Stephen Wilson Jr

Summary

Podcast Summary: The Bonfire with Big Jay Oakerson and Robert Kelly – Featuring Stephen Wilson Jr

Episode Title: Stephen Wilson Jr
Release Date: December 17, 2024
Host: Big Jay Oakerson and Robert Kelly
Platform: SiriusXM’s Faction Talk, Channel 103

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Introduction

In this episode of The Bonfire with Big Jay Oakerson and Robert Kelly, the hosts welcome Stephen Wilson Jr., a multifaceted individual who seamlessly blends his background in microbiology with his passion for music. The conversation delves deep into Stephen's unique journey from the corporate world to the music industry, exploring his creative process, emotional songwriting, and the challenges and rewards of his dual careers.

Guest Background: From Microbiology to Music

Stephen Wilson Jr. begins by sharing his academic and professional background. Armed with a degree in microbiology, Stephen spent years working as a food scientist for Mars in their Research and Development department. However, his heart always leaned towards music, leading him to balance his scientific career with touring as part of an indie band.

Stephen Wilson Jr. ([06:11]): "I was a seasonal scientist. I played in indie bands and then would moonlight in a lab for a couple of months before heading back to complete nerdery. And then I would be a broke musician again."

Making the Leap: Leaving a Stable Career for Music

The hosts explore the pivotal moment when Stephen decided to leave his stable job to pursue music full-time. Stephen recounts a profound conversation with a coworker who questioned his place in the scientific field, planting the seed for his transition.

Stephen Wilson Jr. ([11:03]): "I had this really nagging feeling... 'You're not supposed to be here.' And as the years went by, it got louder and louder."

Faced with the metaphorical "golden handcuffs" of corporate security, Stephen chose to follow his passion, despite personal sacrifices, including leaving behind his family.

Stephen Wilson Jr. ([12:32]): "I left my wife. Jeez, that poor kid. Poor Henry."

Songwriting as Therapy: Channeling Grief into Music

One of the episode's highlights is Stephen's discussion about his song "Grief Is Only Love." The song emerged as a therapeutic outlet following the death of his father, and it resonates deeply with listeners for its raw emotional honesty.

Stephen Wilson Jr. ([14:08]): "I'm gonna play a pretty sad song. So this is called 'Grief Is Only Love.'"

During his performance, the song's poignant lyrics evoke strong emotional responses from the hosts, underscoring the therapeutic power of music.

Robert Kelly ([18:40]): "That was good."

Franklin Becker ([19:04]): "You know, my father passed away... that song actually made me feel. Miss him and remember him."

Performance Insights: Creating an Engaging Live Experience

Stephen demonstrates his involvement in every aspect of his music, from writing and composing to producing music videos. His dedication to crafting a unique sound is evident in his live performances, where his interplay with guitars and heartfelt vocals captivate the audience.

Franklin Becker ([28:54]): "You have a unique sound, man, your voice. I haven't heard anybody who sings like you."

Stephen also shares anecdotes about his beloved guitars, each with its own story and character, reflecting his hands-on approach to his craft.

Stephen Wilson Jr. ([30:10]): "These are 70s era Takaminis... They're just being good to me, and I don't want to really do that."

Balancing Dual Careers: Navigating Science and Music

Stephen candidly discusses the challenges of balancing his scientific expertise with his musical aspirations. He emphasizes that his scientific background provides a stable foundation, allowing him to pursue music without the pressure of financial instability.

Stephen Wilson Jr. ([36:58]): "But, yeah, it's been a lot to adjust to because none of this was really supposed to happen. I'm kind of living within an anomaly."

Emotional Resonance: The Impact of Stephen's Music

The hosts reflect on how Stephen's music has personally affected them, highlighting the authentic emotion and relatability in his songs. Stephen's ability to convey deep feelings through his lyrics and melodies creates a profound connection with his audience.

Franklin Becker ([25:00]): "When I first heard it, it really did... it’s a powerful song, man."

Conclusion: Embracing Authenticity and Passion

The episode wraps up with heartfelt appreciation for Stephen's contributions to music and his inspiring journey. The hosts encourage listeners to support his debut double album, Son of Dad, and attend his live performances.

Big J. Okerson ([43:56]): "The debut double album Son of Dad is out now via Big Loud Records. Make sure you check it out."

Robert Kelly ([44:16]): "Science country. Baddest man. Thanks for coming in, man. Get his album. Go see him live."

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Notable Quotes with Timestamps

• Stephen Wilson Jr. ([11:03]): "You're supposed to be doing something else, but you're here. And I don't think you're supposed to be here."

• Stephen Wilson Jr. ([14:08]): "Grief is only love."

• Franklin Becker ([19:04]): "My father passed away... that song actually made me feel. Miss him and remember him."

• Robert Kelly ([25:07]): "We felt, I think, a few pounds lighter that day. Both of us did."

• Stephen Wilson Jr. ([36:58]): "The trees ain't going nowhere. At least not anytime soon."

