In Control

Performer: Beres Hammond
Artist: Buju Banton; Sly & Robbie; Marcia Griffiths
Engineer: Garfield Spencer; Culture Lee; Murphy; Delroy Pottinger; Bunny Tom Tom
Distributor: WEA (Distributor)

Notes: Personnel: Beres Hammond, Capleton, Bunny Ruggs (vocals); Steven "Cat" Moore, Willie Lindo, Dalton Browne (guitar); Dean Fraser, David Madden (horns); Tony Green (saxophone); Robbie Lyn (piano, keyboards, bass); Handel Tucker, Clive Hunt, Vernon Morrison, Paul Crossdale (keyboards); Donald Dennis (keyboards, bass), Computer Paul, Digital Pablo (keyboards, programming); Julio Ferrer, Mafia, Fluxy, Clement Dodd (programming). Producers: Willie Lindo, Hugh Beresford Hammond, Phillip "Fatis" Burrell, Donovan Germain, Richard Bell. Recorded at Mixing Lab Recording Studio, Penthouse Recording Studio, Music Works Recording Studio and Black Scorpio Recording Studio, Kingston, Jamaica; Heavy Beat Recording Studio, Miami, Florida. Personnel: Beres Hammond (vocals, background vocals); Hugh Beresford Hammond (vocals, background vocals); Marcia Griffiths, Buju Banton, Bunny Rugs, Capleton (vocals); Dalton Browne, Willie Lindo, Steven "Cat" Coore (guitar); Tony Greene (saxophone); David Madden (trumpet, horns); Barry Bailey (trombone); Dean Fraser (horns); Robert Lyn (piano, keyboards); Donald Dennis, Handel Tucker (keyboards, bass guitar); Computer Paul, Digital Pablo (keyboards, drum programming); Clive "Azul" Hunt, Paul Crosdale, Vernon Morrison, Paul "Wrong Move" Crossdale (keyboards); Robbie Shakespeare (bass guitar); Sly Dunbar (drums); Julio Ferrer (drum programming); Ledean Webster, Betty J., Marie Twiggi Gittens, Kashief Lindo, Mickal Rustle , Pam Hall (background vocals). Audio Mixers: Collin "Bulbie" York; Andre "Dreddy Ranks" Tyrell; Steven Stanley; Delroy "Fatta" Pottinger; Bunny Tom Tom. Audio Remasterer: Bunny Tom Tom. Recording information: Black Scorpio Studio, Kingston, Kingston, Jamaica; Heavy Beat Recording Studio, Miami, FL; Mixing Lab Studios, Kingston, Jamaica; Penthouse Recording Studio, Kingston, Kingston, Jamaica. Photographer: Donna Ranieri. Unknown Contributor Roles: Paul Crosdale; Hugh Beresford Hammond; The Firehouse Crew; Robert Lyn; Paul "Wrong Move" Crossdale. Most reggae artists who get their one-shot, major label crossover chance flounder precisely because they aren't in control, but that doesn't seem to be the case with Beres Hammond here. He's credited as executive producer, actually produces the lion's share of the songs, has a songwriting credit on every song, and surrounds himself with Jamaican stalwarts from Sly Dunbar & Robbie Shakespeare to producer Phillip "Fatis" Burrell. But In Control just falls flat and any blame really comes down on Hammond for coming up with a collection of proficiently performed songs that don't amount to much of anything. "Reggae Calling" has its virtues (being yet another genre invocation isn't one of them), "No Disturb Sign" is a nicely drawn woman's fantasy of a man throwing his workday over for her, and "Giving Thanks" is a catchy celebration of life that generates some late momentum despite the irritating Pan pipe synthesizers. But the multi-generational reggae duets with Buju Banton ("Just Say No") and Marcia Griffiths ("It's Not too Late") are limp, "Another Day in the System" is a second-rate reprise of Hammond's classic "Putting up Resistance" with resignation as the dominant mood. Hell, even the all-but-failsafe "Armagideon Time" riff doesn't work on "I Could Beat Myself." It's a shame In Control is so lackluster because Hammond potentially seems like the ideal reggae candidate to make a crossover connection with the mainstream U.S. R&B market. As a singer, he's essentially a Jamaican Teddy Pendergrass without the gospel grit, one equally adept at writing and delivering convincing roots anthems, or charming female listeners with sensitive romantic ballads that aren't cloying sentimental mush. Too bad he didn't take advantage of his major label shot to re-cut the superb "Putting up Resistance," an anthem for the ages to rank with "The Harder They Come" for righteous catchiness that deserves exposure well beyond just the reggae faithful. ~ Don Snowden

Vibe (8/94, p.116) - "...Jamaica's surest shot at America's R&B hit parade is so damn good that he even croons baby talk choruses...and actually gets away with it..." Musician (8/94, p.90) - "...Hammond insinuates himself deftly within insistent melodies buoyed by bauxtie-heavy basslines and slick but not syrupy arrangements..."

One of the finest Lovers Rock artists to follow in the wake of the original late-'70s/early-'80s boom, Beres Hammond found popularity as a reggae artist by continuing to sing in a more traditional soul-driven vocal style, as opposed to the commercially viable dancehall patois that dominated contemporary reggae. After struggling to make a name for himself in the 1980s, Hammond hit it big in the '90s--especially in the U.K.--with a series of hits that saw him pairing with dancehall stars such as Buju Banton, Shabba Ranks, and Shaggy.

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