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Triumph is a Canadian hard rock power trio that was popular in the late 1970s through the 1980s. The band was formed by Toronto music veterans Gil Moore (drums, vocals), Mike Levine (bass, keyboards, producer) and Rik Emmett (singer, guitarist, songwriter) in 1975.

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About triumph.

Triumph was all business when it came to rock 'n' roll

Hard rock band from mississauga, ont., put on impressive light show, toured incessantly in 1980s.

The spectacle of a Triumph show

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Triumph, the hard-rock trio from Mississauga, Ont., had figured out how to turn heavy metal into gold.

In 1985, reporter Russ Patrick travelled to the Spectrum arena in Philadelphia to take in a Triumph concert and learn the secret of their success for CBC's The Journal . 

"After 10 years on the road, they've become one of the most successful touring bands in the business," said Patrick, after introducing the band as they rode in the back of a limousine to the show.

The arena full of thousands of waiting fans, many of them holding lighters aloft, could also be seen.

$10-million tour 

Triumph had gone from playing "small clubs in small towns," said the reporter.

"Now they play theatres and stadiums in large cities, mostly in the States," said Patrick.

Such shows — 94 in total on this particular tour — would gross $10 million, according to Patrick's report.

All together, a million people would pay to see the "high-tech extravaganza that is a Triumph show" that year. 

Right from the start, a flash of pyrotechnics followed by the word "TRIUMPH" in bright lights let fans know they were in for a spectacle.

Laser light shows

"Describing a Triumph concert as 'colourful' is a massive understatement," said Patrick.

"Complete with laser light shows and onstage explosions, they're among the most technically sophisticated of any in the rock world." 

The nightly light show was designed by drummer Gil Moore, "director of Triumph's high-tech concerts."

But, as Patrick noted, "some critics" had noted that Triumph's "showbiz spectacle" overshadowed the music.

Moore, for his part, maintained that the goal of such spectacle was to "enhance the music." 

Ontario origins

Triumph puts the business in 'music business'

During the day, bassist Mike Levine was seen making the rounds at Philadelphia radio station WMMR to "plug their concerts and new record," said Patrick.

"We started in a little bowling alley in Port Credit, Ontario," Levine was seen telling a DJ in an on-air interview. "Deciding if we could be a rock band or not. It was a lot of fun in those days — still a lot of fun, too."

The Globe and Mail's rock critic, Liam Lacey, had been following the band for much of its career and noted their driven approach to touring.

"That attitude ... which is working very hard at it, carries over into their ordinary lives," he said. "[It] comes back to this middle-class background in Mississauga, people who go out and do their jobs. They're like travelling salesmen."

'12,000 screaming rock fans'

Levine explained why, in Patrick's words, "the dollar ... [was] so important to this band."

"There is no pension plan for used-up rock stars," he said. 

The band's business manager, Joe Owens, ran the band's studio and negotiated contracts. was "trying to expand Triumph's market beyond its teenage audience." 

He cited songs that might have appeal to an older audience and noted guitarist Rik Emmett's guitar prowess as Emmett could be seen onstage.

"In concert Rik plays a classical guitar piece ... under 1,200 lights with lasers," said Owens. "He stands centre stage in the spotlight for 12,000 screaming rock 'n' roll fans. They love it and accept it." 

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Triumph are a Canadian hard rock power trio, most successful in the seventies and throughout the eighties. They formed in Mississauga, Ontario in 1975.

Overall, it’s probably fair to say that, over a career that’s spanned four decades, Triumph are probably best-known for their live prowess; like their compatriots in Rush, their gigs are exercises in scintillating technical ability and genuine rock and roll flair. What’s perhaps most remarkable about the group, though, is that the original trio remains together, al these years after their formation; Rik Emmett remains the frontman, as well as something of a jack of all trades in instrumental terms both live and on record, whilst Gil Moore is still the man behind the kit and Mike Levine continues to play bass for the group.

After an initial split in 1993, Triumph reformed in 2008 and continue to tour and record; they can reflect on a forty year career that, albeit with that fifteen year break, that’s spawned no fewer than sixteen full-length records, with eighteen gold and nine platinum certifications across the U.S. and their native Canada. Away from the stage, they also remain known for the philanthropic activities, including the donation of all of their music and business archives to the University of Toronto in 2011 - they are thought to be valued at over one million dollars.

Live reviews

Although the band’s most popular days were back in the 70s and 80s, Triumph still have what it takes to put on a great show today. With 10 gold and 9 platinum awards under their belt over their 16 albums, of course they’ve got some awesome material to play, and after their lengthy hiatus in the late 90s and early 00s, everyone was desperate to hear more.

They came out on stage in their typical attire, not much had changed! They were wearing 70s shirts and caps, and had maintained their long hair, which was cool to see. Although they’ve aged, their performance was still incredibly strong from start to finish. They opened the show with Lay it On the Line, and had everyone singing and dancing along right away. It was great that they played a selection of their newer material as well as their hits from back in the day.

