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October 2009 - Guitar World
October 2009 - Guitar Player
September/October 2009 - Fireworks Magazine
September 2009 - Classic Rock Magazine
August 2009 - Anyone have this?
August 2009 - This Is Rock
by Dr. Matthew Warnock. August 2009
Vinnie Moore has long since established himself as one of the leading rock guitarists of his generation. After impressing Mike Varney of Shrapnel records at the age of 12, Moore was chosen to showcase his guitar talent on a national Pepsi commercial which brought him his first widespread exposure as a guitarist to watch out for. Since then Moore has found success as both a leader, including his vastly popular first album Mind’s Eye featuring Tony MacAlpine on keys, and as a sideman in such bands as U.F.O., Vicious Rumors and as a member of Alice Cooper’s band. With over 25 years in the business, Moore continues to steadily release new material and perform to sold-out venues all over the world.
Moore’s latest CD, To the Core, showcases the guitarist’s advanced melodic approach, his lightening fast chops and ability as a modern rock songwriter. The album also showcases the many different styles and genres of music that have influenced Moore over the years. Moore’s writing and soloing melds elements of rock, blues, jazz-fusion and metal to form a musical style that can only be described as Vinnie Moore.
Recently, Moore began working with the Dean Guitar Company on the Vinman 2000, which features Moore’s signature Shredhead humbucker pickup. The guitar is made with a maple top, alder body and maple finger board. The VM-2000, as it is also called, comes with a Floyd Rose tremolo bridge, the Shredhead pickup on the bridge and two DiMarzio single coil spaced noise-cancelling humbuckers in the middle and neck positions. With the release of his new signature guitar, Moore is giving his fans a chance to play with the same killer tone that he has become famous for. Strap on a set of .10s, tune down a half-step, and any guitarist can step into Moore’s musical shoes in the comfort of their own practice room.
Currently touring to support To the Core and working with the Dean Guitar Company on the new Vinman 2000 model, Moore is shows no sign of slowing down as he heads into his second quarter century in the business. With a seemingly endless source of new musical inspiration, Moore is reflective about the events that have brought him to this point in his career while maintaining a steady focus on his musical future.
* * *
Matt Warnock: There are many influences that come out in your playing on To the Coresuch as rock, blues, jazz fusion and of course the hard rock and metal. With such a variety of influences in your background, how would you describe your music to someone who has never heard you play before?
Vinnie Moore: I would say basically I’m a rock guy who likes a lot of different styles of music and who throws a number of different elements into the rock genre. I’ve always been a rock guy but maybe a little more adventurous than your normal rock guitarist.
Matt: On tunes like “Panic Attack” and “Fly,” just to name two, there are elements of rock, fusion, metal, funk and blues. Was it a conscious decision to feature these different styles out on these tracks or did it just happen organically as the writing process progressed?
Vinnie Moore: I just play and go with the flow and let it happen naturally. As soon as I plan or have thoughts about doing a particular thing, I’m not being creative anymore. To me, I just go for it and let the music flow. That’s when I’m truly inspired and the best stuff comes out, in my opinion. So no, I don’t like to plan anything out that way.
There have been times when I have, say, seven songs finished for a record, and I had to think about what type of tunes would best fill out the rest of the recording. That type of thing has happened in the past, but for this album I had a lot of material to choose from, so I just kept writing and tried not to force anything, just let it flow through. All those influences kind of came out naturally. I’m into a bunch of different styles of music so those things just seem to come out by themselves without me having to force them.
Matt: Many guitarists prefer to write away from their guitars for various reasons and either write tunes on the piano or apart from an instrument all together. Do you write with your guitar in hand or do you prefer another method when composing?
Vinnie Moore: Mainly it’s when I’m playing guitar. I keep a little Sony cassette machine close by when I’m playing, which has been my greatest writing tool over the past 20 years. Then, when an idea comes up, or pops into my head, I play it and record it. After the initial inspiration other ideas seem to begin to come to me and the song starts to come together.
Most of these ideas come to me when my guitar is in my hands, but a lot of times if I have a song in my head, I’ll walk away from the guitar and do something else for a bit. Then, what seems to happen is as I’m going over the idea in my head it begins to develop naturally without me having to really think about it. Those ideas kind of ferment up there. Once I have a couple of ideas going I’ll walk away from the guitar and often have to come back to it five minutes later because I’ve got a new idea I want to work out and songs can come about that way as well.
Matt: On To the Core did you have all of the tunes completed when you went into the studio or did the songs transform and grow once you started laying down the initial tracks for the album?
Vinnie Moore: They always grow during the recording process but I have a studio at home, which is where I record, and I’ll record the tunes to loops or drum patterns and with this record I totally finished most of the tracks at home and then the drums and bass were added after. There might have been about three songs where I actually played after the drums.
I’m very meticulous when I demo things. In the past I’ve laid down demos and they end up sounding just like the record and I’d have to go back and redo the whole thing again in the studio. Now that the technology has gotten better I can lay everything down at home and then just add the other instruments later which saves me from having to do the whole album over again. It’s great to be able to capture the initial inspiration and get it down on tape instead of having to go back and redo it when the initial inspiration isn’t there anymore.
Matt: The album has a very “orchestral” feel to it as far as the texturing and layering is concerned. Do you sit down and think about all of the overdubs you are going to use beforehand or do those come after the initial tracks have been laid down?
