Why are you fighting at all? . . . calm down. None of this is of any real importance and just continue to like what you like. Let others do the same.
By the way, I think Levine's Mahler is generally very good. I just don't care for his very loud timpani mikings, but that's just one detail. I think he's done the best recordings of M3, M4 and M7 with the CSO (M7 would be a tie with Abbado, I suppose [I prefer Abbado's Berlin remake]). I'm not crazy about Marilyn Horne in Mahler, but that's not a deal breaker. The M4 with Judith Blegen is quite good!
Although they are very well played, I'm not that crazy about his Philly M5, M9 and M10. That's just me - I think they're a tad heavy and slow. But they still have that Philadelphia factor. One of the 'pirate' M8 recordings I possess is the one Levine made in Boston when he first got there. It's very good.
As for Solti, I think he was better in his earlier years than in his later years. I saw Solti conduct once in the late '80s and, quite frankly, it wasn't good at all. It could have just been an off day for everyone, but nobody in the orchestra seemed to be paying any attention to his excessive flickering of his wrists. To me, his best overall recording is "Elektra" and, of course, his "Ring" is world famous. I prefer the Bohm/Philips "Ring", but I could easily live with the Solti. His first Chicago Beethoven cycle was quite good, as was his Brahms (including the Requiem). I don't care for him in Haydn, Schumann or Bruckner. But his Mozart is often times quite good and most of his Richard Strauss is very good. Solti did a fair amount of Verdi and I'm just not a big enough fan of Verdi's music to comment upon that. Obviously, Solti was a really good with Liszt and fairly good with Bartok.
As for Solti's Mahler, I think his earlier recordings are generally better. I think if Decca issued a box with his LSO M1/M2/M3/M9; Amsterdam M4, combined with the Chicago M5-M8, that would be a very good box, indeed, and would place his Mahler in a much better light for posterity. But let's be honest, his Chicago M2 and M3 are not very good, relatively speaking, while Kiri Te Kanawa is not a great match for M4 (an otherwise so-so recording, relatively speaking). His Chicago M9 is pretty good but suffers from early digital era 'glare'.
By the way, I feel somewhat the same about Bernstein - I generally prefer his earlier Mahler recordings with a few exceptions.
I'm not sure why I'm bothering to go on and on, GL. I have plenty of other things I should be doing. My opinions seem to really bother you, but I'm not going to alter them to make you - someone whom I don't know in the slightest - feel better. I think you should stick to your guns and not worry so much about what others think. That's good advice for life in general, don't you think?