Rick Emmett performed some awesome guitar solos, and had the audience in his palm from start to finish. I always forget what a talented multi-instrumentalist he is, and seeing it live is awesome. Although they don’t have much new original material, they played a couple of current covers that got everyone singing along. It was an exciting and exhilarating show, with a lot of singing and dancing. The band have definitely still got it.

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Seen them a few times! They are awesome! I wish they would come to Las Vegas ! I would love to see them again! I am retired navy and wish I had the chance to see them again! For a 3 man band they Rock! Definitely one of my favorite bands ever!

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The Story Of TRIUMPH's Appearance At 1983's US Festival: Preview Clip From 'Rock & Roll Machine' Documentary

A clip from TRIUMPH 's first-ever feature documentary about the band's dramatic career, "Triumph: Rock & Roll Machine" , can be seen below. In the preview clip, fans can hear the story of how TRIUMPH rose to the occasion and delivered a legendary performance at the US Festival in May 1983 in San Bernardino, California.

Produced by Emmy and Peabody award-winning Banger Films , "Triumph: Rock & Roll Machine" is a Crave original documentary that has been described as "a celebratory, exhilarating thrill ride through the history of one of rock's most unsung acts." The film covers TRIUMPH 's humble beginnings as staples of the GTA circuit in the mid-'70s to their heyday as touring juggernauts, selling out arenas and stadiums all across North America with their legendary spectacular live shows — and way beyond. The film is now available for streaming in Canada, only on Crave .

Last September, TRIUMPH guitarist/vocalist Rik Emmett told The Metal Voice about "Triumph: Rock & Roll Machine" : "First of all, Banger Films made it, and they've done this before — they've done it for IRON MAIDEN , they've done it for RUSH , they've done it for Alice Cooper and ZZ TOP . I mean, these guys, they're experienced. But they're telling their perspective of the story. They've done their research and then they decided, 'Well, this is the angle we're gonna take.' So that's the first lens you're getting. The other thing is it's not my story, because I was only a part of TRIUMPH . And, in fact, I don't actually own that brand; Gil [ Moore , TRIUMPH drummer] owns that brand. So you're gonna get a little bit more of Gil 's angle of it than Rik 's. And that's fine — I'm cool with that — but in truth and in fairness, I think people need to know that. That's what you're gonna see — you're gonna see something that's been passed through those filters."

He continued: "So, is this okay? Have all three guys signed off on this? Yes. But you're not getting my story… Truth is perspective. Truth is a point of view. And everybody understands that; it's just everybody also has this sort of ego thing where they go, 'Yeah, but my truth is better than his.' 'My truth is way more important than hers.' And that gets back to that vanity thing again about how you have to let go. So the documentary, you're talking about trying to find truth from an integration, and I'm saying compromise and collaboration, yes, you get a kind of an integration, but what I'm showing you here, that's only two dimensions. There's more to this than just what you see."

In 2020, Emmett told The Metal Voice about the making of "Triumph: Rock & Roll Machine" : "There's a surreal nature to it — you're going back in your life, and they're reminding you of things that you'd completely forgotten," he continued. "And you're going, 'Oh, yeah.' And then they're digging deeper, and they're going, 'So, when the band broke up…' And you're going, 'Okay, this hurts, actually.' I don't wanna have to go back to that, because the rise and the fall and the rise again, it's the fall that hurts. I don't wanna go there. I thought I'd put all this behind me. It was ugly, heavy baggage."

Emmett also talked about a "really extraordinary thing" Banger Films did while working on "Triumph: Rock & Roll Machine" . "They flew in fans from all over the world," he said. "They created an event. And the fans didn't know that we were gonna actually play three songs. So, they brought 'em all to the warehouse, and they're wandering, and they're looking at this TRIUMPH museum-y kind of thing. They've got dummies with my old spandex jumpsuits on. And then they send them down and they were gonna show them a few little clips on a scrim. The scrim drops and there we are and we play. And these are the people that love us the most. And there was only a couple of hundred of 'em. But it was so intense; it was so amazing. And, of course, they've got, like, 15 cameras around the room capturing every angle of this. And then you go, 'Oh my God. This is heavy duty.'

"So it's really good," Rik added. "It really gets to the heart of, you're a band, you create some music, you make a connection to people, and then here's these people, you're the soundtrack to their lives, and it matters to them. So they love you. I could get up there and fart, and they would go, 'Yeah! Great!'"

The aforementioned invite-only event was held in November 2019 in front of 300 "superfans" at MetalWorks studio in Mississauga (a suburb of Toronto),Ontario, Canada. Emmett , bassist/keyboardist Mike Levine and Moore played a three-song set that marked TRIUMPH 's first performance in 11 years, as well as its first as a pure three-piece power trio in 31 years. The tracks played were "When The Lights Go Down" , "Lay It On The Line" and "Magic Power" .