Final Thoughts

Stephen Wilson Jr.’s appearance on The Bonfire offers a compelling narrative of pursuing one's passion against all odds. His seamless integration of science and music, coupled with his emotionally charged songwriting, makes him a standout guest. Listeners are left inspired by his dedication, authenticity, and the healing power of music.

For more engaging conversations and to stay updated on future episodes, subscribe to The Bonfire with Big Jay Oakerson and Robert Kelly on SiriusXM’s Faction Talk, Channel 103, or through SiriusXM Podcasts+ on Apple Podcasts for an ad-free experience.

Transcript

[Dahlvette Quince]

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[Franklin Becker]

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[Big J. Okerson]

And now the Bonfire with Big J. Okerson and Robert Kelly.

[Robert Kelly]

Hey, everybody, this is Marcus King, and.

[Dahlvette Quince]

You'Re listening to the Bonfire with Big J. Okerson and Robert Kelly.

[Franklin Becker]

Hey, gentlemen. Will you call me my new nickname? My country name that I stole from your friend? Which one was it? Bobby Strings.

[Dahlvette Quince]

Bobby Strings. Yeah.

[Robert Kelly]

Hey, y'all. This is Marcus King.

[Dahlvette Quince]

You're listening to the bonfire with Big J. Okerson and Bobby Strings.

[Big J. Okerson]

Wildflowers, cheap red wine. Oh, an old scratchy racket playing in the background of our line.

[Dahlvette Quince]

These last nights. And I said that.

[Franklin Becker]

Yeah, we're back. Great song. Great song. We're all best friends. What's happening, everybody? It's. It's Bobby Strings and big jokers. And we're back. We have a very special guest in studio right now. He's got his critically acclaimed debut album, son of dad. Stephen Wilson Jr. Is here. I'm very excited. I'm a big fan. I've been a fan for, I don't know, I would say, like eight months now. I found you on Instagram. I started listening to you, and then I told Jay about you, and. And I tried. Was like, we should get him on. And Jay was like, yeah, absolutely. Let's get him on.

[Dahlvette Quince]

Well, I always assume we can't. Yeah, go try, I guess, but I don't think it's gonna happen.

[Franklin Becker]

We really. We really do come at it a different way. But Jay's best friends with Marcus King.

[Dahlvette Quince]

Stop.

[Franklin Becker]

Right?

[Dahlvette Quince]

Not best friends with Marcus. Cake.

[Franklin Becker]

I Think you're best friends with him, right?

[Dahlvette Quince]

I'm not. Bobby's busting my balls because I just did the Jelly Roll roast.

[Robert Kelly]

Oh, nice.

[Dahlvette Quince]

At Nashville Zany's last week.

[Robert Kelly]

I love jellies.

[Dahlvette Quince]

Is he your best friend?

[Robert Kelly]

Oh, he's not my best friend, but he's a friend of mine. We've gotten to write some songs and.

[Dahlvette Quince]

Everybody, this roast, apparently was everyone's best friend except me. I was no one's best friend, but everyone was everybody else's best friend.

[Franklin Becker]

Yeah.

[Dahlvette Quince]

Jelly Roll's got 17 best friends. Every one of them was there except me.

[Robert Kelly]

He's a well loved man.

[Dahlvette Quince]

Absolutely. Absolutely. It was a fun time. Bobby's just making fun of me.

[Franklin Becker]

I'm making fun of him because he went to a roast, didn't know it was a roast. They told him the day before it was a roast. And then, then he was like, are you sure it's a roast? Then when he got there, was like, maybe it's not a roast. And then it said, the roast of Jelly Roll.

[Robert Kelly]

Wow.

[Franklin Becker]

And they had merch that said the roast of Jelly Roll.

[Dahlvette Quince]

Is it about me? Bobby, stop deflecting.

[Franklin Becker]

It's not about you, but it is funny. Everybody did great, though, on the roast. Nobody bombed. That was fantastic. You can't ask for a perfect roast.

[Robert Kelly]

I hope I get to see it.

[Dahlvette Quince]

Yeah.

[Franklin Becker]

Oh, you'll get to see it. You won't see Jay in it.

[Dahlvette Quince]

They did film it.

[Franklin Becker]

Jay won't be in it. You won't be able to see him for some reason. It's so funny, every time he does these things, he's not in them. His elbow's in it, his hair.

[Dahlvette Quince]

Yeah, he's definitely there, but you can't tell. I was there so much. Are you based out of Nashville?

[Robert Kelly]

Yeah, sorta. Yeah, I am based outta Nashville. I live, like, out of town. I live in Tennessee.

[Franklin Becker]

Are you into the. You. You seem to me like you're. You're not in that Hollywood kind of hanging famous, hanging around other famous people type of vibe, right?

[Robert Kelly]

Yeah, not so much. I hang out in the woods and talk to trees and shit. So am I allowed to say that on here?

[Franklin Becker]

You can say whatever. You can swear, you can say whatever you want.

