The Captain Meets Kiko Loureiro!

foreign that's how you do it uh welcome back to Anderson's TV ladies and gentlemen thanks for tuning in my special guest today if you haven't already worked it out it's Kiko Guerrero uh all the way from not Brazil today all the way from Finland yeah [Applause] before uh I feel like I've met sort of a kindred spirit we are very similarly aged as you can probably tell Kiko is the younger yeah right yeah thanks for having me here I'm a big fan of your channel and of all your work I I should say you know thank you so much to uh Ricardo you know who you are for hooking us up um I was saying a Kiko it's been a while since we did a master class and all that kind of stuff so I've just got to kind of ease myself back into this a little bit um but you know we're going to talk about your life the growing up guitar influences um people that aren't familiar with you you know I guess you know currently uh Megadeth guitar player have been for the last seven years seven years yeah and before that in a crazy kind of guitar virtuoso band called angra you've had a um solo career as well yeah and they're all they're obviously all guitar Centric bands but quite an Eclectic not eclectic that's the wrong word but you know there's a different vibe whether you're doing your own stuff angra or Mega Death yeah but I want to go back so you're you know born in Brazil beautiful country of you know stunning um people and architecture and nature and all that kind of stuff and and music and I was about to say and a real fantastic Heritage in music from all genres but growing up you know in the 70s and 80s tell us about you know a little bit about what you've you know where those Inspirations have come from and you know well yeah so um so I was born in Rio grew up in Sao Paulo so my parents they're from Rio from a great generation of you know listening to to the I use the term Bossa Nova because I think it's like everybody knows kind of the term the style of Bossa Nova but it's it's more than that the Brazilian music uh in general so the great artists from the late 60s 70s so my parents were into that so then at my home I mean I didn't have any musician musicians at home right um so at some point my sister decided to learn some acoustic guitar and we were like she was 12 hours 11 and then she took some lessons that the teacher used to come to our place and then one day she kind of decided not to do it and my mother said but I paid the lesson hey Kiko can you do you want to start taking lessons and I said yeah why not and then I started taking uh acoustic guitar lessons classical you know the first chords G major a major you know those those chords I was 11 years old we had a classical guitar from uh that was just there for my family you know and uh yeah so everything is started there so then I liked my sister gave up and I continued with this teacher Pedro his name and then uh for maybe two or three years but then I started so you know I was I was going to the library at my school and discovering bands right Zeppelin Deep Purple older bands like albums from the 70s yeah just because it was easier to I don't know because I they look cool um I know because I didn't have friends listening to that kind of music I don't know why I started digging those bands um so Zeppelin was so Led Zeppelin three I remember because then I recorded you know yeah you know cassette tape and then I was listening all the time Led Zeppelin three and then four um and then of course Queen and all the bands like that but they were popular queens or the police or plants like that were more pop oriented and then I got into deep purple and um I don't know Ben's from the Black Sabbath um Nazareth or I was just discovering discovering stuff from the albums from the library and then uh then I got into maiden and and the like the more uh I Remember by I think my first I think my first album that I bought with my parents money not my own money but my uh was Power Slave right yeah so this is what 84.85 I don't know something like that right um yeah so so then uh so then of course then rocking Rio in 85. that we talked about that at lunch and again these seminal moments in your teenage years where you just something and I think everyone will relate to that they'll have their moment of something but I mean you can still see Rock and Rio Clips on documentaries of Queen movie oh and see the love of my life song so how did you because you didn't you were what slightly too young probably to go to that but yeah yeah so you watch it on TV so one year before we had kiss so kids went to Brazil creative uh creatures of the night right there that album so I was already like a big thing right um so I was listening to kids as well but 80 85 Rock and Rio we had yes Queen uh Maiden AC DC scorpions uh Aussie George Benson B-52s or James Taylor so all you know one Fest yeah one festival and the Brazilian acts as well in one big Festival which was a crazy idea of one guy Medina his name that brought all the PA everything lights PA cables everything from from the us because we didn't have I think back then proper equipment for such a big Festival 100 000 people um yeah so I I was saying those uh clips of those concerts then the magazines and then the big news news TV Channel show showing the the artists in the swimming pool whatever it is doing rock star stuff you know so I was like I was mesmerized by all that and of course Joan Sykes from White Snake the guys from Aiden you know Adrian Smith Dave Murray um you know Brian May and young and uh the Scorpions guys you know like man like this that was my my start and then uh so my classical guitar teacher told my mothers like well you might you know buy a guitar yeah um actually the story was a bit more like uh I remember like I was doing a test to get into school and I had to write a composition just and then a composition was like a free composition you could write about anything and I wrote about the the now is the download Festival right I wrote about the this guy Aussie of eating of eating a bat and then the whole thing the guitars and the mud and that and then um they didn't let me in into that school and then the you know the the principal called my mother she was like oh your kid has a problem you know uh you you need to take him to a cycle it's like um psychiatrist psychiatrist or something and uh my mom bought me a guitar you don't waste your money on psychiatrists just buy your children so yeah basically you know we went to a store and then there was this black SG was a a Gibson copy it was a journey the name of the brand uh it's a Brazilian uh brand and that used to make classical guitars but they were like doing some electric guitars as well back then they still do it um yeah so I got my first guitar then I went to my my you know my guitar teacher finally you know like in a local school and then I started learning the riffs the legs the modes yeah when I was 14 I think so in a way not a lot but 16 17 years then I was playing all the time did you