Vinnie Moore: It all starts to happen pretty naturally, and I think it’s a bit of a blessing and a curse that once I have an idea I just keep hearing new things to add to it. At a certain point, I have to stop adding things and be done with it, or else I could add stuff forever. I try to strike a balance between throwing too many things into the mix and not having enough stuff on the track, trying to find a mixture of textures that’s just right for that song. I’ll come up with an initial idea for a song, and then as I get it down on tape I’ll start adding things as I hear them, just trying to go with the flow of what I’m hearing.
Matt: For the guitar solos on the album, how much preparation was involved beforehand? Did you have an idea of what you wanted to play or were they conceived in the studio?
Vinnie Moore: There are usually two directions I follow with my solos. One is that I just start improvising and it’s a cool vibe and I nail it, or get close to nailing it, then I just go back and fix or add a few things to finish it off. The other approach I use is sort of composing the solo one phrase at a time. Where I’m thinking about which chords I’m playing over the top of, that type of thing.
Both approaches work but I prefer the easier way of just playing off the top of my head and hopefully something good comes out right from the beginning. That’s the best way. Though the solos that I build one phrase at a time, they’re good too. They have a different feel to them, I’m glad that I can do both.
Matt: For a guy with incredible chops you show a lot of restraint in your solos. There’s a good mix of vocal-type riffs and burning runs in your solos. Is this something that comes naturally to you or have you had to work on holding back from only using your chops to create interest in your solos?
Vinnie Moore: That might have been more of a thing early on, when I would play more notes and had to be conscious of it. But now it’s all slowing as I’ve matured over the years. Music in general, whether it’s guitar, saxophone or whatever, has always been emotional to me. Playing fast and being a technician will work sometimes but it’s not always the thing. The melodies and the feel is always more important to me.
Matt: Guitar playing has seemed to follow this pattern since the 1980s, when guitar pyrotechnics were the thing, to today’s scene when things are a bit more subdued as far as soloing is concerned. Did the change in the music scene have an affect on your soloing approach or was it just how you developed as you matured as a musician?
Vinnie Moore: I think it happened to me naturally as I grew as an artist. I tried not to pay attention to what other guys were doing over the years. As a matter of fact, players like Jeff Beck and David Gilmour had a big influence on me when I was young, but so did guys like Al DiMeola, so I’ve had both technical and melodic players influence me over the years.
I think in the early days I was just doing my thing, not really paying attention to what was going on at the time, and really, I’ve always been a melody guy. Whether I’m playing slow or fast, even on the early stuff, there are still melodies and there are still songs. I’ve always thought that the song is most important. You can’t just put down a couple chords and solo over it and that’s a song. The song has to be the most important and the playing side of things should be less important.
Matt: How much time do you have to spend everyday maintaining your chops?
Vinnie Moore: I tend to play everyday when I’m at home, and if I do that I find that I can maintain my chops no problem. I used to carry my guitar with me on the road all the time and I’d play on show days, being bored in my hotel room. I used to play a lot and now I don’t bring my guitar around with me, I just do the gig. We do a 90-minute show every day and that’s enough. Otherwise I feel like I’m playing too much.
The gigs for me have been better by not practicing on a gig day. I will grab the guitar and play for 30 minutes or so before we go on stage but that’s it. Then on off days I’ll make sure I practice for 15 to 30 minutes just to maintain the physical stuff. I used to get in the habit of playing because I was nervous, kind of a neurotic thing, but I try to avoid that now.
Matt: Did you ever have a period in your life when you practiced hours and hours a day, especially when you were first learning the instrument?
Vinnie Moore: I’ve been through both phases. When I first starting getting serious about guitar, at around age 14, I tried to practice a couple of hours a day which was a big deal for me. As I got more obsessed with the guitar, I had times when I practiced seven to ten hours a day but it was because I loved doing it. I never really thought about practicing that much, I just loved doing it and kind of became obsessed with it really.
Matt: On the tune “Jigsaw,” from your new album, you play some slide guitar during a few sections. Have you always played slide or is this something new that you’ re exploring?
Vinnie Moore: I’ve played slide a little bit over the years, but I don’t consider myself a great slide player. I wrote that song awhile ago, sometime in the ’90s, it was just something I had laying around. I’ve always liked the song but it just never seemed to fit on any of my other albums, but it seemed to fit on this one. I decided to put it on the new album, I changed the groove a bit, but I still had to practice the slide to get it down. I went back and listened to some Allman Brothers records, Live at the Filmore especially, to study up on Duane’s slide playing. That really helped me get into shape for that track. It’s not something that I do a lot- – I never practice it- – so that’s something I had to practice when getting ready for this album.
Matt: What gear did you use on the album?
Vinnie Moore: I used a lot of different guitars on the album. I was a Music Man endorser when I started the album so I used my “Silhouette” special, which was my main guitar at the time. I used like three of my Strats, a Les Paul and somewhere in the middle of doing the record I became a Dean endorser and designed a guitar for them, so I used two or three of those guitars on the record. As far as effects there were almost to many to name, but a few would be a Fulltone choralflange, an Arion chorus, a Boss PH3 Phase Shifter…
I started off with the idea of using a bunch of different amps on the record, I have about ten different heads, so I planned to use them all to get different tones for different songs. Then I found I was spending so much time testing out different amps as opposed to playing that it got on my nerves. I ended up using only a couple of amps, mostly a Marshall JCM-2000 and an Engl Special Edition and they just worked. I set up the mics and just went for it.