[Robert Kelly]

I was raised by wolves, so coyotes.

[Franklin Becker]

So more like now you. It's funny because you're. You're. When I saw you on Instagram, you. Your, Your look was. You're singing country. And you, You. You look. You know, you don't have the hat and the thing. You, you had this different, like, Dare I say nerdy? A look right where I was like.

[Dahlvette Quince]

What the shit is that to say to somebody.

[Franklin Becker]

Well, it's all right, I'm gonna say it now because I found out that he is actually. You're really intelligent guy. I mean, you were a biologist.

[Dahlvette Quince]

You were. I'm actually gonna take it back. I just saw he's got the. The Star Trek thing there. It's. My apologies. It's okay.

[Franklin Becker]

You know what? You're my best friend, so I accept your apology.

[Robert Kelly]

It is the science division too, so.

[Franklin Becker]

You know the, you know, the logos of Starfleet.

[Robert Kelly]

No, it's. It's bad to some degree. Yeah, I'm not that big of a Trekkie, but it was. It was significant. It did mean something. But yeah, I used to. I'm a recovering microbiologist and I used. Yeah, I was a scientist for a good bit of my life.

[Dahlvette Quince]

And yeah, I was reading that that like actual. You got a degree in microbiology?

[Robert Kelly]

Yes, sir, but. And I worked mostly as a food scientist, but I did work as a micro for a while, but I worked for Mars, the food company, mostly in R and D for them. And that was a whole other life for me.

[Dahlvette Quince]

I was gonna say, what a switch. That's very corporate.

[Robert Kelly]

Yes.

[Dahlvette Quince]

It was like situation two, like going into a big building every day and working like that.

[Robert Kelly]

Yep.

[Dahlvette Quince]

To being a guy who wants to talk to trees in the woods, sounds like.

[Robert Kelly]

Which is still what I was doing and wanted to do even when I was there.

[Franklin Becker]

So you were doing. But you were doing music, going on tour with your band. Right. And then you come back on your off time and go get these jobs. Kind of like, I'll work for you for a couple months.

[Robert Kelly]

Yes, I am.

[Franklin Becker]

Until I go to tour again. So it was kind of almost like.

[Dahlvette Quince]

A. I don't even get part time scientist work. That's awesome.

[Robert Kelly]

That's literally what it was.

[Dahlvette Quince]

You guys looking for some seasonal scientists?

[Robert Kelly]

I was a seasonal scientist. You nailed it. And that's what I did. I played in indie bands and then I would kind of moonlight in a lab for a couple months and go back to complete nerdery. And then I would be a broke musician again.

[Dahlvette Quince]

And you have a passion for science, like still? Yes.

[Robert Kelly]

Oh yeah.

[Dahlvette Quince]

Because I was going to say, because it wasn't. Was the goal to always get away from that for music?

[Robert Kelly]

No, I mean, science was something I was good at. It doesn't necessarily mean you're supposed to be doing it. And in my small town, like everybody worked on cars or farmed And I was a bit of a weird kid and I was good at science. And so they were like, you should do that. And so that's what I did. And science was, if anything, was a ticket out of my hometown, which is an incredible town. But I could have easily stayed there for the rest of my life if I didn't have that, or I could have easily come back, you know, because Nashville, as a music town, it really just beats you down and kind of sends you on back to where you came from.

[Franklin Becker]

We know that we were there a couple years ago. We did the bonfire live, went to a Kid Rock's bar and got beaten down and came back quick.

[Robert Kelly]

It'll do that. And it does it to people all day long. And with a science degree, I was able to kind of stay there because I worked as a scientist in Nashville, so I could at least stay music adjacent. As a scientist.

[Franklin Becker]

Right. So how did you make.

[Dahlvette Quince]

Do you study Kid Rock? How did he find the perfect balance of rap and rock? It's right there.

[Robert Kelly]

That is. He is. He's what we call a conundrum. So I'll let him stay that.

[Franklin Becker]

Yeah, he likes small cigars, just to let you know. Have you ever offered a cigar? Yeah, he doesn't like big cigars. I offer him a cigar and he was like, no, I'm good.

[Dahlvette Quince]

Well, it turns out he likes any cigars except the ones Bobby tries to give him. We are regularly whiffing with these celebrities.

[Robert Kelly]

Yeah.

[Dahlvette Quince]

I don't know what it is.

[Franklin Becker]

We. We just. We don't have it. We don't. Whatever it is, we don't got it.

[Robert Kelly]

I promise you. I don't either.

[Dahlvette Quince]

I like to believe that you were almost curing cancer and then they gave you a record deal and you're like, ah, nevermind.

[Robert Kelly]

Yeah, I know. Think about what it could have been.

[Dahlvette Quince]

Yeah. He goes, you know, if I would put that dropper in that thing right there. Cure for cancer.

[Franklin Becker]

I was about to make the perfect Mars Bar.

[Robert Kelly]

Yeah.

