The Komp [Explicit Lyrics]

Track Listings

1. Intro

2. Real in These Streetz - T-Nutty

3. Its on Again - Vest,

4. Niggaz Like Me

5. 6-1-9-1-6 - Luni Coleone,

6. Problemz

7. Diggin Ya Girl - Boss Hogg

8. Gutter Shit - Messy Marv

9. How Many Times - Shuga Shaft

10. Dipped the Most - Boss Hogg, ,

11. Been at This - Mac Dre,

12. Do the Damn Thang

13. They Dont Know

14. This That Knock

15. No More Lies - Audra,

16. Never Change

17. Outro

The Komp,Various Artists,Paid in Full Ent,Pop,Rap & Hip-Hop,Rap Collections

The Komp [Explicit Lyrics]

Average customer rating:

For Sheer Energy and Propulsive Drama
I liked it, but clearly this is not for everybody
The worst ever Phillips???
A Scheherazade that evokes mixed feelings
Dear Scheherazade . . .

Scheherazade
Rimsky-Korsakov , Levitin , Komp , and Gergiev
Manufacturer: Philips
ProductGroup: Music
Binding: Audio CD

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ASIN: B00006GEKG
Release Date: 2002-10-08

Customer Reviews:

For Sheer Energy and Propulsive Drama.......2006-11-18

Valery Gergiev is a dependable conductor: if there is staginess and drama to be found in any work he elects to conduct, those elements will dominate. In this rather lengthy old warhorse that sort of approach generally works. Gergiev manages to drive this Scheherazade more like the ship tossing episodes than the dreamier ones, but the sound is never less than exciting.

Many other conductors use this particular work as a showcase piece for their orchestras, giving every section moments of grandeur and the spotlight for virtuosic playing in solo moments. Such was the case in a recent performance with Rafael Fruhbeck de Burgos unraveling this richly orchestrated score with the stunning Los Angeles Philharmonic in the glory of Disney Hall. Never before has this work been presented with such clarity and such perfect execution of the solos from the first desk violin and cello to the woodwinds to the percussion section including the harp. Such an exhilarating performance justifies why this old warhorse survives in the concert halls today.

There are many, more subtle recordings of the Scheherazade available, but when coupled with works by and Balakirev as Gergiev has elected to include on this CD, this is one more item to add to the library! Grady Harp, November 06

I liked it, but clearly this is not for everybody.......2005-08-19

The arguments for & against Gergiev's interpretation are totally valid, and for those who like their Sheherazade in a more traditional vein are advised to avoid this recording like the plague. Normally, I would have counted myself among those traditionalists, but upon repeated listenings, I found myself liking enough about this recording to recommend it with reservations.

I can see why people would hate the closed-miked approach here. One has to be prepared to turn down the volume in a hurry at points, as the sound will absolutely blast you, not always with the best results. Some listeners may not enjoy listening to the keys clacking during various woodwind solos. This is very much dependent on personal preferences --- I cannot say that it bothered me much, but this is coming from someone who spent more than a few years playing in symphonies, so it is a sound to which I am accustomed.

The tempo overall is much more a bone of contention. Three movements played at an almost glacial pace are then followed by the a fourth tableau played at amazlingly break-neck speeds. I found the slow tempo to be disconcerting at first, but I rather like the fact that Gergiev & his soloists can explore the nuances of the music more fully than would normally be the case. At times, the music had almost a French quality to it, which I have never heard before with this piece, but strangely enough, it works. The ballet background of both conductor & orchestra may have much to do with the slower tempo.

The fourth tableau is nothing short of spectacular. One reviewer noted that the various orchestral sections seem to be outrunning the others, and at first glance, this would seem to be the case. However, when I sat and listened carefully, it sounds as though everybody really is playing together, just faster than hell. The brass section is absolutely spectacular in the finale, make no mistake about it.

The other two pieces are strictly filler and need little comment, other than to say that the Balakirev is just junk, ample evidence that the man was, on his best day, perhaps a third-tier composer, and probably not even that. Why such a ridiculous trifle as Islamey is even recorded these days is a true mystery to me.

