The 37th State Compilation | Various Artists

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The 37th State Compilation is a contemporary Afrobeat album that
straddles elements of funk, hip-hop, and R&B. Incorporating a modern
bag of tricks production-wise alongside African percussion sounds and
superbly orchestrated horns, the music is the highlight of this effort.
While the grooves are always infectious and “in the pocket,” sometimes
overindulgence in length and ‘minimalist’ scope of The 37th State
Compilation takes away from it ever so slightly. Overall, the
compilation is one that is well produced and mixed, though not always
incredibly distinct in its material. It may be the fact that with two
separate discs (disc one is entitled ‘Departures’ while disc two, mostly
a remix disc, is entitled ‘Arrivals’), but it is a nice cultural
contribution with African heritage at its forefront if nothing more.

The album opens strongly with the “groove-tastic” “Fire” featuring
Keziah Jones. Well produced, the production is buttressed by a full bass
line. The main quibbles? The track is too lengthy and the musicians
overindulge into the same minimalist groove for over seven minutes.
“Leaving You” features Terry Walker on vocals (a nice breathy
performance) and legendary rap group Slum Village providing the rhymes. A
more enjoyable track than the opening “Fire,” “Not Leaving” lifts the
same groove from its predecessor, which may be its only drawback despite
its elite status.

“Best Bet” featuring Tony Allen differentiates the groove from the first
couple of cuts though the vocals are hard to decipher. “All Get Down”
featuring Ty is a highlight, for both its lyrical and production work.
“Invisible Hands” keeps the “Afrobeat” vibe alive, though the production
is the slightest bit too crisp – too mechanical if you will. “Mo Gba,”
featuring Lyric L and Infinite Livez is enjoyable, but at over eight
minutes, some edits could have made this pleasant track even more
effective. “Concentration” is the effort’s briefest cut – again
featuring Lyric L and Infinite Livez, packing a decent punch despite its
brief length. “Time” featuring spoken word/rap artist BREIS is
lengthier, but has more of the effect of ‘background’ as opposed to
‘forefront’ music. The enjoyable “Searching” featuring Giffy is more
distinct, but still suffers a lack of distinction.

“Alaye” featuring Tony Allen & Dele Sosemi features some exceptional
instrumental solos, not to mention the overall orchestration and sound.
“Ladies UK” featuring Elle Holland (vocals) and Giffy (rhymes) is one
of the best of the compilation, proving to be one of few tracks that
transcends mere groove in favor of some solid songwriting. That said,
“Ladies UK” lifts the same groove of “Fire” and “Leaving You” which
goes to the idea that this compilation at times could stand more
differentiation in sound.

“Tic Toc,” featuring Ikwunga is difficult to decipher as far as overall
‘scope,’ but it may be the album’s most interesting listen, enhanced by
it diverse production work. “Throw Away Your Hands” focuses on the
production more than BREIS’s rhymes (which are solid) while penultimate
cut “Why,” featuring Tony Allen, Dele Sosemi and Lisa Lore suffers from
its lengthiness. “Bombayjazz” closes the ‘Departures’ disc well with
exceptional instrumental work.

‘Arrivals,’ disc two, is mostly a bonus track affair with a number of
remixes, but there are some gems. “Found” opens the disc exceptionally
with a great uptempo vibe and superb and tasteful orchestration. The
interspersion of ‘African voices’ helps to make this track a highlight.
“Invisible Hands” is remixed on three different occasions here (all
unique) in addition to two remixes of “All Get Down” and a stellar,
hip-hop remix of “Leaving You” entitled “Not Leaving Wit Cha (Jimmy
Douglas Remix).” This disc does not really change the album after the
jam packed first disc – the main attraction – but it does provide some
extras that are worth the listen.

Overall, The 37th State Compilation is a great representation of the
modern Afrobeat album. Like most compilation albums, it suffers from
some sameness and overindulgence, but for the most part, if nothing
else, the conception is brilliant. It is great to see this music being
exposed to a new generation who may be unfamiliar with Afrobeat music or
even the African culture. And with Grammy-winning mixer Jimmy Douglas
at the boards, not to mention a slew of talent (BREIS, Lyric L, Slum
Village, Keziah Jones, etc.), it is worthwhile listen.

Brent Faulkner

The Urban Music Scene