Beres Hammond Albums (17)
What The Critics Say
Beres Hammond has had a long and consistent career in Jamaican music. Starting as the singer in the island's premier horn band, Zap Pow, Hammond began mixing elements of R&B, hip-hop, and dancehall into his patented lovers rock, and thanks to his easy and soulful vocal phrasing, not to mention his steady songwriting, he has crafted an approach that lifts him well above the constant shifting of Jamaican musical styles. Then there's that voice, which is sweet, worn, torn, ragged, and smooth by turns, and it's tempting to compare him to so many great singers like Otis Redding, Marvin Gaye, Curtis Mayfield, or Al Green, he's that steady and consistent. Truthfully, no one in Jamaica sings love songs better than this man. For this set from VP Records, Hammond works familiar territory, delivering sweeping love songs that are joyous and wise, full of a refreshing and infectious optimism. Not dancehall (although he gets played there) so much as a kind of urban soul reggae, Hammond's songs are carefully crafted, arranged, and recorded, and whether individual tracks are produced by Donovan Germain, Natassia Hammond, Kemar "Flava" McGregor, or Hammond himself (all produced tracks for this album), they still fit together seamlessly. Clear highlights include the marvelous opener, "I Feel Good," the graceful and elegant "Picking Up the Pieces," and the majestic "Body & Soul," but everything here is solid. Hammond isn't flashy or provocative, but his steady and bright optimism is contagious and has the ring of wisdom, making A Moment in Time another fine album from one of Jamaica's finest singers. A bonus DVD featuring Hammond performing live at Jamaica Sunfest 2007, a lengthy on-camera interview, and the "I Feel Good" music video are also included in the package. ~ Steve Leggett, All Music Guide
What The Critics Say
Beres Hammond has had a remarkably long and consistent career in Jamaican music. Starting as the singer in the island's premier horn band, Zap Pow, Hammond began mixing elements of R&B, hip-hop, and dancehall into his patented lovers rock, and thanks to his easy and soulful vocal phrasing, not to mention his steady songwriting, he has crafted an approach that lifts him well above the constant shifting of Jamaican musical styles. Love Has No Boundaries doesn't break new ground as much as refine what Hammond has been doing for years, and the album's unbridled optimism is contagious and refreshing. Smooth as whipped butter and sounding at times like a happy and grounded version of Marvin Gaye, Hammond brings a calm wisdom to these songs of the heart, and his unassuming persona makes him the perfect duet partner. Buju Banton guests on "Thanks Fi Me Pride & Joy," one of the clear highlights here, and although mixing Hammond's urbane delivery with Banton's gruff yowl would seem a bit like mixing milk with gasoline, it works wonderfully. Another standout track here is "Good Old Dancehall Vibes," which features the legendary Big Youth, and it is quite simply a midtempo gem. Other key cuts include the opening "Interlude," "Feel Love," and "If I Should Wait," all of which illustrate Hammond's urban soul reggae style perfectly. Hammond isn't flashy or provocative, but his steady and bright optimism is every bit as compelling as any angry dancehall rapper. Solid writing and solid singing make this a welcome addition to the Beres Hammond canon. ~ Steve Leggett, All Music Guide
'Beres Hammond & Friends'
Release Date 7/3/2001
Tracks 17
Label Ejaness
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What The Critics Say
Beres Hammond, a reggae singer who rose slowly to prominence throughout the 1980s and 1990s, got his start in the 1970s as part of a relatively obscure group called Zap-Pow. (Hammond wasn't the only member of the group who proved destined for greater things -- guitarist Dwight Pinckney would later be a charter member of Roots Radics.) This strange but ultimately satisfying collection consists mostly of Zap-Pow recordings, which are undated in the liner notes, but all partake of a reverb-heavy production style that sounds very late 1970s. Some of them, like the dreary "United" and "You Don't Understand," should probably have stayed in the vaults. But there are some gems here as well, such as the strangely affecting "Sunshine People" and the spooky "Reggae River," which sounds suspiciously like a Lee "Scratch" Perry production. Other highlights on this album come from other artists, such as Ras Dahni and David Madden's "Running Nowhere" (presented in showcase style) and the very spare and dread "Respect" from Pablo Paul. Even with the occasional clunker taken into account, this is a very worthwhile album. ~ Rick Anderson, All Music Guide
What The Critics Say