Moore , Levine , and Emmett formed TRIUMPH in 1975, and their blend of heavy riff-rockers with progressive odysseys, peppered with thoughtful, inspiring lyrics and virtuosic guitar playing quickly made them a household name in Canada. Anthems like "Lay It On The Line" , "Magic Power" and "Fight The Good Fight" broke them in the USA, and they amassed a legion of fiercely passionate fans. But, as a band that suddenly split at the zenith of their popularity, TRIUMPH missed out on an opportunity to say thank you to those loyal and devoted fans, a base that is still active today, three decades later.

Back in 2016, Moore and Levine reunited with Rik as special guests on the "RES 9" album from Emmett 's band RESOLUTION9 .

After 20 years apart, Emmett , Levine and Moore played at the 2008 editions of the Sweden Rock Festival and Rocklahoma . A DVD of the historic Sweden performance was made available four years later.

A must-see for rock and roll fans. Canadian rock band @TriumphTheBand revisit their ‘80s heyday in the new Crave Original documentary #TriumphRockAndRollMachine . Stream it February 7, only on Crave. pic.twitter.com/wWry4GBcM6 — Crave (@CraveCanada) February 2, 2022

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Rock band, formed in Mississauga, Ont, in 1975 by Mike Levine (bass guitar, keyboards) and Gil Moore (drums, vocals) with Rik Emmett (guitar, vocals). All three contributed, or collaborated on, songs in the band's repertoire. The guitar and keyboard player Rick Santers was added in 1986 for Triumph's concert appearances. The trio moved quickly from local high schools and Ontario bars to concert halls, making its first US appearance in San Antonio, Tex, in 1977, and its first Canadian tour in 1978. It performed regularly at Maple Leaf Gardens 1978-87; two concerts there a week apart in April 1985 were sold out. In 1979 and 1981 it appeared at the CNE Grandstand. Its touring itinerary took it to similar arenas and stadiums throughout North America, and to England in 1981. A video of its performance in 1987, in front of 250,000 people at the US Festival in California, Live at the US Festival , was issued by MCA .

Initially its instrumentation, high-tech, power-rock style, and the pyro-technical nature of its performances brought Triumph comparisons to Rush . To wit, Peter Goddard described its music as 'a kind of over-weaning, head-bending music that seriously challenged Rush's supremacy as the masters of the sonic clout' ( Toronto Star , 24 Mar 1979). Rarely favored by the critics, Triumph was often depicted by the Toronto media as a business rather than creative venture. In fact, Triumph opened its own recording studio, Metalworks Studio, in Mississauga, in 1978; more recently Moore has focussed his energies on the studio, which has become an educational facility for recording engineers and technicians. Metalworks has received nine recording studio of the year awards at the Canadian Music Industry Awards.

Rik Emmett came to be regarded as one of the premier guitarists in rock, and the group has had both a hard-core and mainstream following. Some of its more melodic material (usually sung by Emmett) enjoyed wide radio play - eg, 'Hold On' (1979, from Just a Game , Attic LAT-1061), 'Magic Power' (1981, from Allied Forces , Attic LAT-1122), and 'Somebody's Out There' (1986) and 'Just One Night' (1987, both from The Sport of Kings , MCA MCA-5786).

Other albums released by Attic (1976-82) were Triumph (LAT-1012); Rock & Roll Machine (LAT-1036); Progressions of Power (LAT-1083); and Never Surrender (LAT-1150). For MCA 1984-9 Triumph released Thunder Seven (MCA-5537); Stages (comprising concert excerpts 1981-5, MCA-2-8020); Surveillance (MCA-42083); and Classics (MCA-42283). Domestic sales of most of its albums exceeded 100,000 each in Canada; Just a Game and Thunder Seven achieved gold record status in the US; Never Surrender sold more than a million copies and also became a gold record album. Allied Forces achieved platinum sales in the US. Song folios corresponding with Triumph's albums have been published by Warner.

Triumph received four Juno award nominations for group of the year (1979, 1985-6).

Evolution and Awards Post-1988

Emmett left Triumph in 1988 and began touring Canada and the US on his own in 1990. His album Absolutely (1989-90, Duke Street DSR-31068) included 'When a Heart Breaks,' 'Saved by Love,' and 'World of Wonder'. Triumph did not disband after Emmett's departure but remained inactive 1989-91.

In 1993, Triumph released Edge of Excess , for which it received another Juno nomination for hard rock album of the year. That same year their label, Victory Music, dissolved and the members disbanded. Five years later they reunited for several US concerts to commemorate their twentieth anniversary. Original members Levine and Moore established TML Entertainment and re-released several of Triumph's live recordings on CD and performance DVDs.

Triumph was inducted into the Canadian Music Industry Hall of Fame in 2007, and in 2008 the original band members were inducted into the Juno Hall of Fame.