go to a um a music College of some sort or did you was it all um just straight oh it's always always yeah always with private teachers so I had um I had a great teacher Mozart mellow for that I had for a few years um and then I I tried to get into the universe music in music University I was not sure about being a musician you know all the very common fear of everybody that likes art in general it's not sure it's like can I make a living out of this you know uh when you're 16 17 the fear of like I don't know about this because I don't want to be that guy playing in the bar for five people it's like you know it's like you know because because you see like those though you see like the the guy playing a bar for a few people and then you see the big act you don't you don't understand there's like a huge industry yeah right like music stores or like all sorts of bands or or writing songs or producers like all the whole music industry so don't know that so it's like you're afraid of being a musician so I I started doing biology University oh wow so I got into the like the federal you know the great uh University in Sao Paulo for biology and um the State University for for music and funny enough I gave up the music right right like in the fourth fourth fifth month it's like oh this is too boring it was like you know I don't know like classical style Fury you know like the violin strings are made of this and that's like too much reading I went I I was into playing you know um but I kept doing the the biology because it was my safe bet for for almost two years two years and I just gave up I mean I might still come back here you've always got that I might still come back if they accept me um oh man this is like 91. uh I just I gave up when I went with angra to record our first album and then we went to Germany to record to Hamburg to record our first album so for a kid I was 20 years old poor kid was already I was already winning just to have the money to go to Germany to record an album there's something fast then right because I you know you you look at a lot of bands and and I suppose you know there'd always be that maybe two or three years of doing all the little gigs and you know hoping that you get discovered and getting better and writing better material so how long was angra together before you were you know signed and making albums yeah the thing also like anger had a a singer that was well known uh from a previous band Viper Andre um so and then all the guys and that and I played with Raphael the the other guitar player from angra so I played with him in a previous band when we were 17 you know two years before that so we kind of knew each other and we had this Focus like we're gonna start a band and we're gonna be serious about this We're Not Gonna Play in clubs just create music and try to figure out a way to to go straight to the to the not to the top but to to get it to get signed or to to record a proper demo to show to the right people uh because of Andrea the singer he had some connections already so we could focus all the energy and we were like rehearsing every day for four or five hours you know and I remember like in the summertime without instead of going to like enjoy the the Ipanema Beach or something like that we we were there like practicing and writing songs and focusing on um recording that demo that we had one chance right to show to the to that German connection that we had and then to the JBC record label in Japan is that right that style of music you know so you're talking that sort of evolution I suppose of previous heavier prog guitar-driven bands mixed in maybe with the classical kind of vibe who was who was pioneering that for you or do you almost feel that angrow were sort of one of the pioneers of of that genre because I guess you know everyone you took the minute you say neoclassical in the mountain yeah I think the power amount of vibe who had Halloween as a reference we had Queen strike there's a big influence like we wanted to sound like Queensrÿche and we have Queen because of the you know the nature of the the harmony or proactive the the compositions you know pop but very deep right yeah and then we had like this thing that we want to make some Brazilian stuff as well but we're not clear about that from the first album the second album we have much more Brazilian stuff um yeah I think Maiden you know like all the new wave of British have metal in a in a way like I mean like two guitars a singer uh but also having a lot of orchestrations and and keyboards and even uh piano intros like more like Queen yeah you know taken from Queen the the conceptual thing from Queen's Reich this hard rock kind of from you know Queen's Right Things um yeah so it was a combination of that we went to to Germany to to record the album and then it got a bit more germanized the sound of the of the band because of a great producer Charlie Bauer find and the whole environment so yeah we got a bit more Halloweenish in a way but um our nature was more like everything we liked uh a common thing inside the band was we liked everything we ever expect all kinds of music the Rafael and Andrea so the other guitar player and the singer they were studying at the University Music University so they were bringing all this you know whatever Counterpoint things I was I was at that time I was taking lessons with the private lessons with the university teachers so I I gave up the university because I was taking too much of my time so I I asked them like what's the best teacher there and then I went to have private lessons with that teacher to get into Counterpoint and understand classical music a bit better I was gonna say maybe we could have a tiny bit of playing on that because it's that classical you know for me when you look at so many guitar solos they're steeped in almost traditional guitar scales you know pentatonic scales and that kind of stuff and as soon as you as soon as you hear a guitar player go down that sort of neoclassical route everything is alien in terms of you know it's not it's it's not traditional blues style just you know but where so this is not pentatonic yeah it's not even it's not even um it's not even the sense of you know play pause wait see find your spot it's it's you know it's like a tidal wave of just kind of you know other neoclassical I mean like the scales yes I'm just one you know a just how it starts with the like with nice uh Harmony you know it's like [Music] you start here yeah just start [Music] once you understand those sounds and you and you kind of I need those sounds it's not only that's what I mean you're not going for like a 145 are you it's a very different the 145 is like kind of a like a basic thing in music right earthy yeah because of the harmonic Series so you have the is there so it's embedded in everything you play It's Gonna always sound like four one five one [Music] right if you play this and then you start adding like the relatives or like a dominant and resolve and then dominant and so it sounds