Best Case Scenario: A review of Sibusiso by Perfect Giddimani

Roses. I'm not talking about the very first time that you hear a song from someone that you think is talented and has something about them that you want to hear and learn more of; but maybe after a few songs, a hit or even a full album from someone new to you, I tend to start projecting -- entirely incorrectly -- on just who they might turn out to be, musically. Almost immediately I'm thinking about them working with this artiste or that producer and going on some riddim from back in da' day. You can liken it to sports, where someone comes up and you start thinking of what they may do and, specifically, where they may end up or what they could do if paired with a certain team or coach. All of that stuff is going on in my mind, somewhere. Musicians are like the rest of us and many won't reach their full potential for one reason or another, some will and others still, will even "overachieve". While I don't think that I can make the case, fully, that today we're dealing with an overachiever (because he did show so much promise around his nascence but we're definitely going to look at someone who, as we examine it these days (or at any point over the past decade or so), has seemingly gotten every OUNCE out of his potential and capabilities. Keeping bona fide super stars out of the equation (because that's just too damn easy, isn't it?), I think of individuals who've charted similar courses with regards to their talents. The name, oddly enough, that immediately came to mind was Tiwony. Whether or not you've paid him much attention at all, at this point TIwony has had a FANTASTIC career. He's made some exceptional music and, at least in my opinion, has well established himself as one of the greats in all of modern Reggae music but on the French and FWI scene, specifically (and he's continuing. Check his new album, "Reggae Frequency"). Tiwony's was a name that came to mind especially because there hasn't been a point in his career since I've been following his work (twenty years now) where he has NOT demonstrated a high level of ability and though there may be levels of popularity that he will not touch, there is no one in Reggae today who enjoys a noticeable gap over him in terms of what they are capable of. Others such as Bugle and, of course, Lutan Fyah have CLEARLY made the most out of what they've been given, though each and every thing that they do may not have the widest reach (and the result of that is that you can HAPPILY find yourself going through their catalogues and finding EXCEPTIONAL work that you missed at released). 

Someone else who not only fits into that group and that I ABSOLUTELY LOVE writing about is the always compelling sitting King of the Chalice Palace, Perfect Giddimani. I've spent years describing Perfect as a kind of a volatile Roots Reggae chanter and I stand by that, still. What I mean by "volatile" is that he can be damn unpredictable in terms of what he's going to do with a song. You never really know what Perfect is going to do from verse to verse and he does have the aptitude to FLAME without notice and he is at least proficient with everything he tries. What results is an often thrilling brand of the genre and, even when he keeps thing toned down, still a very solid display of his skills. When you take that and put it with how I think most people probably initially came into contact with Perfect -- a little tune called 'Handcart Boy' from about two decades ago now -- I do not see how this gets much better on his end. Were you to have told me, back then, that I would be, in 2025, HAPPILY writing a review for album #whoknows (I really don't feel like counting). And while they haven't all been roses ("Karma" might just be THE worst album I have ever reviewed on this blog), Perfect has produced some BEAUTIFUL projects over the years and, apparently, the end of his reliability is not in sight. 

Remember this one???