'Triumph on the road to Toronto,' Toronto Star , 4 Apr 1985

Moore, Gil. 'How to survive as a rock musician in the 80's,' AF of M pamphlet, undated

Emmett has written many columns for the US periodical Guitar Player

Bibliography

Stone, Mad. 'Triumph,' Canadian Musician , vol 2, Apr 1980

Lacey, Liam. 'Rocker Emmett writes a column, revels in Ravel,' Toronto Globe and Mail , 23 Mar 1985

Stern, Perry. 'Triumph make The Record from Hell ,' Canadian Musician , vol 8, Oct 1986

Penfield, Wilder III. 'Notes from the front lines of rock,' Toronto Sun , 3 Jan 1987

Collins, Diane. 'Tough all over,' Rock Express , 120, Jan 1988

'And then there were two,' Music Express , 131, Dec 1988

'Absolutely the frontman,' Music Express , 151, Sep 1990

Selected Discography

Triumph . 1976. Attic Records

Rock and Roll Machine . 1977. RCA

Just a Game . 1979. RCA

Progressions of Power . 1980. RCA

Allied Forces . 1981. RCA

Never Surrender . 1983. RCA

Thunder Seven . 1984. MCA

Stages . 1985. MCA

The Sport of Kings . 1986. MCA

Surveillance . 1987. MCA

Classics . 1989. TRC

Edge of Excess . 1993. Victory Music Inc.

King Biscuit Flower Hour Presents Triumph . 1996. King Biscuit Entertainment

In the Beginning . 1995. Triumph . 1976. Attic Records (originally released as Triumph )

Live at the US Festival . 2003. TML Entertainment Inc. (DVD)

Living for the Weekend: Anthology . 2005. TML Entertainment Inc. (DVD)

Extended Versions . 2006. Sony/BMG

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Triumph Hopes to Mount a ‘Mixed Reality’ Concert Tour: Exclusive Interview

Triumph have largely been absent from the concert scene for more than two decades, with the exception of a pair of reunion performances in 2008. Now the Canadian hard rockers are developing a high-tech concept that would bring their music back to the stage in either 2023 or 2024.

Triumph drummer and vocalist Gil Moore, a founding member of the group, revealed the news during an exclusive interview with UCR to discuss Triumph: Rock & Roll Machine . The new documentary from Banger Films, which has earlier released movies focusing on Ozzy Osbourne , Rush and Alice Cooper , premiered at the Toronto International Film Festival on Friday (Sept. 10).

Moore says the idea that he's developing is a "mixed-reality concept," explaining that it is "sort of holography, but not in the traditional sense." The concept, currently being branded as MXR Vision, would allow fans to finally hear classic AOR staples like " Lay It on the Line ," " Hold On " and " Magic Power " in concert once more.

Reunion performances at the Sweden Rock Festival and Rocklahoma in 2008 were set to be accompanied by a larger tour, but Triumph's plans fell apart because of the economic meltdown, as bassist Mike Levine earlier confirmed during a UCR chat. Fans have yearned for the trio to play together again ever since.

Moore has enlisted Paul Dexter to hopefully answer that call. Dexter, who collaborated with Triumph in the past on lighting and set design, has built an impressive resume of work with Paul McCartney , Osbourne, Elton John , Motley Crue and many others.

Watch the Trailer for Triumph: Rock & Roll Machine

Dexter and his company Masterworks Design were heavily involved with the hologram tours for both Ronnie James Dio and Frank Zappa . Moore saw the Zappa tour at its stop in Rochester, N.Y. and sat down to discuss the possibilities. “I’m not crazy about holograms,” he told the Dexter, "but the three-dimensional presentation – the holography, if you will – if you were able to deliver it on a better platform with more variables, I would like it."

They have worked in tandem since then, with Moore leveraging the team of professionals at his studio and the production company Metalworks, as well "folks" at the public university and college level with research facilities to assist with "the science side of it."

The audio, he says, will be "Mike, [vocalist and guitarist] Rik [Emmett] and Gil," for the most part, sourced from live concerts that no one has ever heard before. "But the presentation would be more akin to a biopic movie combined with classic video," Moore explains. "Combined with a combination of real effects as well as fake [ones] and magic."

They're still facing a few challenges, Moore admits. "Unlike a Vegas show – where it’s fixed and it’s the same thing every night, because it’s an installation – or Cirque du Soleil, this is something that’s going to travel on a one-by-one by one basis, through different styles of venues."

He's committed to figuring it out. “I know we’re not dead yet, but what the heck," Moore laughed, recalling his initial conversations with Dexter. "It’s not something I can promise, but something I hope for Triumph fans down the road."

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Recent News

• Hollywood Minute: US Festival anniversary May 27, 2023
• Liner Notes: Revealing Chats with Canada’s Retro Music October 31, 2022
• Global Premiere of Triumph’s Feature Documentary “Rock & Roll Machine” April 21, 2022
• Triumph: Rock & Roll Machine Streaming on CRAVE February 4, 2022
• In Conversation with Rik Emmett at River Run Centre on Tue, Nov 17 2020 October 20, 2021

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Ahead of a feature documentary on the band, Triumph's Mike Levine recalls its big leg up in San Antonio

The band is the subject of the forthcoming documentary triumph: rock and roll machine , which will receive its u.s. debut on may 13..

