Also at home in the US several recordings, supervised by Laszlo Halasz, were made with pianists Jorge Bolet, Edward Kilenyi, Alec Templeton and duo-pianists Luboshutz and Nemenoff, and with the Cincinnati Symphony and their conductor Thor Johnson. He also supervised the recordings made of the Helsinki University Chorus when on tour in the US in 1953.
There is one remarkable fact: the recordings with Thor Johnson and the Cincinnati Symphony performing Dvorak's 4th (8th) Symphony, Sibelius's "The Origin of Fire" with the Helsinki University Chorus and "Pohjola's daughter" were all done in stereo. Don Gabor and recording engineer Robert Blake already experimented with recording in stereo in 1953, well before RCA did.

These recordings were however released in mono and regrettably were mastered from a bad copy of the original tape which was made at low speed by Gabor himself.
Had he paid attention to quality, the company could have established itself as quite important. Not only in view of the repertory of American music which the orchestra of Cincinnati put on record: Gershwin's Concerto in F played by Alec Templeton, Leon Stein's "Three Hassidic Dances", Robert Ward's Symphony No. 3, Henry Brant's Saxophone Concerto, but also because of the other recordings made with Thor Johnson as a conductor: Dvorak's Fourth Symphony and Tchaikovsky's Second Symphony.

Yet Don Gabor had a feel for quality, but on a different level. Important to him were the attributes. When RCA introduced the groove guard (gruve guard), which not only protected the record grooves when sliding the disc into the hard cardboard cover and when taking it out, but saved an important amount of vinyl, Gabor was the first to have his records pressed the new way. He actually was the first to introduce a plastic bag to protect the record. Initially the bag had a printed text. Later on plain sleeves were used. Columbia followed this fashion and introduced their plastic sleeves with the Columbia and stereo logos printed on it. The text on the plastic inner sleeve read:
"This plastic envelope will protect the Full Dynamic Range, Balanced Sound and Laboratory Tested High Fidelity of this REMINGTON RECORD". These words speak for themselves and were solely intended to impress the record buyer by promising a quality that really was not there.

To accentuate the new MUSIRAMA quality Don Gabor had stickers printed in gold and black. The text on the sticker read: "Factory Sealed", giving the impression that all possible care was taken to offer a high quality record to the consumer. Other manufacturers followed that idea, afraid as they were not being seen as caring for quality at the same level and to miss attention. London records, for instance, had little silver stickers printed and they adorned many covers.
Gabor used the stickers also to seal the inner sleeves, sometimes to the dismay of the record collector because stickers could accidentally stick on the record's surface. We must admit that some of the new Remington Musirama recordings were of a rather high technical standard and the possibility was there to gradually improve standards and to continu the label eventually as a quality label.

The later pressings of the newest MUSIRAMA releases had red and later blue labels in the same style. Then the pressings were lighter in weight which was more economical and was feasable because of the application of the groove guard. The sound does also differ. The early heavy black label MUSIRAMA records were cut using different electronics with a more tangible sound. The lighter red and blue labeled pressings had a somewhat thinner, less appreciated sound quality.

Near the end of the existence of the Remington label the design of the cover was changed once again. Now the Remington logo was smaller and not placed any longer at the left border of the covers. The MUSIRAMA triangle remained. The latest recordings had Anatole Fistoulari (Tchaikovsky's "Francesca da Rimini" and "Theme and Variations from Suite No. 3" - R-199-203), Leopold Ludwig (Hindemith: Mathis der Maler - R-199-209), Otto Matzerath (Schumann: Symphony No.2 - R-199-213), and Eugene(Eugen) Szenkar (Stravinsky: "Firebird" and Prokofiev: "Classical Symphony" - R-199-212; Szenkar's recording was made with the Düsseldorf Symphony instead of the RIAS orchestra).

An important aspect of Gabor's marketing strategy always was to have a second, or even a third and cheaper label. Plymouth was the important second label Don Gabor exploited simultaneously with Remington. The releases on Plymouth mentioned different names of orchestras and often omitted the names of the conductors, but the performing soloists were mentioned.
The same recording of Beethoven's 5th Concerto played by Felicitas Karrer and conductor Kurt Wöss with the Austrian Symphony Orchestra appeared on Plymouth as being performed by Felicitas Karrer and the Vienna Tonkünstler Orchestra. No conductor was mentioned.

