Tag: jim peterik

‘Play On’: Jim Peterik Discusses New Ides of March Album, Career Highlights

It’s hard to believe that it’s been more than fifty-five years since Jim Peterik and The Ides of March first started rehearsing in the basement of guitarist Larry Millas’ home in Berwyn, Illinois. The band, which today still features original members Peterik (vocals, guitar) and Millas, along with Bob Bergland (bass, saxophone, and vocals) and Mike Borch (drums and vocals), now boasts as the longest-existing Top-10 charting band. The Ides of March, which are as timeless as their music, also includes Scott May (Hammond organ and vocals), Steve Eisen (woodwinds and percussion), Tim Bales (trumpet and Flugelhorn), and Henry Salgado (trombone).

Although the band’s sound has matured and evolved over the last half-century one thing remains constant. The friendship and family of this band of brothers is equal only to the joy their music continues to bring.

In celebration of their huge milestone, The Ides of March recently released a new album, Play On. A compilation of fourteen brand new songs as well as a re-release of their monster hit, “Vehicle.” To make things even more exciting, The Ides are joined on the album by other notable music heavyweights, including David Pack (formerly of Ambrosia) on “Song About Mary,” saxophone queen Mindi Abair on “Friends Like You,” Mark Farner (a founding member of Grand Funk Railroad) on “Swagger,” guitar icon Joe Bonamassa on “The Cover Up,” and legendary band leader, producer Paul Shaffer on the track, “Rule of Three.”

I recently spoke with Jim Peterik about Play On and more in this exclusive new interview.

When you look back at these last 55 years of The Ides of March, what goes through your mind?

Jim Peterik: Sometimes it seems impossible that it’s been fifty-five years and other times it seems to have gone by in the blink of an eye. I still remember our very first show in 1964. It was at a VFW a block away from Larry’s house, where we used to rehearse. We were doing covers like “I’ve Had It” by The Bell Notes and “Money” by Barrett Strong. We got paid $20 and immediately drove over to an ice cream place and blew it all on hot fudge sundaes. Fast forward fifty-five years and I can still remember how that sundae tasted. It was the best in the world. When I look back I think about all the ups and downs, the jobs, trying to make it, and everything that came in between.

After that first gig did you have any idea of what was to come for the group?

JP: It wasn’t like a destiny moment because we were just trying to remember the chords to the songs [laughs]. At that time, we weren’t thinking about anything except whether the girls in the front row were digging us and whether the greasers in the audience liked it.

How would you describe the new album, Play On, and how it relates to some of The Ides’ previous work?

JP: The Ides went through so many musical phases and, for this album, what we tried to do is combine the best elements of everything we’ve ever done. Brass is really featured strongly but there’s also a few songs like “Too Far To Turn Around” and “Song About Mary” where we hearken back to the “L.A. Goodbye” sound.

Can you tell me more about how the band’s sound has evolved over the years?

JP: Before changing our name to The Ides of March, we started out as a British invasion-wannabe band called The Shondells. Back then, we wanted to be something that was like The Kinks meet the Beatles meet The Zombies. We were all kids at the time; playing on the road in Florida with the Allman Brothers (then called The Allman Joys). At that time, Duane and Gregg were already super musicians and we learned a lot from them. Their influence is what helped us get a little more bluesy and soulful. That’s when we decided to get some brass into the group. Then after we heard the first album by Blood Sweat & Tears we decided to add a whole section. Later, we became more Crosby, Stills and Nash influenced and even more countrified.

Read the rest of my
Interview with Jim Peterik by Clicking Here!

‘Winds of Change’: Legendary Singer/Songwriter Jim Peterik Discusses New World Stage Album

Nearly twenty years after the release of “Jim Peterik’s World Stage,” the legendary singer/songwriter and Ides of March frontman is back with one of the biggest and most grandiose albums of the year, ‘Winds of Change.’

