An Interview with

'Vinnie Moore'

Guitarist of UFO

and also a solo artist & member of Red Zone Rider

that took place on Thursday 11th February, 2016.

Interviewed By Glenn Milligan.

Glenn: Hi, it’s Glenn from Metalliville, how are you doing?

Vinnie: I’m doing great thank you.

Glenn: Cool man. How’s it over there weather-wise – pretty good?

Vinnie: Well it’s freezing where I am today. We’ve got snow on the ground. It’s a pretty mild winter but today it’s 18 degrees Fahrenheit outside. It’s really, really cold.

Glenn: I was talking to Chas West the other day and he was saying it was 90 degrees there in Los Angeles. I wish it was that here and I bet you do too.

Vinnie: Yeah absolutely. We’ve got the cruise from Florida next week so that’s gonna be great.

Glenn: That’s awesome. I thought you might be doing that as well. That’s great. Whereabouts are you based?

Vinnie: I’m on the east coast, just South of Philadelphia.

Glenn: Brilliant. What are you looking forward to about the cruise?

Vinnie: I did this one once before with UFO. It was just a blast. It was fun playing. There was so many other musicians there that are friends of mine. So many different people to hang out with and different bands to see. It’s just a big party on that water. Of course, playing it is gonna be great too but the fact that you are surrounded by so many other musicians makes it even more than a regular gig.

Glenn: There’s so much to see and check out no doubt! You have the US Tour coming up. What shows would you say mean the most to you that you look forward to playing?

Vinnie: Chicago always stands out because the people there… it’s amazing. They are so into Rock. They are such a good audience. Time and time again they prove it. We play this theatre there outside of Chicago actually called The Arcada. We’re doing two nights there again and both usually sell out – it’s always a really fun time.

Glenn: Awesome!

Vinnie: So we always look forward to the Chicago fans. Actually playing L.A. and New York City are a little nerve-wracking sometimes because there’s always industry people that come out and it just becomes a big thing or just chaotic a little bit.

Glenn: Is it more relaxing or adventurous for you in Chicago? Just a different atmosphere altogether?

Vinnie: Yeah. I don’t think as much of the industry is there like they are in New York and L..A. So you have less people coming out to the gig. Well actually we played House Of Blues in Chicago a few years ago and that’s when Metallica came out because they were in town. Things like that happen. Chicago is just laid back and there’s a great feel there. The fans are great.

Glenn: What songs do you enjoy playing with UFO? Are there certain songs that you really look forward to and there’s others where you are like, “Oh not this one again!”?

Vinnie: Ironically the one where I go, “Oh not this one again!” is ‘Doctor, Doctor’ which is probably the most well received tune because everybody likes that. For some reason, although it’s a great song it gets a little old. A lot of the classic stuff like ‘Shoot Shoot’; ‘Too Hot To Handle’; ‘Rock Bottom’ and ‘Love To Love’ are really fun to play and don’t really get old. The thing with ‘Doctor, Doctor’, it could be because we always do it last.

Glenn: Are you playing all the time like most guitarists do when they aren’t on stage or in the studio?

Vinnie: Yeah definitely. Right now I’m getting ready for my solo tunes which I hadn’t played in quiet a while. I would say I’m definitely playing all the time.

Glenn: I was recently listening to some of the material from the ‘Aerial Visions’ album and the full show that is on You-tube right now and it’s beautiful. It’s cool to see you’ve got Elliot (Rubinson) there on Bass which is ironic with him playing with Michael Schenker as well.

Vinnie: Yeah and Uli Jon Roth too. Last year I did a solo tour with Uli and Black Nights Rising and Elliot played bass for all three bands.

Glenn: Wow!

Vinnie: So three gigs in one night.

Glenn: That’s incredible! That’s stamina in order to do that! From your point of view as a guitarist what do you prefer playing? Is it material when you are on stage with UFO or when you are on your own solo tour or do you like it all just as much for different reasons?

Vinnie: About the same for different reasons. Instrumental stuff in a lot of ways can be more demanding because usually there’s a lot of solo work throughout the whole song. Whereas when you’re in a band you are playing more rhythm which I really enjoy. It’s a little less pressure to be on your game. It’s fun to just sit back while the singer’s doing his thing and play rhythm. That’s a lot of fun also. When I do solo stuff I find myself playing less rhythm because I am playing melodies all over the place.

Glenn: You can relax and chill out more when you are doing UFO gigs as opposed to doing your own solo shows when you are in the spotlight continuously throughout the show?

