Sweetness (VP, 1993)

Beres Hammond's music is the most perfect mix of reggae and soul I've ever heard, topping even the '60s rock steady sound of Alton Ellis or the late '70s sound of British lovers rock.  His incorporation of reggae, R&B, dancehall, and lovers rock elements into a cohesive stew of sound is truly inspired, and although he's had ups and downs in his career, in the '90s he became one of the most consistent reggae artists around.  This album starts off like a bona fide classic, with 6 of the first 7 songs being strong (the slacker being "Sugar You Want"), but the last 5 are noticeably weaker, with only "You Could a Deal," the duet with Cutty Ranks, having much appeal.   "I'm So in Love," in fact, is a rather icky R&B / bluesy ballad, while the re-recording of "Putting Up Resistance" with U-Roy is totally uncalled for, as the old-time DJ's toasting and singing (if that's what you want to call it) ruin a good song.  Hammond's material at times is erratic, to be sure, but when he is on, he is blazing.  Such is the case with boom shots like the dancehall-rhythmed "Step Aside," the romantic lovers track "Come Back Home," and the classic, fun, rocking narrative "One Dance" (AKA "What One Dance Can Do").  The title track meanwhile is outstanding, like a modern-day rock steady groove.   Hammond's soul-infused vocals and melodies can make your ears melt with their "sweetness."

In Control (Elektra, 1994)

I bought this album -- the first on a major label from Beres Hammond -- soon after it was released, and I didn't care for it too much. I listened to it a couple more times and still wasn't terribly impressed. I put it away for a year and upon hearing it again, I discovered that several of the songs had seeped into my subconscious. I couldn't recall why I hadn't liked it at all -- it was actually quite good. Perhaps the reason I wasn't blown away is that it's just not that type of album -- it's an "album album," whereby all of the songs are solid, not spectacular. The only song that seems to rise above the rest is "No Disturb Sign," a sultry R&B groove (You know that a reggae song is doing well when it has a VIDEO.). It's a testament to Hammond's talent and vocal power that he, as a reggae artist, can carry off ballads such as this one and the lovely duet with Marcia Griffiths, "It's Not Too Late" -- which harkens the great R&B ballads of the '80s from the likes of Peabo Bryson, James Ingram, et al. Despite these two R&B-ish songs, a great aspect of In Control is that Beres Hammond seems to be just that: in control. You don't get the sense that his material is being manipulated (i.e., Americanized) or watered down for the presumably wider audience (something that seems to happen a lot when reggae artists release an album on a major label). This album is true Beres Hammond -- not at his peak, but very, very close.

Putting Up Resistance (RAS, 1996 [orig. released 1989] )

Though a very popular single, the reissue of Putting Up Resistance the album reveals a lack of strong supporting material.  Unlike the emotional, fiery title track, the rest of the album has a sultry lovers vibe running through it.  While this sound is nice, the melodies that Hammond has written to accompany them are weak compared to his usual output.  "Putting Up Resistance" is certainly the best cut, while "Look fi Me Girl," "Love on the Wire" and the slow R&B of "Give Thanks in the Morning" are nice.  Hammond will occassionally pen a bland tune here and there, and here he seems to have saved up for a rainy day.   Perhaps this is due to the fact that this material is from a point in his career when he was just starting to make a comeback after disappearing in the mid-'80s.  His '90s material would only get stronger and stronger.

Love From a Distance (VP, 1996)

I can't adequately put into words how much I've enjoyed this album since I bought it.   This is a masterpiece in which the elements that made Beres Hammond good in the past -- the soulful vocals, the emotion, the luscious original melodies, the romance, the quality production -- all come together on the most consistent basis he's ever achieved.   While it may not blow your mind upon first listen, the lushness of it all will seep into your brain until song after song will prompt you to say, "Hmmm. . . now, that's a good song."  Picking favorites here is like picking which supermodel you'd like to sleep with, but I've found the sultry hip-hop-esque "Highlight of the Day," the funky sax of "Let It Go," and the hit "Can't Stop a Man" most entertaining.  Of course, I can't neglect "Much Have Been Said," "Black Beauty," "Good Love," and the title track, but literally every cut on Love From a Distance is a joy.