Set for release on April 26 ‘Winds of Change’ features Peterik collaborating with an arsenal of melodic rock’s greatest superstars, including Dennis DeYoung (ex-Styx), Kevin Chalfant (ex-The Storm), Kelly Keagy (Night Ranger), Toby Hitchcock (Pride Of Lions), Mike Reno (Loverboy) and Kevin Cronin (REO Speedwagon). As an added bonus, ‘Winds of Change’ also features the previously unreleased track, “Love You All Over The World,” sung by the late Jimi Jamison.

Jim Peterik and World Stage arose from the idea that the musical and spiritual collaboration of great artists and friends could make something magical. ‘Winds of Change’ continues that trend by not only displaying the versatility and talents of Peterik but also the musical embellishment by a seasoned (and legendary) cast of singers, musicians and friends.

I recently spoke with Jim Peterik about ‘Winds of Change’ and more in this exclusive new interview.

What inspired the new World Stage album?

Jim Peterik: It was a phone call put me in motion. I’m a non-stop writer. Every day I’m writing concepts and pieces of songs and looking for a reason to rally the troops and put out something meaningful. One day I got a call from Serafino Perugino,who’s a great friend and mentor. He was a big fan of the first World Stage album and told me that it was time for a new album. I got to work and started making calls to the people I wanted to be involved, including Don Barnes [38 Special], Kevin Chalfant, Toby Hitchcock [Pride of Lions], Kevin Cronin [REO Speedwagon], The Nelsons and Kelly Keagy [Night Ranger].

Let’s talk about a few songs from the new album, starting with the title track. What can you tell me about “Winds of Change?”

About a year ago I was writing songs with Don Barnes and Danny Chauncey for a new 38 Special album. One of the songs was called “Winds of Change.” It was my favorite of the new songs we’d written. When I was asked about doing a new World Stage album I asked Don about finishing up a song to use. That’s when he said, “Well, how about ‘Winds of Change’?” I was like, “Oh, hell yeah! [laughs]”. I was blown away. So, I got a final vocal from Don, took it back to Chicago and built the track around it. It was a blessing that he let me use a track that was earmarked for a 38 Special album.

Read the rest of my
Interview with Jim Peterik by Clicking Here!

Guitarist Jim Peterik Discusses Ides of March’s 50th Anniversary Box Set, New Music and More

PeterikTo many Eighties music fans, Jim Peterik will always be the maestro behind classic songs like “Eye of the Tiger,” “I Can’t Hold Back” and “Burning Heart.”

But prior to launching Survivor in 1978, Peterik was the front man for another successful group—the Ides of March—whose signature 1970 song, “Vehicle,” is still played regularly on the radio and in TV shows and films.

This year, the Ides of March are celebrating their 50th anniversary. In honor of the occasion, Peterik and company have released a new five-disc set, Last Band Standing: The Definitive 50-Year Anniversary Collection.

The box set includes four Ides albums: Vehicle, Common Bond, World Woven and Midnight Oil. Also included are early singles like “You Wouldn’t Listen” and “Like It or Lump It,” plus random tracks the group recorded after reforming in the Nineties, not to mention three brand-new songs.

The fifth disc is a DVD that features a 2014 Ides show from the House of Blues in the band’s native Chicago. It features songs that span the band’s career, plus re-arranged versions of Survivor songs and hits Peterik wrote with 38 Special and Sammy Hagar.

I recently spoke with Peterik about the Ides of March’s 50th anniversary box set, his new project with Marc Scherer and more.

GUITAR WORLD: When it dawns on you that this is the 50th anniversary of the Ides of March, what comes to mind?

There are so many thoughts. We always used to think we had an identity crisis. I remember we started out as a British invasion wannabe band, emulating bands like the Kinks, Zombies and Beatles. Then we got enamored with brass and started a Memphis/soul thing.

Then the big moment came when we had the whole brass section and went in and cut “Vehicle” and toured the country with groups like Cold Blood and Janis Joplin. We threw out all of these different incarnations. When I listen to it now as a whole, it all hangs together. There’s a group personality and a positivity that really shines through the music.

You can read the rest of my
gw_logoInterview with Jim Peterik by Clicking Here!