very classical because you're always liking the the relations of fifths so the one four five right which is the blues is only one for five it doesn't get out of there yeah you know more you know unless you start going to the Jazz and then you add some substitutions like two five ones and stuff like that or like uh they called secondary dominance like a dominant or dominant to a dominant and it keeps doing fake foreign so once you understand that you have the feeling that you need to go to other places and then it's just you can use scales you can play arpeggios you can it can be a singing Melody right so is that what are you you know when you're playing some of the lead lines and I suppose you know I could listen to that all day it's beautiful stuff but I think when people think of um bands like angra and Dragon Force and you know we talked about you know Gusty and yeah I think people are they're waiting for the big crazy you know Legato you know that's it's where are you I mean which you know you were warming up and hopefully we'll get a little bit of that as well it's just lunatic kind of technique but what are you hearing you know what it what I heard the harmony if you'll see like a minor and then you're like okay that's a dominant for the a minor then okay you'll play this right let's see I don't know sounds like that you can play like right so this is all over the chords isn't it that was like a a dominant yeah D minor foreign dominant you can play scale that's what kind of mom scene does a lot of you know always when it comes to dominance like just a fast scale um yeah so but uh the way I'm hearing the harmony yeah I always like okay what's what's happening underneath the solo because it dictates everything you know so if you play uh if you play foreign that's why I'm hearing a D minor B flat here dominant and then resolves I can't play this with a scale I can play A Melody you need to know your substitutions like second nature don't you there you it's like it's just that I I again I'm impressing myself with how good a job I'm doing of bluffing my way through this interview pretending I actually know what's going on here it's like I'm looking at that just going you make it look effortless okay so let's let's try to get like a very simple thing for for you guys for everybody here so the basic thing in music in harmony would be a resolution like the home tonic like the c major yeah would be C major and then the opposite would be the dominant like a preparation to come back home like the basic thing so we'll be yeah so yeah so get that and play this in every key and start improvising or just the chords at first yeah I'm sorry if played g c tell me another note D D so oh you're just going to go from there then I always if you play say D major I play the dominant the fifth so you just count d e f g a number five you guys know how to count to divide so just play a major and then resolve and D another one B flat B flat and then it's like you go here okay so we have [Music] foreign was a different one but why not [Music] then the if the oh sorry B flat B flat sorry play the E flat so [Music] now it's like yeah B flat then I can go back to um so you can have try to write a melody here I can continue the same thing I can I can play like any like F sharp B Jesus [Music] so I'm just doing five one five one all the time five so five one you see and then you start going any place it's like this sound works like five one works all right since he was going from five he was doing five one to the tonic and five one to the fourth five one to the fifth and five one to the relative was kind of there that's very uh always in the fifth relation and then but music evolved yeah our perception evolved and now we can go anywhere you can just play 5-1 to any place that would be the first exercise to expand your horizons in Harmony and then if you're able to play with our patients and here we go you have a lot of places I think it's as easy as that everybody I mean it's just I mean you have 12. it's 12. like I mean it's like once a week choose one key and then do it for a week yeah you know I've heard that you know you are kind of right on the one hand there's not a lot of notes to choose from on a guitar so how complicated can it be but then on the other hand it is complicated it is yeah you have to start from up from from a place so the five one would be a place to start so that's the blues is like what happens there you go to the fourth right and five one is always this it's a four five one because that's the basic Cadence you know the complete Cadence that's the name so four five one the blues is nothing more than a very earthy thing that comes in in every culture yeah you know the difference here of the blues that you have this uh to get that bluesy sound like this uh not being sure about the major third of the minor third yeah right right once you understand that it's always four five one and then every major chord can be a lot of mine or going to the major yeah then you have the blues see it's interesting about you know wait I'm kind of simplifying no but you're where I think people will be able to relate to that so people like me I don't necessarily um I'm not able necessarily able to process some of the things that you're saying but as soon as you start to play it okay then I go oh yeah you know yeah yeah I do that you know in the sense of maybe I don't know what I don't know why but I like the sound of it so that's why I would do it you know why there's a way I don't know if the conversation is going there but uh it's because of uh it's like physics still the the way we perceive sound the way perceives sound when you play if if it's a good guitar like this one so the half of this string is the for you know we have the overtone here yeah overtone right so this is the fifth right so you have the octave then you have a fifth then have another octave then you have the Third [Music] so they're all just harmonics of the Natural Market because that's the fifth so the harm so when you play a note when you play e note you have a e major right chord inside that note yes all the harmonics are making up the note even though it's a single root exactly yeah so we perceive as an E major one once you play uh a minor third you're disrupting that yeah natural thing so that we have this feeling is set oh The Miner said because it is disrupting the natural demonic of the note you know it's interesting we've had this conversation we were having this conversation with Paul Reed Smith recently about what is it that makes a note make you feel happy or make you feel sad at the end of the day it's just two different notes but you're right I think it is so it's disrupting this harmony that's my I mean it's not my point of view because this is like but I always want to disrupt biology degree was worth doing yeah I was like I mean it's like yeah it's like gravity you know like wow is is this is there now is there right so once you play the snow just like either E major if you play this