Chords for Kevin Shields of My Bloody Valentine - Part 1: Obsession | Jazzmaster 60th Anniversary | Fender

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_ _ _ _ _ _ [Db] So how many total [E] Jazzmasters do you have?
[Ab] Not a lot, not millions, you know, _ [Gb] ten I think, maybe twelve, eleven or twelve, [D] probably twelve.
More, there's more, but I've got lots of other ones, made up ones, [Db] Japanese ones, copy ones, so maybe_
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_ _ I'd much prefer that actually.
Oh, sorry.
You're good. _ _ _ _
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So you became kind of a collector of them? _
Kind of, but I need them, I need them, I need more.
You know, I do, because every time I have new songs with different tunings, you know, it's just kind of like, what am I going to do?
It's hard to tune live, you know, [Eb] like go from one extreme tuning to another without the neck that's going, what, what, what, and sort of then going, okay, okay, it's okay.
Each guitar kind of suits what's happening. _
_ _ When I first knew about it, _ _ through Bioshock The Cure, you know, and I was a big fan of the Birthday Party, and he'd, Roland Howard played Jaguar,
and it was a [Cm] shape, you know, the shape, I wanted that shape, you know, but I didn't, [Ab] I never, I actually had seen a [Db] Jazzmaster in [D] Ireland, you know, until 88, _ _ really, you know.
_ [F] A friend of mine, Bill Carey, he basically grew up on Croatian records, so I _ [Eb] decided they wanted to make a record with us.
Anyway, my friend Bill, this was [C] like, you've got to use my guitars, and one of them is Jazzmaster.
[Eb] It was a 64, a red [Bb] 64, and [Eb] _ it just happened that the Tremolo one was set, some of them were, they can all be a bit different, but his [E] one was just set,
that it was kind of unusually high, you know, just by pure luck.
And I picked it up and started to kind of go, well, this is cool, you [Eb] know, and _ [E] literally, _ the first song I ever [D] did using it was a song from the Made In Realize EP called Thorn.
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_ _ _ _ _ was the [Eb] first hour I discovered it, and then two hours later I did a song called [D] Slow, which was the first time I did that [F] melted kind of effect.
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I put it through [E] a reverse reverb, and then thought, that sounds good, and I thought, oh, [Abm] turn [D] the tone down, and I thought, wow, it sounds totally like some weird tape sort of copy [E] of a copy of a copy,
and [D] then it was playing fast, and then sort of [Gb] bending the tremolo [F] arm, and it sort of went_
_ So it all happened in like one afternoon, _ and I was like, wow, this guitar, I've never come across anything that can do that, you know.
This one has [Eb] been the main [D] guitar I've used now since I got [Db] it, which was in 2002 or something.
Me and Jay [Eb] were in Denmark Street in London, there was a really good guitar shop there called Vintage and Rare.
We saw this on the wall, _ and it was expensive for the time, but I thought I'll try it anyway, you know, because it's just like so [Gb] nice.
And I tried it, and then Jay tried it, and he was playing away, and he was just like, get it, you know.
And I was like, okay, that's all I need [G] here.
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_ _ _ _ _ _ It's totally 59, but the finish is apparently done in 64.
[Eb] I have a funny feeling, though, that the metal [Ab] thing _ makes it a bit more, _ a little [B] brighter, zingier, I don't know what it is.
Having that finish [Ab] should have killed some of the tone, and it didn't at all.
[Eb] I don't know, it just was, I always thought it was a great look.
[Db] It seems to go forward, you know, I mean, those guys who made those [B] guitars, they knew about cars,
and they knew how to make things look like [Ab] they were going forward, you know, because it's kind of going, _ flying _ through space. _ _
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And [F] this one's actually got a really, really nice high body.
It's really, really light, but particularly, _ [Gb] it's got a fairly chunky neck, but the profile gets heavier as it goes up.
One of those really good bargains, you know, because it would have been refinished.
It just doesn't go out of tune, you know, _ it's quite heat resistant, and temperature resistant.
When I start using this, it's near the end of the set, and the room's as hot as it's going to get.
And it's just like, doesn't care.
Back in _ _ _ 2008, and we got three Custom Shop ones at the same time.
And this one's just the lightest, to me, more resonant one.
Yeah, this is when you sleep, and I play that one.
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That's for that song, very much. _ _ _
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[A] _ _ [E] _ _ Well, this is this, that's that, the tape business, because I don't allow it to go in.
It has to be quite loose, so that when I'm playing, I'm not actually, if I don't [A] want to, it doesn't [Em] actually affect the, _ _ _ _ _ nothing's happening.
You know [A] what I mean?
_ [E] I want it there, I want it to [Em] happen there.
I want it to, I don't want it to.
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It's still moving, just as much, you know what I mean?
[Gb] And that's the idea, it has to be very loose for that to happen.
[A] And then the bridge itself, I pull back as far as possible.
[E] It just means that as it moves, it kind of, it's going like this.
_ As opposed to doing this.
So I never go, _ you know, [A] it's impossible, I can't do it.
Like, there's nowhere to go.
It is important as [Em] well, for the chords, because you're bending [A] chords a lot.
People's brains, they need to hear where it comes [Gb] up into tune.
You know, if you're bending up and [A] down, it's just like, bleh.
You know what I mean?
Just wobbly, nothingness.
But if you're kind of going [E]
up into tune all the time like that, like, _ in tune, in tune, like that.
Your brain hears the tune, hears where it should be, and it kind of ignores the fact that actually 50 [D]% of the time, everything I [A] do is out of tune. _ _ _ _ _ _ _
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[B] _ Jaguars [Ebm] and Jazzmasters were both what [E] I used, you know.
I just gravitated nearly solely to the Jazzmaster in the 90s.
I was already [A] massified of the shape, you know.
I didn't realize [Abm] what I_
I didn't know what this was all [A] about until I discovered it.
You know what I mean? _
_ _ [Bm] I couldn't play guitar without this.
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