Getting Stronger (Heartbeat, 1997)

Coming on the heels of Love From a Distance, I was a bit fearful that this was a hastily put together follow-up, especially judging from the confident title (Always beware of overconfident tiles, as epitomized by The Best Reggae Album in the World. . . Ever!).  And indeed, when I first listened to it, I wasn't overly impressed, but like much of Hammond's material, it continued to grow on me, and now I appreciate it as a very good album.  A few of the tracks, such as "False Preacher," "Come Back Home," and "Left Me Crying," are older songs that are available on other albums or compilations, but most of the tracks were new to me.  The first 5 cuts are all rather good, with "Try If You Want" having a great "Putting Up Resistance"-type militancy (well, as militant as Beres Hammond can get) and "Come Again Tonight" having a smooth hip-hop edge similar to "Highlight of the Day."  Also nice are "Single Girl" and "Touch and Go Situation."  While not "stronger" than Love From a Distance or In Control, Getting Stronger is one of Hammond's better efforts to date.

Reggae Max (Jet Star, 1997)

What can I say but "wow."  This "best of" collection is superbly selected, jam-packed with great song after great song that showcase the brilliant appeal of Beres Hammond.  I like the first 15 tracks straight!  If you have many of his albums, you'll have many of these tunes, but to hear them all on one set re-affirms the fact that Hammond is the most consistent reggae artist/songwriter of the '90s.   The great tracks are too many to name, but my personal favorites are "Come Back Home," "My Wish," "What One Dance Can Do," "Treat You Right," and the swinging, dreamy "Lovely Day."

Collectors Series (Penthouse, 1998)

A decent collection from an all-time great, with a good number of songs not readily available on his other albums. "Queen and Lady" opens this compilation in typical Beres Hammond style -- with passionate semi-hoarse vocals and gorgeous subtle melodies. Also included here is "Honey Comb," the DJ version of the song, featuring Buju Banton. Other highlights include "Warriors Don't Cry," "Tempted to Touch," "No More Pain," "Love Mi Hafi Get," and the classic "I Wish" (along with the DJ version "A Little More Time," again with Buju Banton). Unfortunately, while a lot of these 21 songs are not easily found elsewhere, most of the best ones are. Much of the music that I hadn't heard before was fairly average. Although I love Beres Hammond, he is not above putting out some pedestrian material (This could well be a result of his writing his own songs, whereas many reggae singers rely heavily on remakes of already popular songs. An interesting note: he does indeed do a cover on this album, "All I Need to Know."). The most unwelcome track here has to be "Love Within the Music," a song that should've been great, considering the performers: Beres Hammond, Dennis Brown, Marcia Griffiths, and Freddie McGregor. This star power is wasted, though, on a syrupy sweet song that, being full of little more than classical strings, can't really be called reggae.

A Day in the Life. . . (VP, 1998)

You'd think I'd know by now that it often takes a while for me to appreciate the quality of a Beres Hammond album.  The wonderfully understated melodies age like fine wine, and by the third or fourth listen, I truly understood their power.  Hammond is at his best when crooning love songs with his soulful voice.  A trio of tunes -- the touching "Always Be There," the well-written "Sorry Mi Brethren," and the mid-tempo "Two Sweet Love Affair" -- prove this point well.  As usual, he also throws in a couple of tracks that are heavy on hip-hop/R&B, but he does these hybrids so well, you can't find fault.  Here, this style is represented by the marginally sappy R&B-flavored "All I Need" and "Nothing's Gonna Change," centered around a wicked hip-hop rhythm that overcomes a mildly annoying chorus.  Other solid tracks include "Life, "Let's Face It," and "Victory."  While devoid of that one boom shot, A Day in the Life is a consistently enjoyable treat.