Matt: What gauge of strings do you use in order to get that thick tone while still being able to play as fast as you do?
Vinnie Moore: I use a standard .10 set which I find is a good balance between slinky and not too slinky. There were a number of songs where I tuned down and had to use .11′s to get that heavier sound.
Matt: Is it hard on your hands to play that fast on those thick strings?
Vinnie Moore: I’m used to it now. When I joined UFO we tuned down a half-step and I’ve gotten used to it. I think that helps make the .10′s feel lighter, but I’ve always used .10′s, even when I tune to A440 standard pitch. I’ve gotten used to them over the years and just think they’re the best gauge for me.
Matt: When you were ready to finish up the recording process and were mixing the tracks how conscious were you of the track order and how that relates to the album as a whole?
Vinnie Moore: I’m conscious of it but tried not to get into it too heavily on this record. Back in the day, we had two sides to records so we had to be more aware of the order. We couldn’t start the second side with a ballad or something. I knew I wanted to start off with an energetic track and then tried to mix things up so that there weren’t two tracks in a row with the same feel. I put it together kind of quickly keeping that criteria in mind.
Matt: You’ve managed to maintain a long career in the music industry, which seems to be a rarity these days, with most bands being lucky to get a second album out before the fans move on to something else. What do you think has been the “secret to your success,” so to speak, as far as your career is concerned?
Vinnie Moore: I think persistence is a big thing, and I have a passion and love for making music. Also, there’s nothing else I would rather, or would even know how to do. There have been rough times, as there have been for everybody, and I’ve just hung in there and went with my heart.
|BYGUITAR13 - READ - MAGAZINE|
July 2009 - FORCE Magazine No. 106 (Madrid, Spain)
Contains both Vinnie Moore and UFO reviews - Anyone have this?
GUITAR Club - July/August 2009 - Italian Magazine
Young Guitar - July 2009 - Japanese Magazine
Chitarre - July 2009 - Italian Magazine
Best Outstanding Guitar Solo: Rock Bottom by Vinnie Moore
To The Core debuts in the Rock Hard European Charts at Number 9 in Rock Hard Magazine
Rock Hard Italy - July/August 2009 - Italian Magazine
GUITAR Techniques - July 2009 - UK Magazine
GITARPLUS - June 2009 - Indonesian Magazine
Guitar World - June 2009
Vinnie's Dean advert appears in the June issue of Guitar World
'Vinman 2000' Advert
June 13th 2009
A Conversation With Guitarist Vinnie Moore
UFO has been doing their thing for almost 40 years now. The British legends still have three original members (vocalist Phil Mogg, guitarist/keyboardist Paul Raymond and drummer Andy Parker), and unfortunately original bassist Pete Way wasn’t able to participate in the recording of The Visitor because of health concerns. American shredder Vinnie Moore has been in UFO for the past five years or so, and he fills us in on UFO’s latest, his new solo CD, his Dean signature guitar and some of his all time favorite guitarists.
Chad Bowar: Give us a preview of UFO’s latest CD The Visitor.
Was the writing/recording process any different than usual?
Who did the bass parts since Pete wasn’t able to participate?
Is being on two different continents difficult, or does technology make it easy?
Our drummer Andy was almost finished recording drums in Germany when I came up with this song at home in the U.S. while watching an episode of The Simpsons. I made a quick demo of it and uploaded the demo files to a server, and then emailed everyone to tell them they should give it a listen. I got a call the very next morning at 10am (4pm in Germany) and the drum track was already finished and they played it for me. It is one of my favorite tracks on the CD and would not have made it without the internet....and Homer.
What are your expectations for the album?
What are UFO’s upcoming tour plans?
With a catalog spanning 40 years, how in the world do you put together a setlist?
You also just released a solo CD To The Core. What can fans expect?
Was it planned to release your CD and the UFO CD so close together, or is that just how it ended up?
Will you be playing any solo dates?
I’m sure a well-known guitarist like you had many endorsement offers. What is it about Dean guitars that you chose them?
What makes the VM-2000 different than a standard guitar?
You’ve given many guitar clinics over the years. Do you enjoy teaching the next generation of guitarists?
Any plans to do any more instructional DVDs?
Who are some current guitarists you think have a lot of talent?
Who is the best guitarist ever?
What have been the biggest changes you’ve seen in the music industry over the years?
What have been the high and low points in your career so far?
Anything else you’d like to mention?
June 2009 - Getting To The Core:
An Exclusive Interview With Guitarist Vinnie Moore Of UFO
Influenced by the music of Jeff Beck, The Beatles, Led Zeppelin, Deep Purple, and Queen, guitarist Vinnie Moore first picked up the instrument at age 12 .
May 2009 Interview
Guitar Techniques - April 2009
Guitar Player - JANEIRO 2009 (N° 165)
Riffs: Vinnie Moore
Krishta's Exclusive Interview with UFO Guitarist Vinnie Moore
By Krishta Abruzzini, Pacific Northwest Writer
Thursday, March 12, 2009 @ 4:26 PM
Vinnie chatted with me recently about his long-anticipated solo CD as well as the new UFO album. Despite his many accomplishments within an industry consisting of megalomaniacs, Vinnie remains grounded in his unassuming demeanor.