[Dahlvette Quince]

How about that for an album name? I was gonna cure cancer, but instead, here's this album.

[Robert Kelly]

I hope you like it.

[Dahlvette Quince]

I hope you like it. It's the reason your grandkids will die one day.

[Franklin Becker]

Just a little sick kid on the album cover.

[Dahlvette Quince]

So what was your favorite project you worked on in science? Was there anything you were passionate about, what you were doing or.

[Robert Kelly]

It's just kind of job jobs, you know, I created. One of the products that I worked on was called Dennis Sticks Fresh. And it's still in the market. It's Like a breath freshening dog chew. That is, you know, that was one of my, my babies, you know, like I had a project from start to finish and just to see it still in the market, still doing really well.

[Franklin Becker]

Do you get a percentage of that because you invented it?

[Robert Kelly]

No, no, no, that's not how that works. But yeah, I got to formulate it and kind of launch it from scratch to the market.

[Franklin Becker]

So we can thank you for dogs having good breath.

[Robert Kelly]

Yeah, that's me. Dennis digs fresh. Come on.

[Dahlvette Quince]

You know, as you say, it makes total sense that science is involved in so many things you wouldn' think science is involved in. But I, I went right to curing cancer. He goes, sometimes you just gotta make a dog's breath smell better. Science involved in all of these.

[Robert Kelly]

The market spoke and I was just.

[Franklin Becker]

Yeah, here's the thing. If they chew that, make their breast smell, their butts are gonna smell good too. You did both things? No.

[Dahlvette Quince]

Well, back to the laboratory. Yeah, it's been great having you here, Steven, but you gotta work on some.

[Robert Kelly]

Work to do, dude.

[Franklin Becker]

So you, you actually what I found interesting is that you had this great career making money and, and you gave, you gave up that, that career to go and do this. How hard was that to do?

[Robert Kelly]

It was very hard. It's probably one of the hardest decisions I ever made.

[Franklin Becker]

Yeah.

[Robert Kelly]

But yeah, I had like, for fear reasons or like. Yeah, because, you know, I was married, I had a stepson and, and I, it was just this really. I couldn't stop writing songs even when I was in the labs and stuff. And I had this really incredible conversation with a co worker there and he, he could tell that I didn't belong there. Like, he was like, you're supposed to be doing something else, but you're here. And I think it's good that you're here. And you, you could, you're going to do really well here. But I don't think you're supposed to be here. And that's a weird thing to hear from somebody. And I could feel it. And honestly, I had like this really nagging, I call it a feeling you could hear that would kind of, if I was to translate it, that's what it said. You're not supposed to be here. And as the years went by, it got louder and louder. And this gentleman that told me this, he said I was kind of climbing the company ladder and he said, they're about to put the golden handcuffs on you. And it was a really powerful being a word nerd. I was like, oh, dude, you got me there. Had to. I had to really think about those Golden Handcuffs. And he was like, you're at a crossroads in your life. You know, I can see what you want to do, and I see what you're doing, and if you want to do that, you're going to have to make a decision soon, because that's going. Your dream's about to die. If that's your dream and you went.

[Dahlvette Quince]

Home and left your wife.

[Robert Kelly]

Yeah, I did. Jeez, that poor kid. Poor Henry.

[Dahlvette Quince]

It's easier to leave a child that's not yours. There's a song title.

[Robert Kelly]

Oh, wow. There's a lot of rhymes with yours. Floors, Doors. You're right. I can see it. That was an alley. Oop. I'll let you dunk that one. But, yeah, I mean, honestly, that feeling that I was telling you about that I could hear, it kind of got louder by the day. And what made me really get out of there after the Golden Handcuffs conversation, my biggest fear was showing up one day to work, as annoying as it was, and one day it was gone. That was my biggest fear, is, like, it had moved on. And that scared me more than leaving that job.

[Franklin Becker]

Well, thank God you did, man, because your music is. I mean, there's a lot of stuff on Instagram, but certain things hit you, and your music really, really affected me. I had to find you and get the album and. And listen to it all the time. So you can. You're gonna sing a couple songs for us, right?

[Robert Kelly]

Yes, sir.

[Dahlvette Quince]

Why don't they ask you, do you. Do you creatively, Are you involved in everything? Do you like to be part of all of it, or you kind of let the machine around? You do, like. Like, music videos and stuff like that. Like, when you're doing.

[Robert Kelly]

I'm very involved. I write all the treatments for.

[Dahlvette Quince]

Really? So you like being involved at all?

[Robert Kelly]

Like, everything. Like, all the little videos we do. Like, even from what I wear to this, the set to. To the. What's in the background, Everything.

[Franklin Becker]

I gave you a perfect setup right into the song, and then he asked the question, so.

[Dahlvette Quince]

But take it away, Stephen.

[Franklin Becker]

Yeah, go ahead, Steve. Do you think.

[Dahlvette Quince]

Hang on, Steven. And go.