By Mike McMahan on Thu, May 5, 2022 at 1:06 pm

San Antonio's long had a sweet spot for Canadian hard rockers Triumph, and the reverse is also true. Indeed, a 1977 show at Municipal Auditorium marked the first sizable U.S. gig for the trio.

Although on hiatus since 1993, save for a few reunions, the band is again in the news thanks to the forthcoming documentary Triumph: Rock And Roll Machine , which will receive its U.S. premiere via the music-centric streaming service nugs.net on Friday, May 13.

Produced by Banger Films ( Iron Maiden: Flight 666, Rush: Beyond the Lighted Stage ), the feature-length doc covers Triumph's rise, breakup and eventual emotional reunion. The nugs.net feature will be preceded by an exclusive Q&A with the band.

Formed in 1975 in Toronto, Triumph was a power trio in the true sense of the word. Guitarist and vocalist Rik Emmett provided high-end vocals and guitar heroics on anthems including "Magic Power" and "Lay It on the Line," while Gil Moore held down the foundation, playing drums and singing grittier numbers such as "Allied Forces" and "Rock and Roll Machine." Bassist Mike Levine was the foil to both: a relatable guy known for ending shows with his signature shout, "Triumph loves you!" That message encapsulated both the band and its approach.

Levine spoke to the Current from his hometown in Toronto about the documentary and the band's long history with the Alamo City.

Triumph got its big U.S. break in San Antonio. The documentary explains that you played Municipal Auditorium, replacing Sammy Hagar on a multi-band bill. What memories of the gig can you share with us?

A lot of them, actually. It was the big gamble that Triumph took. It was 1977. We had one record out and it went gold in Canada. [San Antonio's] KISS-FM was playing the record as an import. We're selling records in San Antone and Corpus, a little bit in Houston. We were playing bars and high schools. A couple of what I'll call concerts, but they were $3 concerts at a place called Ontario Place, which was a summertime venue. It could hold 6,000 or 7,000 people. And the stage revolved! It was the amphitheater there, really screwed up. ( Laughs. ) So, we had a decision to make. We've got a gig in Buffalo a day or two before when we got the offer to replace Sammy. That was a big cash gig for us because it was 2,500 or 3,000 people in a club. We go, "Are we ready to play the Municipal Auditorium?" It was either 5,600 or 6,300 seats. They had sold half of 'em when we got the call. We're going, "How will we get our gear there? How are we gonna get there? How will we get work visas?" We had a group meeting and said, "You know what? Let's just go for it." We called the promoter back and said, "Yeah, let's figure out a deal. But we're gonna have to rent a ton of gear because we can't get it all there." We figured out a deal, and the show ended up selling out. And it was a pretty amazing gig. That's the preamble to it. When we walked onstage, there's three Canadian guys that were scared shitless. This is big time, right? There was a couple of record company guys showing up. The guy from Mercury Records, Cliff Bernstein, who ended up managing AC/DC and Metallica. But we're there and the gear is not working properly, and everyone's just trying to put things together. But when we walked onstage — the roar from the crowd — we just looked at each other like, "Holy shit!" Everybody's standing up. The balcony looked like it was actually moving with the crowd. We looked at each other and went, "Hmm, this might be pretty cool." Away went the fear. And we played with ultimate confidence from pretty much the first note. It showed us that we could play a big stage and turn an audience on. And that was a learning experience. And the confidence we built from that? Irreplaceable. Or as Mastercard said, "Priceless."

You mentioned concerns about visas. Former KISS DJ Lou Roney told the Current a few years ago that he had to impersonate an immigration attorney to get you into the country. He took records and T-shirts to show you were rock stars and convince the officials to give you visas.

Whatever Lou said he did, I can't deny because I wasn't there. We were able to play our gig in Buffalo with a special visa because it was a border town. For San Antonio we needed what was called an H-1 visa. You have to prove you're a superstar, blah-blah-blah-blah. And you had to be sponsored by somebody in America. They had to do the application for you. So, I guess Lou did the application as part of the deal. Him and — rest his soul — [late KISS DJ] Joe [Anthony] were kind of partners with Joe Miller, the promoter. I guess Lou did his job. I think he probably bragged about it for 10 years.

He seems to be quite a character.

The day our Just A Game  record came out [January 10, 1979], “Hold On” was all over the radio, “Lay It On The Line” follows it and is all over the radio, and I get a call from Lou. And he’s saying, “The station is for sale. We need some backers. Do you want to come in, pour some money into this deal?” I said “Well, what’s the price?” It was well under a million bucks, but we didn’t have a lot of money still. Records didn’t sell for much back in those days. They were looking for maybe a quarter-million dolllars. If I woulda had the money, I woulda gone in with them. Three years later, it sold for $12 million dollars. It’s kinda sad that never happened for Lou and Joe. They had raised some money privately, but they just couldn’t get enough.

