Photo by Mindy Shelton
California native Jeff Shelton is not your average musician. At any time, he is involved in multiple projects that explore different facets of his best loved musical genres. He excels in power pop, as evidenced by his work in The Well Wishers and Deadlights. The short take interview appears in Issue 96 of Big Takeover and this is the original transcript. Thanks to Jeff for agreeing to this interview, and to Jack Rabid for running it.
EK: Did you grow up in the Bay area?
JS: I grew up in Orange County, CA (Laguna Beach), but moved to the Bay Area after college. I consider it home base now!
EK: Growing up, who in your life was your biggest influence that led you to play music?
JS: Both my parents played piano and I tinkered around a bit as kid, but I
didn’t pick up a guitar until I got to college and discovered half the kids in my freshman dorm seemed to own guitars! That was probably the biggest impetus & influence for me! I didn’t start writing songs until a year or two after. Didn’t start a band until half way through college. As a kid, I absorbed tons of music, but it never occurred to me until I was a young adult that I could play my own!
EK: What musicians influenced you the most?
JS: I was a huge fan of early REM. When I started guitar…*Peter Buck* was a huge influence. I always loved the guitar-driven nature of REM songs and in particular, his jangly arpeggio style of playing. Bob Mould/Husker Du as well…especially when I got my first distortion pedal!
From a songwriting perspective, it’s hard to nail down any specific artist/band. I generally gravitate toward power pop artists, but I never heard the term “power pop” until 1996 when I saw it referenced in a review of my first band’s
(Spinning Jennies) first album. I was influenced early on by bands like REM, Smithereens, The Who, Kinks, Tom Petty. Only later on – when I discovered I was basically a “power pop” artist – did I find other great influences…such as The Posies, Matthew Sweet, Redd Kross, Sloan, Superdrag, and even Big Star.
EK: You have so many projects! I know of Deadlights, The Well Wishers, Hot Nun, and Standing Waves. Did I miss any?
JS: Yes, I have musical ADD! Those are the mainstays for now. All mostly solo endeavors, although Standing Waves is a recent shoegaze / dream pop collaboration with another Bay Area cohort – Bill Taylor (Songs For Snakes).
From 2016 – 2020, I was in the Bay Area band Trip Wire – which sadly folded as a casualty of the COVID pandemic. From 2009-2011, I also played in a short-lived Bay Area band called Headslide.
EK: Which of your music projects is your favorite, and why?
JS: The Well Wishers has always been the main focal point of my musical universe. It’s specific and accessible and best represents what I do musically. Deadlights started as a spin-off for dreamy shoegaze and experimental dream pop (I’m still attempting to rip off Slowdive), and Hot Nun started as a band in 2013 for louder, faster, more hard rock/power pop.
EK: Why not stick with one group?
JS: I get bored sticking with any one type of formula or genre. It seemed easier (although perhaps confusing to some) to create different musical entities that I could draw more distinction with. It’s actually tougher than it may seem, particularly when you’re the same “voice” working with the same essential tools…although I keep trying to push the boundaries of style and experimentation – especially with Deadlights and Standing Waves.
EK: How many instruments can you play? When did you pick up various instruments and are you primarily a guitarist?
JS: Primarily a guitarist, although out of necessity I also play bass. I play keys/piano sporadically, although I’d like to become better at it. Same with drums.
EK: What music do you most listen to now?
JS: I love any music that has a strong melodic sensibility and any kind of discernible hook or aesthetic. To really embrace the shoegaze/dreampop realm – for example, I’ve grown to embrace textures and walls of sound that are
transcendent and really open up a sonic space (ie: Blankenberge, Slowdive, Flyying Colours, Blushing, Hatchie).
But I am also (and will always be) a massive power pop geek…so this year I’ve loved records from the Lemon Twigs, Redd Kross, Chime School, Guided By Voices, and tons of others.
EK: I grew up on radio, vinyl, 8 tracks, cassettes, CDs, and now streaming. Have these media types influenced how you release your music and what is your preference?
JS: Same here! As a child of the 70s and 80s, I’ve witnessed all the
transitions! And yes, as an artist releasing original music for 30+ years, these changes have all influenced how I’ve released music. The vast majority I put out now is digital, because it’s cheaper and easier. Although there is small audience for the Well Wishers that consumes physical product…so I’ve limited CD runs to very small batches for those last two releases. Physical product is great, but it’s also expensive. I’ve never taken the plunge with vinyl, despite the desire from some. It’s just so expensive!
EK: Did you tour with any of your groups?
JS: As they are mostly solo endeavors, I’ve never formed long-term bands or tours with any – despite a few one or two-off local shows as The Well Wishers. In the 90s with my first actual band (Spinning Jennies), we did a fair amount of touring – mostly in the western U.S. and Pacific Northwest …in addition to a steady stream of Bay Area shows for 10+ years.
EK: When you’re not playing music, what do you do for work or hobbies?
JS: Being an independent event planner pays the rent/bills. I’m also an avid mountain biker…and hiker/backpacker/adventure geek. Planning a trip to Nepal this coming Fall!
EK: What informs your songwriting the most?
JS: Almost always a desire for a strong melodic punch…something that creates that sugar-like rush…whether it’s a catchy chorus or some beautiful guitar texture that needs to fit somewhere. I’ve never had any grand scheme lyrically. I work with what fits the music…and sometimes my lyrics are pretty oblique or obtuse. As David Bowie once said….
“You tell me what it means and I’ll agree”.
EK: Can you describe how you compose and arrange music? And how about production and mixing?
JS: It almost always starts with noodling (usually on guitar). I’ll start with a sense for what kind of song I want to work on (ie: fast/slow, soft/aggressive, etc.) and then build off a verse riff…which usually leads to some kind of chorus or refrain. Lyrics always come last and are generally shaped by the mood of the music.
The real fun comes after laying down the basic track…piling on vocals/harmonies, textural guitars, sometimes keyboards.…and then fine-tuning the mix. I have a home-based studio so I do everything here, including the tracking.
EK: What is your most loved gear, like guitars, pedals, etc?
JS: Since 1989, I’ve gone through two Rat distortion pedals. It is my single “go to” sound for all things rock. It’s a mainstay and always a reliable add-on. My primary axe of choice is a beloved ‘61 re-issue Gibson SG (think Angus Young)…but I also play a Fender Telecaster and an old beat-up Strat (my first guitar).
I still play and record mostly through my original Yahama G-100 solid state amp (from the early 80s). It’s by far, the most reliable piece of musical equipment I’ve ever owned. It’s seen more abuse, back of the van throttling, and spilled beer than anything on the planet and it still works like new.
EK: What is coming down the pipeline for future recordings or projects?
JS: Working on a new Deadlights EP that will (hopefully) be more dreamy, textured and big sounding than previous releases. New Hot Nun single in the pipeline as well…and if Bill & I get our collective acts together, we’ll have enough material for a Standing Waves debut album.
Catch up with Jeff’s various projects:
