I'm speaking today to Patrick Rondat, instrumental hard rock guitarist, he has 4 albums released to date including a 'Live' album from his recent Tour of France. So thank you very much Patrick for taking this time to speak with us.

PB: You are French?
PR: Yes..

PB: and you were born in Paris?
PR: Yes, that's true

PB: brought up in Paris,
PR: yes..

PB: went to school in Paris?
PR: It was close to Paris, not exactly in Paris, it's about 5 km's from Paris.

PB: You have brothers and sisters?
PR: One brother, yes

PB: So is it a musical family you come from?
PR: No really not. I was not really into music when I was younger. At school I didn't learn music, and no musicians in my family, so it's a strange way to start to play music! I decided to play guitar at the age of 17, it's very late.. I was in a record shop and somebody asked to listen to a Montrose album of 1973 I think it was, and I listened to that CD, well it was an LP at that period, and I really enjoyed it and started to play guitar after that, because I think it was the sound, got to me really much.

PB: So at school...did you enjoy school?
PR: It was OK. But like a lot of kids it takes time to choose your own way, to work and to grow up.

PB: So you didn't sort of wake up one morning and say..'I'm going to buy a guitar!'
PR: It was close to that..because I was in this record shop and listened to the Ronnie Montrose album, and I think ..oh I love that sound I have to play this guitar, yes, and I bought a guitar maybe 2 months later, yeh I really enjoyed the sound....

PB: That's a dfferent way to decide to become a musician!
PR: Really it was only for the sound you know!

PB: So after you left school, what did you do?
PR: Oh it was strange I did many little jobs like a lot of musicians, you know, when you leave school, you need to earn money so you have to do different jobs and, especially when you have long hair in France you can't do something very interesting, and I have, I don't know the name in English, it's a Bac, it's after the school, it's a license, but it was for working in an office, and with long hair it's impossible, so I do many jobs..

PB: and you cannot have the hair cut..it's not possible!!!!!

Your family were very supportive of your choice to go into music?
PR: Oh I think they were yes, of course it's also difficult for parents to say to their kids OK you play music that's your job, it's difficult, it's a hard job to do that, I think they were a little bit afraid by that you know, it's a difficult choice, so I did many jobs until '85 and always studying guitar I took lessons with different teachers, and practised very very much every day, every day, every day since the beginning..yes.

PB: You actually went to study music seriously at the Conservatoire?
PR: Oh that's not really true..you know, I took some lessons and my teacher, was a teacher at the Conservatoire, but I was not really in that form of school..it was just some lessons with the teacher, but it was more for harmony, chords, studying jazz music also..because when I started to play guitar it was exclusively for Heavy Metal musician, I was a great fan of Eddie van Halen, Ritchie Blackmore and many guys like that, and at the beginning of the 80's I listened to Al di Meoli and then I saw that I had many things to learn and I went to school to work and to study jazz music for chords, harmony etc. It was after that I tried to mix everything, and do it with my own stuff.

PB: So literally you bought a guitar and taught yourself to play?
PR: Yes, yes

PB: A lot of hard work...
PR: yes ..it was difficult to do

PB: You really must have worked hard because it's within 4/5 years of buying your first guitar...which was what by the way??
PR: oh..I don't know if you have it....it was a Gallan..the name..and it was a copy of Gibson SJ..

PB: Do you still have it?
PR: No.. I'm lucky!

PB: So it was within a very short time, that you were actually working with a group, and releasing an album, we are coming to the time you spent with the 'Element'..you were in Germany for this..how did you meet with them?
PR: Yes..well I was working in a big shop..close to Paris..it was called Carrefourre..it's a very big Supermarket in France..and I was working there, and one friend of mine was a bass player called Fred Guillmot who played on my first album, he called me and said 'I've met a singer and we are looking to do a band in Germany, so if you want to join us it would be good', so I said..'OK I'll leave Carrefourre!' so I go to Germany, and then we met many people , we live in Germany close to one year and record one album, and then I came back to France. This album didn't work too good because it was between rock music and commercial music and, for the rock people it was too commercial and for the commercial people it was too rock, I think that's not a good way to play music. So then..I'd left Carrefourre so I started to give lessons in different schools in France, and started to earn money with music and also to do some little demos with my own music, it was really the beginning for me..86..just after 'The Element'

PB: So at that point you began to actually make your own compositions?
PR: Yes..I started to compose for 'The Element' but I was not the only composer and the singer was the leader of the band and it was difficult to manage that, and I don't have any singer..