[Robert Kelly]

Here we go, y'all. I'm gonna play a pretty sad song. So this is called Grief Is Only Love.

[Big J. Okerson]

Is a Battlefield and it'll drag you right through her bites like a rattlesnake the kind that you just don't see on a trail I miss my father every day the kind of pain I pray don't fade away and the One guiding me down the road Their grief is only love there's got no place to go Find my great granddad in the ground all the ghosts in my hometown either the ones that find me down the road yeah grief is only love that's got no place to go yeah grief is only love the world is a cannonball so deal with the feelings you can't hide God gave us our own when we need to lead them all inside I don't feel feel like I am But I just need kind for the ones but to guide me down the road Their grief is only love there's got no place to go for my great granddad in the ground all the ghosts in my hometown Find me down the road yeah grief is only love Got no place to go yeah grief is only love Grief is only love Grief is only right I don't feel like crying but.

[Dahlvette Quince]

I.

[Big J. Okerson]

Just keep crying Guide me down the road yeah grief is only love there's got no place to go so hang on to the hurting and let it gr and the only thing for certain is sound like control and grief is only love that's got no place to go yeah Grief is only love there's got no place to go yeah grief is only love Grief is only love Grief is only love.

[Franklin Becker]

Wow, wow, wow.

[Dahlvette Quince]

That was good.

[Franklin Becker]

This makes me Paco.

[Dahlvette Quince]

Next time he does a song like that, can you come stand between my legs? So my arms are on your waist? It feels like I should be holding someone I didn't know what to do with. It was so emotional that I was sitting there like, what do I do? I don't know what to do.

[Franklin Becker]

I was thinking, to everybody who died in my life, I was like, don't cry in front of Jay. Don't cry in front of Jay.

[Dahlvette Quince]

You'll never live it down.

[Robert Kelly]

It's all right if you do, buddy. I almost did.

[Dahlvette Quince]

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[Dahlvette Quince]

Of people as you're an older gentleman.

[Franklin Becker]

I'm so glad you didn't stay at Mars. So glad you left.

[Dahlvette Quince]

Imagine just.

[Robert Kelly]

Thank you.

[Franklin Becker]

Could you imagine if that's yapping that.

[Dahlvette Quince]

Around in the bed?

[Franklin Becker]

Just hear it.

[Dahlvette Quince]

Wilson, out of the bathroom. Back to work.

[Franklin Becker]

Those dogs breath stink.

[Dahlvette Quince]

We need your science in the chocolate factory.

[Robert Kelly]

Enough of that. Get back to the dog cheese.

[Franklin Becker]

So how did you have. When did you write that song? How did you write that song?

[Robert Kelly]

I wrote it a couple years ago. It was almost two years after my dad died and I was sitting on a front porch of this guy's house named Jeffrey Steele. And he's an incredible songwriter. I've written a couple songs on the record with him and he's. He and I are both notoriously late for each other's rights and we just kind of take turns being late. And one day he was like really late and like. And so I just was sitting on his porch because I couldn't get in the studio. And the chorus to that song just showed up right there on the porch. I literally got my guitar out and just started writing it. And Jeffrey had lost his 13 year old son in an ATV accident and he'd experienced grief on a level that was unimaginable to me. He and his whole family did. And I talked a lot about grief with Jeffrey. Our songwriting sessions are almost like therapy sessions because he was one of the few people I knew in that town that could really get real and really go there. And he was not. He was not afraid to go there. So when that song showed up, I think it was. It showed up there for a reason because it could have showed up in any room on any day. And Jeffrey walks in and he's super happy. He's always got such a great spirit about him for what he's been through. It's Very inspiring. And he's like, how you doing? I was like, hey, man, this song just showed up. I know. You know, we can hug and talk, but I got to play it for you. I don't know what this. I think I'm supposed to. I think we're supposed to write this today. And I played it for him, and he was just like, okay, that's what we're going to do today.

[Franklin Becker]

Yeah.

[Robert Kelly]

And we just dug right into it and we cried, and he told me things that, you know, we're just incredibly personal. And I mean, that song, I feel like we were both.

[Franklin Becker]

Get to it. Trust us. We're here for you, dude. We're your new friends.

[Dahlvette Quince]

You should never tell somebody else.

[Robert Kelly]

But, yeah, we. We felt, I think, a few pounds lighter that day. Both of us did.

[Franklin Becker]

It really does hit you. Because when I first heard it, it really did.

[Dahlvette Quince]

I.

[Franklin Becker]

You know, my father passed away, my stepfather. And when he died, I never actually. I never felt it. I never. I was just kind of faking it type thing. And it's weird that songs like that. That song actually made me feel. Miss him and remember him and feel, you know, like, sad. And I remember I was tearing up in the car just thinking about my stepdad that I never could do at the funeral and, you know, after all that stuff. So it's. It's a. I mean, a powerful song, man. And it's. It's crazy to me what, this emotional.

[Dahlvette Quince]

Well, you're going down to.

