The Libertines The Libertines

A collection of hit tracks that wooed and wowed the charts during a specific and exciting year in Rock and Pop history. The phrase Top Of The Pops was not only a long-running music television show in the UK, but also a term that meant that a release was a certified hit!

Blondie (The Good) is a professional gunslinger who is out trying to earn a few dollars. Angel Eyes (The Bad) is a hit man who always commits to a task and sees it through, as long as he is payed to do so. And Tuco (The Ugly) is a wanted outlaw trying to take care of his own hide. Tuco and Blondie share a partnership together making money off Tuco's bounty, but when Blondie unties the partnership, Tuco tries to hunt down Blondie. When Blondie and Tuco comes across a horse carriage loaded with dead bodies, they soon learn from the only survivor (Bill Carson) that he and a few other men have buried a stash of gold in a cemetery. Unfortunately Carson dies and Tuco only finds out the name of the cemetery, while Blondie finds out the name on the grave. Now the two must keep each other alive in order to find the gold. Angel Eyes (who had been looking for Bill Carson) discovers that Tuco and Blondie meet with Carson and knows they know the location of the gold. All he needs is for the two to lead him to it. Now The Good, The Bad and The Ugly must all battle it out to get their hands on $200,000 worth of gold.

The last months of Jesse James's life, from meeting Robert Ford, a 19-year-old who idolizes Jesse, to the day Ford shoots him. Jesse's a wanted man, living under a pseudonym, carrying out a train robbery, disappearing to Kentucky, and reappearing to plan a bank holdup with Robert and Robert's brother as his team. The rest of the gang is dead, arrested, or gone from Missouri. Whenever Jesse's around, there's tension: he's murderous, quixotic, depressed, and cautious. Ford wants to be somebody and wants the reward. On April 3, 1882, things come to a head: Jesse is 34, Robert 20. Ford becomes famous, reenacting the shooting on stage, facing down the label "coward," shot dead in 1892.

Great Conductors of the 20th Century celebrates the so many superstar performers of the last century, conductors who collectively shaped the course of classical music.
Sixty volumes were planned with hopes for even more. Unfortunately it seems that only forty will be issued. Thus, rather than a proud celebration of the full wealth of this keystone of classical art, the truncated result is tinged with regret for what might have been.