is uh um create this feeling that's like it's minor that's why the book of attention yeah it because remember the blues is like uh you have all that African Legacy right so it's it's a it's a world music right it just be because it's there from the United States we and we we play guitar we think that Blues is a mandatory thing or something like that but it's it's just like a ethnic music yeah you should see as an ethnic music if you get the Flamenco they would be just disrupting that uh one five because then one five white and one five because that's the first harmonic here right yeah right so once you get on a note the has inside this note a fifth right this will get it go on okay the E has a it has a b inside yeah that's why a power chord works yeah because you're just reinforcing the tonic you're reinforcing the main note so when you play like you're reinforcing that same note yeah right and then then you might think okay so if I play the fifth it means that that fifth has another fifth yes right okay okay yeah all right so so if you play e the E has a fifth you play the fifth which is B yeah so this B has a fifth inside the B yeah which is are you kidding me F sharp F sharp F sharp you don't need to know but just the concept of okay so the F sharp now has a fifth as well yes so keep going over and ever and ever no oh until you get round to the E again yeah and then and how many I don't know how many 12 12 right and then you can organize this this way did you get that everybody is this how you got the Mega Death gig did you just sit and explain all this did you to Dave Mustaine he said you're the man no no because that would be like the that's why we play the that's that's the way the instrument that's why you're talking that's your poverty that's why you have this little dots here yeah it's indicating the fifth indicating the fourth which is the uh contrary of the fifth right so that's why that's why you have here two dots here indicating that that's the half of the instrument of the half of the string so once you get a fifth and a fifth and a fifth and a fifth twelve times there you have the circle fifths you probably saw this in a second yeah somewhere and then every time it's one of my favorite movies yeah so so every time you you choose the note that is close to in the circle fifth you're like you're very close yeah because they're in the fifth relation if you choose the opposite dance it might sound it sounds far away it sounds weird like this yeah and then you have Black Sabbath using so if you choose the a far away note you're choosing to be not earthy not obeying the laws of all laws of physics I would say you know so dissonance so that's why if you do this tonic tonic and fifth but then I I can disrupt this with that or right so I can but you you have you feel like he needs to come back without back yeah so that's a basic music theory it's five minutes no honestly it's fascinating and again to be honest with you it's sort of every time I meet a really really great guitar player you you have to remember that behind uh incredible technique and thousands of hours of dedication and practice there is normally a really great understanding as well of the of the sort of the musicality behind it all and you know no I I I I like that in the in a like I did Teach as well so I have to figure out yeah uh my guitar Academy okay some some so I teach the modes in this perspective because the modes comes from them you know um so the modes Harmony and and of course how to practice you know I might check that out yeah I feel like Pete and I need to go on this journey at some point don't we and just yeah and just yeah anyway look so we talked so angra ran for what nearly 15. you know coming back today okay but was it nearly 15 years anger around four oh no they're still around oh okay so yeah so we we did the first album in was released in 93 so we finally recorded in Germany and then uh was released in Japan only so JVC kind of a different event gave us an advance to have a proper recording and then uh we were a gold disc in Japan fantastic yeah fantastic and those kids from Brazil being old disc in Japan so this gave us a momentum to start creating you know the second album called holy land and then it has more Brazilian influences and uh then we kept going um yeah kept going for forever so until um you know good good and bad times throughout the the the the years for for many years until 2015 I was already in the United States and then I got the call um I was like my my main thing I did my first album solo album no gravity yeah in 2004. it kind of took me like 10 years to be to have the courage and what was that was that just that you had because I I listened to a little bit of anger and then quite a lot of your solo stuff over the last week or two and it's it's clearly a different vibe um seem to be on your solo stuff more focus on um Melody and perhaps less classical as opposed to anger which had become which is you know as I said it's it's like a bit of a tidal wave of kind of you know power coming at you so was that just you feeling like I just have some other things inside me I want to try and get down and release and just exactly yeah I think it's a solo artist some solo artist is like to put to to show people your other side you know um yeah I know always listen a lot to guitar music you know all the heroes from the 80s because I was saying about those metal bands but right after when I start practicing guitar then I start getting deep into the guitar players yeah from the late 80s so who who would they have been that generation Greg how man I came with the heroes oh they were like give me any more I mean I mean it's you just it's all those guys those guys from the late um you know help me I don't wanna George leech for sure I think I played kind of with the open hand because of George link see Marty Friedman mad Freedom as well with uh with his uh dragon Kiss album you know angry of course angry and of course Van Halen and then the the other guys with bigger bands you know but you know like Brian May some other guys of course but um and the blues Steve have won a bit but not as much as those guys you know with a whammy bar and Ibanez and then the Jazz guy sorry oh yeah George Benson and then the fusion because of Dennis like I want a normal homes worth I suppose you were saying um Jeff Beck Jeff Beck maybe yes a lot of Jeff Beck yes um Blow by blow and and of those albums that this Fusion album his Fusion ish yeah uh what else um Scott Henderson then I was gambali yeah I was more into those Fusion guys then I started getting to Jazz then I was like oh no no maybe this is too much Robin Ford I think the robin 4 was the blues guy you're so your solo stuff you can see that more in your solo stuff I think yeah than any of the anger yeah kind of thing yeah you can see like the a major yeah because metal it kind of it doesn't need to be but it has to be minor because it has to have this a little bit of tension yeah because yeah just because because