One of dancehall’s most lucrative riddims has returned to the spotlight—but for veteran producer Colin “Iley Dread” Levy, the renewed attention has reopened a 23-year-old wound.
The Kings of Kings founder claims he has never received a penny from the Coolie Dance riddim, the infectious 2003 production that powered international hits by Nina Sky, Pitbull, Elephant Man and Mr Vegas.
“I invested in Skatta. I invested in the project. Unfortunately, I still haven’t received anything,” said Levy, who was initially credited as the project’s executive producer.
At the centre of the dispute is celebrated producer Cordel “Skatta” Burrell, who created the riddim alongside his brother, Everton “Eva” Burrell, while working as the house engineer at Kings of Kings Studio.
Although VP Records later released a compilation titled Coolie Skank through its Riddim Driven series, the company does not own the underlying composition or its publishing. Skatta subsequently partnered with Abood Music, while global independent music company Reservoir Media reportedly administers the publishing rights.
Levy alleges that he and Skatta verbally agreed that Kings of Kings would receive a percentage of the publishing. However, he admits there is no signed contract outlining a royalty split.
“Skatta verbally told me the percentage that I would get. I remember it as clearly as ABC,” Levy claimed.
“We had a discussion regarding a percentage. I’m entitled to a percentage of the publishing based on what he said verbally, but I haven’t received that—or anything at all.”
From Dancehall Riddim to Global Hit Machine
Released in 2003, Coolie Dance became one of the defining riddims of modern dancehall, moving rapidly from Jamaican sound systems to radio stations and nightclubs around the world.
Its biggest crossover triumph came through Nina Sky’s Move Ya Body, which peaked at No. 4 on the Billboard Hot 100.
Pitbull’s Culo, also driven by the Coolie Dance beat, reached No. 32. Elephant Man’s Jook Gal (Wine Wine), featuring Kiprich, Twista, YoungBloodZ and Lil Jon, climbed to No. 57, while Mr Vegas’ Pull Up peaked at No. 98.
More than two decades later, the riddim continues to find new life.
Colombian superstar Karol G recently sampled it on Bby WOW, a song from her sixth studio album, No Me Arrepiento de Sentir Tanto. The track reportedly peaked at No. 29 on the Billboard Hot 100 and topped the Hot Latin Songs chart.
The riddim also surfaced in the Netflix comedy 72 Hours earlier this year.
“A cat has nine lives; this riddim has 99 lives,” Levy said.
Yet every new success produces a painful mixture of pride and disappointment for the veteran producer.
“I did not make a penny,” he declared. “I cannot give something out of nothing.”
‘It Should Never Be Money Over Morality’
Levy said several people have encouraged him to take legal action, but he has not decided whether to pursue the dispute in court.
“Multiple persons have contacted me and said that I should take legal action, but I still haven’t made any such decision,” he said.
“It should never be money over morality. It should never be vanity over humanity.”
According to Levy, a late associate known as RZ Jackson handled the publishing side of the Kings of Kings operation.
“When Jackson brought it to my attention that there was some disagreement over Coolie Dance, I spoke to Skatta and thought it was settled,” Levy recalled.
“He said that what was due to Kings of Kings, Kings of Kings would get.”
The apparent absence of a written agreement could become a major obstacle if the matter reaches court. Levy acknowledged that he and several other producers of that era relied too heavily on trust instead of contracts.
“A lot of us in the early days were thinking more with our hearts than our brains,” he said.
“You have a working relationship with individuals and you just think you will get what is due to you without having everything in writing.”
Still, Levy maintains that his investment and involvement in the riddim’s rise are widely known throughout the music industry.
“Why were so many songs from Coolie Dance released on the Kings of Kings recording label if it had nothing to do with me?” he asked.
“Why would I bring the music to disc jockeys around the world if I wasn’t entitled to something?”
Debbie Cole Details VP Records Meeting
Debbie Cole, a former partner of Levy and an investor in Kings of Kings, said she became concerned after discovering that Coolie Dance had no distribution or licensing arrangement.
Cole claimed she arranged a meeting between Skatta and VP Records co-founder Chris Chin, believing an agreement would be reached for the project.
“So I asked Chris Chin, as he and I were very close at the time, if I could bring Skatta to seal the deal, and he said, ‘Yes, come Wednesday morning,’” Cole recalled.
“Skatta and I went. I allowed him to go in and speak to Chris alone, after which Chris called me for clarity on the executive producer, producer and other details for that riddim. I honestly thought it was done.”
Cole alleged that Kings of Kings earnings had financed studio equipment and other expenses while Skatta worked with the company. She said she nevertheless remained his friend, even as questions surrounding the royalties strained relationships.
“Every man should give unto Caesar what is due unto him,” she said.
Cole said she even intervened when Skatta and Aidonia had a famous falling out at the Princeville Studio by allowing Skatta to return to use the Kings of Kings studio at Sandringham Avenue.
“I have always showed love to Skatta,” she said.
Success Came With Suspicion
Levy claims the dispute did more than deprive him of income—it damaged his reputation.
According to the producer, some artistes and industry figures assumed he had earned a fortune from Coolie Dance and refused to share the proceeds. He said that perception has even made entertainers reluctant to record on his newer projects.
“There are people who don’t even speak with me because they feel like I deprived them,” he said.
“Even people who love the riddim are reluctant to voice on the new riddim because they feel I did not break bread.”
Levy insisted that he would never deliberately exclude the people who helped build what he describes as one of dancehall’s biggest juggling projects.
“I would not be so selfish or self-centred that I wouldn’t break bread from the biggest juggling of all time,” he said.
The fallout, he added, left him emotionally drained and questioning his future in music.
“I was feeling lost. I was feeling broken and disappointed—to the point of giving up,” he admitted.
“I invested resources in the music business that I could have spent on my biological children. I had this vision that it was going to become an empire.”
Before the dispute, Levy and Skatta had developed a productive partnership that yielded projects including Martial Arts, Double Jeopardy and Bad Company, as well as roots-reggae recordings such as Norris Man’s Persistence.
‘I Still Believe He Will Bless Me’
Despite the bitterness, Levy remains reluctant to portray his former protégé as an enemy. He repeatedly describes Skatta as a son and says he is pleased with the producer’s success.
“We don’t speak as often as we used to,” he acknowledged. “But when we do, he always acknowledges that I am his mentor and father figure.”
Levy said his manager recently accused him of being naïve because he continues to believe Skatta will eventually compensate him.
“I still feel like Skatta is going to bless me with something,” he said.
“Even if it’s not exactly what we discussed and agreed, I don’t think Skatta would have the heart not to give me anything at all.”
He added: “I wanted to see him strive and prosper. I’m happy for his success. But there must come a point when you can say, ‘I already have my house. I already have this. Let’s bless Iley with something.’
“It is undeniable that I, Iley Dread, CEO of Kings of Kings, am entitled to something.”
For Levy, the solution remains less about revenge than recognition, accountability and what he considers a fair share of dancehall history.
“If Skatta breaks bread, there wouldn’t be so much hurt and disappointment within the industry and with me,” he said.
“History cannot be erased and the truth can’t be replaced. Give unto Caesar whatever is due unto him. Do unto others as you would like them to do unto you.”
There has been no independent verification of Levy’s allegations, and the precise contractual, ownership and publishing arrangements surrounding Coolie Dance were not established during the interview. Efforts to obtain a response from Skatta Burrell were unsuccessful.
“In the time of reaping, everyone should get something,” Levy said.