[Franklin Becker]

Yeah, dude, I'm expecting it. I'm sorry. I'm sorry.

[Robert Kelly]

You're in a safe place.

[Franklin Becker]

I'm in a safe place.

[Robert Kelly]

This happens at all my shows.

[Franklin Becker]

So, I mean, I just. I just lost three pivins because of that.

[Dahlvette Quince]

No safe space for you. You've written songs for people, right? Completely.

[Robert Kelly]

Yeah. That's what I started off as. I was a staff writer. When I quit my job as a scientist. I really just wanted to write songs for other people. I never really. I never sang a song for. Even when I quit that job, I had never sang a song for anybody. I'd only. I was a guitar player and a writer, composer. I'd never had sang on a mic as a singer. And when I quit that job, like, I had to. I had to start doing that just so I could sell my songs because I couldn't just get somebody to sing them for me every time I wrote one. And is it less rewarding?

[Dahlvette Quince]

Is it like, not that rewarding when you write for somebody? Because if you put your motion into the songwriting and someone else is doing it. There's gotta be some element of you going, like, it's not exactly how I pictured it.

[Robert Kelly]

Yeah, that happens. But also, it's so flattering for someone to take, you know, this idea that showed up for you one day and they're taking it around to their fans and their whole world, because that's a whole different world than my world. Like, they have fans that I'll never reach and I have fans that they'll never reach. So there's a. So there's a really. I love that aspect of the freedom. You know, the wings of a song sounds really cheesy, but that's kind of what it is. But, you know, when I started doing this, my dad had died and I never thought of myself as an artist ever. And my dad, I'd play him, like my demos and stuff and he'd be like, why don't you just sing these, dude? You sound fine. I always argue with him, like, no, somebody else sings them, I just write them. That's what I quit my job to do is to write songs. I didn't quit my job to sing songs.

[Dahlvette Quince]

Did you, like, have to play with the pitch and tone of your voice, like your singing voice to kind of choose how you were going to go? You know, just the octave that you'll sing in? Yeah, that's got to be. If you start too high, you might be able to do the songs.

[Robert Kelly]

Well, that was a. Honestly, a challenge for me with getting cuts because I could sing low and high. So. And that's how this. That's the songs I would write. I'd write songs with a low verse and then a high as hell chorus. And it would scare off a lot of singers that either couldn't sing low or couldn't sing high. And it really made it challenging to get cuts and. But at. In that process, I was kind of parallel path developing a sound that I didn't know I was developing.

[Franklin Becker]

Yeah, you have a unique sound, man, your voice. I haven't heard anybody who sings like you. Sounds like you. That's what really.

[Dahlvette Quince]

Oh, it's amazing.

[Franklin Becker]

It's amazing. Now your guitars too, you're very unique. You, you. But your other guitar too. Like, you have. It looks like it's. Yeah, that one. Are these. How long. How old are these guitars? Are these your guitars? For years. You know, you have money.

[Dahlvette Quince]

I think they're brand new. Brandon, he got him at Abercrombie. Look distressed. You bought distressed guitars?

[Robert Kelly]

Yeah. Well, this one's a 78.

[Big J. Okerson]

Oh, wow.

[Franklin Becker]

Does it make a difference?

[Robert Kelly]

I think it does. Like, these are 70s era takaminis.

[Franklin Becker]

Oh, era. Takaminis.

[Robert Kelly]

No, era.

[Franklin Becker]

Yeah, no. Oh.

[Robert Kelly]

Era.

[Franklin Becker]

I thought the other ones.

[Robert Kelly]

So these are, like. That's a 75, and this is a 78. Right. And really, I shop. I didn't really look for this particular guitar. I bought this on Craigslist for 400. In a parking lot in Nashville.

[Franklin Becker]

No.

[Robert Kelly]

And then after I bought it, I went looking like.

[Dahlvette Quince]

You didn't get gay raped in that story.

[Robert Kelly]

Some other time. One can only hope. There's always tomorrow.

[Dahlvette Quince]

You're still on the rise, dog.

[Robert Kelly]

But, yeah, this one is. This is. This one's named Juan. And that one's named, too.

[Franklin Becker]

So. Uno, dos.

[Robert Kelly]

Yeah. Uno, dos. A lot of people think its name is Juan.

[Dahlvette Quince]

That's why there's a Juan.

[Franklin Becker]

What is the. What is the stuff on it? You get little drawings.

[Robert Kelly]

Actually, they're holes. So I cover them up with masking tape. Cause I play with these damn picks, these really thick bass picks, and I just. There's, like, sawdust on the stage. Every night. There's sawdust everywhere. Like, I just leave pieces of this guitar everywhere I go.

[Franklin Becker]

Right?

[Dahlvette Quince]

It's.

[Robert Kelly]

And. And it just. Eventually, there's, like, holes in both of these, and I patch them up and then put little drawings on them. So it doesn't look so terrible if.

