The C series seems to get favored over the B series. Probably is worth the extra money.
Another thought would be to consider what you do that could benefit from a condenser. It's damn near impossible to recommend a good vocal condenser until you've heard the thing because everyone's voice is different. Also heavy and harsh vocals usually work good with dynamic mics. The 57 or 58 might still sound more appropriate for that type of source. A kick drum mic like a Beta 52 or something might give you a different flavour if you have access to one. There's also a number of premium quality dynamic mics you might want to think about like the Shure SM7b.
+1 for
the Shure 520 DX "Green Bullet". It's a bad sounding dynamic omni that works like magic on harmonica.
For acoustic guitar, here we have something that could truly benefit from a condenser. They're good if you want extended frequency response and lots of detail from fast transient response. Acoustic guitars, drum overheads, percussion, shakers and most acoustic instruments are good candidates for condensers. The B1 and C1 would certainly work in these places but you might also want to consider a pair of pencil mics instead, like the C4's. The nice thing about these ones is they come with 3 sets of heads if you want to switch polar patterns. There's also a pad and bass rolloff making them pretty versatile. Having a matched pair would allow you to play around with stereo mic techniques. You can record anything from a tambourine to a full band or choir or orchestra with a pair of condensers. In my opinion small condensers are under rated and cheap large diaphragm condensers are way over rated. If you're new to condensers and trying to expand your mic locker, a pair of decent pencil mics might give you more mileage in the long run than an LDC. It depends on your needs and long range goals.
The potential downside of condensers is that, especially as they get farther from the source you're recording, they will record the sound of your room. If you're in a bad sounding acoustic space with no room treatment, even the best condenser mics could still sound bad because of the room. It can be less of an issue if you're working in close quarters to a dynamic mic.
Also consider that moving coil dynamic mics like the SM 57 typically sound fat and thick, but have little in the way of fine detail. Condensers are excellent at detail but can sound thin as a result. There are exceptions on both sides, but really good large diaphragm condensers are freaking expensive things. Again, the Shure SM7b is often mentioned as an alternative to cheap condensers.
Also, I'm not sure what "raw/vintage sound" means. Judging from the type of music you're into, you might want to be playing around with some compressor plugins or something...
