These are mostly modern, non-public domain compositions including several with rights restored in 1996.

In 1958 stereo was very new and equipment for home use was scarce. It would still be awhile before FM stereo stations would acquire the Gates BC77, the very first turntable to reduce audible mechanical noise in stereo reproduction to a respectible -50dB, and in fact many FM stations were still simulcasting the mono audio from a companion AM station until fall of 1966. In a mono record, turntable rumble and other mechanical noises including those pressed-in by the stamping process are effectively eliminated by the needle offering no response to vertical vibration or variations. Just putting a stereo cartridge on a player built for mono records resulted in loud grinding motor noises coming through the loudspeakers. Most annoying. Garrard of England quickly became the accepted standard for the home player mechanism. People who bought these could now enjoy stereo LPs sans motor noise, but this created a new problem. The bulk of the home library and most new issues were still in mono. When a mono LP was played in the new fangled stereo, it now had rumble and grinding noises coming through the loudspeakers. This is why HiFi makers quickly installed a mono switch on the amplifier so that the vertical needle response could be cancelled electrically by summing right and left audio before it was sent out to the speakers. If you intend to enjoy any mono record pressed prior to about say 1970, remember that most modern stereo amps have now eliminated the essential mono switch and they will play back with a lot of noise.

Belock instruments of Hollywood California wanted stereo to catch on so as to promote their multitrack recorders for studio use. So it created the Everest record label to put stereo LPs on the marketplace. Actually multitrack recording, with three tracks on half-inch tape or four tracks on one-inch tape, had been in use for some time. The artist view of the Belock one-inch system is "35mm film" complete with sprocket holes illustrated at an "actual" width of 35mm. 35mm film is really only 25mm or 1" wide, 16mm film is 1/2"... And 8mm film is 1/4" so that regular audiotape reels can be used on a projector (raw 8mm film stock is actually 16mm film, it is flipped over when shooting to use both sides, and then it is slit and spliced at the process lab). Standard 8mm motion picture reels are made so that they can't be flipped over, thus preventing idiots from loading the projector upside down. But kids in the 60's always kept a few audiotape reels handy to create "special effects" when parents weren't around. Later on, Reprise label took the concept further, since it was now using 2" tape for multitrack recording, it called the system DUAL 35mm, and illustrated it with 2 stacked film reels. They also claimed to record at 48 ips using (thick) movie film stock. At that rate the standard reels shown would hold only 2 minutes recording time, maybe that's why the second reel was needed, stacked for sequential use...

Prior to stereo, the finest mono recordings were acually made with just one microphone placed at the sweetspot of the theater. Multiple microphones when mixed were known to generate comb filtering artifacts and at the very least created a sound balance that could not have been heard by a person at the actual performance. Multitrack was primarily intended for pop music so the singers or solo instruments could be added after-the-fact of the music "bed". Columbia and others also used their multitrack recorders for classical music recording so the conductor could have some control over the final mix-down to mono. Mercury stayed with the sonic purity of a single mic and when stereo finally came to the home, they had to re-record their entire library. Belock had made some demo recordings in which his four tracks were recorded stereophonically. Obviously unaware that record companies did not waste 2 precious tracks to record essentially identical sound and the demos were less than effective in selling his machines.

When stereo LPs hit the market, the funny thing was that virtually none were stereo. Columbia simply took the old three tracks and "pan-potted" them to generate a right-left separtation. Capitol even had the nerve to re-issue old Frank Sinatra songs in "stereo" by frequency filtering the music bed track to give an illusion of separation and placing the vocal track in the "center". New recordings were being made with from 6 to 16 tracks on one inch tape or 24 to 32 tracks on the two inch tape. Sprocket holes never caught on. Outside of the Everest series and some Mercury issues, very few commercial releases were ever actually recorded in stereo in the last 40 years, instead almost all are multitrack mix-downs. To be a true stereo mix-down, two mics/tracks would be needed for each instrument , soloist, or listening position, so it is much simpler and economical to "pan-pot" each mono track to give an illusion of left-right placement.

That the Everest product was actual stereo was "certified". I used to have an Everest LP that was made with the audio phase inverted on one channel, so when the mono switch was on, virtually all the sound disappeared. On a multitrack, only the "center" or vocal track is zapped by reversal, the instruments sound independently on either right or left channel placement that cannot be phased out. It is very difficult for the cartridge to track an LP with phase reversal and audio engineers that permit it should be similarly tortured. Phase reversal also causes cancellation of audio from FM radio and protests by broadcasters probably forced the upgrading of all audio industry products.

