Word: stereos
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...Much (Jackie Wilson; Brunswick, mono and stereo). Singer Wilson, who bears a startling physical resemblance to Sammy Davis Jr., is presented to his fans as "Mr. Excitement." The excitement consists of a bludgeoning Neanderthal style, and the package should be labeled "For Unregenerate Rock 'n' Rollers Only...
High Spirits! (The Four Lads; Columbia, mono and stereo). One of the nation's best vocal quartets swings with infectiously high spirits through a selection of familiar spirituals-Ring Them Chimin' Bells, Bound for Glory-giving each one a fresh sheen without sticky studio gloss...
Tremendous Confusion. Broad-shouldered, hoarse-voiced Frank Freimann, 53, has kept once slow-moving Magnavox clipping along at a fast pace. He will shortly introduce a new electronic organ for the home (price: $700 to $1,500). In stereo, he pushed Magnavox ahead of the field by switching over its entire phonograph line to stereo in 1958, bringing a mass-produced stereo set to market before any other U.S. firm. His bet on stereo's future paid off handsomely. Magnavox sales jumped 36% to $107 million in 1959, and profits rose 85% to $4,500,000. The company...
...Thomas Beecham recorded the work with the Royal Philharmonic Orchestra and Chorus (Jennifer Vyvyan, Monica Sinclair, Jon Vickers, Giorgio Tozzi; RCA Victor, 4 LPs, mono and stereo). His performance is the most opulent of the lot, the most animated-and by all odds the farthest from any thought in Handel's mind. In defiance of "drowsy armchair purists," Beecham offers a thunderously 19th century-styled orchestration-lush, richly colored, and full of dramatic contrasts. Soloists and chorus are uniformly fine, but the recording is not for listeners who take their Handel neat. Eugene Ormandy offers a severely cut reading...
...Malcolm Sargent produces a package (Elsie Morison, Marjorie Thomas, Richard Lewis, James Milligan; the Huddersfield Choral Society; the Royal Liverpool Philharmonic Orchestra; Angel, 3 LPs, mono and stereo) that lacks the fire of Beecham, the vocal glories of some of the Ormandy passages, emerges as painstaking rather than impassioned. Perhaps the best performance of the crop is furnished by Hermann Scherchen (Pierrette Alarie, Nan Merriman, Leopold Simoneau, Richard Standen; the Vienna State Opera Orchestra and the Vienna Academy Chorus; Westminster, 4 LPs, stereo), which is marked by some lovely, light-textured choral passages, a translucent orchestral sound and a movingly...