Can you share an anecdote about Joe Anthony?

Those guys [Anthony and Roney], I call 'em the cowboys. They were a team. What I couldn't believe was when we first got there, and we got to the radio station, it looks worse than a bar band trying to plug things in. There are cords running all over the floor. In those days, KISS was both AM and FM. I think Lou and Joe had noon to six and the rest of the time was religious! Those guys had albums all over the place. They were scattered on the floor. They were everywhere. We're sitting there doing an interview and owned the station for the day, basically. And they bring in some album by some band I never heard of. Joe puts it on, and he listens for maybe — and this is live on the radio — 35 seconds, then takes the arm of the turntable and scratches across the record, pulls it off and throws it against the wall. He goes, "That's garbage. Next!" He didn't like it much. I was like, "Wow, that's pretty serious stuff." And we're rookies here. We're not the big superstars that we probably ended up being. I was like, "Wow, this is what radio's like everywhere?" Well, no. In 1977, there wasn't a lot of album rock radio. Nothing that was like KISS. Scorpions, Rush, Triumph, AC/DC ... Deep Purple. Everything. The experience there was like you went to school. Maybe you were in your third year of college, but we ended up with a master's degree in rock 'n' roll by hanging out with those guys for a day or two.

What is it about Triumph and San Antonio? One theory is that the bands you’re talking about are hard rock, which has a blue collar, working class fanbase. These aren’t bands for East Coast hipsters. What bonded Triumph and San Antonio together for all those years?

Those early days were historical in San Antonio. The bands that were around then — that are still around, as well as Triumph — have some historical significance. We have a song on the first album called “The Blinding Light Show.” It was like eight minutes long and [KISS] played the shit out of it. Nobody played eight-minutes songs on radio. Ever! Unless it was “Stairway to Heaven,” which was not even eight minutes. And it worked! It’s like it was so different. It was quiet, it was kind of avant-garde in its own way, it was advanced, it was kinda plain hard rock as well. That gave the radio station something so entirely different from the normal sound. Radio eventually evolved into a thing where everything had to sound the same, as opposed to being different. And that song was entirely different. And then they played it more and more, because the phones lit up. We were selling records on import. We didn’t have an American record deal, so all the records had to be imported.

San Antonio clearly had an outsize impact on the band’s career.

We did get a thing at the Alamo. They presented us with an award called the Emissary of the Muses. It’s like getting a key to the city. That was a special day for us. We’re standing in front of the Alamo. Ozzy pissed on the Alamo, and we got an award there. It was pretty cool. San Antonio was our second home basically, and it was nice to get that honor.

“Ozzy pissed on the Alamo and we got an award there.” Quite a contrast. The positivity of Triumph was explored in the documentary as well. It’s almost a community building thing. “Hold On.” “Never Surrender.”

That was hard to find, even when we were doing it. We’re different from everybody else. Being different is always good! Well, as long as you can handle it. If you’re too different, you get, “Well, fuck them.” ( Laughs .)

Isn’t commercially successful art like that? There’s a line. You challenge that, but you can’t go too far or people aren’t ready for it.

I agree with you. We pushed the limits because we didn’t really care, you know? This is the music we have. If people like it, great. If not, I guess we’ll all have to go to work at McDonald’s. 

Banger Films produced the highly successful Rush documentary Beyond The Lighted Stage . Did you have concerns that doing a film with them would be one more thread in the endless string of Rush comparisons?

We did enough research into Banger — and met with them — and they're the gold standard of rock docs. They've done Iron Maiden, Alice Cooper, Rush, ZZ Top. They're very professional. They had a great operation. It's not three guys with cameras. They had a building and a hundred employees. Editing bays, music supervisors, legal people. This is not some fly-by-night company. And they're [Canadian]. I told them, "You're probably the most well-researched people who've ever interviewed me." The questions make you go, "Cut the cameras here because I've gotta figure out the answers. I forgot all about that, you know. I just got reminded of something. It might have been true; it might have been false. But if you guys found it, it's probably true." We put our faith in them. They just said, "Please don't tie our hands. Please don't put something out of bounds. If there's something you guys really don't want to talk about, we'll respect that." And we said, "There's really not much that we can't talk about. It's there. It's not like it's hidden. You guys fire the cannons, and if at some point you guys got way too many cannons, we'll say, 'No we can't go there.'" But that never happened. Well, as far as I know. ( Laughs. ) I wasn't there when they were talking to Gil directly or talking to Rik directly. It was like, "Let's just do it and let these guys tell the story." There's more to this story than three guys who played in a band that got really big.

Watching the film gives one the impression that your US Festival appearance in 1983 was the high-water mark of the band's popularity.

