THE success of the Coolie dance rhythm sampled hit Bby WOW by Karol G, featuring Judeline and rusowsky, has once again propelled the enigmatic Cordell “Skatta” Burrell-produced beat into the spotlight.

Bby WOW is the biggest song globally at present, topping both Billboard’s Global 200 and Global 200 Excluding US charts. It is also #1 on Billboard’s Hot Latin Songs, and Hot Latin Rhythm Songs charts.

Outside of the United States, the song has so far hit #1 in Bolivia, Chile, Colombia, Costa Rica, Ecuador, El Salvador, Peru and in Spain.

Created in early 2004, the initial Coolie Dance rhythm featured more than 70 songs. Among the hits at the time were songs by dancehall acts Guinness by Jagwa, Yuh Gaawn by Bounty Killer, Geenie Dance by Elephant Man, Head Gaawn by Elephant Man, Do it To Me Baby by Ce’Cile, Gal Dem Way by TOK,
Tell Me Why by Frisco Kid, Please Mr Please by Vybz Kartel and Feel Alright by Sean Paul.

Mr Vegas’ Pull Up and Jook Gal (Wine Wine) by Elephant Man, Kiprich, Twista and YoungBloodz were Billboard chart-hitters, so too Culo by Pitbull and Nina Sky’s Move Your Body, both of which hit the Billboard Hot 100 charts in late 2004, and most recently After Hours by R&B singer Kehlani.

In an interview with the Jamaica Observer on Thursday, Burrell who is also a former judge on the television reality series Magnum Kings and Queens of Dancehall, spoke about the renewed interest in the beat which he created 22 years ago.

“I’m always happy whenever a new interest comes to fruition and a great song is released with the sample,” said Burrell. “It reminds me that the riddim is timeless and has the ability to connect with generations of music lovers. I think the continued interest from international acts in sampling the rhythm has a lot to do with the original approach I made when I sat down to create it. I took a more artistic approach than musical, meaning mostly drums and percussions slightly aggressive but still groovy enough to make you feel the movement between each sound. Less sometimes means more so not crowded. My dancehall influences along with the Indian samples all together made it not only appealing to my culture but straight across the globe.”

According to Burrell, the latest sampling of the beat was brought to his attention by his publishing company.

“My publishing company was contacted after the song’s release, and we did what we could and ensured that we covered all the necessary areas that suited all parties. I think they did a great job on the production because the first thing that stood out was the beautiful synth melodies and vocal samples that played alongside the lead vocals and even though its in Spanish, the sound is captivating enough and is still enjoyed and appreciated,” said Burrell.

Unlike most of his projects, the beat for the Coolie Dance rhythm was not created in a recording studio. Burrell shared that he envisioned the production would have been a hit.

“The rhythm itself was not created in a studio. I was in New York at the time and was by a friend’s house. I purchased a sample CD at a place called Samash music somewhere in Queens I think and was eager to sit with it and get creative. The first opportunity I got was in my friend’s living room. I plugged in my drum machine and put my headphones on and got to work. The process was about an hour because from listening to the samples in the car, I knew exactly how I wanted to interpret and build around it. I knew it was different and had extreme potential so when I had an offer of purchase from another producer, I made the decision not to sell it and instead use it for my own label and the minute I played it for Bounty Killer, he also gave me the nod that it was a hit,” Burrell recalled.

Though not 100 per cent sure, Burrell recalled that budding artiste at the time Jagwa may have recorded the first song on the Coolie Dance rhythm.

Prior to venturing into music production, Burrell tried his hand at becoming a recording artiste, but that didn’t work out.

“I got into music while attending The United Pentecostal Church on Grant’s Pen Road where at a very young age, I used to sit at the front bench and mimic Clevie the drummer as he played. I eventually got the opportunity to play the drums after some time and that’s where my passion grew. From beating the desk at Calabar High school classrooms to building beats and recording demos in my friend Benzly Hype’s home studio on Hillary Avenue. I was rejected as an artiste at Celestial Sound because my voice wasn’t good enough, so I decided to learn the 56 Channel Amek Hendricks Mixing Console at the first digital studio owned by Steven Ventura,” he shared.

“He gave me the opportunity to be a fly on the wall to watch and learn until I started recording and mixing. Iley Dread, however, gave me the biggest support by giving me his label, Kings Of Kings, to run for almost two years and that’s where I homed in on my passion and worked with many artistes, musicians and producers. Norris Man gave me my very first hit song and Ce’Cile and I did our very first dancehall juggling that propelled me to the mainstream lanes from which I was able to navigate my success,” the producer reminisced.