Remember when Brett Weston had the customized license plate, "SEAGULL". He sure worked magic with graded G. I loved that paper too, along with Brilliant; but honestly, I can get prints every bit as rich with modern graded
papers, not only MCC, but esp Polygrade WT and Kentmere Fineprint. There is always a learning curve with a new paper. Learning how not only expose but tone for that extra snap takes some experience. The exact image
color of G in amidol + sel tone was somewhat unique. Then I learned the special qualities of Forte Polygrade,
then Fineprint (another one with strange color until you learn the tricks - but a majestic cold tone once you do),
then Ilford WT, perhaps the richest silver paper I have ever used. I could lay examples of all of these side by side and each type has its own kind of wow factor depending on its suitability for the specific subject matter.
VC paper is just so much easier to use nowadays. I still use it as if it were a graded paper, since my negs are
generally exactly exposed and developed. But when a tweak is needed, or a difficult neg involved, you've got all
that extra capability. I miss the "good ole day" papers, but in other ways, these are the good ole days right now!