I’d not pay for higher than CD quality because I can hear no differences in the sound.

I would pay extra for a stream (as Buzz mentioned) where the studio engineer hadn’t chopped off the bottom of the bass and over-boosted the rest, compressed the dynamic range and all the other evils needed to push mass-market music to folks with low quality systems or using ear-buds.

Going back to LP days, what the studio engineer does to the master has more audible impact than the equipment used to record, mix, or press the LP.

As an example, scroll down a bit to: The Sound Mastering (below the booklet section)

http://pinkfloydarchives.com/Discog/Japan/DSCD1/JADS1.htm#_.1986_%E2%80%93_The

Mastering: This release uses the very first EMI mastering of Dark Side of the Moon for compact disc. Both the EQ and levels have changed from the prior Sony mastering. Using Exact Audio Copy (EAC) software to read the peak levels for each track on the CD, the results are:

1985/1986 Toshiba-EMI mastering track peak levels: 87.8 / 94.7 / 100 / 97.2 / 100 / 99.1 / 100 / 96.1 / 100

This is a substantial change from the previous Sony pressings, which were:

1983/1985 Sony mastering track peak levels: 39.9 / 43.3 / 70.1 / 55.2 / 72.3 / 44.5 / 53.9 / 54.6 / 61.2

Pre-emphasis: The EMI mastering of the Dark Side of the Moon CD does not have pre-emphasis.

snip

So although the CD basically looks identical to the earlier pressings, there was a substantial change in the sound of the CD. And the only way to visually differentiate between the Sony pressings and the Toshiba-EMI pressings is to check the matrix information on the CD.

Good read: http://www.itwriting.com/blog/91-the-loudness-wars-why-many-cds-sound-bad.html