KNAC.COM: Your start as a professional guitar player came from a 4-track demo you sent to Guitar Player Magazine, which was picked up by its ‘Spotlight’ column written by Shrapnel Records exec Mike Varney. What was that demo like?
Moore: I think the tape I sent to him had about 6 instrumental tunes and 2 with vocals. It had some shreddin’ guitar type stuff as you would expect, and I covered some different directions stylistically to show some diversity.
KNAC.COM: At that time, did you think you had a chance of ever playing professionally?
Moore: I was hoping like hell but didn't know if it would all work out or not.
KNAC.COM: What was it like for you to get that phone call that your demo had been chosen?
Moore: It was very exciting. Almost unbelievable.
KNAC.COM: This led to your first professional work in the music business which was writing and playing the music for a national Pepsi commercial. In 1987, Shrapnel released your breakout album, Mind’s Eye in which you were given the title "best new talent" in Guitar Player, Guitar and Guitar World magazines, and Mind’s Eye sold more than 100,000 copies. Not bad for a guy at what, 22 years old?
Moore: Yes, I think I was 22 at the time. It was definitely a magical time for me. So many things happened so quickly; way more than I had ever imagined. In a matter of months, I went from some kid playing guitar and recording in his bedroom in Delaware, to doing a Pepsi commercial...making a record...winning awards in the guitar magazine readers polls...and making a best selling instructional video. It's pretty corny to say, but it was indeed a little bit fairy tale-ish.
KNAC.COM: So it was it a surreal time for you.
Moore: Yes, it was pretty surreal. But I was real busy doing my thing, so I didn’t spend too much time sitting around to think about it all. I was traveling a lot and just kept pushing forward.
KNAC.COM: You’ve come into your own signature sound through the years and have been placed in a progressive neo-classical style. What exactly does that mean?
Moore: I have no freakin clue. My earlier stuff had quite a bit of influence from classical music so that splains the neo-classical part. When i think of progressive, music bands; Yes, Jethro Tull...and early Genesis come to mind. I don’t sound anything like any of them. So I guess the term was kinda generalized to categorize anything that wasn't simple and straight ahead.
KNAC.COM: I know you consider yourself a ‘rock’ guy, so what style would you give yourself as far as a genre is placed?
Moore: Hmmmmm...With my solo stuff...I am a little bit all over the place stylistically. I love music and as long as it's good and played with passion, it doesn’t really matter what style it is. So I have been influenced by rock, jazz, blues, funk, r&b, techno...it's all good. If it's a good song, it transcends style. I guess you could put me in the explorer category.
KNAC.COM: You’ve been a member of Alice Cooper’s band; you toured the U.S. on the Operation Rock ‘N’ Roll tour, and also performed on Alice’s album “Hey Stoopid”. What was it like working in that camp and with Alice?
Moore: I had a blast doin’ that. It was cool to be part of a band after doing the solo thing for quite a while prior to that.
KNAC.COM: Was it a difficult decision or natural progression for you to go play with Alice Cooper; especially after coming from a career in which you had complete artistic freedom, to playing someone else’s songs?
Moore: It was definitely a much different scenario being a hired hand. But I knew I would continue doing my solo stuff too. So it wasn't like I gave anything up to do that gig. But inevitably, it was clear that the hired hand thing wasn't going to be what I wanted to pursue on a long term basis.
KNAC.COM: Your own band has toured extensively as a headliner and also was chosen as opening act for legendary rockers Rush on the Northeast leg of their ‘Rock the Bones Tour. Do you feel more accomplished with touring your music, or is it all satisfying to you?
Moore: It is always great to go out and play solo shows.
KNAC.COM: You also toured Japan as a member of the T.M. Stevens’ Band, which included Bernie Worrell (Parliament Funkadelic) on keyboards, Wil Calhoun (Living Colour) on drums, and Al Pitrelli (Megadeth) on guitar. That sounds like a dream of a lineup!
Moore: That was a real cool tour. Funky as hell.
KNAC.COM: How did you hook-up with the UFO boys?
Moore: One of my guitar techs, named Jerry Carillo had also done sound for UFO. He knew that they were looking [for a guitarist] and recommended me. They asked me to send some of my stuff. I put about 11 tunes I think it was, on a CD and sent it to their manager. At that time, I actually wasn’t real sure if I wanted to do it or not. I was a big fan of UFO growing up and already knew how to play a lot of their songs...but I just wasn’t sure about it right away. I didn't really think I would hear anything more about it, but about 10 days later they called and said that Phil Mogg wanted me to join.
KNAC.COM: Obviously you were not just a ‘hired gun’ for UFO, as you were a major songwriting contributor on the 2004 SPV Records You Are Here. (Smart publishing move!)
Moore: As I said, the hired gun thing is not really what I wanna do. I feel beyond that at this point in my career. I have too much creative energy and need to write. When (Michael) Schenker was in the band, he wrote a lot of the tunes. What Phil wanted was for a guy to come in and play that same kind of role. They needed a songwriter and I think this is a big part of his decision to ask me to join. There are lots of guys that can shred on a guitar....but he was looking for someone who could write with him.
KNAC.COM: What’s it been like working and touring with Phil Mogg & company?
Moore: It's always quite the experience…especially when Pete Way is in the band. For the most part, it has really been a blast. We all get along really well....and the fans have been great.