‘The Tiger Speaks’: Guitarist Jim Peterik Talks New Book, Ides of March and Survivor

PeterikMost rock biographies tend to follow a similar pattern. The artist’s road to redemption is paved with tales of debauchery, drug abuse, marital infidelity and a trashing hotel room or two.

Although Jim Peterik’s story doesn’t really follow that path, it’s even more special.

For instance, did you know the founder of such bands as the Ides of March, Survivor and Pride Of Lions was already playing shows alongside Led Zeppelin, Jimi Hendrix and Janis Joplin as a teen? Or that Peterik’s original role in Survivor was one of dual guitarist and lead vocalist?

Peterik’s new book, Through the Eye of the Tiger: The Rock ‘N’ Roll Life of Survivor’s Founding Member, discusses all of that and much more in a look back at the life and career of one of rock’s best songwriters.

With the help of writer Lisa Torem, Peterik reveals stories from his almost 50 years in music. Like the time the Ides of March stole the show from Led Zeppelin or when Peterik unwillingly ceded control of Survivor and took on a diminished role in order to achieve a greater good.

There are revelations of his encounters with Hendrix, Sammy Hagar and Brian Wilson; making studio magic with the late Jimi Jamison (one of rock’s greatest voices) as well as the challenges he faced becoming a husband and father. Oh, and then there’s the little matter of a how a phone call from Sylvester Stallone turned into “Eye of The Tiger.”

Through the Eye of the Tiger is more than just the memoir of a songwriting legend. It’s a classic rock and roll story that’s told through the eyes of someone who has lived through it all.

I had the pleasure of speaking with Peterik about his new book, career and his amazing guitar collection.

GUITAR WORLD: What made you decide to write a book at this stage of your career?

It’s a good time in my life. I’m feeling good and have a lot of stories to tell. Certainly, there are a lot more stories ahead of me and quite a few stories behind me that I wanted to get out.

Read the complete
gw_logoInterview with Jim Peterik by Clicking Here!

Women Who Rock: Lisa McClowry Sings Acoustic Alchemy

Lisa McClowry is one of a kind! The beautiful songstress has performed on more than 25 albums with a singing style that intertwines the best elements soul, jazz, rock and pop have to offer.

Lisa’s resume includes writing the song, ‘Through the Eyes of a Child‘ for the movie, ‘The Adventures Of Rocky and Bullwinkle’ (with Mark Mothersbaugh of Devo). She was also the singing voice of the princess in the movie, ‘Rug Rats in Paris’.

Now Lisa gets to flex her vocal muscles in a truly unique and fascinating way. Together with songwriter/producer Jim Peterik (Eye of The Tiger, The Search is Over), the duo has joined forces with the guitar inspired sounds of Acoustic Alchemy’s Greg Carmichael and Miles Gilderdale to bring us, “Lisa McClowry Sings Acoustic Alchemy”.

Peterik’s lyrics to ten existing Acoustic Alchemy smooth jazz instrumentals have given the songs a new life and a fresh sound. (Lisa herself joins Peterik in songwriting duties for the track, Visions Of Marrakesh). It’s the combination of  lyric, melody and most of all, Lisa’s sensual voice that makes the partnership with Acoustic Alchemy so musically satisfying!

I had the absolute pleasure of speaking with Lisa and get her thoughts on the Acoustic Alchemy album. We also discuss her new Christmas release and her Christmas show at The Montrose Room in Rosemont, IL on December 14th.

LM: I had opened up for Acoustic Alchemy about a year prior to the album coming out. That’s when I first met them. Jim Peterik also came to the show and we were all behind stage when Jim told the manager that he’d always wanted to try to put a lyric to one of the Acoustic Alchemy songs. So the manager said to him, “Well, have a go at it, mate!” [laughs]

So, Jim wrote lyrics to one of the songs and we all liked it so much that we decided to do an entire albums’ worth of songs! Jim picked out his favorites and wrote lyrics for all of the tracks except for ‘Visions of Marrakesh’; which was a song that he and I sat at a Starbucks and wrote together.

gJg: What is it like to sit and write a song with Jim Peterik?