it is Majors you that's too heavy no that's Van Halen you know so if you're playing oh mate to be this will be minor [Music] it's sad and depressing it has to be more like a shop Chopin right than a major uh kind of thing you know so I do have on my solo albums major songs songs in major Keys you know like uh whatever like things like that yeah because I like that too isn't it and then it doesn't fit in mega death for sure Mega Death is minor minor which is the phrygian right so if you if you have like uh shades of minor you have the the minor minor with the aeolian and you have like a happier minor the Dorian right and the an even less less happy the region which is the that sounds classic yeah that's classic kind of Mega Death right opening riffs isn't it right and then all the fresh metal has to have an EF yeah let's let's talk about that I mean it's taken us I don't know what we're it's fine we've got all the time in the world it's like the Mega Death gig is crazy right it's not there aren't many bands in the world that that you know will sell out stadiums even now you know like Megadeth William with a back catalog and as influential as they have been there aren't many characters like Dave Mustaine in the industry oh yeah um where does that you know it's like is it was is it a phone call are you is there a chance encounter I mean what's what how does it want a phone call yeah it was a phone call and uh it was a phone call I was coming from a from a clinic tour in Europe Ibanez Clinic twerk I was kind of sick and then Dave called me and then I was like I was coughing it's like okay you'll call me later we're good like and uh then I called him like in two days and uh then he said come to Nashville so I was in L.A and Dave lives in Nashville so I went to Nashville so during those two three days before the trip I kind of filmed uh four songs and then actually actually those those videos I I posted on my channel um so I I kind of learned fast four songs and then I went there to talk to him so we spent a full day talking about things not about music like yourself probably not he doesn't like this kind of if I start saying those things like uh so um yeah so then I came back home and I had a a good feeling that you know I was going to say What's the you know you you obviously you're going from uh angra and and uh and your own stuff where okay it's maybe not of the scale at Megadeth but it's your project you know there's a sense of ownership there yeah and in the minute you're going into Mega Death you're just like right you're stepping into a whole other person's kind of Life yeah you're part of a bigger structure were there any reservations about sort of going you know am I going to lose my own identity here or was it just like oh my God this is the big you know this is the biggest gig I'm ever gonna have boom I have to do this no of course you think about those things like how can I be myself there you know how I can bring the kiko part in this Mega Death Mega Death 2015 and then we did two albums and I slowly I tried to understand how to put my own voice into a band with such a great legacy you know I think that's the that's the challenging part I mean in the end of the day you know and being you and also being because even if you're from a band that you started you have a bunch of guys right like four or five guys and you have to share this it's not your you're not a dictator in a band you know so if you have a band so I've I had the experience of being in a band for 20 years and understanding all those uh the difficulties of relationship with other musicians and and then I think gave me a lot of strength and knowledge how to navigate in the Mega Death world right so yeah so that's the but I do think about okay I need to be myself in this place here and I did a solo album open source in 2020 and then it's like fool me you know it has like some major as I said some major chords some stuff that doesn't happen in in Mega Death you know which is fine because of band a band is a concept is more than that song is the is a full concept so if you start doing things that are not part of the concept it's not the band anymore you can do that that would be the worst selling Megadeth album of all time if the next album came out with all major songs uh they tried they tried yeah and then it's easy to to to see that like the I think it's like Risk I think somehow was that it was not the the ones that the fans like the most they have major songs the one of the guys I've known for a long time um in Anderson's looked after uh Angus and Malcolm Young he was there kind of like their guy when they were in London and he said the number of years that AC DC would waste going we can't just do the Same album again we have to we have to write different songs so they'd spend like three years writing different songs to eventually just go I don't like any of these and then in like six weeks they just write an album of the set that's all the fans want another massive album exactly yeah it's like why if it's not broke why fix it imagine AC DC into like just playing like some of minor yeah exactly just being yeah because there's a concept there's an expectation in the whole thing and then the image the logo the whole thing you know I think an artist can experiment more yeah you know that's why you see the Jazz guys a lot you know I know just got chicoria you know it can be a quart that can be a solo can be electric can be acoustic can bring you know pet mephene is a great example navigating different different styles of music and always being him or George Benson pop Jazz yeah you know what was the um I think you touched a little bit of this in the Rick viato video that you did but when you join a band like Mega Death that has some iconic guitar parts in it you know and I know you said in that interview that you're not really a big fan of learning every solo note for note and kind of playing it back I just don't have the the patience what's the what's the reaction then is it is it well received when it's like the kiko version of the Solo in this song or can you hear the fans going oh he didn't play it like Marty played it you know it's just yeah or does it whatever no I I asked the I asked the guy I asked the the guys around I asked them that the band and uh even though the from Stanley the front of house he's a mega defense he knows a lot and every night he's there doing the front of house so I said like is is it going too far right because he Stanley is a great is a great guy because he plays the solos he knows how to play the song that's solos which is amazing right he's amazing so our front of house he knows how to play if something happens he can just go on stage he can play so so I can ask him like hey is it too off he said no it's fine because the soul is still there so yeah but I mean when I when I mention about note per notes like really being like the fast runs be node per note I have my way of doing fast runs yeah and I think if it's a fast run it's a fast run yeah I mean