We not too long ago caught up with J. Que Smith for an interview on Instagram Stay. Throughout our dialog, we talked about a few of his largest hits for Fantasia (“Reality Is”), Avant (“four Minutes”) and Omarion (“Ice Field”). We additionally talked about forming the writing workforce The Clutch which additionally included Keri Hilson, Ezekiel Lewis, Candice Nelson and Balewa Muhammad. We additionally speak about his work with Babyface and a few of his work abroad in Japan and Korea.
YouKnowIGotSoul: Speak about one in every of your earliest placements which was “Reality Is” by Fantasia.
J. Que Smith: We wrote it with Soulshock & Karlin. We had been in L.A. they usually gave us the document. On the time we had been staying in Malibu at a good friend’s home. That they had a non-public seashore, so we had been loving being in Malibu and we didn’t write something. The subsequent day when it was time to go to the session, I needed to provide you with one thing. We hopped within the automotive, put the observe on and wrote the entire track on the best way to the studio. We wrote that track for Toni Braxton and performed it for her. They stated they didn’t prefer it and I used to be heartbroken. Then I went to Japan to do some writing after which I acquired a name from Soulshock & Karlin they usually had been like “Fantasia minimize it. It’s going to be the only”. Every week later they referred to as me once more they usually had been like “It’s not on the album anymore”. They referred to as me again they usually had been like “It’s the only once more!” and it got here out. Assembly Fantasia was dope as a result of we’re each from North Carolina.
YouKnowIGotSoul: How did the songwriting group The Clutch come along with your self, Keri Hilson, Ezekiel Lewis, Candice Nelson and Balewa Muhammad?
J. Que Smith: It was essentially the most random state of affairs ever. I bear in mind it as a result of we had been in Miami. Proper earlier than we went to Miami, I acquired a name from my writer asking if I’d be excited about doing a writing camp for Sony. I wasn’t , however then I acquired a name from Keri. We had been already attempting to construct The Clutch, however our group was referred to as The Writers Block. Keri stated she would do it, so I stated I’d do it too. We had been within the studio that weekend and we wrote six songs, recorded 5 after which by Tuesday, 4 of them had been positioned instantly. We had been like “Perhaps we must always get collectively as soon as each two months to put in writing one thing since this went nicely”. The subsequent week we acquired a name from J Information they usually had been like “We heard you probably did a writing session with Sony for Jennifer Lopez” they usually wished a writing session too. At the moment, we had been placing collectively so many information. On the time earlier than we refined our course of, we had been making so many information. They might put Keri and I in a single room after which Ezekiel Lewis and Candice Nelson could be in one other room. Keri and I’d do two information after which Candice and Ezekiel would do two, so we had 4 information a day. Everybody was calling us to work. A bunch of these songs acquired positioned after which not too lengthy after that, we referred to as once more two weeks later from Interscope. They had been like “How come we aren’t a part of this entire Clutch factor?’. In 52 weeks within the 12 months, we had been booked 46 weeks in a 12 months and we simply labored. The craziest factor is that The Clutch was the best work ever. Our course of was tremendous bizarre as a result of individually, all of us had fairly dope discographies. All of us had written some fairly good information. By the point we had been rolling, we hit a distinct segment market as a result of these labels on the time had track offers with producers they usually had all these tracks, however they didn’t essentially have songs. We had been the folks that folks would go to for the tracks that they’d already paid for. Our course of is that we might get within the room, play the observe and Balewa was the idea king. He would provide you with one thing after which everybody would cut up to completely different corners of the room and we’d all write what we wished to put in writing. Then we might come again collectively and the best way it ended up working ultimately, we might all sing what we had after which we might work out the bridge. All of our information labored that approach. Folks would all the time say “There are such a lot of transferring components. Nothing felt the identical” and it’s as a result of we didn’t suppose it by collectively. For my part, Candice was essentially the most gifted out of all of us. It was superb and tremendous straightforward.