Jamaica's elder statesman of lovers ballads procures another patented, soulful recipe on Music Is Life. One of only a few living reggae legends, the unassuming Hammond has the power to transform any listening environment into a contemplative Caribbean getaway. Hammond's effortless delivery and near flawless vocal quality call to mind an atmosphere of swaying palm trees, cool blue water, and overall positive vibrations. His enduring Jamaican hit of 2000, "They Gonna Talk," is as calmly groovy as it is heartfelt. The more up-tempo "Dance for Me" pairs Beres with one of his devoted aficionados, Wyclef Jean, in a near facsimile of Wyclef's crossover duet with Santana, "Maria, Maria." While Hammond is a clear virtuoso of rocksteady and lovers reggae, he also demonstrates versatility on this offering. The more bittersweet ballads, "Mary, Mary" and "Angel Eyes," are haunting as well as eloquent. But, the pièce de résistance may be "Gonna Shine Again," a low-tempo track teeming with heart-wrenching emotion. Hammond takes traditional roots flavors and transposes them just enough to satisfy purists and new listeners alike. The resulting formula is soothing, accessible, and thought-provoking reggae music. ~ M.F. DiBella, All Music Guide
'Forever Yours'
Release Date 10/24/2000
Tracks 11
Label Jet Star Phonographics
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What The Critics Say
A particularly parsimonious compilation; a mere 11 tracks doesn't particularly give one much bang for the buck. However, Forever Yours does at least try not to duplicate material heavily compiled elsewhere. Eschewing Beres Hammond's multitude of hits for Donovan Germain's Penthouse label, Philip "Fatis" Burrell's Exterminator, and the well covered Willie Lindo productions, Forever bundles up numbers from a representative seven producers for whom the singer cut singles across the '90s. A trio of excellent tracks are culled from the split Live & Learn Presents: Beres Hammond & Barrington Levy set, credited here to Al Campbell, although Delroy Wright took the honors for the 1990 release. This includes "Sho-Be-Do-Sho" which appears under the title "You're Mine." The eternally popular hit "Sweetness" also masquerades under a new moniker, "You're Mine," and its stellar DJ version also included. "I Know Better" is better known as "I'm Still Going Strong," a huge hit overseen by Anthony "Red Rose" Cameron. "Step Aside" was an even bigger smash, cut for Blackbeard, as was the giddy "Move Along." The fabulous "Strange" comes courtesy of Tapper Zukie, the producer behind Hammond's smash Putting Up Resistance album. Zukie creates the most martial of rhythms for "Silver & Gold." Collin "Bulbie" York also utilizes a tattoo of beats, but wraps this cultural great in the rootsiest of atmospheres. "Over You" is a much more delicate number, and this 1996 single was a huge hit for producer Robert Ffrench. All in all, a top-notch set of songs, and if you don't already have them all in your collection, this compilation is actually quite a bargain. ~ Jo-Ann Greene, All Music Guide
What The Critics Say
An album that had critics reaching for superlatives, A Day in the Life... was yet another magnificent set from Beres Hammond, an artist who seems incapable of anything less. This is a punchier record than its predecessor, Love From a Distance. The rhythms are sharper with edgier dancehall atmospheres than the gentler moods that blossomed on Love. But love is still an important theme in all its joy and passion, and Hammond explores it across a myriad of moods from the gentle romance of "Always Be There" to the fiery torch song "All I Need." But which woman is he singing about, for elsewhere he's caught in a "Two Sweet Love Affair," a soul stirrer about a love triangle. That number has a funky feel, while in contrast "Sorry Mi Brethren" is pure effervescence, an absolute charmer where Hammond delicately turns down a night out with the boys to stay in with his best girl. So many ladies, so little time, and on "It's Not Official" the singer has spotted a new one, and is lost in love all over again. All of these are classics, but there's more to come, including the fabulous "This Love," where Hammond and Chevelle Franklin fall hungrily into each other's arms, and the equally stellar "Let's Face It," which soulfully dips into the cultural realm with its message of the importance of love for all. On the lush "Life" the singer muses on life's constant ability to surprise, yet that's no need for distress for Hammond knows "Victory" awaits the faithful, another standout cut that unites a rootsy dancehall backing to a fervid vocal performance. Which is why "Nothing's Gonna Change" as far as the singer is concerned, and on this slick R&B-styled song, Hammond makes fervently clear his determination to carry on bringing joy to listeners, and is equally adamant that he'll live his life as he chooses. Of course that doesn't mean those who follow suit aren't in for a tongue-lashing, and Hammond takes a lyrical whip to one skylarker on "There You Go," the smooth sweetness of the arrangement and vocals belying the bite of the lyrics. Elsewhere he tries to jolly the bad boys out of their wickedness with a bouncy backing and anthemic melody, asking them "What About Joy." But in the infectious stakes, "Can You Play Some More" is the most lethal, a massive hit that brought sheer delirium to the dancehalls with its exuberant celebration of the music and the dance. Hammond self-produced much of this set, but there's also a Fat Eyes production, a pair overseen by Donovan Germain, and a couple from Bobby "B. NixX" Nickson. A myriad of musicians lend a hand, with the Firehouse Crew, Sly & Robbie, Stephen Marsden, and Dean Fraser among the illustrious talent, alongside a bevy of backing vocalists. It's a sumptuous affair, with plenty of dancehall flair, and packs an emotional wallop. Yet another must-have for fans. ~ Jo-Ann Greene, All Music Guide
'Lifetime Guarantee'