The same procedure was followed for other recordings like Rachmaninoff's 2nd Concerto by Karrer and Wöss. The name of Wöss is omitted on cover and label. The orchestra is again the Vienna Tonkünstler Orchestra. It is not clear if the recording of violinist Walter Schneiderhan and pianist Erich Berg performing Beethoven's "Kreutzer Sonata" on Plymouth P 12-21 was also released on Remington. A few releases appeared only on the cheap Plymouth label. One of these was a recording allegedly by the Linz Symphony (no conductor named) of short pieces by Haydn, Arne and others.

In the first years of the company's Lp business there was also the Merit Records label.
Proof of its existence at the time is the recording of Frieda Valenzi's performances of Brahms' "Schumann Variations" and Schumann's "Fantasie" on "Merit Popular Classics" with reference number M-200-28 as it exists in Frieda Valenzi's own collection. Most Plymouth releases had both the Plymouth as well as the Merit logo placed in the left upper corner.

At left and below early Masterseal recordings from 1951 of Fritz Busch and Vittorio Gui respectively.

See Remington advertisements.

When a Masterseal record in a stylish gatefold cover was released to commemorate the deseased conductor Fritz Busch, Don Gabor printed on the inside that the record was a production of International Masterworks Inc. Columbia records objected to the use of the mention of International Masterworks Inc. which was not only misleading, but was unlawfull. Columbia also argued that the label's name MASTERSEAL was confounding the record buying public with MASTERWORKS.

Although the early gatefold deluxe editions were not seen as a threat by Columbia as they were few, when Gabor introduced the later series around 1957, there was a lawsuit and Don Gabor finally had to give up the name. He surely had not reckoned with the fact that he had to give up Masterseal on such a short notice when he revived it. In order not to start over, the discs were released without the proper Masterseal logo and label and instead the old Remington Musirama label was used as a temporary measure. Masterseal was finally disontinued and other labels were created. The same happened when David and Samual Josefowitz of Concert Hall Society recordings introduced their subscription label Musical Masterworks Society. They were not allowed to use 'Masterworks' and the name was changed to Musical Masterpiece Society.

On some Paris and Palace releases names of orchestras and performers were not always mentioned correctly. The object was of course to divert the buyer and give the impression that the recording differed from the earlier Remington or Plymouth discs. But it could as well be that Gabor avoided paying the artist and th original producer.

Hans Sailer conducts the International Symphony Orchestra in the Suite from Swan Lake Op. 20 (Tchaikovsky) while this probably is the recording of Jonel Perlea with the RIAS Symphony Orchestra. The disc features also the "1812 Overture" (Tchaikovsky) conducted by Hans Sailer. Comparing this release to the Masterseal edition of the 1812 Overture conducted by Kurt Wöss, it is clear that Hans Sailer is definitely not Kurt Wöss.
Another name is Jacques Fontanna who conducts the Viennese Symphonic Orchestra in Brahms's 1st Symphony, while here the conductor could be H. Arthur Brown from the early release of Brahms's First.

Kurt Baumann conducts Grieg's Suite No. 2 from the music to "Peer Gynt" and Liszt's 1st Concerto on PST-610. The Suite No. 1 can be found on Side 2 of Palace M-601 with on the first side Tchaikovsky's "Romeo and Juliet Overture". That is clever programming! Now the record company mentioned on the covers is Continental Records. But also Buckingham Records is used as company name, but the adress is the same: 630 9th Avenue.

After the introduction of the 8 track casette Gabor produced his own brand: Radiant. On it were bootleg recordings of among others Judy Garland TV Shows released. Gabor was sued and fined and had to pay for the illegal releases.
In the nineteen seventies 8 track stereo cartridges with the name Remington were also marketed.
That was actually the end of Don Gabor's life as a producer.
He died in November 1980. The company was sold. The new owner ran into trouble -as Tom Null told me- when he was releasing bootleg recordings and other material for which the rights had expired or had not been paid for, or could never have been owned. The FBI investigated and the new owner was convicted to serve a prison sentence. Rumours say that it was for other and not music related reasons that this man was convicted. In any case: most of the material was confiscated by the FBI. There are certainly some treasures stored in the vaults of the FBI. That is... if they have not been destroyed.