YouKnowIGotSoul: Speak about writing “Ice Field” by Omarion.
J. Que Smith: I had labored with Omarion when he was with B2K. Omarion delivers my track higher than anybody. We acquired a name from his workforce to work on his single and I used to be like “Okay cool!”. The studio was at 6 PM and Kawan Prather was like “The remainder of The Clutch missed their flight, we’re pushing the session again to eight PM”. I acquired to the studio at eight PM after which the session acquired pushed again to 10 PM. I used to be on the studio already and Omarion was there too. I used to be like “I’ll begin it after which everybody else can fill in after they get there”. Omarion had two tracks they usually each got here from Timbaland’s observe. He performed the beat for “Ice Field” after which “Beg For It”. I used to be like “Let’s write to the primary beat”. He wished to put in writing a track referred to as “Chilly” and I instructed him if the track goes to be a success, it must be a success from high to backside. If in case you have 13 tracks on the album, nobody goes to go to “Chilly” as a result of the title must be attention-grabbing. He prompt “Ice Field” and I used to be like “No, that’s wack”. Then he confirmed me the pc with “Ice Field” on it and I used to be like “I can’t even entrance, that appears good!”. Then we tried determining what the track was going to be about. I feel all dudes are fairly strong till they get actually tousled by a heartbreak after which they go into canine mode. Omarion was like “Let’s write in regards to the lady that broke your coronary heart” and I used to be like “Why don’t we write in regards to the lady that has to take care of you after the heartbreak?”. It occurred tremendous quick for me and that isn’t all the time the case. I’m writing the track to my spouse about my ex girlfriend, so for me and my writing course of, I don’t write till I can see the entire thing in my finish. The second that I can see it, I can simply write. We wrote the pre-chorus and refrain in a minute and Omarion was like “Let’s ending writing it”. For me, I do know my association with The Clutch and the splits, so I used to be like “The power is superb. We should always begin recording”. Omarion did his half after which he went house. Afterwards, I referred to as my good friend Antonio Dixon and was like “I’m engaged on one thing that may particular. Recover from right here”. He got here in and began writing with Keri and Ezekiel after they acquired there. They began singing the verses and I used to be like “That’s not what the track is about”. I used to be like “The melodies are gold although” so we return to it with me explaining the state of affairs after which we write the track. I’m singing all of the harmonies within the again after which Omarion cuts it the subsequent day. He information it and it sounds superb. Timbaland truly doesn’t have any vocals on it. We minimize Ezekiel Lewis’ vocals till he appeared like Timbaland. I used to be telling Omarion that this was a success. Timbaland got here to the studio, heard it and was like “Properly Sean Garrett has the opposite beat. Let’s see what he did with that observe earlier than we decide”. Two minutes later, Timbaland instructed us to play “Ice Field” once more they usually ended up loving it.
YouKnowIGotSoul: How did the remix with Usher come about?
J. Que Smith: I ran into Usher on the airport and he was like “You already know that ought to have been my document proper?”. Usher was like “In case you do a remix to that track, I’ll do it”. We wrote the remix and we went to chop it with Usher. I pressed play and Usher stated “I’m not singing this!”. We wrote a complete completely different story with completely different melodies and Usher instructed us he simply wished to sing “Ice Field”. We sat down and wrote new lyrics over “Ice Field”. The vibe was actually cool for that one.
YouKnowIGotSoul: After The Clutch period, you began working with Babyface and Antonio Dixon for Beyonce and Ariana Grande. Speak about your work with Babyface.