Vinnie: Right. The other element is that with UFO we’ve done these songs so many times. We’ve toured so much that we can play them in our sleep basically. With my solo stuff, the tours have been less frequent. They are kind of in-between and here and there over the years. I have to rehearse a lot more and settle in.

Glenn: What songs from UFO do you enjoy playing most on stage?

Vinnie: For the older stuff, I like playing ‘Rock Bottom’ and ‘Love To Love’. ‘Shoot Shoot’ is a lot of fun. ‘Too Hot To Handle’ when we have that in the set. As far as the new songs, one that’s been going down really well is ‘Messiah Of Love’. It’s on the ‘Conspiracy Of Stars’ record. We play that and people start banging their heads. It’s the groove of it. You can tell that even though they might not have heard it for some reason it connects with them. It strikes a nerve. They definitely respond.

Glenn: That’s always a good sign for new material isn’t it. One to keep in the set if it’s going down so well?

Vinnie: Yeah exactly. Some songs you try that are good songs but they just don’t quite go over well for whatever reasons and you drop them.

Glenn: When you’ve been on stage with UFO what have been the funniest or strangest moments?

Vinnie: Well we just played ‘Hard Rock Hell’ and I never break strings but we were doing the song ‘Cherry’ and I broke a string right before the solo so I just kinda air-guitarred it! I missed the whole solo. Things like that happen and it was pretty funny. (We laugh). I think the funniest moments are being on stage with Pete Way. Pete was so drunk he would fall over and it would take him a minute or two to get up. There was always something comical going on him.

Glenn: He seems to be doing alright now though. He must have cleaned up a bit. He comes across pretty sober on facebook.

Vinnie: Yeah. I haven’t seen him in a while. I’d really like to see him some time.

Glenn: I remember seeing you guys a few years ago. It was still called Club Zero at the time which is down near the bottom of the Moor in Sheffield. It’s called The Plug now. He fell over or slipped over and he was laid on his back against the bass drum just playing away if I remember right and not caring at all with his legs astride. We cheered him on and he got up and carried on playing. He makes it look like its part of the act unless it is part of the act.

Vinnie: Well with ‘Rock Bottom’ it was part of the act. He would lay down during the entire solo. This was planned. There were other times where he’d fall when it wasn’t.

Glenn: That’s mad isn’t it? But I’m glad he seems to be doing a lot better now.

Vinnie: Yeah. It’s good.

Glenn: Why did you decide to call your solo album ‘Aerial Visions’?

Vinnie: You know, coming up with names is sometimes difficult for me. I sat around trying to come up with a name for weeks. Mostly everything you think of is already taken and for some reason I got this idea. I don’t know where it came from. It just popped into my head. I did a Google search and I couldn’t find any other records called that. I thought, ‘Wow this is great! – not only does it sound cool to me but it hasn’t been used as far as I could find. Every other title and you get hits all over the place in searches. Looking at things from above was the basic feel of it – from outside.

Glenn: Did it take long to record? What was the schedule like for its completion?

Vinnie: It took quite a long time to do it because I was busy doing other things. I was out on the road a lot with UFO. There was a UFO record that we did and I also did this thing with a band called ‘Red Zone Rider’. We made a record. All these other things that were happening while I was doing it. I’d work on it a little bit then I’d have to put it aside for a while and then come back to it. Which is really difficult for me because once I get started on something I get really obsessed with it and it’s really hard to walk away from it. But I found that really help because I’d come back with a little bit of a fresh or a different perspective. The bad part of it was that it would take a couple of days – two or three days to get back into the zone. But once I did it was smooth sailing.

Glenn: When you got back to the solo album, did other things come into that with regard to style or did you manage to keep that style that you had when you were last working on it?

Vinnie: I think just spending time away and coming back to it fresh… it was mostly a feel thing – maybe it would have a different feel. Whereas if you recorded the same song straight through for say three days, you’d probably be in the same mindset basically. But if you recorded parts of it and came back two months later, maybe you’d have a different perspective.

Glenn: I was listening to some of the songs and I am intrigued to find out how they were recorded because they have a warm and analogue feel. Was it recorded analogue at all or was it made to sound like that overall?

Vinnie: No it was totally digital. I went to a studio in New Jersey and did drums. I know they have a lot of old outboard gear like Hugo, Smogoles and things like that. We did drums with those. Then I brought the files home and recorded in my studio using Cubase and DAW (Digital Audio Workstation).Then we mixed in digital format also. I think the guy who mixed it did a really good job – Paul Northfield. Then the guy who mastered it did a really good job.

