You Know What They Say About Karma: A Review of Karma by Perfect

As I always say in respect to Reggae music and music as a whole actually: One of the most interesting things that exists is the watching and listening to the actual development of a young and up and coming artist. Particularly when the artist ends up ultimately sticking around and making a fine career for themselves, I just find it so interesting to go back into a timeline-like way and see and hear the tangible progression of the artist and his/her abilities. Speaking specifically in terms of Reggae, one of the most fascinating examples today would DEFINITELY be the case of Assassin. Originally, the artist who emerged in the ‘shadow’ of the incomparable Vybz Kartel, has now (VERY) arguably grown to be even stronger than his infamous ‘classmate’ and he STILL is relatively young and still shows further TANGIBLE signs of development such as his recent adoption of the new ‘Agent Sasco’ moniker as an artist within an artist who promises to show a more cultured and socially aware version of the WICKED Assassin (although I though he was doing a pretty good job of that on his own). Also, I’d mention the DIVINE Alaine, who didn’t figure to have very far to go in terms of becoming the completed article, however, what she has shown is a rather SLIGHT, yet noticeably perceptible improvements in her songs which made pretty much EVERYTHING she has made within the past year or so a virtual ‘can’t miss’ type of vibes. Assassin, Alaine and others, such as Tarrus Riley, Mr. Peppa and ESPECIALLY Natural Black notwithstanding, unfortunately there are some examples which show the exact opposite in terms of development. The PRIME example of this developing in the opposite direction, would DEFINITELY be Turbulence. Unless/until Turbulence once again CONSISTENTLY shows the promise which he showed very early in his career, I have to consider him a ‘bust’ (in sports terminology) as following a background, a ‘musical bloodline’ and a potential career trajectory which seemed to portend an existence and more importantly a SKILL mirroring that of former label mates Sizzla Kalonji and Luciano, Turbulence’s vibes have been literally soaking in mediocrity for the most part. Aside from the occasional decent tune on the (typically European) occasional Roots riddim, Turbulence has seemingly spent the majority of his time crafting very AVERAGE lover’s tunes which don’t make much of an impact and even if they do, they just aren’t really that good as his MAMMOTH tune Notorious (which would have been exactly something along the lines of what I would have predicted for him) fades further and further into memory. And while Turbulence isn’t the only one; I’d also point to the likes of Determine and MAYBE even Gyptian as artists who didn’t seem to develop in the right direction, at least not for my tastes, however, Turbulence does remain the clearly best (or worst) example.

Or does he? I have to ask the question because I have NO IDEA what’s been going on with Perfect as of late. A few years back when he first bust out on the scene I was so high on the ST. ANN(!) native as, despite sharing a common birthplace with me, Perfect was just DIFFERENT! I make the point of saying (not in the disrespectful sense) that he gave me the impression of a POWERFUL Roots Reggae artist who seemed to be struggling with Tourette Syndrome as he FULLY reserved the right to be singing a tune or just straight chanting a tune and just EXPLODE without ANY notice at all. He did that at the same time while being quite versatile in singing tunes and delivering something like what would still be his finest tune in my opinion, the SUBLIME Handcart Bwoy; or just straight going through with a DJ style such as on the FIERY No Badda Mi. I wasn’t the only one impressed OBVIOUSLY as he gained quite the following and was one of the more impressive artists in a ‘class’ (respective of year) which included the likes of Fantan Mojah, Jah Mason, Chezidek and the aforementioned Turbulence. He also gained the attentions of people who could put him in position to do work as far as internationally and he spent quite awhile (and remains that way apparently) as one of the most active artists in the game, touring all over the world and, of course, voicing for some of the most popular and talented producers. He also mixed with quite a few labels which to date have provided him with three album releases. The first was a region specific (I think it may have been a Euro release, or even a Caribbean release) (or a very very popular promo) release by the name of Rasta Rebel which was back in 2006 and it featured the majority of his big hits at the time. That same year he OFFICIALLY debuted to ears everywhere with the very well done Giddimani album which would have been his coming out party to an extent and was very well received as it actually featured much the same lineup as Rasta Rebel. And after Giddimani made its rounds between labels in two (SLIGHTLY) different forms, last year Perfect returned with his most high profile release to date, the overrated and over-publicized ‘concept album’ Born Dead With Life for (STRONG) Austrian imprint Irie Vibrations. That album marked the heights of the current bad streak that he seems to be on as either my tastes have changed or Perfect just isn’t what he used to be. Gone, for the most part, is the ‘freshness’ he once had and its not that I’ve grown used to hearing it, its actually CHANGED in my opinion and his quality output has grown further and further in between. That being said, when I heard of his forthcoming next release, Karma, on his own Chalice Palace label, I wasn’t too enthused although, of course, I’d still feel inclined to pick it up (I bought Turbulence’s last album too and I’ll probably buy his next one). Karma is essentially a compilation of tunes Perfect has made within the past few years and a few I don’t recognize AT ALL. More importantly, however, it is a PHYSICAL example of what hasn’t been going right in my opinion with his music over the past few years and while for the past year Born Dead With Life has reigned supreme as Perfect’s worst album to date: Things have changed.