Love it or hate it, this is definitely one of the more interesting Sheherazade interpretations to hit the market in recent years. It is strictly a matter of personal preference whether in fact you love it or hate it.

The worst ever Phillips???.......2005-02-09

First, I have been listening to Phillips recording for close to 25 years......even before CDs came out.

This recording (in the SACD format) has to be the worst recording I have ever heard. I bought this SACD in high hopes after his stunning Shostakovich Sym. No. 7 with Rotterdam/Kirov. That recording was made in De Deolen in Rotterdam. This horrible Sheherazade was recorded in the cavernous Mariinsky Theater.

The performance is okay, though not as fine as the superb RCA Living Stereo SACD of Sheherazade or my old redbook CD with Dutoit/Montreal (Decca). Gergiev's tempos are rather fast and I have to give KUDOS to the principal trumpet for some superb triple tonguing in the last movement of Sheherazade.

Despite some fine playing by the brass in the Kirov, I have to give this SACD only two stars. The sonics are absolutely too closely miked (like many Deutsche Grammaphons), boomy, and way too echoy. The particular engineers for this Phillips recording needs to take some lessons from the engineers from Decca who record the Concertgebouw in Amsterdam...those Decca engineers know how to deal with lively halls.

In fact, this recording was so bad, I no longer plan on buying Gergiev's Shostakovich Sym. No. 4 with Kirov. I only hope his recordings with the Vienna Philharmonic are better!!!

A Scheherazade that evokes mixed feelings.......2004-12-04

Having been an admirer of Gergiev's fresh and exciting Tchaikovsky Nutcracker, I found myself rather shortcharged after hearing his lacklustre version of Scheherazade. Despite the lavish praise that was heaped upon this version by the Penguin Guide, I found that it tended to suffer from Gergiev's mannered approach and lack of adreanaline and passion in the orchestral playing. Gergiev's performance also suffers from a cloudy and close-miked recording where one may not be able to hear the felicities and nuances of the orchestral playing because of the artificial reverb that counters the dryness of the acoustics. Nevertheless, Gergiev ably builds up climaxes slowly but steadily and keeps the architecture of Rimsky's sweltering music in shape.

Gergiev's performance begins with a lethargic rendition of the Sultan's theme, made to sound like a toothless tiger, and lacking in the menace and brutality it needs to convey its bloodthirsty nature. This is answered by Sergei Levithin's equally lethargic portrayal of Scheherazade, where her theme lacks the sinuous nature needed for her to be a seductive storyteller to the Sultan. The ensuing rendition of the first movement starts out slowly but steadily, but even so Gergiev swells the music and allows the performance to warm up when the full orchestra portrays the surging power of the sea. The Kalendar Prince movement fares slightly better, with confident orchestral playing and an exciting middle section with the sinister fanfare transformed into a march. The only demerit in this movement is that the sinister fanfare, when first introduced by the trombones, sounds like a toothles tiger and is unable to alarm the listener. The slow third movement should at least - and more fortunately - be considered a high point of the performance. Despite a slow beginning, Gergiev allows his players to shine and allows this movement to sound radiant, making for a seductive clarinet portrayal of the Young Princess and a jaunty-sounding rendition of her central theme. Gergiev's rendition of this movement is also noteworthy for the detail in the orchestral playing and for its ecstatic-sounding coda. Then, in the lively Festival at Baghdad finale, Gergiev adopts the most breakneck speed I have ever heard for this part of the work, with the Kirov Orchestra playing it until it tingles with adreanaline. At times it sounds rushed and in need of a little precision and slickness, but its only problem is that the weightless Shipwreck section makes it somewhat anticlimactic after all the excitement during the Festival. Nevertheless, Gergiev ends the work serenely and peacefuly.

The two short fill-ups benefit more in this recording, because they are given less mannered perofrmances. Nevertheless, they provide interesting couplings to Scheherazade by allowing the listener to get a taste of the Russianised Orientalism that existed before Scheherazade was written.

