Keri Hilson

by Cyril Cordor Before she could utilize her talents for her own solo endeavors, R&B singer, vocal arranger, and songwriter Keri Lynn Hilson wrote a slew of songs, many of them chart-toppers, for several popular artists in the mid-2000s as part of the five-person production/songwriting team known as the Clutch. The dynamic songwriter was born in Decatur, GA, only a few miles outside of Atlanta. Addicted to TV talent shows like Star Search and Showtime at the Apollo, she was already plotting out her career in music at age 12. Even though her mother hired a piano teacher to encourage those talents, she mainly wanted to sing; therefore, Hilson converted those sessions into vocal lessons, accompanying the teacher on piano. In her mid- to late teens, her career jumped off as a songwriter and background vocalist, working under producer Anthony Dent (Destiny's Child, Diddy). Borne out of that relationship were two failed girl groups (named Pretty Toni and D'Sign) and, more importantly, a host of connections within the industry for whom she wrote or did backup vocals, including Usher, Ludacris, Kelly Rowland, Ciara, and up-and-coming Southern rap producer Polow da Don.After Hilson graduated from high school, she managed to continue juggling all these tasks when she enrolled into Emory University in Atlanta. She eventually moved on from Dent and began working more with Polow da Don. Attending school while actively advancing her music career put a great demand on her, especially from being a member of the extremely versatile Clutch team. But as luck would have it, Polow introduced her to superproducer Timbaland, who wasted no time in signing the multi-talented songbird to his growing Mosley Music imprint in 2006. Over the next couple years, Hilson's songwriting was practically ubiquitous, responsible for numerous hit singles, including Mary J. Blige's "Take Me as I Am," Omarion's "Ice Box," the Pussycat Dolls' "Wait a Minute," and Ciara's "Like a Boy." With Timbaland and the Clutch in her corner, Hilson relied on the vast pool of recording artists and producers who needed (and wanted) to return the favor for her Mosley Music/Interscope debut.