Starting at the age of thirteen, Laucke gave professional snooker demonstrations and his winnings allowed him to take trips from Montreal to New York City to study the classical guitar with Rolando Valdés-Blain.

Laucke was introduced to complex flamenco techniques by Spanish guitarist Paco de Lucía when the two shared a loft and performed together for the jet set in New York City in the early 1970s.

Laucke subsequently became Segovia's pupil, and also studied with other classical guitar players, including Julian Bream and Alirio Díaz.

[5] Music critic emeritus, historian, and musician Eric McLean of the Montreal Gazette avowed: "Laucke is the person who has done more for the guitar in this country than anyone else.

"[14] Laucke's snooker winnings allowed him to finance 110 trips from Montreal to New York City to study the classical guitar with Franco-Spaniard Rolando Valdés-Blain.

[15][16] With Frank Angelo as his manager since 1961, Laucke performed his first guitar concert in Montreal in 1965, a program of atonal music with the Société de musique contemporaine du Québec.

[19] In 1973, Laucke starred in a documentary produced by Radio-Québec called La Guitare,[20] and he performed at Montreal's Summer Olympic Games in 1976.

[22][23] Laucke was introduced to complex and advanced flamenco techniques by Spanish guitarist Paco de Lucía when the two shared a loft in New York City in the early 1970s.

[24][25] During this period, de Lucía and Laucke gave a concert in the Spanish Embassy, where Countess Elsa Peretti, jewelry designer at Tiffany's, first heard the two guitarists.

[9] Laucke was frequently hired to play at the launches of Giorgio di Sant' Angelo's new fashion lines and later those of Calvin Klein.

[30] His recording of works by William Walton, Richard Rodney Bennett, and François Morel on the Radio Canada International label (RCI 457) won the Canadian Music Council's Grand Prix du Disque-Canada in 1979.

[32] Later that year, with an increasing number of concerts and recordings, and a busy travel schedule, Laucke became concerned that he would not have enough hours left for practising.

Laucke's classical/flamenco musical style is a blend of his classical studies with Bream, Segovia, Valdès-Blain, and his friendship with de Lucía.

[39] Although classical and flamenco guitar are two quite different musical styles, Québec's French-language newspaper Le Soleil chronicled Laucke's feelings and reasoning about performing both.

(English translation)[24] In an interview with the Montreal Gazette, Laucke stated: "[de Lucía] was the greatest natural talent I have ever come across."

At the time, Laucke was impressed by a piece called Entre dos aguas (Between Two Seas) that de Lucía was creating, which became arguably his best-known composition.

[48] The Canadian Spanish magazine El Popular stated: "Laucke is convinced that flamenco possesses enormous seductive powers.

An example of this style from the album can be heard in Laucke's treatment of the well-known classical guitar transcription "Leyenda", which is given a flamenco rendition using several percussion instruments (claves, maracas, special castanets mounted on wood blocks, chimes, and a large gong), bass, and flute.

The rhythm section includes bongos, four congas, and a rock drum set blended with other percussion instruments such as claves, maracas, and castanets.

[54] Waterloo Music Company published and distributed 24 of Laucke's guitar transcriptions of works by J. S. Bach, Luis de Narváez, Eric Satie, Heitor Villa-Lobos and others.

[55] While living in Greenwich Village, New York, in the early 1970s, Laucke became interested in the French music of Eric Satie, "the world's first hippie".

"[61] After giving many concert performances of these works, Laucke recorded them on his CD entitled Flamenco Road which held the number one position on video charts across Canada for six weeks.

Now and then, I use a 'vibrato' and slides, which, of course, can't be done on the piano but which add warmth of expression to this undeniably charming, exotic and mystic music.

In La Presse, a Canadian newspaper, music critic Claude Gingras found in Laucke "an interpreter who could not be more convincing".

[75] Other countries where Laucke performed include Bulgaria, Hungary, Hong Kong, Spain, Israel, India, Japan, Morocco, Pakistan, and Russia.

[77] Following a concert in 1990 in Quebec City's Grand Théâtre de Québec, the French-language newspaper Le Soleil wrote a review entitled "Michael Laucke makes one fall in love with the guitar", stating: "More than a virtuoso, charismatic Michael Laucke is pure talent!

A Chicago music critic described how: "His relaxed manner, beaming smile and gracious speaking voice won the hearts of the audience before he even played a note.

"[17] On another occasion, Laucke gave the premiere of Bregent's "Version of Sapho," written for him, an atonal work which received a less favorable critique.