PB: So your musical career is launched...you've already mentioned Al di Meoli was a big influence in your work, and because of him you studied the jazz chords and harmonies..
PR: Yes because when I started to play music, listening to Van Halen and Ritchie Blackmore, and many rock players it was more or less legato playing, I mean.. a lot of work with the left hand, and, when I listened the first time to Al di Meoli playing accoustic, with his wonderful picking technique, I mean he picks every note very very fast, I decided to play in that way, I thought the sound was better, and I enjoyed it..so first time I listened to that guy..I said..ouf..I have a lot of work to do to play in that way. I had a Marshall amplifier, you know..and I sold it..and I bought an Ovation guitar- that's not the one I have got now- but I bought an Ovation, and I started to play acoustic every day, every day and take some jazz lessons. And then when some guy called me for 'The Element' I started to mix rock music because it was my roots..you know, and Al di Meoli, and so my own style was growing with that. I also started to listen to some new players, like Yngwie Malmsteen, it was in the same period, and I say..oh shit!..that guy is doing the same thing as me..but he does it better than me...and before me....I had a lot of problems with Yngwie!!!..I'm still a great fan of him

PB: Did you ever meet Al di?
PR: No..er..just 10 minutes in France during a show, I go to his room after the show..to sign some..I have maybe 20 albums from Al di Meoli..he was very busy this night

PB: Ah..so you know what it feels like to be a 'Fan'?
PR: Yes yes of course ..I think you have to always keep that..because I am always fan of a guy. I mean it's not the same as when I was young and fan of Ritchie Blackmore, you know I'm older now and it's not the same thing but I have respect for a musician.. I met John Mclauglin too..it impressed me a lot to meet that musician..or Joe Satriani..or anyone..

PB: How do you listen..as a pleasurable experience..or for ideas or for different techniques..or critically. What's in your mind as you listen to other people?
PR: No no..not critically because I think for a musician you have to be critical of your own job not of the other one! I think you have to see the quality of the other and your own problem, not the opposite way..you know what I mean. Too many players are looking for everybodies mistakes and saying... oh that guy does that, it's shit..I don't need that you know..I need only the good things of the other player! So when you play an instrument you are, of course, a little bit too much 'in' this one, so I listen to maybe too much guitar when I listen to a CD, but I try to listen to all the music I have to follow only a little bit the guitar. I don't always listen to CD's by guitar players. I try to listen to very very different types of music, I think that's very important- from Joe Satriani to Prodigy, to Simple Minds or Metallica, Pantera.. many things, Dream Theatre, I think you have to be very open.

PB: On your first solo album ..Just For Fun when did you decide to go solo and how did it happen..obviously you left the 'Element' and went on your own?
PR: When I left the 'Element' I told you that I gave some lessons in schools..music schools..I had many troubles with the singer of this band..I really wanted to do my own stuff..my own music so I did a demo..I started to compose in 86 and did the demo in 87 (I think you know that demo(grin)..for the Fan Club and made this demo available as a gift for Christmas 97..and I can tell you..it is amazing!) First of all, I didn't do that demo to do a solo album, it was more to say to everybody..'oh I do that!'..it was more of a visiting card, and I sent it everywhere..and one day I received a phone call from a producer who said, 'I want to do some French Heavy Metal Band, and I want to do some CD's, and I love your work so if you want?'- so I said..OK..I don't know the name in English, it's a compilation..many bands on one CD..(I think this was titled Hard Rock Rendezvous), so I was on there.. and then Just For Fun was out.

PB: It was a wonderful album Just for Fun and some of the pieces are appearing in your current Tour-will you re-release this album, will it be exactly the same as first time round?
PR: Oh I think if we re-release it, it will be the same. It's difficult to go back and to remix ..maybe we will do a different mastering but that's it..I don't want to play a new version or anything..I think we need to get it on the market again, but I don't want to change anything. It's like a picture, you know..if you have a picture of you when you are 5 years old and you start to change something it doesn't mean anything any more..so I think it's better to leave it..

PB: It can still be found on vinyl but the CD version is impossible to find.....about this time you toured with Blue Oyster Cult?
PR: It was just before the LP was released. We toured with Blue Oyster Cult in February 89, it was an all French tour, it was close to 15 days, 15 shows and a very very great thing because they are so nice, and for me it was a very good good experience: because they are nice and human, when you do the open act, sometimes you have some trouble..it's not always a dream! The first time we played together, it was in Strasbourg..East of France.. they stayed all...(police car flies by sounding siren loudly)..oh that's not for me???....they stayed all the show to see us play..and it was very very nice ..really

PB: So you were the opening act
PR: Yes, yes

PB: ..you didn't actually play with the band?
PR: No..but we did 15 dates and at the end of the tour we played in Paris, we played in a bar and they invited me to do a 'jam' session on stage with them and that was very nice.. and very rare!!!