Glenn: You have an idea things have been done digital these but its great when they don’t sound too digital or they sounds a bit too false. They have more of a warmer aspect these days and they’ve got the overall sound nailed more now. I guess you’ve found that yourself with things?

Vinnie: Technology’s getting better and all the simple rates. The mastering gear and the mixing gear is getting more natural.

Glenn: What songs on the album mean the most to you?

Vinnie: I really like the song ‘Faith’ because it comes from a deep place. That’s one of my favourites. I like ‘Slam’ for the funky vibe it has and it was a lot of fun doing ‘La Grange’ too. It was really cool. Also ‘Looking Back’.

Glenn: When I was listening to ‘La Grange’ it’s like you’ve really studied the sound of Billy Gibbons voice. You can hear his voice in your guitar. The way he sings it. It’s like ‘Wow!’.

Vinnie: Yeah. I tried too emulate him and have fun with it but not be to exact. I didn’t want to do it too closely.

Glenn: There’s your sound there as well as Billy’s sound there. You’ve pulled it off great. It sounds awesome.

Vinnie: Well thanks very much.

Glenn: No problem. Have Billy Gibbons or the other two guys, Frank Beard and Dusty Hill heard that version of ‘La Grange’ and if so, what did they say to it?

Vinnie: I have no idea. It would be a thrill if they eventually did for me.

Glenn: How did you go about putting the original band together for the solo work?

Vinnie: I’ve been playing with the drummer Richie Monika at some gigs and I really liked his playing and his feel. He’s got a lot of chop but a lot of swing feel and he’s played a lot of different styles of music. I knew I wanted to work with him. So we went in together and cut the drum tracks – he and I with no bass player. Then after that I started thinking, ‘Now who could I use on bass?’ and it turned out I have a lot of friends who play bass so I started asking different guys to play on different songs. It wasn’t really planned like that in advance it just sort of happened.

Glenn: When you are on tour, do you have certain likes and dislikes about it or are you so used to touring, you get over certain things?

Vinnie: I’m used to it and you kind of just go along for the ride. Go with the wave and flow with everything. Probably the least fun is often you get sick – you get a cold. Everybody gets it and it spreads around everyone. Then there’s the exhaustion factor which is a pain in the ass of being tired a lot. The best part is being on stage and hanging out with the guys – like driving on the bus. We’ve been out for a few years together.

Glenn: That’s cool. When you go to a show and you see what actually goes in to putting that show on, when you’ve got the band there like mid-afternoon and the crew’s there before, it’s such a long, long day…

Vinnie: Yeah and it’s actually a journey to get there.

Glenn: Yeah.

Vinnie: We tour overnight on the bus and I don’t know how the crew does it. They do so much work every day to make the show happen.

Glenn: It’s incredible. What’s the longest journey you’ve had to do to get from one show to another either on a plane or coach or whatever means of transport you used? What sort of things do you do to get over that factor of travelling for so, so long?

Vinnie: Well we’ve had drives on the bus that are more than 24 hours but there’s a day off between the two gigs. The great thing about the bus is you can just hang out. You don’t have to do anything. You can go to your bunk and sleep or you can get up and whatever – hang out with the guys. To me, flying can be more of a pain in the ass. Going, getting up, getting in the car to go to the airport, going through the whole check-in process, getting on the plane, then sometimes there’s a connection flight. To me that’s like beat.

Glenn: Oh it’s laborious. I come to America twice a year. Down to Florida – the Fort Myers area and I go up to LA. The travelling is a drag and then you find out it’s twice as long if you go to Australia. I don’t know how you guys go on sometimes when you do this sort of stuff. It must be incredible to do all these hours all the time just to get to a gig!

Vinnie: Just a few months back I flew to India and that was crazy. I think that was four flights to get where we needed to go. It took more than a whole day and it was just insane. In fact, I took three flights and had to check into a hotel so I could sleep for four hours only to go on another flight so it was just crazy.

Glenn: God! I guess it was worth it when you got there though?

Vinne: Yeah. The bands were great and I was there for a week so that made it worth it.

Glenn: Awesome.

Vinnie: Coming back was the same thing.

Glenn: I know. No matter where you’re at in life or the job you do – just the initial travelling is a bitch! It’s like, ‘Do I have to?’ You are sat there and you just want the plane to go faster just to get there and get off the plane.