KNAC.COM: What happens when Pete Way is around? Any experiences you can share?
Moore: Bad things man....bad things. Haha. I couldn’t explain that one to you in a week. Let's just say he is more spinal tap than spinal tap. He drinks quite a bit of white wine onstage and has had some of the best falls ever. I wish we had them all on video. It would be absolutely hilarious.
KNAC.COM: UFO has a new release coming out this year?
Moore: Yes and I am just finishing up the guitars. The record is called The Visitor and will be out on June 2nd, I think.
KNAC.COM: I think a lot of people don’t realize there’s a lot of work to being a professional musician. Tell me what a typical day is like for you.
Moore: Making the UFO record has been pretty crazy. But music is a labor of love for me so I never count the costs. It started with me getting a bunch of song ideas and sending them to Phil. He chose the ones he liked best. We got together in Hannover, Germany to rehearse for a week in January. Andy went into the studio in Germany to lay down drums and I went home as I record my stuff in my studio. We totally utilize the internet to send sound files back and forth. They would upload drum and bass tracks, and I would download them and record guitars. Then send them my stuff. In fact, one night i was playin’ guitar and watching the Simpsons. I came up with a cool part, then more related ideas started flowing. Before I knew it, I had the skeleton for a new song within 10 minutes. I started to think a little, and realized that we didn’t really have a song for the record like this one, so I went into my studio and laid it down. At 11pm, I uploaded it and then sent emails to our manager and the engineer in Germany saying 'hey guys...give this one a listen...it could be cool". The next morning at around 10...they called me and played it for me with Andy's drums recorded on it (they were 6 hours ahead). So on a whim...wham...we have a new song...this wouldn't have been possible if Al Gore hadn’t created the internet. Back to the question...I find myself constantly writing and recording.
KNAC.COM: Do you like being on the road?
Moore: Hmmmmm....not really. I love the being onstage part....and also it is cool to hang with the guys and see the fans. But the charm of seeing different cities has unfortunately worn off. There is so much traveling involved. I have always been a home body. I don’t go out of the house for days sometimes when I am home.
KNAC.COM: Do you consider yourself a technical or emotional player? I.E; Yngwie Malmsteen vs. Steve Vai…
Moore: I think I have both of these qualities. I have a certain amount of technical ability, but to me...playing from the heart and soul is what it's all about. It's all about the passion and expressing your emotions. At times, having more ability physically can make it easier to play from the heart. If the physical part is transparent, then I can concentrate on the music and not waste my mental energy thinking about fighting with the guitar. When the physical part is second nature, then you can just focus on and get lost in the music.
KNAC.COM: You also conduct a lot of guitar clinics all over the world. What would you say is the most important thing you can teach a young player?
Moore: To listen to as many styles of music as possible and to realize that you can spend a lifetime learning. Music is endless. Also, try to always wear a condom.
KNAC.COM: As a beginner, would you recommend starting off with an acoustic or electric guitar?
i would say electric because it is a little easier to play and I think a beginner would be more inclined to stick with it.
KNAC.COM: You’ve been endorsed by Dean now for how long?
Moore: For about 2 years.
KNAC.COM: You have designed your own signature guitar through them. What were you looking for?
Moore: Something that sounded great, looked great, and felt transparent in my hands.
KNAC.COM: You also designed your own humbucking pick up. What sets your design aside from the others (Les Paul)? What tone were you going for (for both the guitar and pick up)?
Moore: I like a natural tone. So my goal was to get a pickup that didn’t color things too much. I wanted it to sound very natural so that you could hear the pick hitting the strings and the fingertips fretting the notes.
KNAC.COM: Is there a set-up you use that enhances this?
Moore: Not really. But I find that I don’t use as much distortion on my amp as most people. This helps keep it more clear and natural.
KNAC.COM: Are you predominately going for a clean, non-distorted tone then?
Moore: Not entirely clean. I like some overdrive so that it sings.....but not a lot of the fuzzy, scratchy stuff.
KNAC.COM: What effects pedals or gear do you use that is a 'must have'?
Moore: Probably my wah pedal and a delay. Sometimes I realize I am stepping on the wah out of habit and considered leaving it at home because I didnt wanna be too dependent on it. But instead I have made a conscious effort to only use it when it's really needed. My guitar tech says that he cant even tell my delay is on because I use just a smidgeon of it. I like to use it to add just a little ambience but hate when there is too much delay and it masks your sound.
KNAC.COM: You have a new solo release coming out May 18th titled “To the Core”; tell me about that.
Moore: It has been a while since I have done a solo CD. I have been on the road so much that is has taken me quite a while to finish this. I think it is my best record yet by far. I went in some directions stylistically that I havent done before. I like to explore. It's an instrumental guitar record but it's not just a bunch of wankin off...I like to write songs a create moods.
KNAC.COM: What directions did you go in?
Moore: Well it's basically a rock record of course....but I don’t wanna be limited by that. I like to mix it up. I have a tune with an R&B vibe, some tunes with a little bit of a techno vibe.....and I think I may have showed more of my funky side too. I have a lot of bebop in my phrasing also. And there is the sound of a motorcycle in "Into the Open Highway"....just that there is worth the price of the CD. hahah
KNAC.COM: Is it hard coming up with a title for your songs, being there are no lyrics? How about for the album?