Release Date 1/1/1997
Tracks 14
Label Greensleeves
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What The Critics Say
By the middle of the '90s, Beres Hammond had settled on a predictable pattern for his albums, and Love from a Distance is no different than any of his previous few releases. This is both for better and for worse. Hammond is one of the finest and most soulful reggae vocalists, so it is a pleasure to simply hear him sing. However, the production is careless and the songs are uneven, which makes the record a frustrating listen. Still, tracks like "Sweet Lies" and "Take Time to Love," which features guest vocals by Shaggy, are first-rate and there are enough strong songs to satisfy fans, even though there aren't enough to win him new ones. ~ Stephen Thomas Erlewine, All Music Guide
What The Critics Say
Beres Hammond's career has traveled a careening course of fits and starts. His is an all too typical Jamaican story of stardom, with a slew of smash hits but little financial reward. Unlike most artists, however, with every rip-off, Hammond stepped back and tried to work out a new plan of action to better protect his interests. Thus his music arrived in spurts, a couple of number ones, an album or so, followed by a year or more of silence, with this cycle repeating time and again. An armed robbery of his home in 1987 was the final straw, and Hammond moved to New York. He returned to the island periodically however, during which time Tappa Zukie prodded him into the studio, and eventually these sessions coalesced into the Putting Up Resistance album. Simultaneously, Hammond was also working on the Have a Nice Week End album, and it's astounding to compare the two. While Week End luxuriated in ballads, Resistance is as tough as its title. Zukie's production is as militant as ever, the beats may be dancehall-fired, but the entire set is drenched in deep roots atmospheres, and even the most ragga-fied numbers have a glorious organic quality. The album is strewn with hits, including the title track's jubilant cry of defiance, the haunting "Look fi Me Girl," and the gently, rocking "On the Dance Floor." Zukie's deft way of blending edgy rhythms with delicate musical moods continues to astonish. He uses Sly Dunbar's beats to militarize the arrangement, Robbie Shakespeare's pulsing bass and Earl "Chinna" Smith's guitar riffs to ground an organic sound, while keyboardist Clive Hunte plays both ends against the middle, conjuring up rich atmospheres or the toughest ragga styles. This is particularly notable on the gorgeous "Love on the Wire," where the sharp, clattering beats inflame the delicate quality of the arrangement. At the other spectrum is "Only the Lonely," a rich love song dropped into the center of an industrial worksite, a crash-bang styling that also infuses the deeply devotional hymnal "Give Thanks in the Morning." The original album contained eight tracks; the RAS reissue adds two newer numbers, the incredibly soulful "Give Me a Break" and the giddy "I'm in Love," the latter boasting one of Hammond's most phenomenal performances. The CD tosses on another two equally powerful numbers, the stern warning of "Heroes Die Young" and the superb sufferer's single "Distress." The original album was a timeless classic, and the additional tracks turn it into a masterpiece whose power has still yet to dissipate. ~ Jo-Ann Greene, All Music Guide
What The Critics Say
Hot off the success of his smash hit "Tempted to Touch," Beres Hammond hoped to share his good fortune with old friend Derrick Lara. And together, with Richard Bell in the production chair, the men cut the split Just a Vibes album, later reissued as Expression. Lara, of course, is a member of the Tamlins, a consummate vocal trio with few numbers to its own credit, but whose gorgeous harmonies have backed a flood of other artists' successes. Lara boasts a sublime falsetto, sweet, warm, and crystalline, and it's beautifully presented on the Motown-esque "Lonely Heart" and the rich romance of "Knocking Heads." "Is It for Real" showcases his lower tones across a strong, club-flavored piece, as does "Don't Know Who to Trust," a forceful cultural number where the singer comfortably settles into the clipped style of the dancehalls. Hammond offers up equally strong material, including the hit "100% of Love," which begins with gentle demands for affection and ends in a wave of passion, while "Show Off the Road" also dips in relationships with lush melancholy. "Race of Life" and "Time Is Wasting" both offer support to those tiring of life's travails. Within, Hammond offers comfort, coaxing, pleading, and gentle reasoning across resonant lyrics delivered with the conviction and an understanding won of experience. Only "Sorrow" brings the two men to the mic together across an exquisite, irresistible classic that chases sorrow straight out of the studio, and arguably is the strongest number on this album filled with classics. Perhaps because Hammond was unleashing so much material during this period, this split set never received the attention it deserved. That is a pity because it's a phenomenal album with both men giving stunning performances over sympathetic backings that showcase the singers at their best. The Heartbeat reissue even adds two dubs to further sweeten an already well-sugared pot. ~ Jo-Ann Greene, All Music Guide