Most recently was the lovely "Ah Mi Yard" from 2023. That set, surprisingly, came via the also ultra-reliable I Grade Records & Zion I Kings, but if you take a minute and go through the type of work that Perfect has done.... you run into gems and just SOLID pieces such as "Journey Of 1000 Miles" ["DON'T WORRY NOR PANIIIIIIIIIIIC"], "Back For The First Time", "French Connection", the debut, "Giddimani".... "Better Off Dread"... I could go on... "Over The Top"! One of the biggest and most satisfying products of writing reviews like this is that I have to do gather 'ammunition' to write them. I have to do some research and remind myself of certain things and, in doing so, I go back and listen through some of an artist's previous work and IT HAS BEEN SO MUCH DAMN FUN doing that in this case - refamiliarizing myself with some of Perfect's, perhaps, overlooked output (you'll find some DIAMONDS, buried on some random album from a dozen years ago ["RIDE OUT! RIDE OUT! Natty Dread ride out! With a big, fat, high-grade spliff inna mouth"]. Now, at the end of the first quarter of 2025, Perfect adds to his more than respectable lot with the latest addition to the catalogue, "Sibusiso [Blessings]". Like almost all of Perfect's recent work (in one way or another), "Sibusiso" comes via Giddimani Records, though production is handled by Sinky Beatz, with whom the chanter has been working extensively in recent times. Like much of the world with good sense, Sinky Beatz caught a  deadly case of Reggaemylitis ("it is incurable") (biggup Peter Tosh) and the Spanish born ace has made an outstanding contribution to the music, particularly finding a good level of chemistry with Perfect and, though I'm not sure about this at all, it would seem as if the plan was always to build towards releasing an album, given the amount of work they have done together over the last couple of years or so. Perfect has been afforded (and deservedly so) the opportunity to work with many of the finest in production in Reggae during his career but he has clearly struck a chord in working with Sinky Beatz. How do I know that? Let's talk about "Sibusiso".

Going through so many of those old albums in research for this review - and it occurred to me JUST HOW MUCH I've actually written about Perfect's music over the years. Off the top of my head, without reading some of those reviews, I don't even remember writing some of them (evidence of my senility??) but once I actually dive into the material, it gave me this BEAUTIFUL nostalgic experience, going through some of the classics. Perfect Giddimani now attempts (....he succeeds) in adding to that lot with his brand new release, "Sibusiso", which comes out swinging with a pair of its heaviest hitters. The first, 'Another Marcus Garvey', SOARS. I absolutely loved this tune because of the types of 'ground' it covers. It does things both specifically and broadly, using the umbrella-ing theme of Garvey to not only honour the man but also use his teachings and ideologies in ways which are applicable today. Perfect also places this in a GORGEOUS package (one which is forty-five seconds longer than any other on "Sibusiso"). The opener is just an all-around satisfying offering. It's probably been a minute since I've said this about an album, but the very next song, the second on the entire album, hits the highest mark altogether in my opinion as you will not find the equal of 'Africa Mother Land' on this album.

"Africa, bless Africa, mi Mother Land

A weh mi sister and mi brother from

Africa, bless Africa, mi Mother Land

Hail Emperor Selassie I, no other one

Africa, bless Africa, mi Mother Land

A weh mi great-great grandmother from

Africa, bless Africa, mi Mother Land

Never give away and continent

Babylon you invade Mama, with your English grammar

Trick many with cotton and silk

And then you took my ancestors on a ship named Jesus

And nuff a dem drowned or sink

And to make it through the middle passage, saltwater mi drink

Dem separate us, a eyewater mi blink 

NO MATTA WHAT NO SLAVEMASTER THINK:

MI CHOP OFF DI CHAIN, BUT MI NAH CUT DI AFRICAN LINK

A mi yard

For those at home and those of us abroad

No matter if you have a yellow or green card

America- dem ah dream hard

Now dem turn inna nightmare, watch dem ah bawl

So right ya now, ya back against di wall

Look from how long Africa ah call

Mi tired of di prejudice war

Every black man a star

But if you don't know where you from, you don't know who you are

Remember dung a Ghana, Senegal and Dakar

I man deh yah inna di west but mi travel from far because of slavemaster boy Caesar

DEM DRAIN DI SWAMP AND LEAK OUT DI RESEVOIR 

Police shoot mi bredda with an old slr

And di ghetto youths ah draw bad card"