LM: The first time I wrote with Jim was actually nine years ago. It’s an experience I’ll never forget. For Jim to sit at the piano and play ‘The Search is Over’ and then pull out his guitar and play ‘Eye of The  Tiger’ was unbelievable; almost like an explosion.

 I remember driving to his house and I was very nervous, as you can imagine. Here was a man I grew up with listening to on the radio and now I was going to be writing with him in his house. What happened was, I’d say something and then he’d have something to react to (and vice-versa). I don’t even know how the song was written. It was almost as if there was a third-party in the room that took over. The song was ‘These Open Arms’ which later was released on an album of mine.

From there, it then grew in to Jim becoming my producer and we’ve been dear friends ever since.

gJg: What was the recording process like for the Acoustic Alchemy record?

We actually never met with them during the process of recording. They were in London, and we were in Chicago. We’d have our band in Chicago lay down some tracks and then send them to Greg and Miles, who would lay down some guitar parts over what we did. It was a unique, wonderful experience recording back and forth. We definitely wanted to make sure we kept the original wonderful quality of Acoustic Alchemy.

gJg: How has the reaction been to the album?

LM: Fantastic! It’s a real treat to perform these songs live. As a singer, you really get to sink your teeth into them. The melodies allow you to show many colors in the voice. Our guitarist, Mike Aquino also enjoys the songs as well, because he can really let loose.

From left: Miles Gilderdale & Greg Carmichael (Acoustic Alchemy), Lisa McClowry, Jim Peterik , Michael Jeffers (Publisher of Chicago Jazz Magazine) – Photo: Gene Steinman

gJg: You also have a new Christmas EP that was recently released. Tell me about the beautiful song from that album, “Before The Tree Comes Down”.

LM: ‘Before The Tree Comes Down’ was originally written by Christa Wells and about three years ago, I released her version of the song. For this re-recorded version, Jim added a new chorus and produced it. So it went from a good song to a really, really good song with Jim’s touches.

gJg: The message of the song is so powerful.

LM: The military is a big part of me. I’m not from a military family, but am very empathic because I have friends who are in the military and live through them what it’s like to not being home for the holidays. It’s a song close to my heart because I think we can all understand family. I’m donating part of the proceeds from the song to Stars For Stripes so that we can help entertain the troops.

gJg: Tell me about how you first got into music.

LM: When I was 2 my mom said that’s when it really began. I would go up to the radio and just start singing  and dancing. At 7, I started playing piano by ear. I never had a lesson at the time, but was just eager to play melodies.

By the time I was 15, I was in a rock band called ‘Mischief’ as one of the keyboard players. Somehow, I found my way to the front and became the lead singer of the band and we eventually started playing in the clubs.

Because I wasn’t trained vocally (and because rock music was hard on the voice) I started taking classical lessons. I remember fighting with it at first but my teacher (who I’ve been with now for over 20 years) told me that this type of training was going to get me through five nights of singing. Through her teaching, I was able to apply a lot of those classical techniques and keep my voice healthy.

gJg: Who were some of your musical influences growing up?

LM: I remember listening to Olivia Newton John’s records. I loved the innocence of her voice. I listened to Pat Benatar, Heart and Journey as well, but I also loved my Dads’ collection of music: Frank Sinatra, Johnny Mathis and Doris Day.

gJg: What are you working on now?

LM:  This past year, I was involved as the emcee for a special needs talent show called “Special Talents America”. It’s very much like American Idol but for special needs kids. It’s one of the biggest highlights of my career; being involved with these wonderful, gifted children. 

I’m also gearing up for a December 14th Christmas show at the Montrose Room in Rosemont, Illinois. It’s a 300 seat intimate room and I love the location. One of the winners from the talent show will be performing with me that night as well. Her name is Mia Strayer, and she plays harp. She has such a wonderful spirit and I want everyone to hear her!

