JIM PETERIK

Only 14, you co-founded The Ides of March with some schoolmates in 1965. Who were you - being young teenagers at the time -- inspired by?

We were inspired by the Ventures and then by the British invasion bands like The Beatles, Zombies, Kings, Dave Clark Five, etc. Concurrently we were very influenced by the Chicago R&B acts like Curtis Mayfield and The Impressions and Major Lance. The combination of these two influences produced our first hit in 1966, "You Wouldn't Listen."

Which song was the very first you have written and how did it feel to come up with a song of your own?

My first song was a real gem called "Hully Gully Bay". It made me the most popular kid in my 8th grade class. It felt like: "Hey, this is easy. I think I wanna do this for the rest of my life!"

Between 1965 and 1974 The Ides of March released 4 albums and a handful of singles, such as the million seller "Vehicle". Did the release of that single in 1970 - mark the highlight of the band's career?

Vehicle had to be the high point of our first time around 1966-1973 and it still is keeping our vehicle rolling. It was even featured as the theme for General Motors at the beginning of 2002. This song has made a lot of friends for us through the years.

Why did the band call it quits in 1973?

I think we were a bit discouraged due to lack of promotion and hits. We felt our last two albums were very strong, but failed to make a dent. I also had ambitions to go off on my own and some of the other guys wanted to get into other lines of work. It was such a blessing to get back together in 1990. Now - 12 years later- we're still going strong.

In 1976 you released your first solo album, called "Don't Fight The Feeling." As I don't have it in my collection, what kind of material was to be found on that album?

I am re-issuing that album very soon, so you will finally get to hear it along with demos from that era and songs that didn't make it to vinyl. The stuff is very melodic and song oriented. A really strong power ballad called "Let There Be Song" is a highlight for me. Tommy Shaw and James Young of Styx are featured on a few cuts and they sound great. And of course the great guitar work of Bruce Gaitsch who was in the band along with Dennis Johnson and Gary Smith, the original rhythm section of Survivor.

In 1977 you co-produced an album for the R&B band Essence. Was that your first ever production?

I believe that was my first production. One cut especially, called "Sweet Fools" stand up very well today. I still work with the lead singer of that band: Marzette Griffith. He works with World Stage and he's amazing. That Essence stuff was recorded by the amazing engineer who has since passed: Barry Mraz. His other credits include the first 4 Styx albums and The Ohio Players.

Later you produced or co-produced many more albums. Do you like producing as much as songwriting?

I think songwriting will always be number one with performing live a close second. Those two things work hand in hand, because the live thing inspires my writing. Producing is great and I feel I do a good job, but it takes a great deal of patience top to bottom.

Who were you inspired by when you founded Survivor back in 1978?

Foreigner and Journey were perhaps our strongest role models, with a little Styx in for good measure. We always put our own unique sound to it however.

You have stayed with Survivor until 1996. Which album is the best the band ever released and why?

My favorite is "Vital Signs" for the songwriting and singing. It just all came together and was a lot of fun to record. I am also partial to "Premonition", that thing has a mood that won't quit and some cool songs like "Light Of 1000 Smiles" and "Summer Nights."

And which Survivor songs are the ones you're most proud of to have co-written?

I personally love "The Search Is Over", "Eye Of The Tiger" and "I Can't Hold Back", but I have some less famous like "Man Against The World" and "Nothing Can Shake Me From Your Love" from our first record.

While in Survivor you wrote or co-wrote songs for a number of acts. Do you write easily?

I get along well with people and that's the first step to co-writing: having fun together and making great music. When it's right, there's nothing better.

"Eye Of The Tiger" (known from "Rocky III") was another million seller in 1982. Did it make you rich?

Let's put it this way: it pays for my house and studio every year. I feel very blessed that people still are inspired by that song.

In 1990 The Ides Of March reunited for a concert. Was it difficult to get all the old band member together again? And was it worth to get them back together?

Coincidentally all the guys had holes in their schedules and were real ready to do it again. The bonds of our friendship never died through the years.

Around the same time (1990) you produced albums for David Carl and Captured Heart, but none of them were released at the time. Did that frustrate you as much as the artists themselves?

We were disapointed we could not find deals at the time for those acts. It took a few years to find the people that shared our love of good melodic rock.

In 1992 you produced and co-wrote 4 songs for an album from Cathy Richardson. Can you tell us something more about her?

She's an amazing singer I discovered back in 90. I ran into her dad at a gas station and he said: "would you listen to my daughter sing?" I co-produced her first album called "Moon Not Banana" and co-wrote a few like "Paper Reasons". I still love that record and I love Cathy. She's a part of my World Stage shows and sang "Diamonds For Stones" and "From Here To Hereafter" on my 2000 World Stage CD.

Two years later you did the same for Jillian, but after the release of her album she seemed to have disappeared into thin air. Do you know what has become of her?

I just spoke to her last week. She was in L.A. doing one of her many sold out shows. Her Ministry is stronger than ever and she performs many of the songs we wrote together like "Do What You Must Do" and "Hands From Above". On the album version Dave Bickler did the duet and Frankie Sullivan did some amazing work on that record.

In 1996 you left Survivor. Why did the caption leave his own ship?

To use your analogy, I felt we were off course and felt powerless to do anything about it.

After having left Survivor you started writing with lots of Nashville songwriters. Did you need that challenge?

As I said, I'm a songwriter first and Nashville has such a vast talent pool to draw from. Also the country market is one of the last genres where the artists generally does not write his or her own songs.