The actual depletion point to which I say that Perfect isn’t as good as he used to be is that he seems to have LOST his edge. Much like Turbulence actually, he seems to be going after these lover’s pieces which suit him to a degree but he does so at the submission of making quality fiery Roots material which, in my opinion is his best vibes. Exhibit A would be the first tune on Perfect’s new album Karma, Questions. I don’t say this about many tunes that I hear but Questions is just BAD! Over an acoustic set which is one part country and two parts folksy, the tune is a really depressing and ultimately USELESS lover’s piece which sounds like something out of a 1980’s date movie. Maybe if you’re a female you’ll appreciate (my wife doesn’t seem too fond of it either) the tune but I DON’T, even as he lifts up the vocals later in the tune, the whole he is digging seems to do nothing but get wider. BAD opening. Things look up, but not very far, on the next tune, Drama which is the first of two official combinations, this one featuring solid singer from out of St. Mary’s, Geoffrey Star. This one is a pretty good, but decidedly unspectacular, tune about the two artists fighting over a woman and I’ll give all credit to that SWEET riddim but the real attraction here after it is Star who is a very nice singer to keep an eye out for (supposedly working on an album with wonder-producer Scatta) and not Perfect. Unfortunately, things are back to normal on Karma with the next tune Broken Promises which features Perfect, yet again, lamenting over a lost woman. This one definitely has a SWEET vibes and, for what it is, its probably one of the better such vibed tunes on the album altogether, but that’s in the context of this album. In the context of just being a song by a very talented artist, its just not that good. A very SOUR beginning in all.

Unsurprisingly, tunes like Son Of Jamaica, Born & Raise (alongside Zareb) and other VERY recent releases from Perfect which I’ve actually liked and haven’t made it to one of his albums as of yet are ABSENT from Karma (like I Smoked A Spliff! YES! I liked that tune dammit!). Instead, he fills in the spaces with (SHOCKINGLY!) (not so much) further back tunes which I didn’t exactly like much because they seem to stick closer to the relationship theme of the album. Like Rainbow (which is actually mistaken for Miss You Baby on the digital copy), his DECENT effort from a few years back on the famed Lava Splash (aka Lava Ground, thanks to I Wayne) riddim from the Loyal Soldiers camp. The less than stellar Like To Get You Wet on the Sweet Sop (aka the Lucky You, thanks to Nanko) would be another example of this as would Can’t Get Enough. Can’t Get Enough is a special case as I actually DISLIKE the tune, it was, by far, my LEAST favourite tune across one of my favourite riddims of recent years, Danger Zone’s SPARKLING Jam Down. None of that really works well AT ALL. The class of Perfect’s relationship (or relations-tugboat as Busy Signal might call it) album Karma is the recent tune for Irie Vibrations, Rasta Loving which features the BLAZING Dutchie Reggae princess Mischu Laikah. This tune isn’t really EXCEPTIONAL actually (in what little we’ve heard so from Laikah, I’ve ALREADY heard better) which would tell you about what’s going on here but its pretty good and the two have grown to vibe and gel together really really well and Rasta Loving is surely an example of that but it will just as surely get better. I’m also somewhat high on the tune Living Without You but I’m fairly certain that its because of that riddim which frustratingly escapes my mind now but I LOVE that thing. And further more my tastes for the tune drifts when Perfect does chime in but that vibe on that thing is SWEET and not to be missed (just hope you can find a better tune on it). Also, the aforementioned Miss You Baby (again, mis-titled as Rainbow) isn’t HORRIBLE actually and its EASILY one of the best tunes on Karma altogether (and if you wanted to call it the best effort here, I’m not going too far to argue with you), but again, I wouldn’t so much look at it as a STRONG song in and of itself really. Back to the norm for Karma: Check (or don’t check) the tune Gold Digger which starts surprisingly well before drifting below mediocre right around the second half of the first verse and DEFINITELY by the TERRIBLE chorus. I don’t remember hearing that tune from anywhere and I probably won’t remember it here either. Hopefully the same could be said for the downright CORNY Always Love You. This one is another attempt at the acoustic vibes and even though its better than the opener (which isn’t hard to be) it’s still FAR from being a decent tune in any way, shape or form to be honest. And as Karma winds down, unfortunately things don’t get much better, beginning with the old school vibed So Much across the lovely Tune In riddim and with that. . . Odd approach Perfect takes on the tune, the Tune In is the only lovely thing about So Much. And the mysterious and once again country sounding title track (which I don’t remember hearing AT ALL) is also down here and its really just another BAD song (especially check that thing which is apparently supposed to be the chorus). Karma sets the table for the fittingly odd remix of Shoulda Neva. Now this song, had it come in its original form, across Kemar McGregor’s WICKED Triumphant riddim, it may have given Rasta Loving a bit of a run for the best tune here, but this predictably ‘off’ remix drains it of much of its quality and you know what? I wouldn’t have expected anything different for the ending to this one.

Overall, there are a few things going through my mind about this one: The first is to re-mention that despite the fact that I was (deservedly) hard on him, Perfect has been seemingly righting the ship. I can’t say that in terms of quality he is back at what he used to be, but with recent tunes like Son Of Jamaica and Love We Need (alongside Zamunda and Junior X) I have been listening and liking. So that being said, what do both of those and the other tunes that I mentioned have in common with each other and NOT with Karma? They’re not love tunes. For all of Perfect’s inconsistencies (some of which are IMPRESSIVE actually and give him his NATURAL originality to a degree) perhaps the most glaring of them all is the fact that he just can’t work his best magic on love tunes. Even going back to Handcart Bwoy, while it was DIVINE (and it was) it wasn’t a typical boy-meets-girl-and-falls-in-love type of a song, on the concept alone it had some social ramifications to its magic. Karma doesn’t have that and because it doesn’t I can’t recommend it to hardly anyone. It kind of reminds me of Sizzla’s album from 2008, Addicted. However, where Sizzla has built his legend around musically (and sometimes physically) doing strange stuff in between his acts of brilliance, Perfect hasn’t done that yet. He is frustratingly capable of BETTER as he has shown but with pieces like Karma, you’ll be left wishing for the ‘old Perfect’ from not that very long ago.

Rated 2/5 stars

Chalice Palace/Zojak Worldwide

2009

Perfect @ Myspace