When I did the show last year, it was one of the first of my shows mixing the Acoustic Alchemy album along with traditional Christmas music. That went over extremely well. This year, I’ll be doing a lot of the same songs but with a string section. It will be a little twist to the music that people are familiar with. I’m excited about it.

Keep Up with Lisa McClowry by checking out her official website and Facebook pages!

Article first published as Women Who Rock: Lisa McClowry Sings Acoustic Alchemy on Technorati.

Interview: Guitarist Jim Peterik Talks Tiger And the New Pride Of Lions Album, Immortal

Guitarist Jim Peterik still has the Eye of The Tiger. Whether it’s performing, songwriting, mentoring and developing new talent or holding his annual World Stage events, the man who penned the #1 anthem from Rocky III continues to deliver the goods.

Peterik’s resume and collaboration reads like a veritable who’s who of the music industry. His bands have included The Ides Of March, Survivor, Pride of Lions and Lifeforce. He’s written and/or produced songs for artists like 38 Special, Sammy Hagar, Jimi Jamison, Lisa McClowry, Mindi Abair, and his son, Sijay among others. His musical journey knows no boundaries; having ventured into melodic rock, jazz, pop, inspirational and country genres.

Peterik’s latest endeavor is a reunion with vocalist Toby Hitchcock for the new Pride of Lions album, Immortal. Containing the best elements of 80’s melodic rock combined with Peterik’s signature songs and modern-day production, Immortal is an album sure to satisfy.

I spoke with Peterik and got his thoughts not only on Immortal, but also the iconic song he co-wrote thirty years ago. One that continues to inspire generations of fans all over the world.

What made you decide to do another Pride of Lions album?

I wanted one and Frontiers Records are such great boosters of the whole 80’s crowd. They actually wanted me to make a new record a few years ago, but I wasn’t ready at the time. I had just completed the “Crossroads Moment” album with Jimi Jamison and my juices were just gone for that direction. I got into doing Lifeforce (my smooth jazz project) just as sort of a respite from melodic rock. Their (Frontiers) initial plan was to have me release a record and then they were going to do a Toby (Hitchcock) album. I asked them to do it the other way around and by that time I’d be ready. That’s what happened.

Where do you come up with ideas for your songs?

Everywhere. “Delusional” is a song from the new album that comes from my personal life.  I see too many kids these days being over medicated with Ritalin just to calm them down. It does that but it also makes them walk around almost in a zombie like state. I had that hook in my mind: “Let the boy dream. Let him be different. Let him be delusional.” Even Einstein probably would have been diagnosed ADD if he were alive today. Things like that get me going.

Toby Hitchcock’s voice is so pure on Immortal. At times he sounds like Jimi Jamison and at other times, Dennis DeYoung.

It’s a great voice. One of the best out there right now. I think the vocals on Immortal are his best yet. There’s more depth and dimension to his voice.

A lot of people know you from primarily being the keyboardist in Survivor. But the truth is, you’re main love is guitar.

JP: Guitar is my passion. Survivor originally started as a twin lead band. You hear a lot of double leads on the demos for the first album. I love keyboards but my heart’s really in guitar. At last count, I think I own 178 and every one of them has a story. I use them all. 

This year marks the 30th Anniversary of “Eye of The Tiger”.  What’s the origin of that song?

I came home from shopping one day and heard a message on the answering machine from Sylvester Stallone. At first, I thought it was a joke, but I called the number and sure enough, Stallone answered. He told me that he loved the band and had heard “Poor Man’s Son” and “Take You On A Saturday” from our “Premonition” album and wanted that same kind of “street” sound for his new movie, Rocky III.

He sent us a video montage of the movie and Frankie (Sullivan) and I watched it together. There were scenes of Rocky getting a little “soft” (doing the Visa card commercials) and Mr. T “rising up” with his Mohawk. It was electric. The temp music they used to accompany the montage was “Another One Bites The Dust” by Queen. I remember asking Stallone why he just didn’t use that song for the movie and he said it was because they couldn’t get the publishing rights for it.

