Tag Archives: Perfect Giddimani

A bomb from Perfect Giddimani and Irie Ites

PerfectGiddimaniReggaeFarmWorkOn Perfect Giddimani’s ninth album Reggae Farm Work he has teamed-up with Irie Ites – one the toughest and best production crews around. They have been working with Perfect Giddimani for a number of years and finally a full-length album has materialized.

This album is Perfect Giddimani’s best since Back For the First Time, released in 2011. And they are musically miles apart. Where Back For the First Time was soothing, breezy and beautiful roots, Reggae Farm Work is much of the opposite. It’s fierce, dark and uncompromising contemporary rub a dub with influences ranging from hip-hop to dubstep.

Perfect Giddimani tackles and rides a number of Irie Ites’ baddest riddims, including a devastating new version of their infectious Roots & Culture riddim and the dread hip-hop tinged S.T.F.U complete with strings and curse words.

The riddims – powered by a number of muscular musicians such as Errol “Flabba” Holt, Leroy Mafia, Fluxy and the late Style Scott – take no prisoners and Perfect Giddimani is as expressive as always with his highly unorthodox delivery.

A striking and innovative album that drops like a bomb.


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Perfect Giddimani’s wild mix

Perfect-Giddimani-Better-Off-Dread-Album-ReleaseThe eccentric Perfect Giddimani showcases his extensive spectrum of styles on his latest album Better Off Dread, a 14 track set with production helmed by a number of different producers from around the world – House of Riddim, Weedy G Soundforce, Dreadsquad and Sly & Robbie, to mention a few.

This is his ninth album and it’s a wicked and wild cocktail of roots reggae, rock, pop, dancehall and hip-hop. And over the course of the album’s 14 tracks Perfect sings, raps, deejays, shouts and whispers. From total aggressiveness to sweet pop choruses and back again.

He also uses lyrics from Yellowman’s classic Nobody Move, Nobody get Hurt, borrows the melody from 80s monster smash hit We Are the World and relicks Augustus “Gussie” Clarke’s mighty Rumours riddim.

But that’s not all. He also makes rock-inspired dancehall as well as mento-inspired ditto.

Certainly this eclectic album would have been even better off without a few tracks. But one thing is sure, it never gets dull or boring.

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Perfect Giddimani is as unpredictable as always on Over the Top

disc-3140-perfect-giddimani-over-the-topJamaican fiercely well-dressed singjay Perfect Giddimani returns with another European produced effort following two albums handled mainly by U.S. producers.

This time he has teamed-up with Austria’s top notch production team House of Riddim, responsible for several smashes in the past years. Over the Top collects 20 tracks built on live instrumentation with some additional drum machines and synths.

Perfect’s style is something of an acquired taste and will probably take a few moments to fully appreciate. He balances between high-pitched singing and ferocious and hot-tempered deejaying.

Over the Top contains lots of singing, which suits the mostly smooth and slick backing quite nicely, even though I’ve always preferred Perfect’s deejay side rather than his singing. He has a way of feeling out of control and he’s just as unpredictable as the weather here in Sweden.

It can be confusing, but at the same time interesting. It keeps the listeners on their toes and wondering what will happen next. Just check his yodeling-like singing on Never Fail. I didn’t see that coming.

Over the Top is a strong set. Not as great as Back for the First Time, but way better than last year’s Journey of a 1,000 Miles.

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It isn’t perfect

For the second time in a row the fiercely intense singer/deejay Perfect Giddimani has collaborated with U.S. based producers for an album. Last year Zion I Kings helmed the production on his beautiful and soulful Back for the First Time, while MG and Dan of Seattle’s Dynasty Records are responsible for producing his brand new studio album Journey of 1 000 Miles.

It was recorded in Jamaica and Seattle and its 16 tunes offer a variety of styles – contemporary roots reggae and dancehall, pop, hip-hop, R&B and bland electronica fight for your attention.

Unfortunately only the reggae tracks are well-above par, while the detours into boring electronica, hip-hop and R&B don’t measure up to the same level.

The title track and vegetarian anthem Dinner Time – with its melody borrowed from Michael Rose’s classic Guess Who’s Coming to Dinner – are some of the highlights. The closing tracks – Happy and Coming Home – are sort of music you’ll hear on mainstream radio. Coming Home might grab your attention since it has the same chords as Bruno Mars’ smash hit Just the Way You Are.

Perfect has with his albums Born Dead With Life, French Connection and Back For the First Time already proved that he is a talented and versatile artist, equally at ease with the urban, rootsy and soulful sounds.

Journey of 1 000 Miles is not a bad album and it might have been a good try to venture into new genres, but Perfect should stick to what he does best – reggae and dancehall.

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