Vinnie: I want to take that transporter that Star Trek has and transport from one place to another in about two seconds.

Glenn: I just like to imagine the Globe and say, “I can get my finger from here to here on that little globe in a second. Why can’t I fly as fast as that?” It’d just be great to be able to do that! Maybe in time we can. I always joke to friends in the USA, “Now beam me over now!”. It would be great if we could do what they do in ‘The Fly’ film where you are transported from one part to another but obviously not have the fly in there! That’d be just crazy!

Vinnie: That’d be awesome.

Glenn: It would yeah. If we can do that in time that would be something else but make sure we’ve got no insects in there.

Vinnie: We could do with flights being three times as fast. That would be something.

Glenn: Yeah. It’s a pity they got rid of the Concord but they said it cost so much to run that they scrapped it. I never got chance to do that one.

Vinnie: Right!

Glenn: Are you based in Delaware?

Vinnie: Yeah.

Glenn: How is the Delaware area like for music?

Vinnie: It’s not really much of a music scene here. It’s local stuff. A lot of cover tunes and clubs. There’s some talented people around but it’s not L..A. or New York by any means. More of a local cover thing going down here.

Glenn: It sounds a bit like what Fort Myers and Cape Coral have got unless there’s a few touring bands coming through there. What would you say your most used guitars are? Do you have the same guitar for each album or do you grab different ones for certain sounds that feel right to your good self?

Vinnie: I try to mix it up a little bit and use different guitars and have some variety. I’ve been using my Dean Signature model for most of the stuff. I have five of those so I switched pick-ups in those when I was doing the ‘Aerial Visions’ record. Otherwise, when I picked up one they’d pretty much sound the same because they’re really consistent. So I tried to mix it up a little bit with different pick-ups. I have a couple of Strats, a Les Paul, so there’s always things to go there for some different type of sounds and variety.

Glenn: You’ve no doubt got quite a few endorsements. What endorsements mean the most to you that you have got and why?

Vinnie: Actually the guitars because that’s the most important. I don’t have an Amp endorsement at the moment but I have a Marshall that I like. But the guitar is what you actually touch so that’s the most important thing, to have somebody building something that I really like and that’s consistent.

Glenn: Nice. How would say the difference is crowd-wise between parts of the UK compared to playing the United States or are we all just a similar audience in general?

Vinnie: There’s a different thing in the UK for UFO because they are a British band and that makes it special in its own way. As far as the crowd, maybe in general they’re bigger in England than in America although in America there’s some that are big. As fans, when you’re on stage playing for them they almost seem to be the same no matter where you are in the World. You look out and they’re into Rock music and appreciative and understanding it. It’s hard to say this place is way different from another place.

Glenn: Do you have any certain parts of Britain that you enjoy playing?

Vinnie: Yeah when we play on a Saturday or a Friday night and at the end of the gig, get out of the building because the disco starts and all the hot women start coming in for the disco. (We laugh) No! That happens a lot actually. Usually we are in and out of a City so quickly that we don’t really have any time to enjoy it. Obviously there are days off and they are always on a Monday or some dreadful time when there’s nothing going on. So we really don’t get to experience a lot of the exciting stuff that’s going on in any particular city. But it’s always good to get to London and Manchester and eat Indian food.

Glenn: It is pretty amazing that across here in Britain it’s not all Yorkshire Puddings and mashed potatoes and that. The Indian food is such a big thing here and it has been for years. I have friends here from the UK and have gone to live in the USA. A mate of mine will say, “We’ve got an Indian here in Cape Coral but the Indian is just not as good as they are in Britain!” So it’s funny how you mention the Indian food in London.

Vinnie: Yeah it’s really good!

Glenn: Awesome. What would you say your proudest moments have been so far?

Vinnie: That’s a tough one. Actually in general that I’ve been able to continue doing what I love doing and make a career out of it. I’m very lucky and I’m proud of it. Have some staying power in this business because I meet so many talented people who find themselves in a position where they couldn’t do it anymore. Thy couldn’t survive. I’m just proud to still be doing what I love doing and still love it and be creating and coming up with new ideas.

Glenn: Which bands did you look at when you were growing up and think, ‘I’d love to be out and play with those guys’. Was a band like UFO a band that you looked up to back then when you were a young kid?

Vinnie: It was more like, ‘I wanna be in a band like Van Halen, like Deep Purple or Led Zeppelin or Robin Trower’. It was more that type of thing. I never even thought that I’d be in some band that already existed like UFO. I mean, I was a fan of the band. I used to play along to their records and play some of their songs in cover bands but not for one second did I imagine that some day I would be playing in the band. Impossible and yet it happened.

