Legendary guitarist Andy LaRocque, known for his remarkable contributions to King Diamond, recently sat down with BraveWords to talk about everything from his early influences to his work with new talent. His reflections on the evolution of metal, the next generation of musicians, and the iconic moments that shaped his career offered a rare glimpse into the mind of a renowned metal guitarist.
When asked about the moment he knew music was his destiny, LaRocque’s answer was rooted in nostalgia. The ‘70s glam rock scene clearly left a lasting mark on LaRocque, whose influences span across multiple genres of rock and metal: “I think I was about 13 years old, playing with another guy, he was the bass player, I was a guitarist, and we were called Deuce – the song from KISS, you know the song from ‘75 or ‘76. And you know I said to myself, ‘This is what I wanna do.’ 13 years old. And I loved KISS back at that time. And of course, other bands too, but KISS was a great inspiration when I was really young. KISS, Alice Cooper, T-Rex, all these bands back in the 70s.”
His passion for music only deepened as he grew older. In a world full of guitar heroes, LaRocque’s personal inspirations are a reflection of his diverse musical tastes. “I would say for me, oh, there are so many. One of my heroes was Randy Rhoads. And Michael Schenker,” he shares. “Actually, talking about Randy Rhoads, a few days ago we met the producer of the first Ozzy album, Max Norman, who I’m a big fan of. Such a great guy! Totally down to earth.”
LaRocque’s admiration for Rhoads goes beyond the guitar virtuosity; it’s about the era, the analog days, and the intimate nature of those early recordings. “Norman told me some things about the recordings with Randy and stuff that was so interesting and so cool to hear because I’ve got my own studio too of course, where I produce a lot of other bands. Very, very interesting to hear his side of things because he’s a few days older than me, and back in the analog days, you know? Where everything was on tape, and all the tricks they had back in that time so, to me, he is also a kind of an inspiration. Max Norman, a really great, legendary producer.”
Despite being a role model to many, LaRocque is remarkably down-to-earth when it comes to meeting his own idols. When inquired if he ever asked for an autograph, he shared: “Yes! Phil Lynott back in 1980. I was like 17 or 18 when I met Phil Lynott, and I was like, ‘Wow!’ I got his autograph,” LaRocque remembers fondly, referencing the moment as one of his most cherished.
When it comes to the future of metal, LaRocque is cautiously optimistic. “A few years ago, Sabbath called it quits, and it’s going to evolve,” he reflects. “It’s hard to know now what bands are going to be like the icons in 5 or 10 years, but bands are coming from underneath, filling up I think. It’s a tricky question”
As the giants of the genre like Metallica, Iron Maiden, and Judas Priest continue to cement their legacies, new talent is emerging, ready to take their place. LaRocque’s own work at Sonic Train Studio proves there’s no shortage of potential, even if it’s a matter of finding the right deal to break through.
“I work with maybe 10 different bands every year, you know? Some of them are really good, talented, musicians, so all I can say is that I hope they can work their way through and, get a break. There are a lot of them. Really good bands out there. It’s just a matter of getting the right deal, the right contact, to get through. There are a lot of bands out there, that’s for sure. So what I can do in the studio, is that I try to give them the best possible tools – good sound, and try to help them every way I can to help them get through, you know? A lot of great talent out there you know. For sure.”
Yet, for all the excitement surrounding the future of metal, LaRocque remains wary of technology replacing live music. “I hope it’s not going to go to where it’s the hologram shows are taking over. I mean that’s a fun thing, but I have a hard time believing that that can replace the real live show” he says of the growing hologram trend. For him, there’s no substitute for the raw energy of a live performance — something that’s as much a part of metal’s DNA as the music itself.
