![]() I wanted the thinner neck, and I wanted the silver-flake, but I wanted it on a Jazz Bass. “I tried to have my cake and eat it, too. ![]() When My Chemical Romance was talking about doing reunion shows, I’d contacted Michael Schulz from Fender and was like, 'Is it OK if I make a new bass for this era of My Chemical Romance?' I wanted to take my past and bring it to the future – taking my Mustang and melding it with the Jazz Basses that I loved so much. “The psychology behind it is that I forgot about it. Is there a psychology behind removing the racing stripe, then? The thing with racing stripe was always like, 'This player is a badass!'” Maybe somewhere down the line we’ll throw a racing stripe on this. “I thought about bringing it back and keeping the continuity. One aesthetic difference between your Mustang model and this Jazz is that you didn’t throw a racing stripe on this one. ![]() “I remember being younger and going into stores and seeing a flake finish and being like, 'Oh my god, that’s an expensive – I can’t afford that, let alone play it.' It was almost intimidating.” That flake finish makes me think of so many different things, but that’s why I love it so much. “Ace Frehley, of course, was big into flake finishes, and as a kid, you love the larger-than-life, comic book world of Kiss. Chris Cornell had the Gretsch Silver Jet, from Silverchair had one – the imagery the Smashing Pumpkins used, they liked sparkles. Growing up in the ‘90s, the silver-flake was big in alternative music. “I’ve been obsessed with the sparkle finish as far back as I can remember. What were some of the musts when it came to designing this latest signature?
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