PB: I can imagine..so that was your first taste of touring?
PR: Yes and it was difficult because the album Just for Fun had notbeen released so nobody knew what I was doing. It was very difficult as a French musician to do an instrumental tour with Blue Oyster Cult.. with no album, it was only released in October of 89.

PB: and you learned a lot from that experience?
PR: Yes.

PB: We are coming to the release of album number two, Rape of the Earth.....anybody who knows you will know Barbarians, it's your anthem! How did you feel about yourself and your progression and the way your musical views and ambitions were changing because it is a different album to Just For Fun?
PR: I really try every time to do a different album, I think the last one was also different. For a musician I think you have two different problems, the first one is to get your own personality and music, and the second one is to progress and to keep your own personality! I think they are the two problems ..yes..and I try to do that, so of course it's different to Just For Fun, and the next one will also be different. I think that's normal, but I hope it's still close to my own personality of music..because... I mean Barbarians..that's strange because that's not the most difficult thing that I have done..but these chords..arpeggios.. impress a lot of people, you know and it's wonderful to listen to... but that's not the most difficult thing I have recorded on CD. World Of Silence.. an all acoustic piece on Rape of the Earth, I think that was the most difficult piece to record.. just very fast licks with alternate picking and it's much more difficult to play than Barbarians intro..but that's 'flashy' and you know everybody is 'oh oh' hahaha..it's less difficult to play than it seems!!!

PB: You are also beginning to work with other guitarists about this time 91/92, you appeared at the Guitar Festival at Cannes.. with Tony MacAlpine..you actually played with him?
PR: Yes..he's a very nice guy and a wonderful player.. it was the Cannes Festival, we had Stu Hamm.. on bass..the bass player of Joe Satriani, and Tony on guitar and keyboards, and the people who organised this festival wanted us to play together..pieces of each others work... so we played 3 or 4 songs from each of us..and for me that was a dream to see and hear Tony and Stu play my music, and I was very impressed to start with, because it was the first time I had played with well known, world wide..top musicians, and it was a very good experience for me...

PB: Nervous?
PR: Oh yes..every time:))......It was because of Tony that I started to play using Peavey amps it was in 92 because Tony was using Peavey. The guy of Peavey in France said to me..'oh you have to listen to that you have to try that amp'..so in 92 I began using them..it was a good year.

PB: Yes, 93 also, because you were at Monsters of Rock?
PR: No no, it was 91..yes..in 91 I did the open act at Monsters of Rock for Ac/Dc, Metallica, Queensryche and I think I was the only guy who played at Monsters of Rock with an instrumental band, and it was also great!

PB: Yes I've heard your name attached to people like AC/DC, Metallica, Queensryche, Black Crows and later with Toto, Simon Philipps, Alpha Blondie, keep going!
PR: oh...you can find everybody if you have time! I think it helped me very much to do my own work. Everytime it's a good experience to play with somebody of a different style, to do the open act to do a jam session, to do everything I think is very important for a musician.

PB: And then you met JMJ?
PR: I met him .. it was in December 91 and it was in Le Zenith in Paris, it was at a concert of Extreme..you know the band Extreme... and Jean Michel was there and out at the backstage, but I was too shy to talk with him so....and then the day after I said.... oh shit maybe I had to talk with him, I'm crazy or what...so I looked in a book I have at home and found the address of Dreyfus Music..his record label and I went to that office and I gave them one CD and my press kit ..and I said..ok I've done it and 3 weeks later, so it was in the beginning of January, I got a phone call from Jean Michel..he said..'oh I listened to your CD.. we have to talk together!' - and that's the beginning of another story!

PB: ...yes..I know he told you, in fact he told the world that he thought Rape was about the best album he'd ever heard...in fact he was so impressed with you he asked you to work with him on his new album, Chronologie.
PR: Yes

PB: This also led to you Touring Europe..
PR: Yes in 93..oh this was also a dream....when I start to play guitar I never imagined I could play on these stages.. to play in Wembley stadium you know..Wembley..every rock band plays there so it's a dream to play in that stadium..

