Tuff Gong + The Mixing Lab

Artistes: Barrington Levy | Alaine | Terry Lynn | Cherine Anderson | Beenie Man

Musicians: Harry T + Ranoy Gordon

Day 5 began at Tuff Gong with Barrington Levy arriving at high noon like the new sheriff in town, to put his internationally recognized sound on the track. Whoo-ohh-ooaaaahh!

After listening to songwriter Raymond Azan explain the evolution of the song and the purpose of the project, Barrington shifted his focus to the work at hand – making music – and entered the recording booth to mark his place on the “ark” with his signature style.

The first musician to join Handel in the studio was legendary percussionist Harry T whose size relative to the power of his musical output gives weight to the adage "Never judge a book by its cover" or in Jamaican-speak "little but tallawah". The “riddim” of his steady hands on the repeater delivers the song's heartbeat and communicates its message across cultures through the universal language of the drum.

Next to be recorded was young guitarist Ranoy Gordon, a former Edna Manley college student who has played for various artistes including Jr. Gong and Stephen Marley. (He is one of the youngest musicians on the track but he holds his own with raw talent.) In his own easy-going fashion, he listened to Handel's insight on the direction in which he wanted to take the song. At first he appeared to be slightly camera shy, but once he started strumming his acoustic guitar it was like we were no longer in the room. Ranoy Gordon is definitely someone to look out for.

Moving the session to Mixing Lab in the late evening, Handel preps the board for a busy night - 4 artistes expected: Alaine, Terry Lyn, Cherine + Beenie.

Alaine's enthusiasm for the project was apparent from her entry as she warmly greeted everyone in the studio before settling in to vibe with Handel and songwriter Raymond Azan. With the experience of a veteran, young Alaine went into the recording booth and laid the first female track of the song in a matter of minutes. She poured her soul into the song, giving it a delicate and heartfelt touch.

Terry Lynn arrived next, fashionably dressed in keeping with her star status in the European market since releasing her critically acclaimed KingstonLogic project. With all the humility of someone at home with herself, Terry Lynn took time out before leaving for tour, to stamp her style on the project. After studying the lyrics and energy of the music during Alaine's recording, Terry Lynn entered the booth and delivered vocals that have opened up wider remix options for the project. Then she hung out a bit to talk to the other artistes, the songwriter and the producer before leaving with a smile on her face, happy to have contributed to this special project.

Cherine Anderson entered the mix wearing an iridescent purple top and a pair of faded blue jeans while carrying a large pair of DJ styled skull candy headphones. Cherine was quick to declare that she wore no makeup since tonight she came strictly for the project. But you'd never have been able to tell by just looking at her. She may have been 'low key,' but with her big hair, bright eyes and fashionably flat sandals, she looked like a diva without even trying.

Cherine lymed a bit with Terry Lynn and Alaine, and recalled with Handel some memories of when they had worked on projects together much earlier in her career. After hearing the song, she immediately gravitated towards it. She was quick to ask Handel "Where me must sing?" to which he replied, smiling, "Take a line, sing any where you like."

Ms. Anderson then displayed the versatility of her talent in the recording booth. Like a true artist, she re-crafted some of the lyrics to bring out even more emotion and intensity with her voice, giving birth to the line 'Feel the love flowing freely...' Cherine played her voice like an instrument, experimenting with various styles for each line (soft, powerful, airy, smooth, vibrato) till she found one she thought best matched its meaning. She did the extremes of any style range equally well (“So Handel, how you want that line? Just tell me and I can do it you nuh!”), and she knew it and nailed it!

SMALL FRAME + BIG VOICE = Cherine.

We heard Beenie Man before we saw him. His “Hellooo Handel Tuckaaa!” sounded like the greeting of a fighter from a Kong Fu ‘kickaz’ film.

Enter: a lanky frame, with a bright aqua blue shirt that matched its wearer’s mischievous energy. “You know say is '24' I was watching, when me get the call? Only Handel Tucker could get me to leave '24' to come a’ studio!”

Beenie listened to the song; eyes closed, head rocking from side to side, then asked Handel where he was to come in since the song already sounded perfect. Handel gave one of his ‘mad professor’ smiles and reminded Beenie Man of his name and title – “King of the Dancehall” – and suggested that he should “find a piece of land and just capture it.”

“Anywhere?” Beenie Man asked.

Handel nodded. “Feel out the vibe and then start squatting,” he said. And that was all it took for the artiste to request a set of headphones and ask Handel to mute all voices after the second verse; that land was his.

Beenie Man staked his claim, planting his signature phrases (which I won’t try to spell here) until he felt truly at home, then free-styled a message from the heart that began with “you know how the calling start…”

That’s a wrap!