if someone's got time to work out whether no because if it's a chromatic fast run you would play a chromatic fast run is if it's a pentatonic fast run you play a pentatonic fast one into kind of following the same pattern if a scale fast run or if the like harmonic minor fast run then it was like a string skipping space run and then you use the same elements yeah it doesn't need to be exactly the same notes because then I'm trying to be somebody else and I'm not able to do that yeah and I don't want to be United I want to that I did we bought a classical guitar in there because there was um I'd heard a one of the um angra songs opens with this fabulous piece of sort of you know Spanish style playing and I asked you if it was you In fairness I can't I think you said I'm not sure if it was it might have been me or it might have been yeah yeah but then you talked about um one of the opportunities that you had where Dave Mustaine had said to you yeah give me like uh let's put some Kiko Vibe on this song and that was how you chose to do it so I mean maybe you can talk it through yeah yeah it was like no he came to me it was like my first day is there kind of write an eruption just I want to highlight you and the album so you could write eruption something like eruption it's like something like eruption that's like the most iconic guitar track ever you know and then I I didn't want to say no because you know it's like yeah all right and then I was thinking what but the thing is uh talking knowing Dave better now and then anytime you talk to an artist I mean they they have a vision but they express in a certain way you have to understand what is what they want to say it's not exactly eruption he wanted to say some yes guitar stuff that highlights me yeah and then has uh my personality and then can be flashy enough to you know for the guitar players also to enjoy stuff like that so like what and then I was thinking okay what is that yeah you know and then I was playing uh let's see if I if I I will be able to play because you know I sometimes it's uh so I was playing some um just this pattern here then I thought it was pretty Mega Death not minor yeah yeah is it minor disrupting the fifth and then again to the other side again and then I end in the the worst one the Major Seventh in A minor chord not the worst one the most beautiful one I would see we should have tuning tuning is not tuning a classical guitar is always on finger [Music] so this I was thinking oh this is very Brazilian like a very Villa Lobos Villalobos has the classical it's a great like the biggest name composer and and um in Brazil right so he had a lot of uh classical guitar pieces um and that is a very Villa Lobos and also kind of in a way like Randy Rhodes kind of thing because I'm a big fan of Randy Rogers forgot to mention yes we did uh and then we had a ton of guitar players we forgot which is like a very loud Brower you know it's like this court here you know it's a beautiful [Music] that's very Mega Death so you just get those cords and then you play plugged and it is yeah I mean before you put that down as well because I've I've completeness of the circle here because it's like you know here's the boy that's grown up in Brazil surrounded by uh traditional uh you know guitar players playing in little cafes on their classical guitars and they're sort of you know bossing over bands and then the guys you know and then he's in mega day and then he's kind of taking the mega they've taken an influence from that beginning back but again but the angry stuff has things like [Music] foreign stuff [Music] acoustic stuff like that [Music] um yeah so um the Brazilian stuff the Brazilian thing is more like okay let's say you want to hear this right that's it just pour me a pina colada and get myself I just I'm just going to a happy place here [Music] and now you're that guy in the cafe that you didn't want to be the musicians yeah but yeah because like I was learning like let's say like scorpions right and then when I was like 15. and then you went to the to the whatever TV or a bar or something I mean 15 I was not going to Barcelona but anyway but there was this guy there playing this it's like oh this is harder my guitar Heroes but I'm not able to play this so I I was interested to learn those chords as well you know to understand that and also was a way to please my parents you know it's like we're paying for the guitar lesson so like play something can you play some music that's better at least you can play sort of one of his favorite old Tunes exactly exactly because there's that you know like or they're they're like financing your your yeah you know like you you get your first guitar you're paying the lessons and then it's like you're playing this horrible music like this noise is coming from the room can you play something nice I can imagine I mean I'm guessing maybe your parents are similar age to my parents but yeah I don't think definitely my mom would not like Mega Death yeah you'll see but she might like some uh she'd love that she'd love that she might like Mega day I'll ask her next time I'll see if we next time you're touring I'll break maybe I'll bring her to Hellfest or something like that oh yeah look I nice I kind of feel like I want to delve into some gear I feel like it was a good story we kind of kind of we're sort of up to date now with where we're in life mega death and and uh you know and and people will probably be you know I imagine most people watching this will be super familiar with the kind of the Mega Death stuff that you're doing but we I want to do two things so one one is I want to talk about what your your gear is now like how it's evolved to and then in something we've never done on Anderson's but I've always wanted to do it with special guests I have of course it has to be with me yeah you told me about like your first ever set up and we were laughing about in Brazil how hard it is to bike it or was it at that time to buy a gear and how expensive it was to import it in and um and so we've kind of got roughly your first something similar yeah okay yeah yeah and I kind of want to see like you know push if if Dave Mustaine had phoned you when you were 16 or something like that and that's you know how close are we yeah yeah yeah yeah but let's start so you you have your own we might as well start you've got you've had your own Ibanez signature guitar for 20 years or something no no no nine years nine years 2013 14. so who is is that because I was looking at that it's kind of got like a the Slime is a special guitar actually so that's the one you you find that that's a premium right yeah so the the kiko 100 so um we have the kiko 200 would be the Japanese uh like based on the arch that's kind of based on the S shape but it's like a thicker body it's more like a super Strat right um D Mars with pickups it's not super Metal but it works great for Mega Death and works great for all the stuff that I want to play because I wanted to find a guitar that I could play