Overall, I wouldn't say this is an outstanding recording of Scheherazade because of its checkered effect, but at least it can't be as abominable as it is perceived to be. True, it can't top the Mercury Living Presence version with Dorati and the Minneapolis Symphony Orchestra, but at least it has some worthy merits that allow it to stand on its own.

Dear Scheherazade . . ........2003-09-13

Conductor Gergiev gives a straight-ahead, vigorous and, in the finest moments, artful interpretation of the beloved Scheherazade. I'd like to stress something : It is NOT Gergiev's fault if the recording is somewhat "muffled" or doesn't boast the last word in clarity. The crucial crescendos and orchestral torrents are lacking bits and pieces in dynamic range ; still, the somewhat flawed recording doesn't mar the strength and beauty of the performance, for this is a superb Scheherazade (hence my rating is based on performance alone).

The Kirov members play their hearts out in a most exquisite rendering ; music seems to flow naturally from these Russian forces. They bring back Rimsky-Korsakov in his own territory. The solo violin doesn't sound too spectacular or obtrusive and is not quite up front, as is often the case, letting someone envision a "feminine touch" (it reveals delicate harmonies and it "sings" melodically without being exaggeratedly romantic). Gergiev implies momentum without boosting the music in a deliberate fashion as did Bernstein (NewYork) in an however powerful recording. I still prefer Gergiev's approach which seems to carry more attention to detail and, in the end, tends to sound in a more efficient way.

Other than the present Gergiev (or Bernstein), there's a lot going on with Scheherazade. My favorite records come from the exceptional Fritz Reiner (Chicago), Mario Rossi (Vienna) in an early stereo LP produced by Vanguard, Kiril Kondrashin (Amsterdam) and the honorable Ormandy from Philadelphia. Bernstein's affair is a crude, typically supercharged account. Rossi is an old Vanguard Stereolab from the primeval days of stereo and is almost impossible to find on CD : Too bad because Rossi brought a most beautiful, warm and colorful interpretation, along with the big and luxuriant violin tone of Myriam Solovief (soloist for that session). Kondrashin's a classic in the catalogue--and rightly so--for numerous reasons, it's still one of the finest Scheherazades on disc.

Among the latest recordings to watch, besides the Gergiev, the excellent Mackerras (LSO) and Spano (Atlanta), both on Telarc, are front-runners. Beecham (RPO)--reissued by EMI--will always remain one of those great accounts. I've been rather deceived by the recently reissued Ansermet on Dutton (harsh sound, and a rushed performance that leaves me unmoved) and assume his later Suisse Romande is to be preferred. I also like a recording i own by Anton Nanut (in Slovenia) : Good sound and a more than decent interpretation.

In conclusion, i recommend this CD quite a lot, in spite of a few minor caveats as regards sonics. The accompanying Borodin and Balakirev are very good fillers ('Steppes of Central Asia' is played splendidly), though the star is the ever fascinating and lovely Scheherazade.

*****

Average customer rating:

Komp 104.9 Radio Compa
Akwid
Manufacturer: Univision Music Grp
ProductGroup: Music
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Akwid continue their winning fusion of hip-hop, norteno and banda on their sophomore album. Hip-hop is the strongest flavor: Akwid's music essentially is hard-core rap flavored with banda's big-horn instrumentation. The 20-track CD is designed as a concept album, a "radio show" that features DJs, commercials and, of course, all Akwid music. Norteno singer Lorenzo De Monteclaro duets on "Mi Aficion," while tropical grupero Rigo Tovar guests on "Como, Cuando y Donde." Akwid also tackles Juan Gabriel's ballad "Tu Mentira," reworked as a rap tune featuring singer Cesar Serrano of the banda group German Lizarraga y sus Estrellas de Sinaloa. Akwid is on the leading edge of a new music movement known as urban regional. While it has been slow to catch on at radio, it is building momentum as evidenced by Akwid's top-selling debut CD Proyecto Akwid. According to the Recording Industry Association of America, the CD has certified sales of more than 200,000 copies in the year of its release: 2003. --Ramiro Burr