Wow!  Thanks for all the responses!:-) Raised a lot of ideas in my head.
Additionally, I got to sample the noted Sony Bernstein/NYPO recording,
as well as re-sample the Solti/CSO.

My take on the Solti hasn't changed.  As for the Bernstein, I came off
with some pretty firm feelings, particularly in regard to my favorite
1st and 2nd movements-- He started off well enough, with good unflinching
attacks, but in the romantic theme (is that the 'Alma' theme?), the change
in tempo for some reason struck me as calculated.  The same feelings with
regard to his tempo fluctuations throughout those 2 movements.  Did not
seem as though they were driven by emotion or inspiration, but rather
a matter-of-fact approach of "the tempo should change here, so I will
change it." It just didn't sound spontaneous.  Despite the seemingly
overwhelmingly negative attitude towards the Karajan recording, I still
maintain that his tempo swings DO sound spontaneous, natural, inevitable,
and, quite honestly, quite thrilling to me.

--Satoshi Akima came out in support of the Boulez.  I just re-sampled
the Boulez last night after having gone through all the newer acquisitions
(yes, I've been hoarding all my library's M6s;-).  I thought:  good blend,
good strong attacks, good clear recording...  but, just not "wild" enough
for me.  Really compare the transition to the Alma theme of the 1st
movement in the Karajan to the Boulez, and you'll hear just how much
free-er Karajan is with it.  For me the Boulez is just too straight.  I
also think I somewhat disagree with S-A's opinion that Bernstein takes a
heart-on-sleeve approach...  rather that the "emotion" just sounds too
calculated and manufactured.

-- Others came out in support of the Sanderling recording.  Not one I'm
familiar with, and honestly, not being too familiar with the conductor,
orchestra, or recording company, I'm a little timid to stray too far from
Penguin's list of notables.  Perhaps a further overwhelming swell of
support in its favor from more on this list may sway me?:-)

-- There was support for Barbirolli's M6.  I simply wasn't satisfied
with his M5...  been a while since I heard it, so I can't quite qualify or
quantify why, but I know I just wasn't.  If I remember rightly, though, I
think I was wanting of more menace and fury...  (I like my classical music
to either dazzle or kick ass!;-)...  and I don't think Barbirolli gave me
that.  My only other exposure to Barbirolli was a brief sampling of his
Madamma Butterfly...  and having lived with and loved my Karajan version of
this recording...  I came away thinking Barbirolli *blah*.  (I like a lot
of Karajan, ok? So to all the naysayers...  Nyeah!;-P) Thus my hesitancy to
pony up for Barbirolli's 6.  If I do find it at my library, however, and
get a chance to sample it for free, I'll give it a chance.

--And finally the Chailly recording...  All I can say is that the itch has
gotten stronger!  Sounds like it must be wonderfully recorded, and that
alone fires my interest, since I'm pretty sure that a dazzling recorded
sound plays a strong part in my liking a particular recording, especially
of music like this.  Great sound...  great orchestral playing...  nobody
on this list speaking ill of it...  and many speaking favorably...  I
juuuuuuuuust may!

--Steven Martin noted that the Chailly is not available in US retail
stores...  probably true...  but it can at least be had by import service
(at a store with a truly good classical section) or international mail
order, from the UK for example...  lucky for us!:-)

-- Finally, closing one of his posts, Tony Duggan mentioned an M5 that
beat all others? Which one?? Can't possibly beat my Chailly...  no...
impossible!  Well...  if I do see it in my library...  maaaaybe I'll give
it a listen.  I just can't imagine it though!;-)

Albie