It was the show of the '80s, really. We had an option not to do it. From a strictly concert point of view, the previous play we had in the Los Angeles area was co-headlining the Rose Bowl with Journey. We did 110,000 people. We were huge in LA, Journey was huge in LA. We tossed a coin to see who was gonna headline. Bryan Adams, who was new, was on the show. We were due for an indoor play. We were gonna put three shows at Long Beach Arena on sale. ... We were a band that made LA work. Radio was all over us. We had to make a decision: do we do the US Festival, or do we do the shows at Long Beach Arena? There were phones going everywhere. We've got [Apple co-founder and US Festival impresario] Steve Wozniak on the other line. We just went, "Wow, it's hard not to do this show." We got nice positioning on the bill. Van Halen No. 1? Yeah. Triumph number No. 2? Yeah. Scorps No. 3? Yeah. Ahead of Priest. Ahead of Ozzy. This show could be something beyond belief. [Wozniak] seriously pursued us to do it. So, we decided to do it. Please apologize to all the people in the parking lot of Long Beach Arena that are buying tickets, you know? It was a tough call. But I'm glad we did it.

One of the moments from the movie that stuck with me is when former Skid Row frontman — and fellow Canadian — Sebastian Bach is talking about the band and he says, “The drummer is the frontman!” That was funny because, in a certain way, you  are the frontman. On the Stages  live album, you introduce the songs, you introduce the band members. You say, “Triumph loves you!” Which, of course, is the band’s signature sign-off. Is that a sign that Triumph is a real partnership?

I was the ringmaster, like in the Barnum & Bailey Circus. I was in charge of herding the audience. I would keep them on the edge of their seats, or tell them to relax right now. I’d say, "Climb up on your seats now" or “Clap your hands on the left” or “Clap your hands on the right.” I was in charge of the non-musical entertainment for the audience, so to speak.

How does one audition to become the ringmaster for Triumph?

Somebody’s gotta talk to the audience. Rik wasn’t very good at it. Gil was way behind, so it was hard for him. That’s why Sebastian said, “Gil comes out front.” We needed to get him recognized a little bit. But, in general, on an every-show basis, I was out front, I could talk. That was important too. The communication level between the band and the audience wasn’t just musical or emotional. It was also, “Let’s have a good time together.” Thus, the ringmaster.

Another surprising moment from the film was when Gil said, “I never liked my own voice.” How did you feel when he said that?

It’s something that I knew. I was in the control room for 99% of the records. I had to produce everything. And Gil would go, “You know, I gotta go home. I don’t feel good. I’m not singing well. I hate the sound of my voice.” That would happen every once in a while. Then he’d go and hire a vocal coach. And he got better at singing too. But I hate the sound of my voice. I’ll never listen to a radio interview, ever. I hate the sound of my voice. When I hear, “Triumph loves you!” it’s like, “I hate the sound of my voice.”

What happened with the album Progressions Of Power ? That one doesn’t have a “Magic Power” or a “Hold On” that carried the live set.

“I Live for the Weekend” was in the show forever. But for that record, we went for a much liver sound. ... There was tape on drums and stuff. That was a great-sounding record, and I loved it. But it sounded like a studio record. We thought it was time to make it a little more energetic and a little more lively sounding. The drums were recorded in a loading bay. Ambient mics were everywhere. It was an experiment. We had record company issues. Personally, I like the record a lot. It’s a question of did it get enough exposure; did the fans really like it? I put my head up and go, “I blame the record company. It’s all their fault.” ( Laughs .)

Why did you drop “The Blinding Light Show” from the live setlist as your career progressed?

It came because we had so much more material at that point. You had to make choices, otherwise you’d be playing for much too long. You gotta remember that we’re a three-piece band, and anything more than 75 or 80 minutes, we couldn’t handle. It was too hard to play guitar and sing for Rik for extended periods of time, and play drums and sing if you’re Gil Moore. Me, I didn’t sing. So, it didn’t matter to me; I could have played forever. We had to make choices for the pacing of the show, including whatever the most popular songs were from the most recent albums. It’s kinda like you’re a radio station on stage. You have to eventually drop some songs. It was a long song, and it was the centerpiece of our show for so long that we had to develop some freshness for newer fans who may not even have known that song, you know? It was a matter of programming. How do you program a set and keep interest up, keep it flowing — the highest highs, the lowest lows — and then you build on the way out. That’s what Triumph was about too. It wasn’t just the music. It was the entertainment value and how you can manipulate the audience with what you did.

Sport Of Kings  seems no to be a favorite among the band members. And yet, on that tour, “Tears in the Rain” and “Somebody’s Out There,” led off the show. Why give such prominent placement to songs that you had mixed feelings about?