My Soul stuff I and I could play Mega Death as well you know yeah so um the pickups are perfect for that so that's the kiko 100 so this is the kiko 200 uh that's a nearer it has the wing wing and act yeah yeah yeah so that's the kiko 200 and the so this this is based on on the on the RG and um they're you have this one and they're releasing the the sp3 which is like a entry level as well in January so this is I'm just noticing say you've got the slightly bigger horns it doesn't look you send us the horns are like an RG are they rather than this time RGA right because he has the right right with the arch top yeah I notice as well you you scroll up the uh the top Frets not many people do I think I got that from Steam C5 I think I saw him doing that and then I started uh asking to do that you know is that because again from the if you've not watched the Rick biato video that Kiko did again you talk as Rick is able to do you know much more of a technical level with you like that and and in that video you you talk about how light your touch is as a player and that some of your practice routines you're not even fretting the notes you're just you're just basically touching the string in in the right place that's again something Pete and I talk about all the time because my whole playing I'm I I don't I don't even know how I could unlearn it now but I'm a the opposite you know I I'm pressing yeah I'm fretting hard almost to the point where sometimes I do play like hard so I do play hard but [Applause] [Music] no it's not there's no tension I tried that's fluid [Music] foreign [Music] for the bands right not not that that great for slides sometimes it's hard I might something like this just it might happen but it's fine foreign [Music] are you having to take several guitars with you for a mega Death uh show in different tunings or a YouTube tune is always the same I use it I was like through four guitars so I'm um throughout the show like four different guitars so I might have this one I might have this one I have a red one um yeah it's like four different ones so every three four songs we just change just for checks for the tuning just to be safe because just hitting hard uh all the time and um yeah so I might take like six or seven guitars so like maybe five for the gig one for backstage so don't use the the one from the gym room backstage yeah and then I have a hotel Hotel guitar with and are they all your signature guitars or do you have a variety of guitars there's mainly my signature guitars yeah I I was trying to kill ibane is Q yes yeah for the hotel guitar headless one yeah yeah for the for the for the hotel yeah because it's just smaller and lighter but uh it was kind of weird I was fine with headless out the corner of my eye I can't there's something I can't get the reference point like where I don't know where my left hand is because like there's nothing there so yeah for me I think it was more like the shape yeah it feels in different there's some amazing guitar players though you know playing yeah yeah and the Q guitar is a great guitar it's a great guitar as well it's just a matter you know it's just because I'm used to yeah this kind of body shape you know and I need to have like a heavier yeah it's like a just a rig it's like a straty kind of what's that probably eight nine pounds something like that maybe yeah that's it I love the wengy necks though that uh there's always a there's a it's not quite as smooth as Maple but it's got that kind of speed it feels good yeah it feels good it looks good so I'm I'm kind of interested again you I I know for many many years you know you're a big Marshall fan and when we were getting the gear together for your master class later I was like right we'll get Kiko guitar with Marshall stack away we go and then and then you said um actually do you have a quad cortex um so when did you when did you make that move from you know an amp with lots of pedals uh to just using a a single digital device I was always a guy with two pedals right like one amp uh super overdrive then the tube screamer uh yeah and I I used to have at some point like the over super overdriver Distortion Like A Calabar orange one the yes one and then the yes and then the delay yeah that was it yeah maybe a uh yeah Morley that you know what that's all you'll get all those guitar Heroes that you talked about from late 80s that Tube Screamer delay pedal valve exactly yeah so I was always okay I need you I have to sound good on this and also because back in the days and also guitar clinics or like you know the conditions for touring and stuff like that I don't want to be like creating having like a massive amount of pedals because that might might be a problem during the concert you know yeah so two pedals a delay and a in a booster some somehow wow at some point I was using the you know the flanger you know depending on the my during my 20 years playing with anger but basically that was the the my pedal board but and then I I you know the quad cortex um neural disappeared there in Helsinki Finland so so I know the guys yes and then uh like a few years ago I went there and then I I did a blind test right they're like developing the the plugins yeah before the quad Tech uh quad cortex and then um I was always like the you know yeah a Believer this is like nothing's gonna uh you know substitute this kind of things and then they're like okay try try this and then can you check feel the difference I was trying to pretend that I could feel the difference but I couldn't and that's like okay this there's something here you know um and then a few years later you know I know Doug from all those years um and then tried to plug in amazing like so easy to you know we're in a recording stuff at home yeah uh creating so easy to and sounds great sounds amazing yeah and then when the quad cortex uh came I was one of the first to try out and I took to the to the tour I might I mean probably I was the first guy using one up on a bigger store and a big tour because not because I was the first one because we were one of the first band touring right uh covet so I um I took uh the quad cortex with uh my tag kitten reach so set up the kind of the same patches that we used to have you know we have rhythm rhythm with uh um harder Noise Gate rhythm with chorus depending on the song we have lead with no delays lead with long delays the two three different kind of planes right so those are from the previous tour so we brought that concept to the quad cortex because everything's programmed yeah so I don't have the quad quad technology on stage so then we did some rehearsals to see if the quad cortex would obey the commands right everything would work fine uh fine because it's hard in a bigger in a bigger you know in a bigger tour in a bigger situation to add a new gear that you're not sure that's gonna work it has to work every concert no matter what open air small big whatever if you want to if you need to load in fast yeah you know sometimes it don't sound checked so it