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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.
“Almost four years after Sound System, Hancock hooked up with Bill Laswell again for another project that would mark his final release on the Columbia label, Perfect Machine. This time, the duo co-wrote the bulk of the tracks with Bootsy Collins (of Parliament/Funkadelic fame) and the former vocalist of the Ohio Players, Leroy “Sugarfoot ...
Laswell introduced Collins to Herbie Hancock, resulting in Perfect Machine (1988). The techno-funk they recorded featured turntables for scratch appeal, and the smoothly-stylized vocals of Leroy "Sugarfoot" Bonner of chart-topping Ohio Players.
Bass, Vocoder – Bootsy Collins. Computer [Apple/Mac Plus], Synthesizer [Yamaha DX1, DX7, DX7IIFD, Kurzweil K-250, Fairlight Series II And Series III, Roland Super Jupiter, Rhodes Chroma, Oberheim Matrix 12, Yamaha TX 8/16], Sampler [Akai 900-S], Vocoder, Piano [Acoustic Piano] – Herbie Hancock.
Perfect Machine may not be that different from Herbie’s Man-Child if you think about it. Fourteen years ago he had Blackbyrd McKnight scratching rhythms, now he has DST. Then he had Wah Wah Watson on Voice Bag, now he uses “Bootsy” Collins and Sugarfoot on Vocoders and Talk Boxes.
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".<ref name="Ginnell" />
Three songs feature Sugarfoot and Bootsy Collins, and these songs sound like Herbie's going for a funkier Lite Me Up. With such esteemed company, the grooves are definitely deeper, but the lyrics just don't cut it.