Moore: I find it very difficult to come up with a record title. I would come up with something I thought was cool and then an hour later think,"nah, thats not good enough”. Then I would see titles that other bands had used and think…"did they really call their CD that? That absolutely sucks". haha. In the end....you can second guess forever but the title really doesn’t matter a whole lot.
KNAC.COM: Will you be touring your solo release?
Moore: Yes. At the moment, I have some shows lined up for Italy. That's all I know for now but there will be more. I cant wait to play some solo shows. It has been a while.
KNAC.COM: Do you have your touring band lined-up?
Moore: Not yet.
KNAC.COM: Do you play any of your solo stuff whilst out with UFO?
Moore: Whilst? Good one...very English. Nah....only UFO tunes.
KNAC.COM: If you could form a super-band, with any of the players you wanted, who would it be with?
Moore: Well, I think someone like Carmen Electra on vocals, and the guitarists from the Robert Palmer addicted to love video. On bass, Tal who is playing with Jeff Beck rules. That would be absolutely perfect for me. For backup vocals...Shania Twain and Gwen Steffani would be great. That would totally rock.
KNAC.COM: You missed Sheila E on drums! Must have hot drummer chick.
Moore: Yes, that sounds good. Welcome to my way of thinking. ha- See more
Guitar World - November 2008 - Vol 29/No. 11
An interesting article, The Story Of Shrapnel Records
'Dawn of the Shred' with Mike Varney
where he reflects on his labels history in a Guitar World interview
Guitar World - July 2008
Metal Moment Podcast Host, Chiaki Hinohara has posted a VM interview (Episode 10)
Conducted at 'The Independent', San Franscisco, during the USA LIVE in 2008 tour in May 2008
CLICK HERE For the English version only (10 minute mp3)
Vinnie Moore Radio Interview during the USA2008 LIVE Tour
December 2007 - Russian Rock Magazine, 'PRO-ROCK'
2007 - Vinnie Moore - Hyper Guitar Odyssey
METAL HAMMER Nr.188 - 5.2007 /in Polish/
LINKIN PARK, IMMOLATION, VITAL REMAINS, Ken HENSLEY, W.A.S.P., The STOOGES, ONE MANARMY, NINE INCH NAILS, ANNIHILATOR, DIMMU BORGIR, MY DYING BRIDE, KOTIPELTO, PAIN, MARDUK, Grzegorz KUPCZYK /TURBO/, DREAM THEATER, MAGNUM, ANTIGAMA, UDO, REDEMPTION, HATESPHERE, RUSH, MAYHEM, The MISSION,GENESIS, CRYSTAL ABYSS, MEGADETH, NEUROSIS, SYLVAN, MARDUK
DVD: VADER, DELIGHT, Vinnie Moore (UFO), Pete Way (UFO), PARADISE LOST, BENEDICTION, GRAVE DIGGER, THERION, JORN, KRUK, BLACK LABEL SOCIETY, PAIN, SANCITITY, TRIVIUM, DELIGHT, DARZAMAT, ABORTED, DARK TRANQUILLITY, WU-HAE, MOONLIGHT, WHITESNAKE, MASTERPLAN
May 2007 - 'Planet Guitar' Vinnie Moore interview (German)
2007 - 'Guitar Player ' have a
two page spread in April 2007 issue
gennaio - 2007
Jet & Wolfmother
Anyone have this? - please send me the VM article.
April 2007 issue of Gitarre and Bass
Fuzz #4 / 2007
Fender VG - syntstrata
fender stratocaster 57
Gibson Les Paul BFG
Jackson Randy Rhoads
I see that Vinnie appears in issue 4 of FUZZ magazine.
If anyone has a copy, can you scan the VM section it and send it to me?
I am guessing that its a Swedish Magazine.
February 2007 issue of Gitarre and Bass have a 4 page article on Vinnie
A neat feature that the magazine offer, is that you can listen to Vinnie himself
2007 - Japanese Magazine - 'Young Guitar' have a
three page spread in January 2007 issue
February 2007 InstruMentalCase Interview
Guitarra Total 104
Special Thanks to Raul Gallego from Spain for sending me the scans / details
PLANET GUITAR Interview
November 2006 - Hitparader
Various top 100 lists, including All time top 10 shredder kings:
1. Steve Vai
2. Joe Satriani
3. Paul Gilbert
4. Yngwie Malmsteen
6. Marty Friedman
7. Tony MacAlpine
8. Vinnie Moore
9. Steve Morse
10. John Petrucci.
(Notice number 5 is missing - Senior editor! take note!!)
Top ten of the top 100 Bass/drummers: 1. John Bonham 2. Lars Ulrich 3. Gene Simmons 4. Tommy Lee 5. Steve Harris 6.Nikki Sixx 7. Geddy Lee 8. Geezer Butler 9. Vinnie Paul 10. Cliff Burton
Top 10 of the top 100 Metal guitarists: 1. Eddie Van Halen 2. Jimi Hendrix 3. Jimmy Page 4. Angus Young 5. Tony Iommi 6. Jeff Beck 7. Randy Rhoads 8. Eric Clapton 9. Joe Perry 10. Kieth Richards.