Examination of my early Everest 4-track tape boxes indicates that at least part of the releases were originally intended as 2-track. Tape labels do not indicate A/B sides, the 4-track logo is a sticker pasted on the box as an afterthought, the programs are very short, consistant with the 30 minute limitation of 2-track., and a different "prefix" on the album number than the "T4" used in the 4-track catalog published in 1964. That these did not sell is evidenced by the fact that the package material was re-cycled for 4-track release! I have seen these offered for sale at $60 as 2-track tapes.... The TT43 series must be a response to the short programs required for 2-track, by marketing them as a "double" album when in fact they are really normal length by 4-track standards. In any case, these were all released initially in 1958 through 1960 when 2-track was in vogue. These recordings were later used in TapeMates series and some even made it to the Radio Shack tape label. Following list is complete through 1964 and are available except for [green references].

 "T4" series

3001 [London Symphony, Susskind, Chout Ballet, Prokofiev]

3002 [London Symphony, Susskind, Appalacian Spring (1941) Copland]

3003 [London Symphony, Goosens, Corroboree, Antill]

3004 London Symphony Orchestra, Eugene Goossens

Feste Romane, Respighi [1929]

3005 [London Philharmonic, Boult, Symphony #1, Mahler]

3006 [ London Philharmonic, Boult, Symphony #9, Vaughan Williams]

3007 [ London Philharmonic, Boult, Symphony #6, Shostakovich]

3008 London Philharmonic Orchestra, Adrian Boult

Symphony in Eb, Hindemith [1940]

3009 STRAVINSKY London Symphony Orchestra, Eugene Goosens

Symphony in Three movements, Stravinsky [1945 restored]

Woody Herman Orchestra Ebony concerto, Stravinsky [1945 restored]

3010 [Stadium Sym, Stokowski, Symphony #5, Shostakovich]

3011 Stadium Sym, Stokowski, Francesca da Rimini, Tchaikovsky, [on TapeMates TMS 107]

3012 [Stadium Sym, Pelletier, CHARLES K L DAVIS SINGS]

3013 The London Symphony Orchestra, Eugene Goossens 1958

Symphony #4, Antheil [1942]

Estancia ballet suite, Ginastera [1941]

3014 London Symphony, Schwarz, [on TapeMates TMS 121]

Symphony #5, Mahler [1902]

3015 [London Symphony, Copeland, Billy the Kid]

3016 [Stadium Sym, Stokowski, Uirapuru, Villa Lobos]

3017 The London Symphony Orchestra Chamber Group, John Carewe 1959

La Creation du Monde, Milhaud [1923]

L'histoire du soldat, Stravinsky [1918-PD]

3018 [London Symphony, Copland, Third Symphony]

3019 Henry Datyner/violin London Philharmonic Orch, Adrian Boult

Job "Masque for dancing", Ralph Vaughn Williams [1930]

3020 London Symphony, Benjamin, Lamar Crowson/piano

3021 [London Philharmonic, Arnold, Four Scottish Dances]

3022 London Philharmonic Orchestra, Janos Ferencsik Raymond Nilsson/tenor London Phil Choir

Psalmus Hungaricus, Kodaly

Dance suite, Bartok [1923]

3023 Stadium Sym, Stokowski, RICHARD STRAUSS [on TapeMates TMS 111]

3025 [Stadium Sym, Stokowski, WALTZ MASTERPIECES]

3026 [London Symphony, Goossens, SCHEHERAZADE]

3027 Stadium Sym, Raymond Paige, CLASSICAL SPICE SHELF 1959

3028 A NIGHT IN VENICE (JOHANN STRAUSS MUSIC)

Original Cast Lyrics Ruth and Thomas Martin, Orchestra, Thomas Martin

3029 Stadium Symphony Orchestra of New York, Carlos Chavez

Sinfonia India/Sinfonia de Antigone/Sinfonia Romantica, Chavez [1933-53]

3030 [Houston Symphony, Stokowski, Symphony #3, Brahms]

3031 Houston Symphony Orchestra, Leopold Stokowski

Good friday spell and synthesis of act III, Wagner arr Stokowski

3032 [Houston Symphony, Stokowski, Poem of Ecstasy, Scriabin]

3033 [London Symphony, Goossens, Petrouchka, Stravinsky]