Perfect does not put A TOE (forget about a foot, NOT A DAMN TOE!) wrong lyrically on this MAMMOTH track which if you are of African descent... of if there is even anything on the continent that you REMOTELY find enjoyable, is sure to give you a jolt of pride. 'Africa Mother Land' is one of the single finest songs that I have ever heard from Perfect. Period. 'Ethiopia Sunshine' is kinda/sorta what you might be expecting with such a title. Its presence helps to make an atmosphere on the album but it doesn't do much (it doesn't even try, really. I'd be surprised if there was much planning behind it. It sounds like a vibe for this beautiful riddim). It's just a nice way to spend a few minutes. We head back to the stars courtesy of previous single, the rocketing 'Selassie White Horse'. I'm going to say something further about this one a bit later but the riddim on 'Selassie White Horse' is BEAUTIFUL! It is otherworldly level material (it's literally perfect) and Perfect uses it to to deliver a message of imagery and perception of how we identify certain things IMMEDIATELY and more progressively ["Jah no dead... The Lion Of Judah is doing well"] on one of the finest moments "Sibusiso' has to offer. Again, the tune does something in its latter stages which we'll get into a bit later, but you will listen to this entire thing in the name of enjoying one of the most unforgettable recent selections from Perfect altogether. The wholly golden 'Worthy For Jah' might also be familiar to your ears as it released as a single a year ago or so. This one was just RIPE of discussion items but what I ultimately took from it was the idea of having standards (if not for yourself, then for The Almighty) and at least making the attempt to be a better person.  

"Finally

Clean up the temple inside of me

Jah loving is primary

Never put your trust in vanity"

In general, however, 'Worthy For Jah' is IMMENSE music. It is of extremely high level and at the risk of sounding redundant (...and you know I don't give a damn), it also ranks amongst the album's finest offerings. The first half of "Sibusiso" wraps up with a pair of solid pieces in 'High Grade Mi Love' and 'Automatic Sibusiso [Blessings]'. The first is the album's ganja tune [DUH] and although it most certainly is not great (Perfect has done much better on the subject which is one of his favourite), at this point I think Perfect might, literally, have to try to make a bad tune on the topic for it to be something subpar. 'High Grade Mi Love' is not such a crack. 'Automatic Sibusiso' also doesn't hit the highest levels here but what it does have going for it is it sound. It may not do much and it isn't the best written piece that Perfect has done but there is a charming... almost 1980's style R&B appeal to this one --somewhere in there-- which my ears heard in its midst and stuck to. What results, very subtly, may actually stand as a changeup for the project and just a nice touch, in any case.

While perhaps not as glaring as its antecedent, the album's second half does have quite a bit going for it including a pair of BIG combinations, featuring a two BIG names as well as some otherwise STELLAR efforts. 'Zion House' would have taken a bit of time to grow on me but I was glad that I didn't just pass on it as average or such because it is stronger than that. The sound here, at least in my opinion, is a little odd. The tune is quite skeletal (a term I used to often use to describe Vaughn Benjamin's music, meaning that there is a lot of SPACE in it) and while it doesn't do a great deal, what it does manage to accomplish is provide a nice vibes. 'Zion House' is a nice listen and I will mention it again, shortly, in celebration of something even stronger. Perfect nearly returns to set form of "Sibusiso" with the following 'Him Presence'. The chorus on 'Him Presence' sits alongside some of the most infectious and well done on the album and the rest of the song benefits greatly from the course that it sets. Built on somewhat of a biblical structure, this one has an air about it that might give it a feel slightly exceeding its actual quality, but it won me over, ultimately. 'Him Presence' is lovely. The well traveled first of two aforementioned combinations is in, 'Champion in Action', tapping increasingly oft Perfect collaborator, the great Lutan Fyah. This one is just a good time [!] with the two linking up in vivid celebration and exaltation of the Dancehall and Dancehall culture. Part of the attraction here is the atypical nature of things. You have two GRIZZLED, turban-clad Roots chanters doing this type of piece, showing that, in there somewhere, is a little kid dreaming about being the baddest in the Dancehall when they grow up. Later joining is superstar, Anthony B, for the more predictable but absolutely delightful 'Rescue Me' [biggup Original Nine Fingers, Xkaliba] (Xkaliba's best tune ever is called 'Jah Rescue Me'). I do wish there was a bit more of Anthony B through 'Rescue Me' (after the beginning, he's only really heard on the chorus) but in judging this one on what it is, it is sublime, reaching across a theme that is, again, predictable but no less potent and well presented here. The legendary Nesta does NOT make an appearance on "Sibusiso", but Perfect brings him in via another way, via tribute (not really) 'Bob Marley Reggae'. In a kinda/sorta way, this is the Roots side to the Dancehall that was 'Champion in Action' and it scores, arguably, even heavier.

