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Beres Hammond

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Hugh Beresford Hammond, known as Beres Hammond, is a Jamaican singer and songwriter from Annotto Bay, St Mary, whose grainy soul phrasing became one of reggae's defining romantic voices. After recording solo material in the 1970s and serving as Zap Pow's lead singer from the mid-1970s, he broke through internationally with songs including “What One Dance Can Do,” “Tempted to Touch,” “Putting Up Resistance,” “Rockaway” and “I Feel Good.” His catalogue connects Willie Lindo, Donovan Germain's Penthouse, the Fat Eyes production team, his Harmony House label and VP Records. He received the Order of Jamaica in 2013.

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Beres Hammond — I Feel Good (official music video)

YOUTUBE · rights discovery only · performs

YouTube upload; surfaced via web search result and embedded as a discovery-only external reference pending editorial review.

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Audio

Beres Hammond - Tempted To Touch (Official Audio) | Jet Star

YOUTUBE · rights discovery only · performs

Official youtube upload (channel: Jet Star Music); embedded as a discovery-only reference pending editorial review.

View transcript · 82 lines

Automatic captions — a machine draft pending editorial review.

  1. 0:02[music]
  2. 0:09[music] Yeah.
  3. 0:11[music] Yeah. Yeah.
  4. 0:15Hey, little good girl. [music] Each time
  5. 0:17Hey, little good girl. [music] Each time you pass my way, I'm tempted to touch.
  6. 0:23Wow. Oh, baby.
  7. 0:27Wow. Oh, baby. The dress you wear [music] your perfume
  8. 0:30The dress you wear [music] your perfume
  9. 0:30The dress you wear [music] your perfume keep me wanting you so much.
  10. 0:35keep me wanting you so much.
  11. 0:35keep me wanting you so much. Wow.
  12. 0:37Wow.
  13. 0:37Wow. Now [music] I can't help thinking over
  14. 0:41Now [music] I can't help thinking over
  15. 0:41Now [music] I can't help thinking over you.
  16. 0:43you.
  17. 0:43you. [music]
  18. 0:44[music]
  19. 0:44[music] All the lonely eyes that you put me
  20. 0:48All the lonely eyes that you put me
  21. 0:48All the lonely eyes that you put me through. [music]
  22. 0:51through. [music]
  23. 0:51through. [music] Come on baby, let's sit down. Talk about
  24. 0:55Come on baby, let's sit down. Talk about
  25. 0:55Come on baby, let's sit down. Talk about [music] it. knows the
  26. 1:00hey
  27. 1:02hey [music] vintage w
  28. 1:05[music] vintage w
  29. 1:05[music] vintage w you and I
  30. 1:10[music]
  31. 1:13now I'm going to make sure that this
  32. 1:19love like [music] yours will never leave
  33. 1:22love like [music] yours will never leave me again behind.
  34. 1:25me again behind.
  35. 1:25me again behind. Baby girl [music] each time you pass my
  36. 1:29Baby girl [music] each time you pass my
  37. 1:29Baby girl [music] each time you pass my way
  38. 1:30way
  39. 1:30way to
  40. 1:33to
  41. 1:33to [music]
  42. 1:37the dress you wear your [music] perfume
  43. 1:40the dress you wear your [music] perfume people wanting you so much
  44. 1:45people wanting you so much
  45. 1:45people wanting you so much so much [music]
  46. 1:58>> [music]
  47. 2:00>> [music] >> Now I can't help thinking of you.
  48. 2:05>> Now I can't help thinking of you.
  49. 2:05>> Now I can't help thinking of you. [music]
  50. 2:06[music]
  51. 2:06[music] All the lon [singing]
  52. 2:10me
  53. 2:11me [music]
  54. 2:14each time you pass my way. I'm tempted
  55. 2:17each time you pass my way. I'm tempted to [music] touch
  56. 2:23[music]
  57. 2:25[music] you where your perfume keeping you
  58. 2:29you where your perfume keeping you
  59. 2:29you where your perfume keeping you [music] so much
  60. 2:31[music] so much
  61. 2:31[music] so much so much.
  62. 2:35so much.
  63. 2:35so much. Now I can't help thinking of you.
  64. 2:38Now I can't help thinking of you.
  65. 2:38Now I can't help thinking of you. [music]
  66. 2:41All the lonely nights that you put me
  67. 2:45All the lonely nights that you put me through.
  68. 2:48through.
  69. 2:48through. Come on, baby. [music]
  70. 2:49Come on, baby. [music]
  71. 2:49Come on, baby. [music] Let's sit down. Talk about it. Close the
  72. 2:53Let's sit down. Talk about it. Close the
  73. 2:53Let's sit down. Talk about it. Close the deal.
  74. 2:55deal.
  75. 2:55deal. [music] What's crazy?
  76. 2:58[music] What's crazy?
  77. 2:58[music] What's crazy? Hey, good w [music]
  78. 3:02Hey, good w [music]
  79. 3:02Hey, good w [music] you and I. [singing] It's
  80. 3:07you and I. [singing] It's
  81. 3:07you and I. [singing] It's [music]
  82. 3:10going to make
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commentary

The crooner in the dancehall: singing against the deejay era

Documented commentary on the place of melodic singing within a deejay-dominated dancehall, stated neutrally: one view treats the 'golden-voiced' crooner tradition as a durable counter-current that kept romance and R&B in the music; another treats toasting and the deejay as dancehall's defining voice, with singers a secondary strand. Neutral framing; no verdict. Sources: Beth Lesser, Dancehall; Rough Guide to Reggae; Jamaica Gleaner archive.

Stance: melodic 'lovers' singing as a durable counter-current vs deejay toasting as dancehall's defining voice