Glenn: That must have been pretty mind-blowing to go from one side of the stage to the other with regard to UFO?

Vinnie: Absolutely.

Glenn: You must have been asked this a few times but how did this take place originally?

Vinnie: Well they were looking for a guitar player and I think they initially still wanted to find someone from England. They looked around and that didn’t really happen so they expanded the search. Basically, somebody I know, like a mutual friend recommended me. He had done sound for UFO and he had also been my guitar tech. He came to me and said, “Hey they are looking for somebody”, he went to them and said, “Vinnie’s available and I think he’d be really good with you guys for the gig”. So I was asked basically by the Manager to send some music to Phil. I sent a CD of 11 of my songs and that’s pretty much how it came about.

Glenn: Did you guys gel straight away because they are the British guys and you are the American guy? Or did the chemistry between you all come after time or instantaneous?

Vinnie: We got along very well from the beginning. Instantaneous. We didn’t do a tour first. We got together at studio, rehearsing to make a new record. Phil and I had communicated a lot back and forth about the songs and working on things alone across the miles. We just got together and rehearsed, started writing stuff and it just flowed quite naturally.

Glenn: Awesome. That’s cool. When you joined did you feel like the new guy in the band for a while because some guys have been in bands for years and they still get called the new guy and they might have been there 10 or 15 years as such. Did it happen for you with UFO?

Vinnie: Well when I joined, Jason Bonham joined so we were two new guys. There was a little laugh at that as opposed if there was just me. Nowadays I’ve been in the band 12 years and the bass player hasn’t been in the band as long as I’ve had so he’s newer than me. So I never really had to deal with that and mainly because Jason and I joined together.

Glenn: When you’ve seen or heard other guitarists over the years as well as recent, what is it about a guitarist that grabs your attention?

Vinnie: It’s something unique and interesting. Also that they have a lot of feel and emotion behind it. The feel thing for me is what does it. There’s a lot of guys, especially nowadays who just be ninjas all over the guitar-neck and play faster than God. That’s impressive on its own level but that’s not really what I look for what does it for me. Somebody who’s playing something musically interesting and what has feel. You can tell that every part of their being is behind every note. Just an energy there. A passion. It’s all about passion for me.

Glenn: Yeah. It’s like back in the late 70’s, everyone wanted to sound like Eddie Van Halen or in the 80’s everyone wanted to sound like Yngwie Malmsteen. You get all these people that sound so similar. It’s like ‘Oh come on! There must be more out there than that?’

Vinnie: That’s the thing. Once things become successful too, many people start jumping on the bandwagon doing the same thing. Then it starts to get old quickly.

Glenn: Yeah. You grew up in the 70’s. You preferred the feel side rather than how many million notes you can put into a solo because it seems to mean more when you do that.

Vinnie: Yeah. I mean there’s some really technical players back in the 70’s too like Allan Holdsworth, Al Di Meola & John McLaughlin. So three people were playing in the technical way. To me, it’s always been about the Blues and Rock. I grew up and I ultimately started with Rock and Blues was there pretty early. Blues was like the feel, the foundation for everything. Then everything else, whether it’s technical or whatever, you’ve got to have the foundation there and I think a lot of the guys missed out on that. They didn’t really have the foundation. They just had the technique. I feel lucky I got to grow up in the era I grew up in.

Glenn: At times I have found many have come from the LA School of Music or the Juillard School of Music in New York. They all look the same, they all sound the same. It was all very cloney but when you’ve got the guys from the 60’s or the 70’s – those periods, they seemed to have their own thing happening more if that makes any sense.

Vinnie: Yeah. Then there became more copiers over the years. I’ve talked to some people who were around in the early 70’s and they say it’s harder now to do something original because all the territory has been claimed already. I mean, like how much more can you do? Anything you do has already been done or thought of so it’s more difficult to be unique in this day and age. Whether it’s more open territory because everything was starting then and it was all new.

Glenn: It makes a lot of sense. It’s evolved and it’s enveloped itself. It’s a really weird progression like that I find. I’m 42 now but you see things happening and you think, ‘I saw that happen 20 years ago! What’s the big deal?’ sort of thing. Like you get all these guys that are the latest hair bands. It’s really strange but there you go.