You also played acoustic sets as opening act for the likes of Beach Boys, Creedence Clearwater Revival and REO Speedwagon. I guess that was fun to do wasn't it?

I was just getting my feet wet again and gaining confidence after leaving Survivor. To play in front of my heroes like The Beach Boys, REO and Creedence was really a rush. The audiences and main acts couldn't have been nicer and more receptive. It gave me my first chance to try out new songs like "We Wish" and "Can't Say It Loud Enough."

In 1997 you started performing with The Ides Of March again. Is the band still a going thing nowadays?

We're doing more dates than ever all across America. We do not only The Ides hits, but Ides' versions of many of the hits I've written with other bands like 38 Special.

In 1996 you started the World Stage project, but it took no less than four years to come up with a first album. Why did it take so long?

I wanted it to be my best effort and took my time writing and compiling songs and rounding up a band an guest artists. Also working up my vocal and guitar chops for the next phase of my career.

How did you select the songs and the vocalists/musicians for the World Stage project?

I tried to choose the songs that came from my heart, the ones that include a little bit the wisdom I hope I've gained in my 51 years on planet earth. The guests were all artists had known and had a kinship with through the years. I didn't have to twist anyone's arm that would have been against the spirit of the whole project.

Why was the World Stage album released in the US only?

At the time we couldn't make the deal due to a prior commitment to our America distributor. It may be re-issued soon however.

On January 15, 2000 you presented the "Night Of The World Stage". How was that night at the Norris Center in St. Charles, Illinois?

It was literally the best night of my life musically. To have that brotherhood of great musicians on that stage was overwhelming, everyone played their hearts out and audience went nuts.

This concert is now testified in your latest album, called "Rock America Smash Hits Live", released by Frontiers Records. How did you get a record deal with them?

Actually, despite the label info, the performances on "Rock America" were pulled from at least 3 performances. Most however were pulled from that first Norris Center show. I'm certain "I've Got A Lot To Learn About Love" was from Star Plaza in Merrillville, Ind. I have known Serafino and Mario since the 90s and bigger fans of great melodic rock you cannot find. When we need a label for Europe for "Rock America" they were our first choice.

Besides ten live tracks, performed by a whole list of rock celebrities, the album also features five studio (bonus) tracks, among which "The Day America Cried". Please tell us the background story of this beautiful song.

This song was written the day after Sept. 11, when Johnny VanZant gave me a call to tell me the story of a good friend of his who worked on the rooftops of Manhattan and who witnessed the events. When his friend looked around, all his co-workers had tears streaming down their faces. Johnny said: "This has got to be the day America cried." We wrote the song long distance and recorded it in Chicago and Nashville. We then decided to bring together other songs that spoke to the healing of the world, like "The Sum Of Our Hearts", which I wrote and sang with Kevin Chalfant, "Long Road Home" with Kelly Keagy and "Changed By Love" with Don Barnes, just to name a few.

The other four bonus tracks are all taken from the 200 World Stage album. Did you select those songs or was it Frontiers Records?

Actually "The Sum Of Our Hearts" is only for the Sept. 11 album and the rest not only "911" but "World Stage" as well. Frontiers pretty much decided what they wanted, subject to my approval.

Besides World Stage you're still very busy writing and producing for other artists, one of them being your niece Kelly. Why should we buy her album?

Because of the songs and her signing talent. The direction i dance pop, but the songs have that melodic, uplifting mood that I like to bring out artists I work with. One song "Kick The Door Down" could easily be on my next World Stage album. Her voice is honey and she looks great too.

You were also very much involved in the making of the wonderful Mecca album. Are you as happy with the end result as we are?

I am probably prouder of the results of the Mecca record than any album I've been associated with since "Vital Signs'. Getting to work with two great singers - Joe Vana and Fergie Frederiksen - gave me as a songwriter a lot of inspiration. I knew if I wrote a particularly range melody, they could pull it off. And working with a great guitarist like Mike Aquino was a dream, as well as the rock solid rhythm section of David Hungate and Shannon Forrest. The songs fell together as an extension of the personalities involved and the kind of sound everyone was after. The title track "Mecca" and "Silence Of The Heart" are perhaps my favorites, but I love them all! "Blinded By Emotion" totally rocks and of course "Velocitized."

You're now over 35 years in the business. Do you consider yourself old or are you still young at heart?

The Ides Of March have a newer song called "Age Before Beauty". The key line and really my life statement is: "the fountain of youth is a state of mind" and I believe that from the bottom of my heart. Rock and roll keeps us young. I still feel like the same kid out there on stage trying to impress the girl in the front row. I feel very fortunate to be able to make a living doing what I love: writing, performing, finding new talent and working the gifts received from God to the best of my abilities.

Anything else you want to tell us?

I just completed a book on songwriting with two co-writers - Dave Austin and Mary Ellen Robertson - called "Songwriting for Dummies". It will be out in the States in September. I hope it will help inspire some young songwriters out there to give it a try. There are practical lessons and many anecdotes included in the book. Also, if I haven't mentioned it, The Ides are just about to release - Beware! The Ides of March Live, recorded on one night at a sold-out show at the Macanach Art Center in a suburb of Chicago. The recording finally captures what The Ides are all about: melody, harmony, horns and songs that span much of the material I have written through the years with the Ides stamp added to it. I just wanted to thank the people who have kept the torch of melodic rock alive. I will always try to give you the best I've got to give.

Interview by Chris Lambert of Rock Report July 2002
Photos by Joyce Paliulis