A good question to ask @flash56, as I don’t think @billpete fully absorbed the somewhat complicated and confusing chain of events. Before I answer you, let me correct one mistake I inadvertently made in my long post above: In the next to the last paragraph (the one starting with "Kassem gave Fremer a call"), in the next to the last sentence I wrote ".....and another splitting the difference in about half (between flat and Dolby boosted)." The part in parenthesis should have read "between flat and Dolby engaged." With the Dolby circuitry engaged during playback, the high frequencies would have been reduced, not boosted. In comparison to the tape played back with the Dolby engaged, the tape played without the Dolby engaged sounds brighter. In spite of that, the tape played without Dolby---since it wasn’t recorded with it---is "flat".
I learned all these details in a few videos all the involved parties made and posted on YouTube a few years ago. According to them, ALL LP’s pressed prior to Grundman’s discovery of Dolby A noise reduction being used in the making of the production master tape (from which the lacquers were cut)---including the pink label Island, the sunray Island, in fact all Island pressings, as well as those on A & M---all were incorrectly mastered and lacquers cut with a tape in which the Dolby playback circuitry was engaged, thereby robbing the recordings of a lot of their mid-to high frequencies. That’s why the cymbals and Cat’s guitar don’t sound right, amongst other sonic problems.
The Analogue Productions pressing of Tea For The Tillerman is the first version mastered and produced without the Dolby circuitry engaged, and sounds dramatically better than the sunray label Island I had (it’s long gone). But of course as always everyone is entitled to their own opinion. I can understand not "liking" the true sound of Cat’s Ovation guitar; lots of players of Martin guitars don’t either. 
For those who want to know what a tape made without Dolby n/r but played back with the Dolby circuit engaged sounds like, make a cassette tape yourself duplicating that process. I’m pretty sure you will NOT like how it sounds. Unless your loudspeakers themselves are very, very bright. It wouldn’t surprise me to learn that Tea For The Tillerman was mastered using Yamaha NS10’s. Oy!
The obvious question that follows is: after Grundman’s discovery, did everyone else also make new production master tapes from which to cut their lacquers and then press their LP's, without Dolby used in playback? I don’t know.