VOCALISTS - Top 10 (of 100) - 1. Robert Plant, 2. Rob Halford, 3. Steven Tyler, 4. Chris Cornell, 5. Bon Scott, 6. Freddie Mercury, 7. Bruce Dickinson, 8. Ozzy Osbourne, 9. Paul Rodgers, 10. Ronnie James Dio
September 2006 - Article - 4 page feature + Technical Performance
September 2006 - 'Interview with Vinnie Moore',
Webzine Heavy Metal - on-line Magazine
August 2006 - 'John 5 - Rob Zombie's essential tunes',
Article in Guitar World - Meltdown
GuitarOne - June 2006
15th March 2005 - 'Interview with Vinnie Moore',
metalupdate.com - on-line Magazine
June 2005 - Interview
July 2005 GlamMetal Interview
Rocknetwebzine on-line interview - March 2005
Guitar One Magazine's February 2005 issue
2005 - Guitar One Magazine's February 2005 issue
January 2005 - UK's Total Guitar magazine
Interviews and features on Good Charlotte, Slipknot,
August 2004 - 'Interview with UFO's Vinnie Moore and Pete Way',
Metal-Rules.com - on-line Magazine
June 2004 - Interview with Vinnie Moore on-line dutch magazine gitaarnet
8th April 2004
Photo ©2004 Frederic Surelle
A really informative, warm and much anticipated Vinnie Moore interview from Batttttty.
4-page japanese article from 2004
Guitar One - February 2003 'Now and Then' feature
Defying Gravity REVIEW
This article originally appeared in VG's July '02 issue
July 2002 - Vol. 16, No. 9
February 2001 - issue of UK's music magazine "guitar TECHNIQUES"
...March 2001 ISSUE - PART 2
20th November 2001
Well, my name is Vinnie Moore. Nah. Play guitar. Had my seventh record just come out called Defying Gravity. I've been playing guitar for years and years. Just basically love music.
Did you take guitar lessons or did you teach yourself?
I took guitar lessons for about five years and then I decided to stop taking my lessons. I bought a four track recorder. I just started experimenting with writing songs and developing my own style. So a little bit of both. I studied a lot of different types of music just from listening to records but I also had lessons in the first four or five years to kind of get me started and pointed in the right direction. I learned some of the real important basic stuff like theory and whatnot.
Did you go to school for any of that?
Nah, just a private instructor and turntable.
I remember those. Who were some of your musical influences and why?
Some of the earliest influences were guitarists like Jimmy Page, Ritchie Blackmore, Brian May, and Jeff Beck. Then as I started playing and getting a little better I started getting into some fusion guys like Larry Carlton and Al DiMeola. Then some jazz guys like Pat Martino and Joe Pass. I was also into Hendrix and Robin Trower and Frank Marino. Carlos Santana. I had tons and tons of influences and the reason I had so many is because each of them had a different style and just expressed themselves in a different way. There was a lot to be learned from each of those players.
How did you get interested in the music business and how did you get started?
I didn't have anybody in my family who played a musical instrument. I just kind of got interested in guitar for some reason because I was just getting into bands like Queen, Led Zeppelin, and Deep Purple and that kind of got me interested in guitar. I got a guitar one year for Christmas and just became more and more into it as the years went on. At some point I knew that that's what I wanted to try to do. To be a guitarist professionally.
Do you have any tips for aspiring musicians who want to become a guitar virtuoso such as yourself?
Basically all the basic stuff like practice a lot, find a good teacher who's going to point you in the right direction and give you some really good information, and then listen to a lot of different guitarists and just a lot of different styles of music that may not even be guitar oriented. Just try to learn as much as you can. There's a lot of different music out there and it's all there for the taking. It all can help you get better at what you do.
What kind of gear do you endorse and why?
I endorse Music Man guitars. I've been playing the Silhouette Special for about six years now. Maybe seven. I just love the guitar. I endorse Demarzio pickups also because I like the sound of those and they're pretty much the only two companies that I endorse. Ernie Ball strings. I've been using those for years and years also.
How many guitars do you own and which one is your favorite?
I have probably between 30 and 40. My favorite is my Music Man Silhouette Special. It's been my main guitar for six or seven years and I just really love the sound of it and the feel of it. Kind of gotten used to it and it's been basically turned into my baby so to speak. I've gotten other Silhouette Specials that I like a real lot also. I have two or three but it's the purple one for some reason. I play it most of the time and it's just the guitar that I like most.
Some musicians have their own line of equipment like sticks or guitars. Have you thought about doing something like that yourself?
A signature model? I've actually done that in the past with another guitar company called Ibanez. At this point there are no plans to do it again. But, yeah, a lot of people are doing signature artist models. At this point I don't really know if I want to do that.
How did you get involved with the Deep Purple tribute album?
There were actually two of them. There was one that T. M. Stevens did called Deep Purple New York and I played a solo on that one and I also did the Mike Varney Deep Purple tribute. Kind of odd. Within a year and a half I played on two Deep Purple tribute records. If you're talking about the Shrapnel one, I basically got a call from Mike Varney of Shrapnel Records who asked me to do it. They sent me some tapes and I just did a couple of solos at home and sent the tapes back to them.
Your toured and recorded with Alice Cooper. What was it like to work with him?
It was awesome actually. I had a blast doing that gig. It was just a lot of fun and the other guys in the band were really, really good players. Eric Singer on drums and Derek Sherinian on keyboards. Stef Burns on guitar and Greg Smith on bass. We had a blast doing that tour. It was kind of fun playing those tunes because I grew up listening to a lot of Alice's stuff. It was kind of an awesome experience actually.
