Studio Beast: Claude Kelly, Hit Songwriter

Interview by Dwane Rich Words by DJ Gravy

In this day and age, being a star isn’t quite all it’s cracked up to be.  However, being behind the scenes can sometimes be the best scene of all (and free of TMZ-like parasites).  In the case of the music industry, getting publishing checks can be a lot more rewarding (and less dramatic) than being the headliner in the spotlight.  If an artist with hit songs falls off, the writer behind the songs moves on to the next project, and while recognized in the industry, doesn’t need bodyguards and Escalades with tinted windows to go out for brunch!  Meet the biggest new songwriter in the game, Claude Kelly.

Even at the tender age of 5, it was clear that Claude Kelly was destined for greatness.  His organ playing in church filled the pews, put money in his very small sized pockets and had all the church ladies on smash,  talking about what a prodigy this Jamerican youth from the East Village was…

Fast forward 15 years later, we find Mr. Kelly attending the highly-esteemed Berklee School of Music in Boston.  From there, the young graduate had his mind set on becoming a major recording artist.  After giving it a good run, (and collaborating with a bag of pop stars) he ended up writing for other artists, and it was in this seat that he really found his angle, and success most can only dream of.

Since his first writing gig in 2002, Claude has become the “it” factor in the biz, penning major hit songs like “My Life Would Suck Without You” (Kelly Clarkson), “Circus” (the title track on Britney’s last record) and practically the updated national anthem, “Party In The USA” (Miley Cyrus).

Fresh off the jet from London, where he was recipient of  a songwriting award, Claude Kelly took a moment to speak with Large Up to give us some insight about what it takes to succeed in the biz, how his Jamaican background affects his craft, and his method of constructing songs in his head, opposed to the pen and pad. “If you have to write it down,” he says, “it’s not worth remembering!”

LU: How did writing a song for Japanese clothing line, Bathing Ape, and another for R&B singer, Frankie J, come about? And how did those jobs lead to the kind of projects you’re doing now?

CK: The song I wrote for Bathing Ape was completely by accident. It was the first song I ever placed so in a way its the most special. Working with Frankie J was a result of music I worked on with DJ Clue. I owe that connection to him. I then wrote a second song with Frankie J called “Daddy’s Little Girl’ that became a single on his Priceless album. Both of those experiences gave me the confidence I need to keep pushing, and perfecting my writing skills. They came at a vulnerable time for me. I was grinding and not seeing many results. Those experiences gave me the encouragement I needed to keep going. It was a sign that I was on the right track.

LU: Can you describe to the people who know the hit songs, but are unfamiliar with the process between the songwriter, producer and the artist, how that goes down?

CK: It’s actually quite simple. I am a songwriter or “topliner”. I write the melody and lyrics of the song. The producer creates the track/beat/ instrumentation that accompanies. Together you have a song. The artist, of course, records and performs the song. These jobs can be separate but in many instances, a person can do more than one. Many artists and producers are songwriters…and vice versa.

LU: In 2008 you were quoted saying you wanted to stretch out creatively from the confines of R&B, where do you find the inspiration to write songs like “Party In The USA” and” Life Would Suck Without You”?

CK: The misconception is that I’m “trying to stretch out” to write pop/rock. That’s misleading. I grew up listening to and LOVING all kinds of music.  I don’t need to “stretch out” or fake writing pop, rock, classical, R&B, hip-hop, jazz. I don’t switch it up for any reason other than I KNOW how to write them all. I’m comfortable writing melodies and lyrics in all these genres because they are all a part of me. I hear them all in my mind. Frankly, I get bored if I’m forced to stay in one box for too long.  “My Life Would Suck Without You” & “Party in the USA” are the result of how we were feeling on that day. Both are fun, energetic, pop songs. Like many of the amazing pop songs I grew up on. “Blame It On Me” (Chrisette Michele), “Bittersweet” (Fantasia), & “Echo” (R.Kelly) are the result of the heartfelt soulful music I heard growing up too.

LU: What music do you remember your parents playing in the house and at family functions?

CK: My mother is a huge fan of music. Bob Marley was always on. I remember hearing a lot of Motown too – The Supremes, Marvin Gaye, The Temptations. She is also a very spiritual person, so hymns were big in my house.  There was a rule that a radio needed to be on in every room. So we had the light rock station going in the bathroom; Classic soul in the kitchen; Her favorite albums on the stereo in the living room. And of course I was playing the fresh young stuff in my room – Hot97, Z100 and watching MTV & BET.

LU: How do you think being from a Jamaican background affects your writing?  You do have a line saying “ring the alarm” on “For Your Enjoyment” that you wrote for (of all people) Adam Lambert.  Any connection?

CK: My Jamaican background definitely affects my writing. I grew up listening to the classics. Reggae is soul music; FEEL it as soon as it comes on. There is ALWAYS a message in it. That is what all music should do. That’s all I want my music to do…MOVE people. Make them dance, think, smile, wake up, open their eyes, cry sometimes, love harder, leave someone if necessary. I’m so grateful for my heritage. Jamaica is a small island with a BIG personality. We are strong, courageous, bold, colorful, proud, emotional, hard working, and lovers of life. You can hear all of that in my music, I think.

LU: What’s your advice to ambitious songwriters trying to get in the game?

CK: My advice to songwriters is to study! You can never know enough music. The bigger the library in your mind, the more you will have to draw from. Learn to love all types of songs, voices, and styles. You never know when you will need to use that information.
Don’t let one “no” stop you. If you have a gift, the “no’s” will eventually turn into “yeses”. The music business is about perseverance…not just talent. Always be on time for meetings. Wasting someone’s time is the biggest insult you can give someone.

LU: What’s next for Claude Kelly? (Other than our big plans for your Whitney Houston / Beres Hammond combination song!!!)

CK: As for what’s next for me: I have new songs coming out with Christina Aguilera, Fantasia, Jennifer Hudson, David Cook, David Archuleta. As well as songs featured in the movies Sex & The City 2, and Burlesque (a movie starring Cher, Christina, & Stanley Tucci). Oh, and regarding your master plan for a Whitney/ Beres duet…I LOVE Beres Hammond! “Tempted to Touch” is a classic! I’m Not sure Whitney is aware of his greatness. I’ll make sure  to relay the message! HAHA!

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