Circa 1976, the world is introduced to Beres Hammond on an album called Soul Reggae. It predicted that Beres would be one of the most exciting (musical) discoveries of our modern times. While all the tracks were produced, arranged and composed by Ivor ‘Willie’ Lindo, the liner notes said “they are richly orchestrated, but their organization pays delicious homage to the main instrument- the voice”. The album’s music was so sophisticated (comparative to the local industry standards of that era) that it took years, all of 28, for Beres to produce another quite like it.
Now at last with his career soaring- the highest paid reggae act on the international circuit- Beres has come full circle to give us Love Has No Boundaries. The album could aptly be called ‘Beres’ Music Has No Boundaries’.
While maintaining a distinct ‘one drop’ beat, because there isn’t an artificial over preponderance of drum and bass, all instruments are given equal prominence in arrangements making the orchestration simply sweet music to the ears. In other words, the backing music on this album sounds like a combo of Aswad, Steel Pulse and Third World bands rolled into one synchronous orchestra. And it’s no wonder- the album features some of Reggae music’s best musicians- Sly and Robbie, Dean Fraser, Errol ‘Flabba’ Holt, Winston ‘Bo Pee’ Bowen, Cat Coore and Robbie Lyn. Back up singers included Nichola Tucker, Dorrett Wisdom and Marcia Griffiths on one song, track 18, Let It Flow. All tracks were produced by the combination of Beres and Wille Lindo, save for four, one each produced by Donovan Germaine, Sly and Robbie, Richard ‘Bello’ Bell and Mikey Fletcher. Lindo’s alluring arrangements and compositions come through distinctly.
This new album from the master of romantic Reggae is soul-filled, mellow, meditative but intricate, sensual and exciting to the discerning listener, especially lovers and patriots. Easily, the album is one of the best Jamaican produced albums of 2004. Furthermore it perpetuates themes that our Jamaican culture is universally celebrated for.
From the first the eighteen cuts Solid Love, “solid love, solid people, using love as a vehicle, spreading joy over nations”, Beres seems reflective of his maturity and of gentler times. Punning in Good Old Dancehall Vibes which features Big Youth…”it ain’t nothing like the good old dancehall vibes, where the music is just as sweet as the wine”. Songs Of Happiness muses, “now once there was a time when we were young and we didn’t know, so we fool around, play around but nothing really mattered…but time is passing by”. So Let The Good Times Roll, “you don’t have to be old, just let the good times roll. To how the vibes a run, certain tings fi dun, clean up the east, west, north and south and tun that into fun”. Weary Soldiers asks, “as smart as we are can we tell ourselves that we really done our best. Why intelligent people just can’t seem to let peace last, why won’t we let the past just be in the past?”
He is optimistic, however, in Not Over Until It’s Done- “ if you believe you will achieve, everything can just turn around, even when there seem to be no ending to the problems, ever wishing and hoping that the table will turn. There’s a chance we’ll be able to overcome”. And so on his last cut, Fly Like An Angel, he gives a beautiful love song with current geopolitical undertones in classic poetic double entendre – “go spread your colour little angel…be careful of where you make your nest, cause there are eagles that search the skies, summer’s gone and winter’s around the corner”.
All the songs featured are worth listening to. Pay keen attention to track #9 No More (Perfidia rhythm), # 13, Let The Good Times Roll (featuring Natural Black) and track # 6, Thanks Fi Mi Pride And Joy, a remix featuring Beres’ frequent onstage collaborator, Buju Banton and done to the Leroy Sibbles written Love Me Always, made popular by Dennis Brown. While these songs may not necessarily be the best of the crop, they possess a definitive market appeal that may make them popular on the charts.
This album demonstrates that, 28 years later, Beres still has the vocal range, the richness and additionally has perfected his songwriting skills. He has taken the art form to a higher level, and offers no nursery rhymes, but instead sophisticated, complex lyrics- poetic, rhythmic and melodious even in their complexity. This is one for all seasons.
© 2004 C.H.E. Campbell.
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