The issue here is that plenty of recordings simply are not optimized for playback on a neutral sounding rig. I grew up with a pair of JBL L65s, which readily reveal their inaccuracies and colorations. But, throw some 70s classic rock (much of which was mixed and mastered using JBL 4311 studio monitors) on the turntable, and that music sounds sweeter than anything that the more neutral sounding British speakers of that era could conjure up. It didn't matter if they weren't neutral sounding, because the music was not designed to sound best on a neutral sounding system.

And more recently, a lot of pop recordings from the late-80s and 90s were mixed and mastered using the Yamaha NS-10. Is this because of the NS-10's neutrality and accuracy? Hardly. It may not be neutral sounding, but it does provide the sound engineer with a great platform from which to assess how a recording might sound when played through car audio systems, PC speakers, sub/sat systems, or mini systems. Those playback chains might be inferior to high resolution component systems, but they are what the vast majority of pop music consumers actually use.

How these recordings sound on a more neutral sounding speaker can be hit and miss. If it sounds equally good on a high end system, car audio system, and mini system, that's not necessarily by design, but more by accident.

People will buy speakers based on their preferences, and there are many dimensions of performance to look out for. Since there are no perfect speakers out there, it basically comes down to which tradeoffs you're willing to make within your budget, and how these preferred characteristics mesh with the music that you generally listen to.