"Is he a she? Or is she a he? Why won't you let her keep his mystery? Satellite Baby, undress me."  
—"Satellite Baby" from the album "Satellite Baby"

"I am who I am when I'm not who I'm supposed to be."  
—"iamwhoiam" from the album "Rock-N-Glow"

"You be the compass, and I'll be the wind. You're rock-steady and I'm ever-changing."  
—"Ever-Changing" from the album "Ever-Changing"

Kelly loves to play guitar and write music. To date, Kelly has recorded three albums which have been hailed by critics everywhere. The debut album, "Ever Changing," captured Kelly's first collection of very personal songs written and performed to an acoustic guitar. Chris Freeman (from the band, Pansy Division), came on board as producer and recorded the songs with a full band essentially creating Kelly's initial sound.

Kelly's second album, "Rock N Glow," (also produced by Freeman) was a more elaborate effort creating a more rock-n-roll sound while maintaining Kelly's personally poetic writing style.

Kelly teamed up with Producer, Steven Phillips, to record the third album. The result is a beautifully composed, electronic-driven recording called, "Satellite Baby."

Kelly performs solo acoustic or with a full-band.  

"Rock N Glow" Review (from Frontiers magazine)

In the grand tradition of David Bowie and Adam Ant comes Mantle--Kelly Mantle, that is. An androgynously beautiful singer-actor, Mantle has been a staple in the Hollywood scene for the past several years, his gender-warped persona having lent itself to not only the band Sex With Lurch and a solo project (under his full name, Mantle released 2002's mostly acoustic "Ever Changing"), but to film, television, and print projects as well. (That was him you saw as a transsexual police informant on "NYPD Blue" and as a glammed-out pedestrian in a Toyota RAV-4 ad campaign.) Having put together a full band, Mantle has since renamed his act. The band's first effort, the six-song EP "Rock N Glow," recalls Mantle's musical heroes and establishes him as an influential artist in his own right.

Armed with a knack for composing great pop melodies and emotionally incisive lyrics, Mantle fronts his rhythm section like a prophet passing on the secrets for a long and happy life. It's hard not to find comfort in the tales of emotional woe and hopeless devotion relayed here: The hard-driving "Sabotage" shows Mantle pondering a move to outer space to escape the curse of being a "commitment-phobic love addict," while the supple "Come Home" finds him pleading for a lover to do just that with gorgeous lyrics like, "The second verse is harder than the first/'Cuz it takes a lot of beers to practice what you rehearse/And the truth of your reason gets lost in the rhythm of your rhyme/And the jukebox gets lost in the back of your mind."

Mantle turns his attention to Hollywood on the smooth-groove anthem "Spotlight," his indictment of show biz falsity ("Art is why I get up in the morning/But by nightfall I'm still marketing/The scraps you see of me/Have you bought my CD?"), and "Starstruck Obsession" ponders an apparent breakup with a closeted, married Hollywood actor who remains unnamed. With stellar production, the songs take on an almost ethereal, otherworldly quality--a perfect match for Mantle's glittery individuality.

— Ken Knox