has to be a gear that like hundred percent uh did you missed that I you know I I'm a who was the last band I went to see Aerosmith maybe 20 17 2018 I can't remember that and Joe Perry just had this huge backline he had all his old favorite Marshalls I think it was probably all Marshalls but he must have had like six amps and all the different 4x12s and all that kind of stuff and to a certain extent that's a sort of a Dying Breed now because unless you're as big as Aerosmith you know and you're and you know most guitar players I think are under pressure now to say could you just bring one of these please and you know we do have how many we have like those cabinets yeah um I do use four because I remember because we need that sound as well so the way we set up is like we have the stereo output going to the front of house in a and then the cabinets as well right so we do have the normal you know but that's just for you is it or are you miking up the cabs we don't like the camera the cabs is just for your on stage yeah just for the feeling yeah yeah a bad feeling because I wasn't sure with my I remember with um maybe I shouldn't say this I don't know I don't think I'm giving away any huge Trade Secrets here but the I remember hearing that the Iron Maiden when you see the 100 cabs on the sort of the back of an iron maidens there they're all like it's all a fake it's like wallpaper you know they're all the cabs are like you know three inches deep and it's just there for show and they've just and I wasn't sure in Mega Death whether it was the same thing or whether you are no we have some uh well of course you don't need like 20 cabinets so it's not necessary we do have uh the spare ones so we're not using but they're real yeah and we do have uh some empty ones like the ones on the top because you have like over like four Columns of four that's amazing 24 cabinets that's brilliant yeah so you don't need 24 caps that's stupid you know mainly because you're using in years and you do have the side views you cannot project a massive sound so you go in is and side fills and then yeah your four by twelves behind you yeah it's a mix of old school and modern what are you using the power the cabs have you still are you are you because today what what we've set up here is we've got the core cortex going straight into the desk but we've also got it running into the effects return yeah of this so it would you typically be using valve amps to run in like this or would you just have a little bit just try it we're just trying to see more dunk on the power stage yeah a lot of artists using those aren't they we've called cortex yeah because it's not it's not what the front of house you don't hear that yeah it's only just my the feeling of the the sound coming from from behind like the old old good times I think give us then your best mega Death iconic you know riff and then we'll see how close we can get to your best iconic from the new album yes all right yeah right ready you got all that okay so what's up all right so this is gonna be this is live no practice no practice we don't even we don't know where we're going with this yeah put it in the input so just to explain uh yeah you tell people about your first ever rig while I'm wearing this viewers my first guitar yes I mean yeah was not a phone but yeah uh black SG just like uh Tony iomi yeah exactly yeah and was that because you wanted to be Tony iomi or was that just on you I guess I think I never had like I want to beat this guy uh I never had this I was like I liked all the guitar players I am a fan of all these guitar players and uh and then I had from the same company giannini like a I don't remember the name of the app it was like something a copy of the cube like a 50 watt yeah like I was Square little box like super heavy like like super heavy little like 50 watt thing yeah yeah only only clean solid state solid state yeah yeah come on foreign Crush here solid state on its clean Channel but the the magic ingredient right the one bit of branded gear you actually have so my cousin um no my cousin came from Florida right and then he brought that paddle for me smuggling so like we've seen the stories about all the drug smuggling from South America there was a whole other industry of Boss pedal smuggling equally dangerous uh not quite as lucrative um yeah yeah that's pretty sure enough but yeah the pedals and smuggling paddles and Pickups wow because you know you would have like the journey guitars then you would buy like a put a d Mars you're some sort of pedal mule basically think of all the terrible ways that you could smuggle pedals and pick cups into a into the country so these are straight out the box so we're going to see how Mega Death can we go here so no no yeah more gain well I don't remember how old again probably I think I'm not able to play anymore like this you know imagine I was I was so when I was like 15 16 I was practicing only with this yeah right yeah I think this will be inspiring because I think you're basically going to be just as good with all the cheap kids I don't think so I don't think so I think you are and then uh when I was 17 I bought I bought I I kind of receiving some money what I was giving already some guitar lessons when I was 16. then I bought my rg550 cool some extra money from Christmas or birthday or something okay let's see let's do this ah so hard to play Man is it is it too loud I have to play the same riff you I think what a situation foreign know man yeah it's hard to play huh uh is it I mean [Music] more gain I'm gonna give you more gain yeah but that is easy gosh this will 100 stay now as a permanent feature in all Android videos I think it's like that's brilliant man you've been a great sport as well not everybody would do that we threw that on you I appreciate that well look thank you so much basically the end of our interview um I have loved doing this thank you um honestly it's been an absolute pleasure haven't you my pleasure I can't wait um we've got a master class with you tonight obviously it's pointless us trying to plug tickets for it now a because it's sold out and B because this video won't go out until after that it makes sense but if you get a chance to see Kiko um you know doing a clinic somewhere or planning this on my channel I have a YouTube channel share some stuff there oh and your the tuition thing you talked about yeah guitar Academy I think we just we'll put links below because that's got to be worth checking out but honestly man it's been an absolutely thank you thank you so much I've so enjoyed doing this and thank you guys for watching please like And subscribe to the channel um and we will see you next time goodbye goodbye

Channel: Andertons Music Co

Views: 146,831

Keywords: Andertons, Andertons Music, Andertons TV, kiko loureiro, Kiko Loureiro, ANGRA, Megadeth, Captain Meets, the captain meets, captain anderton, interview, conversation, podcast, music, guitar

Id: qv04SiFoxAE

Length: 72min 46sec (4366 seconds)

Published: Wed Nov 23 2022