In the following article, we are going to explore in depth the topic of Perfect Machine, which has been the subject of interest and debate in different areas. From its impact on society to its relevance in history, Perfect Machine has been the subject of study and analysis by experts and fans alike. Over the years, Perfect Machine has proven to be a highly important and multi-faceted topic, making it worthy of being analyzed from different perspectives. In this article, we will delve into the different dimensions of Perfect Machine and examine its influence in various contexts, with the aim of providing a comprehensive and enriching vision on this topic.
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Perfect Machine | ||||
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Studio album by | ||||
Released | May 15, 1988 | |||
Recorded | 1988 | |||
Studio | Garage Sale, Los Angeles; OAO Studios, Quad Studios, RPM Studios, New York | |||
Genre | Electro-funk | |||
Length | 36:10 | |||
Label | Columbia | |||
Producer | Herbie Hancock, Bill Laswell | |||
Herbie Hancock chronology | ||||
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Review scores | |
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Source | Rating |
Allmusic | ![]() ![]() ![]() ![]() ![]() |
Robert Christgau | C+[2] |
The Penguin Guide to Jazz Recordings | ![]() ![]() ![]() ![]() |
Perfect Machine is the thirty-second album by jazz pianist Herbie Hancock. It was the third and final album in Hancock’s series co-produced by Bill Laswell. Guests include bassist Bootsy Collins.
The album was produced with Bill Laswell and performed with Bootsy Collins, Leroy "Sugarfoot" Bonner of the Ohio Players, and Grand Mixer DXT. It marked the end of his "Rockit" phase in the 1980s. Richard S. Ginnell at AllMusic called the album "mostly thumping, funk-drenched techno-pop".[1]
All songs by Hancock, Laswell, Collins and Bonner, except where noted.
Musicians
Production