[Dahlvette Quince]

You restored those, does it? Would it change, like, the pitch of the guitar, you think?

[Robert Kelly]

I think so. And I don't want to really do that. I. They're just being good to me, and I don't. But at the same time, I'm not really a guitar collector. I'm a guitar player. And if I destroy these guitars, doing what they're meant to be done or meant to be doing on Earth, and that's.

[Franklin Becker]

What if those guitars were why he can sing the magical Mexican guitars.

[Robert Kelly]

Yeah.

[Dahlvette Quince]

I got this from a crazy gypsy lady one time.

[Big J. Okerson]

Yeah.

[Dahlvette Quince]

I don't know. She said, take it. Your dreams will come true.

[Franklin Becker]

I was. I was a scientist then. I could sing.

[Robert Kelly]

Kind of was Shut up and cure.

[Dahlvette Quince]

Cancer or make dark chocolate.

[Robert Kelly]

I. I do get. You bring up a point. Once I grab this guitar, it did kind of. It was like a sword in the stone kind of thing. A little bit.

[Dahlvette Quince]

Really.

[Franklin Becker]

It'd be great if Jay just picked it up and you sounded insane.

[Dahlvette Quince]

Here you go.

[Robert Kelly]

You're like. You become Guy Clark.

[Dahlvette Quince]

Yeah. I'm up on the neck because I never even touched this thing before. Is this a G sharp? Is that even a thing?

[Franklin Becker]

All right. Okay. We got 10 minutes left. Can we. Can we hear another song?

[Robert Kelly]

Oh, yeah, let's do it.

[Dahlvette Quince]

Yeah, two more. So I'm not doing back to back.

[Franklin Becker]

Yeah, do them back to back to back. If you. If you can. All right.

[Robert Kelly]

I'll try my best.

[Franklin Becker]

This next song I love, too.

[Robert Kelly]

This was a result of a really terrible first kiss.

[Big J. Okerson]

I must admit I felt the. I must admit I felt the flame. Kurt Cobain, Offender Mustang MTV brought me up. This is your brain on drugs. I won't forget that first girlfriend that got me into Boys to men. I grew up a lot that year My sweatshirt setting on fear My life was hysteria and it was everything first wanna line for the last dance with Mary Jane Hidin in my headphones Laying on a bedroom floor 1994 tell mom, see you later don't be blowing up my pager when the show's over I'll come home and that is, I don't know. Teen spirit in the air for your own cell phone Steady home Passing notes yes nor I don't care My life was hysteria and it was everything soundtrack first kiss out at the roller rings hands held two hearts falling on a hardwood floor 1995. 1995 think you know it all and you don't know any better Tell yourself you're gonna live forever Fire's burning and I'm still holding intention from 1995 when my life was a stereo man it was everything Soundtrack takes me back through all those memories Hiding in my headphones Laying on a bedroom floor it takes me back to the days when a song was worth so much more 1994. 1994. 1994.

[Franklin Becker]

My God.

[Dahlvette Quince]

If I had to make. If I had to give any critique, I would say you left out O.J. was framed. But listen, that was your 1994. I guess.

[Robert Kelly]

To each his own.

[Dahlvette Quince]

That was fantastic. I mean, so talented.

[Franklin Becker]

Well, I mean, it sounds like there's a voice. Huge band around. He makes that guitar sound like there's a whole band. It's crazy what you could do with that guy.

[Robert Kelly]

Thank you. I'm a little raspy Boston kick my ass last night they were so rowdy, I'd. I couldn't sing over them. Yeah.

[Dahlvette Quince]

That's awesome.

[Robert Kelly]

I blew my voice out a little bit last night, so.

[Franklin Becker]

Sound awesome, man.

[Dahlvette Quince]

How. How new is, like, the. You feel like the audience, like, yelling back, like, singing back your words to you. I mean, that's the. That's the rock star dream right there is. They all know your words.

[Robert Kelly]

It's very new and it's Mind blowing, to be honest, for like a weird little quiet kid.

[Franklin Becker]

How long has it been since you've been home in the woods and doing those things?

[Robert Kelly]

Pretty much a year since. Since. Since I went on tour.

[Dahlvette Quince]

Really?

[Robert Kelly]

I've. I've been home a couple weeks this year.

[Franklin Becker]

You miss it?

[Robert Kelly]

I do, but this is more important. We have work to do.

[Franklin Becker]

Yeah, you do.

[Robert Kelly]

The trees ain't going nowhere.

[Franklin Becker]

Yeah.

[Robert Kelly]

At least not anytime soon.

[Franklin Becker]

Yeah.

[Robert Kelly]

But, yeah, it's. It's. It's been a lot to adjust to because a lot of this. I'm not supposed to be here. Like, none of this was really supposed to happen. I kind of living within an anomaly, which is fine. So I can make mistakes. Yeah. Well, I mean, it takes a lot of the pressure off me because, like, you know, I didn't really settle. You know when you set up, like, a whole thing.

