Song number 140.02
Perfect Giddimani is the stage name for Greg Rose of St. Ann, Jamaica. Inspired by Bob Marley, Peter Tosh and Toots Hibbert tunes on his father’s jukeboxes, “Mr. Perfect” was performing by age 9 and gaining a regional reputation as a teenager. He provided regular entertainment as Little Ninja at St. Ann’s York Castle High School, where distinguished alumni include reggae founder Jackie Mittoo of the Skatalites.
After high school, Rose headed straight to Kingston, Jamaica, and began honing the art of performing and recording at top studios and clubs. Soon, the enterprising Rose took control of his own musical fate. “My brother and I opened the first official digital recording studio (Askum) in Bamboo, St. Ann, back in 1998. We did this through the help of my dad, who was responsible for locating and buying the latest studio gear in New York at that time.”
Rose and his brother Kirk taught themselves by reading equipment manuals for days and it wasn’t long before they were producing their own music and that of other local talent. “I was responsible for making the rhythms via drum machines and keyboards, and my brother was the vocal engineer,” Rose said. Together, they formed the label Chalice Palace Muzic. Rose, calling himself Perfect Giddimani, a mixture of the words “Armageddon” and “morning,” made his first few self-produced recordings, which he shopped all the way to Europe himself, and DHF Records in Austria gave him his first deal.
Even though Giddimani’s success after ten albums, 700-plus singles and a Grammy nomination for 2012’s “Journey of 100 Miles” has given him an “intercontinental life,” he stays in touch with his St. Ann roots. This shines through in his lyrics. He has scored No. 1 tunes in Jamaica, Germany, Sweden and France and has collaborated with Lauryn Hill, Anthony B, Sizzla Kalonji, Lutan Fyah and Jahdan Blakkamoore, yet Chalice Palace Muzic still handles his publishing.
His company also founded Giddimani Records, a label that actively records upcoming Jamaican artists on compilations featuring a Giddimani tune or two to help them gain exposure. New titles include “Horn Of Africa Riddim,” “Burnhard Spliffington Riddim” and “Bay Area Riddim.” As the music scene changes, Rose stays true to his message. “As a true Rastafarian, I know that it’s right over wrong, good over evil, so my music will remain positive as long as I live.”