Vinnie: As a new batch of kids come up things are new to them because they haven’t heard it before. It’s just there’s so many of the same chord progressions. There’s new songs coming out and you go, “Wait a minute, hasn’t that been done like a zillion times? Isn’t that cliché?” Yeah it is but it’s a new batch of kids that are not as familiar with it. They haven’t heard it so it’s new to them.

Glenn: Exactly. Then they market it as something new and don’t tell them it has been done 25 years ago. That is what’s funny about it all.

Vinnie: Exactly.

Glenn: The old music meat machine so to speak. If you could play on stage with any other guitarist and do a duel solo or play certain concerts or whatever with any particular guitarist, which one would you choose to play with or numerous people and why would you choose them?

Vinnie: I would say guys like Jeff Beck. He’s such a big inspiration to me. Ritchie Blackmore for the same reasons. Jimmy Page because I like his song-writing so much. He’s been such a big influence and I could just sit back and watch them play. I don’t have to play at all. I can just stand there with a guitar on mute.

Glenn: That’s cool. (I laugh) Because you have been in the business for quite a few years, what do you miss from the past that you’d like to bring back or not?

Vinnie: I’d like to see people buying records again instead of downloading for free all the time. That’s one thing but style-wise, I’d like to see more icons like Bowie. Kind of the bands that were really trying to do something different and unique and did it with passion and pave the way for something new as opposed to just trying to be successful by copying something by another band.

Glenn: It’s as though they are forced to do certain things because if they don’t do it they’ll get thrown off the label. So they just want it to sell like hell. Maybe some of them are afraid of progressing into what they really want to do because they don’t want to lose their deal. I mean, you know yourself, back in the day people like David Bowie, Elton John or Rod Stewart, they could release three or four albums and then they start making it big. Guys these days don’t even get a chance to do that. It’s such a sad thing now I think.

Vinnie: Yeah Record Companies used to develop bands like Rush or whoever and it would take a couple of records to build up. If they are full stride and if those bands came out in this climate they probably would have never done more than one record and failed.

Glenn: Yeah and it’s frightening because they are the icons. Where would people go without these icons in the first place. Basically I think it’s worrying to see how the industry is going to go in the next 5 or 10 years if it keeps on like that. Unless the internet phenomenon takes precedence and people carry on doing it for themselves and that wipes some of that side of the industry out. It seems to be doing it a bit somewhat if that makes any sense to you?

Vinnie: Yeah it totally makes sense. It’s so homogenised and everybody just tries to do the same sounding stuff because they think that’s going to be successful. I think back to the 70’s and things were more open and bands could explore and do different things. Record Companies and the public was more open-minded to hearing different things. Now you just have to fit into this mould. I mean, we’ve been programmed. I think fans in general have been programmed to think that way.

Glenn: It needs like a Grunge thing or a Punk thing or something just to shift it. I don’t mean the actual music. I mean the actual industry side of things. I think it’s sad because sometimes the download thing has ruined the aspect of buying records. I mean, I can’t stand this downloading at all. I know it’s cheaper for PR Companies and Record Companies to give us a download link or a stream but to me there’s nothing like being sent or buying an album and physically putting an album on or CD whatever and looking at it and enjoying it that way. I think it’s so artificial otherwise.

Vinnie: Yeah I agree. If there’s something I really, really want then I’ll get the CD if I feel like I want it more permanently. I’ll download here and there if I am on the road or whatever if I really want something quickly but I always pay for it. I think that’s the difference.

Glenn: It is yeah. At the end of the day it’s a job. People have got to earn a living. You don’t get the plumber in to work for nothing – to mend your toilet or something so why should you get music for free. It’s not right. I agree. Outside of music, playing guitar or whatever, what other things do you enjoy doing?

Vinnie: I like building stuff. I built my studio. I’ve redone my basement in the house and I actually like that. It’s not always good on a physical level because I poke holes in my finger nails and things like that. You have to be really careful. I’ve cut my hand and got stitches so I try and be really careful. But I really like constructing things.

Glenn: I mean the last thing you want to do is cut yourself so bad when you’ve got a few shows or a tour coming up. It’s like, “Oh sh*t”. It must be nerve-wracking. So I guess the thing you are most looking forward to in the present near future is Cruise and the Tour?

Vinnie: Yep.

Glenn: Awesome. Well I’ll let you get off but it’s been a pleasure having a good chat with you Sir!

Vinnie: Great talking to you. Thanks so much.

A big thank you to Billy @ Glass Onyon PR for setting it up and of course Vinnie Moore himself for an excellent Interview.