At that point I just said, “Thank You, Queen!” [laughs]

I had my Les Paul and a small amp that we had set up in the kitchen. I turned down the sound and just started playing the little intro [mimics the intro], just feeling that pulse. Then I added to it when I saw the punches being thrown, trying to score the chords in time with the punches. We couldn’t get any farther because we didn’t have the whole movie. Fortunately, we were able to get a copy of the finished movie with the promise that we’d send it right back the next day. At that point, we had become totally enamored in the movie and when I heard that phrase: “Hey Rocky, you’re losing the eye of the tiger” I remember turning to Frankie and saying, “Well, there’s the name of our song!” Once we had the title, the challenge became telling the story.

Four days later we gathered the troops, went into the Chicago Recording Company and recorded it. Frankie and I both wanted that big “John Bonham” type of drum sound and I’ll never forget the feeling and the way our drummer, Marc Droubay captured it. As soon as he hit that beat I said, “Oh SHIT – this is going to be HUGE!” And there was the sound of Survivor. It was just magic!

What’s your greatest memory of your days with Survivor?

Some of the more subtle moments are my favorites. When “Eye of the Tiger” was first starting to zoom up the charts, we were out on the road with REO Speedwagon. I remember it was late in the afternoon and I went into a restaurant to get something to eat. While I was there, somebody played Eye Of The Tiger on the jukebox. There was a little girl there with her family. She must have been around four years old  or so. When the song started playing, she immediately got up from her family, started spinning around and said, “Mommy! Daddy! That’s MY song! They’re playing MY song! Out of the mouth of babes. You can’t fool them and you can’t hide from them. They either love it or they don’t, and they loved it.

Have you ever thought about writing a biography?

JP: It’s almost done and should be out by April. It’s called, “Through The Eye of The Tiger: A Survivor’s Tale”.  I’ve been working on it for the better part of a year. I’m really excited about it.

Dissecting Vital Signs

Ask any teenage music lover who grew up in the 80’s and they’ll tell you: the choice of which album to spend your hard-earned allowance on was a difficult one.

With artists like Michael Jackson, Madonna, RUSH and some up and coming band called U2 all vying for attention, it definitely was a time of great consideration as to where to put your money.

But not for me. For me there was no doubt.

The first album I ever purchased was Vital Signs, the fifth studio album from the band Survivor. Nine killer songs written by guitarist Frankie Sullivan and keyboardist Jim Peterik. Nine songs sung by Jimi Jamison, one of the greatest rock vocalists of all time.

I spent many months in guitar lessons eagerly dissecting this record with my teacher learning all the nuances and theory behind the music contained on it. In the end, I wound up learning most of the album note for note.

Frequent readers of my blog no doubt already know about my love for this record but might not know why. So, to fill in the gaps I’ve decided to again dissect the record track by track to show you why this was such an influential record for me. An album that today is now framed and holds a coveted spot on my wall. Right alongside the very first Beatles record.

Track 1: I Can’t Hold Back: This was first song I heard Jimi Jamison’s voice on.  Actually, it was the video for it if you really want to know. Back when MTV was in its infancy and actually played videos.

I remember watching the guys standing around in the library as the intro played and thinking, “Oh that’s cool”. But once Jimi started singing “There’s a story in my eyes” that was all it took.

This one song is the single reason I wanted the album. And that was without even hearing anything else. It just goes to show you how big a deal the first single released from an album is.

I especially love it when Jimi sings “This Love Affair Can’t Wait” for the final time. You really feel the emotion of what the song is trying to convey. It’s the final powerful exclamation: You know what girl?…I Can’t Hold Back.

From a technical perspective one of the things that really hooked me in on this song was guitarist Frankie Sullivan’s use of feedback. Right when the song starts picking up in the first verse you hear it.

Most of the time feedback is annoying but in this case its controlled and it actually brings the whole song together.

Oh, and looking cool in the video helps too.

Track 2: High on You: Ah, the black and white video with the blue light bulbs. And another love interest for Jimi to sing to. This song hooked me with the cool keyboard sound and the little guitar lick in between verses. Of course, the powerful chord change to minor in the pre-chorus also was killer:

“Now I’m higher than a kite, I know I’m getting hooked on your love”.