PB: Yes I mean your guitar sound added a totally new dimension to his work as well which I'm sure he appreciated..
PR: Oh I think ..he's a great fan of guitar players and of Rock music, I think it was good to mix some electronic music and rock music..it works really OK for me and for him too I think..even though we don't work together on his new project, I think we will again..it will happen..I hope so!

PB: At this time you were working on your new album which ended up being Amphibia, it was originally going to be Camouflage..
PR: ehe..yes that's right!

PB: ..now this was a very different sound and feel..did you feel you were influenced as you made this composition by the Europe in Concert Tour with Jean Michel
PR: oh yes..of course..

PB: because he produced that album didn't he?
PR: Yes..he produced that album..but I think it's not a question of production..but to play with somebody in big shows and to listen to all those keyboards playing, I think maybe I never would have composed a song like Amphibia if I had never met Jean Michel..yes..really yes..it's true! And it takes time because I started to compose that album in '92 with my daughter born in the July..so I started to compose the song Amphibia in July... and it was out in 96!!!!

PB: So at that time what was happening at this time in your mind, again we're seeing this progression musically ..what were you seeking at that time?
PR: I was seeking something different to the other albums I'd done before because.. when I started to do my first Just For Fun album it was a period for guitar players to play fast and to play hot licks and every body was looking for a new player who played faster than the other one... and I was in that mood so Just For Fun is a little bit more demonstrative more.. maybe not technical because Amphibia is also technical but it was more about playing music and Amphibia is more about composing music..so it's different. I think now you can't do an album only with your technique..you have to do music with your technique now..to live, to exist as an artist I mean. It's not enough to play..to be a good guitar player..really not enough... to do a good album. Now.. when you play fast sometimes it's a bad album, it's too technical people don't listen to anything, it's too complicated!

PB: You do the entire thing yourself don't you, from the drums to the keyboard parts, absolutely everything is composed and arranged by you?
PR: When I composed Amphibia, the whole song was composed from the start to the end..I work on the drums..especially drums.. and keyboard I do on my guitar with the midi converter, and programme the drum machine to get something close..because I am using many different types of rythm, like 7/4, 7/8 and some more complicated stuff and you can't use a normal drum machine..you have to programme it to be tight to the music, and I have to do it, it's a part of the composition, and a very important part!

PB: So you give the drummer some hard work as well?
PR: Yes..yes when Tommy Aldridge came and listened to the first demo I had done on 4 track he said..'oh you programmed that..you are crazy or what!!!'...he enjoyed it really!

PB: One track from the Amphibia album The Vivaldi possibly your second anthem, was actually premiered before the album release, before an audience of something like 2.5-3 million people at a concert of JMJ for 14 July 95..he accommpanied you on this occasion. How did that feel..him..playing your composition?
PR: Oh it's not really my composition... my arrangement!!!! Ah..when Jean Michel told me..I think we have to do your Vivaldi Tribute on stage..I said..arf..because it's a hard piece, it's difficult to play it on stage and we didn't have any time to rehearse very much, and the other problem ... TV was there and, if I break a string, or if I have any problem with my gear..we can do nothing..the song is 3 minutes, so if I break a string..it's too late..on TV it's terrific..haha terrible I mean..so I was a little bit afraid of that, but also it was an honour for me to play that, and a big presant too, he trusted me to do that on stage and on TV..and I thank him very much for that! Because it's very rare to meet an artist like Jean Michel to let one of his his musicians play his own stuff!

PB: Amphibia has been released in Japan now, and you have plans for a European release?
PR: Yes..yes in February next year (98)

PB: all of Europe?
PR: Yes..SPV will license that and it takes time only because it's instrumental stuff.

PB: Is it possible USA and rest of the world can hope also for release?
PR: I hope so, I hope so really very much..but when you call a label and you say there is no singer, no vocals..they say ouff..another player..another fast player..haha I think it's a pity because there are some good albums without singers! So we try to release ..but it takes a lot of time!

PB: Yes because..I know there are a lot of people in other parts of the world that are starting to listen to you and are very very impressed, and are very eager to hear more of your work.

You finally decided to make your own tour..starting in 96, some disappointment because of delay for the rest of the tour, but May/June of 97 saw it happen. An important time and an important decision for you?
PR: Yes of course ..because it's different...especially with Amphibia, with a song of close to half an hour, how it would work on stage, it was a big question, how the band would be able to play that, and keep the spirit of this music, to make it sound as good as the album was a challenge..but it was OK.

