuts. My speakers are super through the mids and those Rhino discs just wear on my nerves quickly. Also, the mono crusade has quirks of its own; take the Nuggets box (my greatest Rhino love/hate relationship) - give the original Elektra or Sire lp's a spin and see what the compilers used - whoo, a whole lotta stereo on those licorice pizzas. Even the Rhino Nuggets series that picked up the ball after the original title went oop had stereo on them (I'd kill for some clean dubs of the Sonics 2 Etiquette lp's in stereo - cheap plea here!!!). Now, I doubt any other label had the resources available to pull that set off like Rhino did, and there sure were a lot of neat, hard to obtain tracks on it, but that poor box could have sounded SO much better if someone else had been at the controls. I also am saddened by the fact that some multitracks might have been available to make some authentic stereo mixes up that won't happen cause the tracks just won't sell on their own. We've gotta also remember that those 45 mono mixes on tape were subject to all sorts of tomfoolery once they left the studio - ever see cutting instructions when a 45 went to the pressing plant? Boost here, cut there, compress the ever living crap outta the tape to maximize the level (Motown stands out here), roll off the extreme lows (Capitol, anyone), or highs (RCA thud) and getting the 45 sound is an elusive goal at best. I'll bet it's a rare 45 tape that sounds like the actual 45 mono mix itself. The Motown nightmare of 45 mix versus good sonics can probably never be achieved - what sounded great on Berry Gordy's 4" car speaker on his desk in 1966 can't be achieved now via digital drink coasters; sorry about the ramble, but to sum up I guess what was magical about our 45's from childhood are proving hard to reproduce today.