3034 [London Symphony, Sargent, Symphony #5, Prokofiev]

3035 London Symphony Orchestra, Eugene Goossens

Manfred, Tchaikovsky [PD]

3036 Peter Katin/piano London Symphony Orch, Eugene Goosens 1959

Piano concerto in A minor, Op 54, Schumann [PD]

Variations symphoniques, Franck [PD]

3037 [London Symphony, Goossens, Symphonie Fantastique, Berlioz]

3038 London Symphony, Ludwig [ TapeMates TMS 121]

Ein Heldenleben, Strauss

3039 London Symphony, Sargent [ on TapeMates TMS 107]

Symphony #5, Tchaikovsky

3040 [London Symphony, Goossens, HINDEMITH]

3041 [London Symphony, Goossens, Little train of Caipira, Villa Lobos]

3043 [Stadium Sym, Stokowski, CAPTAIN KANGAROO]

3044 [ Rochester Philharmonic, Grofe, Grand Canyon Suite]

3045 [London Symphony, Hannikainen, Tossy Splvakovsky/violin]

3046 [London Symphony, Fistoulari, SCHUBERT/MOZART]

3049 London Symphony Orchestra, Goehr [on TapeMates TMS 111]

Violin Concerto in D, Tchaikovsky, Splvakovsky/violin

3051 London Symphony, Sargent PINES/FOUNTAINS OF ROME [on TapeMates TMS 111]

3052 London Symphony Orchestra, Anatole Fistoulari 1960

Gayne ballet suite, Khachaturian [1942 restored]

3053 [London Symphony, Sargent, Pictures at an Exhibition/Night on Bald Mountain]

3055 London Symphony Orchestra, Rignold [on TapeMates TMS 111]

Concerto for piano, Khachaturian [1936 restored] Katin/piano

3058 Poliakin Orch/Chorus, IRVING BERLIN

3060 Rochester Philharmonic Orchestra, Bloomfield [on TapeMates TMS 111]

Iberia Suite, Debussy [1909]

3067 [Pittsburgh Symphony, Steinberg, GERSHWIN]

3101 Hamberg Symphony Orchestra, Heirich Hollreiser [on TapeMates TMS 121]

Symphony #1, Brahms

3103 Bavarian Symphony Orchestra, Hans Hagen [on TapeMates TMS 107]

Serenade for Strings, Tchaikovsky

3111 London Symphony, John Hollingsworth [on TapeMates TMS 107]

Nutcracker Suite, Tchaikovsky

 "TT43" series, Twin pack albums (including re-issues)

001 [3067 GERSHWIN plus STEPHEN FOSTER/JEROME KERN]

002 [3033 PETROUCHKA plus RITE OF SPRING]

003 London Symphony Orchestra

Barbara Howitt, Enrique Jorda cond Three-cornered hat ballet, de Falla [1919-PD]

3052 Anatole Fistoulari cond Gayne ballet suite, Khachaturian [1942 restored]

004 London Symphony Orchestra, Malcolm Sargent

Pictures at an Exhibition, Moussorgsky [PD]

A night on Bald Mountain, Moussorgsky [PD]

Symphony #9, Shostakovich [1945 restored]

Lt Kije suite, Prokofiev [1934 restored]

005 [London Symphony, Krips, Symphony #3 and #7, Beethoven]

006 London Symphony Orchestra, Josef Krips, BBC Chorus

Symphony #9, Beethoven [PD]

Leonore overture #3, Beethoven [PD]

007 [3039 TCHAIKOVSKY #5 plus DVORAK #9]

008 A LISZT RECITAL George Bolet/piano The Symphony of the Air, Robert Irving

Piano concerto #1/Mephisto waltz/Funerailles/Hungarian fantasy/Sonata in B minor [all public domain] (2 copies) 

009 [3022 KODALY/BARTOK plus 3017 MILHAUD/STRAVINSKY]

010 [DEBUSSY plus BOULANGER]

011 [MAHLER #9]

STBR 1006 The Phantom Gypsies

A number of the above tapes were later re-issued at 3-3/4 ips by the TapeMates label of American Tape Duplicators. And some were even distributed at the Radio Shack as the Audiophile Series. According to the Everest Catalog, they also distributed Concertapes [Wilmette IL]

TAPE MATES (3 hour) Mostly Everest tape recordings originally

 

TMS-S1 STEREO SAMPLER

TMS-3X [SEASONS GREETINGS, Christmas]