J. Que Smith: When The Clutch broke up, it was actually tough for me as a result of I had spent on a regular basis for 4 years with these guys. Once we broke up, it was onerous coping with all these feelings as a result of I related myself with them. I’d go to the studio after which I wouldn’t be capable of carry out or produce the best way I wanted to. For a really very long time, I ended up doing nothing. I bear in mind calling Antonio Dixon and for the primary time ever, he rushed me off the cellphone. I used to be like “What was that?”. He referred to as me like a day or two later and was like “I used to be within the studio with Beyonce and Babyface”. Beyonce cherished what they had been doing, however she felt a few of these melodies and lyric decisions felt outdated. Antonio instructed Babyface that he wanted to deliver me in. LA Reid signed me early on as a result of he stated that my writing reminded him of Babyface. I went within the studio with Babyface and I hadn’t been within the studio in a 12 months. I acquired within the studio and I began freaking out after seeing Babyface. Antonio was like “It’s important to cease calling him Babyface. Name him Kenny” and I simply couldn’t cease. We began writing the document and it was “Child I” which we initially wrote for Beyonce as a result of she was engaged on a 90’s throwback album. Each time Antonio Dixon would depart the studio and it was simply me and Kenny, I’d flip right into a Babyface fan as an alternative of being a GRAMMY award successful songwriter. One time I prompt one thing and Kenny was like “No, I feel we must always go this fashion” and I used to be identical to “Okay”. I had performed a horrible job and after Babyface left, I used to be like “I’m sorry” and Antonio Dixon was like “We’ll strive once more in a number of months and perhaps he received’t bear in mind you”. Antonio began taking part in the beat for “Greatest Factor I By no means Had” and I began singing the melodies. We wrote the track and I used to be like “Let me document it”. Antonio was like “No, you must sing it to Kenny so he is aware of you’re gifted”. He got here again a number of days later and I used to be tremendous nervous as a result of I had tousled earlier than. Kenny heard it and he was like “I like it. Let’s re-write it”. We re-wrote part of it and the track was completely different. It wasn’t higher, it was simply completely different. Then we began tweaking the refrain and I didn’t prefer it. We completed that after which Kenny went “Let’s have a look at the verses now”. Antonio was like “Let’s write one other document for those who don’t prefer it”. The subsequent day, Kenny was like “I actually loved writing with you and we now have to go within the studio with Beyonce subsequent week. Do you wish to come?”. I used to be like “Babyface and Beyonce? Sure!”. We acquired to New York and wrote one other track referred to as “Million Excuses” and Kenny checked out me and was like “I wish to take one other have a look at that different document”. If you understand him, you’ll be able to see him flip from Kenny Edmonds to Babyface. You may watch it occur. He instructed me that “Greatest Factor I Ever Had” was cool however “Greatest Factor I By no means Had” was completely different. He understands evoke feelings with the fewest phrases attainable. He began going by the track and he was like “Your concepts are nice, however it’s important to pay extra consideration to the little issues”. He stepped out of the sales space after listening to his voice on my track, it had me able to cry. He was like “It’s nearly proper” and he was like “We have to ear sweet”. Antonio was like “That’s straightforward! J. Que can try this in his sleep” and Babyface was like “Go write it proper now!”. I used to be feeling tremendous pressured after which Antonio instructed me to be “Younger and dumb”. It’s one thing we’ll do on a regular basis. We’ll make the stupidest songs within the studio. I turned the observe on and I began singing “What goes round, comes again round my child”. They ran to the subsequent room to get Beyonce and it was like the sunshine of the lord entered the room. She recorded the track after which performed it again. We ended up doing one other track referred to as “Dreaming” and that document was superb. It confirmed me who Babyface and Antonio had been. That document was performed, however they only wanted a bridge. After they acquired prepared to put in writing the bridge and I used to be like “This track goes to be superb”. Kenny was like “What are you doing?”. The track was performed, so I didn’t wish to power myself on another person’s document. He was like “That’s not how a workforce works” and I acquired up there and wrote on the bridge with them. When the splits got here out, Kenny’s assistant confirmed me the cut up and I acquired 33%. I used to be like “There was a typo. It’s only a bridge so it ought to simply present three%”. Antonio instructed me “Welcome to working with Babyface. All of us wrote on the track so we cut up it even”.