PB: From the tour the feedback was good, many people commented on the very 'personal' performance you give.
PR: Yes because ... except for Joe Satriani, there hasn't been many players who play instrumental music touring in France. Tony MacAlpine might be touring in France next year (98), Vinnie Moore never came, so the crowd appreciates very much when an instrumental player comes to France because it doesn't happen very often.

PB: Your music seems to be so many different things to many people. You seem to build a very close relationship, rapport with your audiences, your musicians how do you do this?
PR: I don't know it's difficult to say, because I think it's a question of time and personality, and your audience close to you..

PB: Your fans and the audience are important to you?
PR: Of course yes..of course...I really try to get something close between us..I mean they are able to meet me before or after the show...I think many musicians put a wall between them and the audience to say ..ok we are stars so we don't have to be too close to the fans because it's better for the star system.. if they can touch you it's not the same, so many artists really want to get a wall between them and the audience.

PB: You don't like to do that?
PR: No I don't like to.. I am able to go in the crowd after the show...I like to do that you know!

PB: You released a 'Live' album from the Tour, available now, which is great, and contains some of the early pieces..this album is actually straight from the tour..no reworks?
PR: No.. we only mix the album of course and when you have..not very much..but maybe two or three mistakes in one of the instruments, we just edit one bar in, we didn't record anything in studio..no

PB: so it's exactly as we heard it on the night
PR: yes..close to..except for two or three mistakes

PB: A tour of Europe, the States..is this something you would like to do?
PR: Of course..I think for a musician it's a dream to go on Tour..really. Some guys say oh it's too difficult..I really enjoy to play on stage..I would like to play everywhere! And now I'm starting to think about a new album and compose new songs..I have maybe six or seven songs composed but I really will try to do another one, to have a choice, it's difficult to find just the right one!

PB: You have developed, both a very unique style and sound, nobody else sounds exactly like you, how do you view your work and it's progression to arrive at this?
PR: I really can't tell you because I really try to do it..what I mean is at the beginning I think my own style was not so unique..I really try to do my own sound and my own work, easy to recognise for people, and because I think it's the only way ..for an artist to get his own personality, so I really work to do that..I still think that I don't get it enough.. I mean...I have to work to get it more and more personal..I don't feel it's unique..so..

PB: For methods and techniques..I mean in your work never do you hear just..what I tend to call a technical display..it's there of course..but it doesn't sort of stand out as such..so how many hours a day do you work to achieve this?
PR: I don't know..perhaps eight hours, ten hours a day..I don't know..I have my guitar..in my hand every day ..you have your own life..I have many things to do like everybody..but when I finish all my own jobs like cooking or something..except for that I only play guitar! So I always have my guitar in my hand, so it's eight, ten hours..twelve hours..it depends..sometimes it's for technique, sometimes for composing somtimes it's just for fun to play..I think you have to keep that, you know..not only studying you have also to play.

PB: When you are working on a technique or a particular piece do you develop a special technique and practise just that piece?
PR: Yes of course..the best example is Barbarians at the Gates because I was not really into sweeping technique before that piece. I used a little sweeping in Lifeforce on Just For Fun but it was only a three string sweeping..just a little one..and I had this piece, Barbarians at the Gates and I wanted to do a big intro of that, and I had the idea of harmony but I was not into sweeping so I had to practise that very much to get this intro..and I was happy with that.

PB: Have you ideas for further development along these lines?
PR: Yes I think it's a good way to progress.

PB: Now you've mentioned a new album?
PR: Yes!

PB: Very few if any guitarists that I can think of have remained 100% instrumental, will you move towards including a vocalist or remain true to your heart and passion for instrumental music despite the commercial trend?
PR: No vocals on the next one I think that's sure..I mean I don't tell you there will never be vocals on my work..but when I use my name I don't want any singer... if I use a singer, it will be a band with a band name and band musicians and we will compose together..it's a different way to compose. If I put a singer in three songs on my next album..what can I do on stage..the singer will sing three songs and then go to play...errr.errr.I don't know ....so I think it's stupid..no I really prefer to get my own work without a singer and maybe if I meet one singer and say oh I'd like to play with that guy, we'll do a band together..but I won't use my name for that..

PB: So 'Patrick Rondat' will always be instrumental..?
PR: yes yes ..I think so, I think it's better that way.

