The loudness war was never exclusive to digital audio formats though, it just reached saturation point [heh] with CDs. This didn't happen earlier because clipping isn't a thing on records -- saturation (practically some margin below that) is a hard limit.
Hard article to follow unfortunately. Also the only example it gives just shows a compressed waveform. I understand disliking that compared to the more dynamic older record, but a perfectly reasonable explanation for this would be: it sounds more like what buyers today expect.
Anyhow that's my theory
I suspect you’re not involved in contemporary record making. Like it or not, clipping is a technique and a color that producers, mixers, and mastering engineers all choose to impart for aesthetic and technical reasons. It has it’s uses.
If your proposal were passed all that would be left for consideration would be a handful lame DSD jazz records from those hi-fi enthusiasts who are disconnected from the reality around how most records are made these days.
I had to record the vinyl to get usable digital files.
If I am using an analog device (in my case tube amplifier) I want to listen to something that was mastered on analog equipment. If it's square wave pressed on to vinyl you might as well stream.
If you just amplify the whole track until its max amplitude reaches the medium's maximum, yes you could undo that.
But the loudness war aims to make the whole track even louder than that, by quietening those max peaks so they don't clip, then that gives you room to amplify the rest of the track even further. The dynamic range of the recording is permanently reduced.
What RIAA should do is promote universal use of ReplayGain across digital distribution platforms. That way people can manage relative volume as desired without the need to corrupt the audio. They could make money with a signed tag certifying the mix meets quality standards.
The ideal solution would be to distribute high dynamic range audio with metadata to configure optional playback-time dynamic range compression for noisy listening environments or weak playback equipment.
The vinyl record is an analog medium. How can it be affected by the loudness war?
This translates into a reduction in the quality of the vinyl record, which is collateral damage from the loudness war.
We’ll use Prince’s Purple Rain as an example to describe this phenomenon. However, let’s start by looking at what’s happening to digital versions.
Indeed, loudness war is a phenomenon linked to the digital medium, which consists in music becoming louder on a digital support. As with digital, it’s impossible to exceed the maximum level, so we try to increase the average level, but this results in a reduction in peaks, and therefore dynamics.
The waveforms below illustrate this phenomenon.

The maximum level is noted as 0 dB, and we count down from this level. The values indicated are therefore negative, with the exception of True Peak, which takes into account the interpolation between two points and can be greater than 0 dB when these two points are close to 0 dB. For the average level, we use the LUFS integrated level, and the True Peak level for the maximum level. So a value of -18 dB indicates a lower level than -7 dB.
For the Purple Rain album, we find a DR12 (-16.3 LUFS) for the original digital version and a DR6 (-8.3 LUFS) for the 2015 remastered version. We therefore observe an 8 dB increase in the average level, and above all a flattening of the peaks, which translates into a reduction in dynamics as indicated by the DR value.
How can vinyl be affected by loudness war?
In fact, you can’t turn up the volume like you can with digital, because there are physical constraints specific to the analog medium. The problem is that we no longer try to make a vinyl-specific master from the original mix, but use the dynamic-compressed digital master as a basis for burning the vinyl record.
The diagram below shows the ideal workflow, with different masterings for different media, based above all on the studio mix (as explained for the album L’Homme à tête de chou).

The diagram below shows that mastering for vinyl is no longer based on the original mix, but on the master for CD (or streaming). We therefore start with a master which, in our Prince example, is highly compressed in terms of dynamics.

So what’s the impact? The waveforms below show the original vinyl record and the vinyl record made from the remastered version in 2015 (The same recording level was used for both vinyl records).

We notice that the cutting level on the remastered vinyl record is 1 dB lower than that of the original version, and more importantly, we notice a flattening of the peaks with a dynamic range reduced by over 5 dB!
The value is actually higher, but when the vinyl record’s lacquer is cut, there’s a phenomenon that increases the dynamic range, as the analog medium doesn’t support signals heavily compressed with brickwall compressors (more on this phenomenon : Does analog media force a dynamic on music? [link]).
Obviously, what is visible on these curves is also audible. Here are samples from the original and remastered vinyl versions to compare the difference in sound rendering.
This is not an isolated example, but a growing phenomenon. This is also the case for the following albums: Bruce Springsteen – Born In The U.S.A., David Gilmour – Luck and Strange, Norah Jones – Visions…
It’s mainly present on recent albums, but certain musical genres are rather spared, such as Jazz, Blues, Classical…
But, as always, it’s important not to generalize, and there are still productions that give priority to quality, like the latest REQUESTS – Tsuyoshi Yamamoto Trio LIVE album, or Analogue production, MOFI for example…
Two additional points following the various exchanges: