The ’90s proved to be Hammond’s decade, during which he blazed a trail of modern classics for a variety of producers, from the strugglers’ anthem “Putting Up Resistance” (Tappa) to lovers’ laments like “Come Back Home” (Star Trail) and “Double Trouble” (Steely & Clevie).īeres started building his home studio in the early ’90s, before it became the trend among successful reggae artists to take over their own production duties. Cuts like “Tempted To Touch” and “Who Say” with Buju Banton are still as effective in the dancehall today as they were as pre-releases.

Over the course of five decade career, Beres has poured his smoky-sweet voice-an instrument of subtlety and power reminiscent of an Otis Redding or a Teddy Pendergrass-over every kind of riddim track, from the funked-up reggae jams of the ’70s fusion band Zap Pow to the lush instrumentation of his 1976 album Soul Reggae to the spare digital beat of his 1985 dancehall breakthrough “What One Dance Can Do.” In 1990, his album A Love Affair for Donovan Germaine’s Penthouse label raised his popularity to new heights. Regardless of the race, regardless of the taste.” In the year 2021, the blessings just keep coming, and the world is just starting to catch on. “Father bless me with a song,” he pleads on the last cut of his latest album, Music Is Life, “to make the whole world sing along. Beres remains cool, though he knows that he’s one of a handful of people responsible for maintaining a mighty legacy of soulful reggae music-a select group of artists like Toots and Gregory, like Dennis and Bob.

The playful smile, the unassuming demeanor, the beard and the cap and the spectacles might lull you into forgetting that you’re in the presence of an awesome musical talent, Jamaica’s greatest practicing singer/songwriter. Don’t be deceived by Beres Hammond’s cool profile.

Anthony jeselnik eric clapton