[Franklin Becker]

Yeah. When you try to get, like, a special on a certain network and you're like, this is definitely gonna happen, and everybody's like, this is gonna happen. And then they say, no.

[Robert Kelly]

Yeah.

[Franklin Becker]

It's like, shit.

[Robert Kelly]

Yeah. I. I've had my music business version of that many, many times. I don't see. That sounds terrible.

[Dahlvette Quince]

Get off me, Bobby.

[Robert Kelly]

But I feel. I feel it.

[Franklin Becker]

You're supposed to be here, Jay. This is your. This is your.

[Dahlvette Quince]

I'm supposed to be doing science.

[Robert Kelly]

I think this is science.

[Franklin Becker]

Are they looking for anybody at that job? Yeah.

[Robert Kelly]

I'll ask them if they're Mars candy bar.

[Dahlvette Quince]

I'm gonna be like Lucille Ball. Ball grabbing chocolate.

[Robert Kelly]

Yeah. You never know.

[Franklin Becker]

God, man, your socks are so amazing, bro. You sound so great, man.

[Dahlvette Quince]

Do we have time for one more? I'd love to hear.

[Franklin Becker]

Do we have time for one more?

[Robert Kelly]

I could. I could try.

[Franklin Becker]

All right, we got time for one more.

[Robert Kelly]

Try to knock one out real quick.

[Franklin Becker]

Let's go. All right.

[Robert Kelly]

Tuning is caring. I tune a lot. My wife calls me Toonie soprano.

[Franklin Becker]

That's a good one. I like that.

[Robert Kelly]

Okay. I prefer Antonio Bandeira. A desperado movie. I'll never get over it.

[Franklin Becker]

Man, we going to hear you do that.

[Robert Kelly]

Shooting guitar cases.

[Dahlvette Quince]

Salma Hayek.

[Franklin Becker]

I like it.

[Robert Kelly]

Come on.

[Franklin Becker]

Still good.

[Dahlvette Quince]

Still good, but not desperado. And that's what this next song's about. I still would, but you're not desperado.

[Robert Kelly]

Thank you guys so much.

[Dahlvette Quince]

Thank you, man. Thanks for being here.

[Robert Kelly]

It's an honor to be here, buddy. Thanks for putting up with me.

[Dahlvette Quince]

Absolutely. Not at all, man. You're amazing.

[Big J. Okerson]

A truck and a hammer in the hand. Next. Got the kids and half of my check other hand goes to the ice cream Beers on the hook cars on the blocks Carburetor parcels in the box Mention Aaron's stripping that boat Buzzing up a knocko mango man go choo choo this world keeps shaking me breaking me, taking me Making me damn near crazy and I'm here out there I'm blowing my hair I'm burning a little too soon Running on a train on an air race Chasing that carrot on a pole One more thing I can't control Doc says her give me pills shoots me a shot sends me the be life is old and it's on hill One don't dry then the other one will this world keeps shaking me breaking me taking me making me damn near crazy now here out there I'm pulling my hair I burn out a little too soon Running my train on an every station and car don't call One more thing in a long life of things I can't control sa Some goes up some goes down we all wind up 6ft some goes up sun goes down we all wind up 6ft in the ground sun goes up, sun goes down we all wind up 6ft in the ground sun goes up, sun goes down we all up six feet in the dark don't know much tell you what to do Sooner or later we all going to go this world keeps sick of me Breaking me, breaking me Making me damn near crazy and I'm here out there I'm pulling my hair I'll burn out a little too soon Then this place going to never use chasing that One more thing A long line of things I can't control One more thing A long line of things I can't control Higher, higher Things I can't control.

[Dahlvette Quince]

Steven Wilson Jr.

[Franklin Becker]

I mean, come on.

[Dahlvette Quince]

The debut double album Son of Dad is out now via Big Loud Records. Make sure you check it out. I mean, so talent outlaw country. I mean microbiology country.

[Franklin Becker]

Science country Science science country Science country Baddest man. Thanks for coming in, man. Get his album. Go see him live.

[Dahlvette Quince]

Please come back soon.

[Robert Kelly]

Thank you, Robbie.

[Franklin Becker]

Come back in anytime, man.

[Dahlvette Quince]

Take care, my man. Netcredit is here to say yes to a personal loan or line of credit when other lenders say apply in minutes.

[Robert Kelly]

And get a decision as soon as the same day. If approved, applications are typically funded the next business day or sooner.

[Dahlvette Quince]

Loans offered by Netcredit or lending partner banks and serviced by Netcredit Applications subject to review and approval.

[Robert Kelly]

Learn [e-mail] partner netcredit credit to the people.

[Franklin Becker]

If you could hear love, what would it sound like?

[Dahlvette Quince]

Son, can we talk about your drinking?

[Franklin Becker]

Yeah, Dad, I think we should. Helping those closest to you think about their excessive drinking. Maybe that's what love sounds like.

[Dahlvette Quince]

[e-mail] an OHA initiative.