"Everybody move, everybody get ready

This a Jamaican music wi call it Reggae

Remember Bob Marley - mek a sacrifice fi dis

That's why Giddimani nah stop fight fi dis

Rumour dem ah spread

Who ah tell lie bout Reggae dead?

Shut up yuh little crazy baldhead

A REGGAE PUT DI BUTTER PON GHETTO YOUTH BREAD"

Check the cool closer, 'Joburg', a loose ode to Johannesburg, South Africa. This is a track which just displays a very nice sound and does so with more of an easy foundation but it well finds a home on a set such as "Sibusiso", both in terms of sound and direction. Finally (until that other thing), 'Jah We Pray' is golden in more ways than one, as high sonic appeal and heavy message link up on common ground in the name of reminding the masses that no matter what or who may stand against you, living a good life ensures that you will always have someone in your corner. 

And then we have a [good] [VERY, VERY GOOD] problem. Two weeks following the release of "Sibusiso" (just two or three days ago by the time you read this), Giddimani Records sent out its dubbed out counterpart, "Sibusiso In Dub".... and you could make the case that "Sibusiso In Dub" is even stronger than "Sibusiso"! Featuring dubs for all fourteen tunes, it is an OUTSTANDING version of the album and if I didn't have an instrumental album on my plate to write a review for sometime in the next few weeks, I might've actually slapped a review on this one. Standouts are numerous but I'd tell you to pay a special attention, in particular, to the track that I alluded to, 'Selassie White Horse Dub'. EASILY it ranks as one of the finest of its kind that I've heard recently and, again, it is not alone here. Also riding high are the likes of 'Another Marcus Garvey Dub', the GHOSTLY 'Him Presence Dub' (THAT ONE is better than its vocal version. It isn't even up for debate in my opinion), 'Automatic Sibusiso Dub', 'Worthy For Jah Dub' and one that I was really looking forward to hearing that turned out even better than I thought it might, 'Joburg Dub'. However, with that being said, from beginning to end, "Sibusiso In Dub" is a significant winner and I would expect any fan of Dub music of any experience level to find ample material here worthy of their time. As I've said in the past (and recent cases includes albums from the likes of Norris Man, Akae Beka and Horace Andy), things like this REALLY show that the producers behind the music had a great deal of confidence in their work and wanted to put it in the spotlight. In this case, they were right to do so.

Overall, the fact that a dub version of "Sibusiso" does speak to a point that I didn't want to spend too much time on during the review because I could use that album's existence to express it more vividly: Sinky Beatz' work on this album is very high level. Musically, "Sibusiso" is one of the more impressive Roots album that I've heard over the past couple of years or so, without question. For his part, Perfect is in fine form, although he isn't as explosive as we've come to expect at times (which isn't a first). I do thoroughly enjoy the kind of 'freer' way that the album centers, directly, around Africa --and I know what you're thinking, they ALL kinda center around Africa-- but with tunes such as the title track and 'Joburg', the impression is definitely that Perfect had it in his mind to make Roots Reggae album about Africa: Mission accomplished. "Sibusiso" is another log on the burning fire that is Perfect Giddimani, one which has been scorching since it was ignited many years ago. 

Rated: 4.35/5

Giddimani Records

2025