 

 

TMS-101 Heart of Hawaii, various

TMS-102 [TRIBUTE TO THE BIG BANDS] In the Mood on TMS-S1

TMS-103 [HIT SHOW TUNES, probably the same as Radio Shack "CURTAIN UP" RADIANT VELVET ORCHESTRA - SORKIN STRINGS - JACK SAUNDERS ORCHESTRA - RAOUL POLIAKIN - L. DAVIS - FRANZ ALLERS] Gigi on TMS-S1

TMS-104 [EASY LISTENING] Moonlight in Vermont on TMS-S1

TMS-105 [POLITE JAZZ, probably the same as Radio Shack "QUIET JAZZ"] I got Rhythm on TMS-S1

TMS-106 MUSIC FROM AROUND THE WORLD VOL.1 R.Roger Orch, Phantom Gypsies, GeoVoumard Orch, Humberto Suarez & Cuban Orch (This selection was later released as Radio Shack "AROUND THE WORLD IN 180 MINUTES").

TMS-107 All Tchaikovsky

TMS-108 Classical Workshop I, Berlioz to Ginastera

TMS-109 Classical Workshop II

TMS-110 [Classical Workshop III]

TMS-111 Classical Workshop IV Respeghi Pines/Fountains, Debussy Iberia, Strauss (this selection was later released as

Radio Shack "EVENINGS AT THE SYMPHONY", my how masters do get around!)

TMS-112 [STRINGS AND THINGS] Nigh and Day on TMS-S1

TMS-113 [LATIN LATIN LATIN] El Cid on TMS-S1

TMS-114 Dixieland Jubilee, Teddy Buckner

TMS-115 EVENING WITH RUSS MORGAN

TMS-116 THE BIG BANDS

TMS-117 [DANCE TIME] Medley on TMS-S1

TMS-118 [COUNTRY AND WESTERN FAVORITES] Frozen Heart on TMS-S1

TMS-119 STRING MOODS

TMS-120 [Jazz in Moderation]

TMS-121 Classical Workshop V Mahler Sym #5, Brahms Sym #1, Wagner

TMS-122 Classical Workshop VI Chopin, Strauss, Mozart, Wagner

TMS-123 [MASTERPIECES FOR PIANO]

TMS-124 [MUSIC FOR HARP AND FLUTE]

TMS-125 [CHAMBER MUSIC MASTERPIECES]

TMS-126 [DANCE MASTERPIECES]

TMS-127 Orchestral Masterworks

TMS-128 [SYMPHONIC MASTERPIECES]

TMS-129 [Surfing USA]

TMS-130 [STRING MOODS FOR LOVERS]

TMS-131 [STRINGS FOR MANY MOODS]

TMS-132 Moods from around the World

TMS-133 [POPULAR DANCE FAVORITES]

TMS-134 Sounds of Broadway

TMS-135 [THIS IS BROADWAY]

TMS-136 [Just Jazz ]

TMS-137 [POP ORGAN FAVORITES]

TMS-139 [MUSIC FOR COCTAIL DANCING]

TMS-142 [IT HAPPEN IN JAZZ AT MONTEREY]

TMS-143 [LATIN BEAT]

TMS-144 [MUSIC OF MANY MOODS]

TMS-150 TREASURY OF BELOVED PIANO FAVORITES

TMS-151 Somber Symphonic Moods, London Symphonic Orch, Wagner Good Friday, Beethoven Funeral March, Liszt Funerailles

TMS-155 PONCHIELLI: LA GIOCONDA

TMS-157 Puccini LA BOHEME, 2 hr

TMS-158 Cherubini MEDEA, 2 hr

TMS-159 [BRAHMS FOR LOVERS]

TMS-161 Genius of Haydn, horn/flute/violin concerto Sym #44, 70, 100, Divertimento "echo", Quartet "lark"

TMS-162 400 YEARS OF CLASSICAL GUITAR

TMS-163 [WORLD'S GREAT VIOLIN CONCERTOS]

TMS 6x 807 The Best of Music for Dancing, 6 Hours!!

 

One Hour Programs

TMS-60-05 Dixieland USA, Larry Fotin /Blue Chips

TMS-60-10 Introducing the Dave Miller Trio

TMS-60-12 Jack Wilson Meets Charlie Barnet

Everest also offered pop music on tape. The entire Beethoven symphony series with Krips conducting was issued on the Concertape brand of classical and pop music.