PB: So if you could choose a vocalist to accompany who would you most like to work with?
PR: Oh..there's so many good singers..I love many people..from David Coverdale to Ronnie James Dio..to...oh different singers more blues.. theres many guys..hahah

PB: So what do Hard rock guitarists do in their spare time..hobbies..interests?
PR: Ahhhh..oh...you know I don't have any time..not so much..no..I have my family to keep..I have my kids, and I have to make time, to spend with them..it's important for me and for them too so when I am not with my guitar I spend most of the time with my family..I like Monty Python..you know that crazy guy from England so I have many movies of Monty Pythons..and I have also a passion for American cars from the 70's..I've got an old Pontiac from 74..a Firebird..and it takes time to restore this car and I love to work on and to rebuild this old American car..and so that's it..after - I have to play and practise again

PB: Now that you are portrayed on the web on HardRadio, and with your albums being released in more countries, obviously a much wider and more varied audience are hearing you, what are your plans for the future, and especially for 98..where will we be able to see and hear Patrick Rondat?
PR: I have many plans..but some are not sure so I have to be careful not to talk too much about that..sure, I'm working on a new album so it will be out I think in September 98..we are working on that..maybe we start to record in Feb or March..perhaps not all the album..but some songs to see how it sounds and everything..and I think it will be out in September..and then touring with this album possibly in October 98 ..

PB: that's with the new album..
PR: yes

PB: will there be more of the Amphibia tour in France?
PR: Only some shows but it's not really a Tour we have maybe 3 shows..but no, I have really to work on the songs and to record and work in studio..to find musicians..I want to get some guest musicians on the next one..I mean some jazz musicians, rock player..not especially a rock player. I have to mix other different things, and it's my 5th album so I have to do something new..it really takes time to choose a song and find the right one..it's difficult because when you compose you don't know what people are waiting for..you know..so.. I don't know if some people..I mean fans prefer me to go into heavier songs..or more progressive songs..or acoustic. I have to do my own thing and I hope that they enjoy it. and..it's important to!

PB: Now teaching..you are an excellent teacher..and I have heard it said that you are one of the most sought after guitar masters in France...when did this start and do you enjoy teaching?
PR: I think the first one I did was in 92 with Tony MacAlpine in Cannes. I started to do Masterclasses there and I was very impressed in the beginning..because it's.. oooh that guy wants to see me playing alone .. when you are on stage, with lights, with PA..it's a little bit magic..you know what I mean..but when you are alone with your guitar and in front of you twenty, ten people or fifty people, a hundred people and you have to play alone it's really more impressive...and teaching, it's not so easy..I was in school , in some school in 87..I know how to teach guitar but it's different in Master class..but I am really happy to do that and I think it's a part of your life to take things to people and then to transmit them. I learnt to play guitar with Blackmore, Al di Meoli..many people and now I have to give what I learned to the new ones..to the kids..to the future guitar players..I think it's important to do that..and so I really enjoy ..and 90% of the time it's nice..you meet nice people and they are happy to work with me and it's a good experience and I learn also when I do that..because it's not so easy.

PB: You made a video..Virtuosité and Vélocité..this is the first time tabs and partitions have been available to people.
PR: It's an old project this..because many people told me..you have to do a video.. maybe 3 - 4 years ago they told me that..but I said there are so many good videos I don't have to do one....but so many people asked me that..I mean fans and people in Master classes..you have to make a video..so I said OK then if they want it..I have to do it for them..but it takes time because I wanted to get something very precise, very clear to everybody..not only to play..but to explain everything as best I could, I tried to do that, to give the information in the best way, to give them enjoyment, and to make them want to play guitar more!

PB: What would you do if you are out in a bar..and suddenly you hear somebody playing Barbarians?
PR: Hahaha..well first of all I hate to eat or drink..well drink something is possible but I don't like to get a meal when a band is playing..for me it is difficult..you can't talk to your friends and listen to the music..so I just maybe like to drink something, or I go in a quiet place to talk with my friends, or I go just for listening..so..not the point. If I listen to somebody playing Barbarians..there is a player who plays that, in France..Pascal..my ex-bass player..had a guitar player who started to study sweep picking with my LP, and with Barbarians and he said Oh I would like to play that stuff and he worked hours and hours and now he plays it good! It's strange when you see somebody play that, but it's a pleasure..it's a pleasure..because it's not a competition you know when somebody plays that it means that he enjoyed it and he wants to play it the same as when I listened to Al di Meoli and say..oh I want to play that..and I spent hours and hours to do it.

PB: So you play other peoples material...just for fun?
PR: Oh yes..yes..less now..but sometimes I put a CD in my player and I play with the CD...I play with many guys in my home

PB: Thank you very much indeed Patrick..
PR: And thank you..