How did you get to work with Cooper?
I was in the studio doing a record called Meltdown and an A&R guy at Epic, Bob Pfeiffer, was looking for players to play with Alice on his record. He was having all kinds of guitarists come in like Slash and Joe Satriani and Steve Vai. They asked me to play on the record, the Hey Stoopid record, and I ended up doing two tracks, "Dirty Dreams" and "Hurricane Years". Then they started to put the tour together and they asked me to do it, the tour, and also my bassist at the time, Greg Smith. We kind of both got the gig together and went out and did the Hey Stoopid tour in America. I left a short time after that to pursue my own stuff but Greg Smith actually hung out and stayed with the band and he's still playing with Alice even today.
How do you feel about Cooper as a performer?
I think he's great at what he does. Totally into the theatrical thing and it was real interesting to be a part of something like that because I had never done anything like that before. There were just so many cool things going on onstage. It was like a little show and it was very interesting.
Do you prefer being a solo artist over being in a band?
I like doing both but I definitely like being a solo artist more because then I get to pursue my own direction. I can pursue my own vision and just do what I want. There's more total freedom. I get to express myself in exactly the way I want but there's something to be said for being a sideman also. It's kind of cool being a part of someone else's vision and just playing more of a secondary role. That's kind of fun also. Each has it's own merit.
Why do you enjoy doing guitar clinics?
It's just a way for me to connect with my audience. I actually learn a lot from guitar clinics because there's a lot of dialogue. There's a lot of question and answer and I learn from the people. What they like about what I do. It, a lot of times, helps steer me in the right direction because I learn just what things that I'm writing and playing are connecting with them. Sometimes it's surprising and sometimes it's not to learn exactly what they're digging.
You've put out two instructional videos. What all is involved in that?
Basically you just plan out in advance what you want to cover in your video. Then you pretty much show up and they start filming you and you basically just teach and play. I did both of my videos really quickly. They're an hour long. The first one I did in about 65 minutes and the second one took no longer than an hour and 20 minutes. I just go in and knock them out and all the work is done in advance. All the preparation.
How did you get on the Shrapnel Records label?
Actually I've been on that label twice. My first record, Mind's Eye, came out and that was on Shrapnel. Then I kind of went to some of the bigger labels for a while. I was with Polygram, Mercury, and Epic and Relativity. Then at some point I went back. My latest three records have been on Shrapnel. The Maze, the Live! record, and the new one, Defying Gravity.
Do you prefer that label over the other ones you've been on?
You get lost in the shuffle with some of the bigger labels because they have lots of big artists. They tend to pay a lot more attention to the bigger artists so you kind of get overlooked. Whereas on the smaller labels, especially Shrapnel or a label that kind of specializes in the guitar stuff, you get a lot more attention. There's things to be said for both but at this point it's kind of better being with a more boutique type of label that does guitar stuff and understands guitar stuff.
Can you tell us a little about your latest release, Defying Gravity?
I have Steve Smith on drums. Dave LaRue from the Dregs on bass. David Rosenthal on keyboards. Stylistically, it's really varied. There's some heavy stuff in there. There's some more Latin acoustic sounding stuff. There's some soulful ballady type of stuff. I'm really trying to mix it up and just incorporate a lot of different elements and express a lot of different things. Cover a lot domain stylistically.
I like the "Out And Beyond" track. I thought that sounded really good.
Thanks. That's actually one of my favorites on the record.
Are there any tracks on the new CD that really stand out the most?
I like "Out And Beyond" a lot. "Last Road Home". I also like the song "Equinox". Kind of stands out. A lot of times with me, it's not the shred stuff that is my favorite stuff. A lot of the guys who are playing guitar seem to like the shred stuff the most. I tend to like the real soulful and the melodic stuff like "Out And Beyond" and "Last Road Home". I'm just into that a lot more. The more expressive stuff.
A lot of people are impressed with guitarists like Vinnie Vincent because they can shred a guitar but I feel it takes away from the melody of a song. I like melody more.
Yeah, me too.
How did you get together with the gentlemen who play on your CD?
Dave LaRue on bass played on my last record also. I had played with him in the past and loved his playing. So basically he was my idea. Steve Smith from Journey and Vital Information was the record company's idea and he's incredible so it was a great idea to me. David Rosenthal on keyboards was an old acquaintance of mine. I had known him for years and always thought that it would be great to get him to play on one of my projects and so I thought he would be good on this one.
What would you attribute your longevity in the music business to?
I think it's just sticking to what I do best and what I love doing instead of jumping on any of the bandwagons. I've watched music change a lot. The popular styles over the years have been all over the place and I haven't jumped on any of the bandwagons. I've just continued to do what I love doing and continue to play from the heart and from the soul. I think people can kind of feel that. They know if you're not feeling it and they know if it's not real. They know if you're trying to fake it. You can't get away with it and so I think I've been lucky in a lot of ways but also just sticking to what I love to do. It's been a real advantage.
You have those who play music because they actually like it and you have those who want to get rich.
Money and fame.
What do you think of the music scene today?
Just as always, there's some good stuff out there and some crappy stuff out there. Just like always actually.
Are there any artists you haven't worked with yet that you'd like to work with in the future?
There would be tons of them actually. Anywhere from Jeff Beck to Carlos Santana. I could just go on and on.
Internet interview - 2000
February 2000 - Metal Hammer
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