Track 3
: First Night: This beautiful song begins with nothing more than piano and Jimi singing: “We will remember this first night forever, after all the songs fade away and the stage fades to gray”. Then just as you think the song is heading one way it kicks into high gear.

After still being on a high from the last song (no pun intended) this track was a refreshing change of pace. It settled things down for what was to come.

“Emotions run wild, are we on the verge?
We’ve got a hotline to satisfaction.
I’ve got the answer if you’ve got the urge”.


Track 4
: The Search is Over: Taking on the world was just his style. Hey, wasn’t this the third different girl Jimi Jamison had in as many videos? That guy gets around.

After Eye of The Tiger, this song was the one that really put Survivor back on the map. And fortunately for me, it’s a song that was just reaching its peak when I saw them on tour with REO Speedwagon back in 1985.

“Now at last I hold you, now all is said and done
The search has come full circle
Our destinies are one.”

As a hormone raging teenager, this song and I Can’t Hold Back were my refuge when the days of school and girls were tough.


Track 5
: Broken Promises:  Again, the lyrics in this song. The imagery. Magic. “Summer and smoke, diamonds and dust.”

I still remember all the weekend nights I’d spend up in my room in silence just listening. This song made me think: “Is it really written in stone that we wind up alone?”…

Or how about these lyrics:

I remember those songs on the radio
The jasmine, the wind in your hair
And how it hurts to remember those
Broken Promises

Track 6: Popular Girl: Another great track and the opening one to Side B of the album. I swear, every time I listen to this song I hear something new.

Just the other day I gave a listen to it again and really caught for the first time the moving guitar part in the chorus. A whole lot is going on there and yet out of the hundreds of times I’ve heard the song I somehow over looked it.

There’s so much more to music than just three chords.

She walks down the street, knocks ’em dead on their feet
With a casual nonchalance
When she’s breaking your heart, she’s the state of the art
With license to take what she wants

Here’s another thing I love about the Peterik/Sullivan songwriting combination: They always take obscure words you’d probably never use and some how find a way to make them work. Like “nonchalance” from this song, “Spire” from Burning Heart, “Reverie” from Desperate Dreams…. the list goes on.


Track 7
: Everlasting: The message in the song says it all. Something I was really looking for in 1984 even if I didn’t fully understand what love was at the time.

“I’m looking for a love that’s everlasting, I wonder if the feeling’s strong enough?”.

This is the one song from the record that in my opinion best showcases the vocal combination of Jimi and Frankie. When you hear the chorus it’s hard not to sing along with it.


Track 8
: It’s The Singer Not The Song: Take a message from me and I promise not to come on strong: this song kicks. It’s raw and in your face as soon as it begins.

This is the one song on the record where I think producer Ron Nevison just told Frankie to shred on guitar. And shred he does. I can just imagine Ron sitting back in the studio, pushing record on the console and listening to this tasty outro solo that goes on for at least 45 seconds.

Yet another example of a Survivor song containing positive messages about looking inside yourself and never giving up. Sure, sometimes it’s all about love but on a track like this it’s more about self-contemplation. It poses the question: Am I good enough?

And the answer of course is YES.

Track 9: See You In Everyone: For me it was bittersweet when this track came on. First, it was the final song on the record so I knew the journey I was on with Survivor was almost over.

Secondly, it had a guitar solo at the end that I needed to learn…and immediately.

This was the first song from the album I learned at guitar lesson. I had no problem learning the chord changes, it was that damn two-part guitar solo that gave me fits.

 

Thankfully, there’s a keyboard solo before the final chorus so I had a enough time to get my bearings together before tackling it.

It took this young guitarist weeks to learn how to play the final song from Vital Signs correctly but it was well worth it.

Because I’ll never forget the first time I placed the needle down on vinyl for this song and played the whole solo along with Frankie. It was one of the first real accomplishments I had as a new guitarist.

The day I mastered See You In Everyone.