Music Is Life (VP, 2001)

All I have to say is finally.  After a 3-year hiatus, Beres Hammond returns, and his lovers rock and light dancehall sound is as sweet as ever.  Unfortunately, he doesn't stick to it throughout Music Is Life.  "Dance With Me," for example, is a hip-hop-infused tune featuring Wyclef Jean that sounds more like Santana's "Maria Maria" than a Beres Hammond song.  "Mary Mary" and "Tender Love" meanwhile have a similarly annoying crossover sound, while "African People" is an overly sentimental straight R&B number that is not nearly as powerful as it thinks it is.  Even the songs that stay true to Hammonds' timeless style aren't on the average as strong as we would normally expect from him, with the notable exceptions of "They Gonna Talk" and "Rock Away" (both ranking among his best).  The sexy "Angel Eyes" and the digital energy of "Gonna Shine Again" are also nice, but while it's tempting to give this album a positive review simply because it's so good to hear Hammond sing again, I can objectively state that Music Is Life -- while not bad -- is one of his weaker albums to date.

Beres Hammond and Friends (ERC, 2001)

Before Beres Hammond became a reggae superstar in the '80s and particularly in the '90s, he had a more underground career.  In 1975, at the tender age of 19, he joined the group Zap Pow -- which included Dwight Pinkney (of Roots Radics fame), Max Edwards, Mike Williams (AKA Mikey Zap Pow), Glen DaCosta, and David Madden -- but by 1980, he left the group and released a solo album, Soul Reggae.  Perhaps never has there been a more appropriate title for an artist's musical sound, for Hammond's material on this collection -- tracks recorded from the '70s through 1984 -- is equal parts reggae and soul music, each style deliciously executed.  This early work from Hammond is even more true to the soul music genre than his later, more dancehall-oriented tunes, which, while they are soulful, aren't influenced quite as ostensibly by soul music itself.  Tracks like "United," "You Don't Understand," the classic, exuberant "Sunshine People," and especially the ballad "Set Me Free" and the funkymellowcool multi-part harmony of "Fundays" just exude soul.  There's little doubt in my mind that had he been born in the US, Hammond could've been as successful a soul/R&B singer here as he is a reggae singer in Jamaica.  Of course, this album is called Beres Hammond and Friends, so as great as Hammond's performances are, he accounts for less than half of the songs here.  The rest are tunes either performed (vocally or musically) or written by Zap Pow (sans Hammond) or its members.  The non-Beres tracks are understandably less soulful and more rootsy than Hammond's, but are no less impressive, highlighted by Ras Henry's "Happy Home," Pablo Paul's "Respect," and Max (Edward)'s "True Love."  I'd have to say that this is Ejaness Reggae Comprehensive's (ERC's) best album to date in its admittedly short history of releases and is a must for Beres Hammond fans who only know his late '80s and '90s material.

Love Has No Boundaries (VP, 2004)

Love Has No Boundaries is the comeback album that Music Is Life should've been.  Frankly, this one is as much of a comeback as the previous album, since it's been a full three years since we last heard from Hammond.  This one's a much more reliable affair, though.  Hammond returns to form, belting out sweet, soulful lovers rock from beginning to end, with only a couple of dancehall excursions ("Feel Love", "If I Should Wait") and R&B sidebars ("Be That Person", "Let It Flow").  Perhaps making up for the long layoff, he packs the album with 19 tracks to satiate fans' palates, although it also allows for some more mediocre material to creep in.  Notables that fall into that category include the title track, the too-happy "Let the Good Times Roll," the weepy ballad "Let It Flow" (not the Toni Braxton tune), and the seemingly requisite Buju Banton duet "Thanks fe Mi Pride & Joy," a DJ version of Hammond's "My Pride and Joy".  For the most part, however, the rest of the album is strong throughout, and there are a couple of tunes -- "Solid Love" and "There for You" (also on Reggae Hits 33) -- that rank among his very best.  Other standouts include "No More", "If This Isn't Love," and "Feel Love".  All told, Love Has No Boundaries goes a long way to showing why Hammond is such a revered icon.