We were like, “I wonder if anybody likes these songs? Are they gonna throw tomatoes at us?” I’m making that up. ( Laughs .) On prior records, that’s how we did it too. For example, “Spellbound” and “Follow Your Heart” off of Thunder 7 . They didn’t exactly open the show, but, nonetheless, they were prominent. For Sport Of Kings , we decided, “Let’s just showcase this.” I loved that show. I would go onstage early just to watch the opening with the center of the arena. [The lasers] were just projecting . If I were a younger person that was in the audience, I’d go, “This is fucking amazing !”

Rik left the band after Surveillance . If he hadn’t left, where would your career have headed?

Honestly, I don’t have an answer to that question. I don’t know. If Rik hadn’t made that decision, perhaps Gil might have made that decision. Or I might have made that decision too. There’s some interesting stuff in the movie that addresses that, so let’s not expose it. It’s kinda fun to find out. But it’s one of those things where you go to the dentist and get your teeth cleaned and maybe you need a filling. It’s another thing when you go to the dentist and you need a root canal. We had a nice run. We were 12, 13, 14 years [in], whatever that was. It never came to the point where we went to the studio going, “Fuck, this feels like a root canal.” And it’s not because we didn’t like each other or anything. It’s like the tanks were running on empty or something. You can only do so much, and I don’t care who you are. The Rolling Stones can do it because they’ve got Mick Jagger, you know? And Keith Richards can get his blood replaced every two years. And The Who can do their final tour for the 95th time. I went to the first final tour, and I still have my backstage pass for that. I went, “If this is the last time The Who is ever gonna play, I have to be there.” Of course, two years later the tour was still going, and they’re back in Toronto again. And then again. And then again. And again. And again. It never ended. The problem is that those guys got so rich that they all had houses all over the world. They had huge staffs, they had airplanes. They have to keep making big dough. We never made the hundreds of millions of dollars that those guys made. We did good, but we weren’t part of the originators. They were originals. We were kind of the follow-on. You know, Jimi Hendrix and Janis Joplin, had they still been alive, would’ve been like The Who and the Rolling Stones.

There were reunion gigs in 2008: the Sweden Rock Festival and Rocklahoma. At the time, there was muttering online that you might fully get back together. What would have to happen to get the three of you on a full tour?

We would need to have the best medical people around us. ( Laughs .) All the ails of 70-year-olds that have been on the road to rock ‘n’ roll — playing loud music, sucking in flash powder smoke and dry ice smoke for years — to try to get us well enough to do 30 shows. In 2008, we had 30 shows done  in Canada. That were already booked. And there were like 40 shows booked in America at that point. And then the recession hit. And it lasted through 2008, 2009 and most of 2010. When 2011 came, Live Nation called and the individual promoters said, “What do you think?” We went, “Eh, probably not.” We’re now three-and-a-half years older. We’ve got whatever ailments we’ve got, and it was never about the money. It was always about the legacy more than anything. Could we have made a bunch of money? Yes. But it would’ve been embarrassing if we only did half-houses with the recession, with the Rust Belt in the Midwest, even San Antonio. You name it, everyone was hurting. No one can afford to go to concerts when they’ve lost their jobs. It’s horrible. So, we just went, “Let’s take if off the table.” And every year the offers would come in, to go do some stadium shows. And it’s way too much work to do that, to get a crew, rehearse, to go out and do four shows. And it wouldn’t be our show. We’d just be part of a package. It would be like doing another US Festival or something. The fans would want to see us indoors, with the big show, and if we didn’t do it that way, then there’s no point.

What would you like to be Triumph’s legacy?

I’m amazed we have a legacy so far, to be honest. When the band started, if someone told me that some radio station, almost 50 years from now, is gonna play your original records from 1975, I’d go, “You gotta be fucking kidding me.” That being said, because I’m still in touch with all the quote-unquote “radio gurus” that are still around from the old days. They said there’s always gonna be a market for what they call evergreen titles. They say, “You guys have five or six songs that will never go away.” They say, “What happened to rock bands?” I say, “What happened to guitar solos on records?” I feel that we hit a really good time during our career and that everybody was really good. And if you weren’t really good, you got thrown out and you were gone. You had to have a rock star guitar player that could play, that could at least try to compete. You had to have a really good singer. You had to have really good songs. If the song didn’t have a guitar solo, it wasn’t a song anymore. You look at the Eagles. Name me a song that didn’t have a guitar solo in it. They’re the biggest band of all time now, right? Every one of those songs has a guitar solo in it. And every one of those solos has a melody to it. It’s like another lyric to the song. It takes the music to the next level. And that’s what we tried to do with Rik. The guitar solo in “Lay It On The Line” is a defining solo because the fans could sing every lick in it. He and I worked hard on that, figuring that out. There was an Eagles influence, there was a Joe Walsh influence, there was a Glenn Frey influence. It’s still music and it still needs to have that sing along, even though it’s hard rock music. And then radio will play it, and the fans will go, “It goes this way.”

There are emotional, personal moments in the film. It’s one thing to be talking about that stuff, but it’s another thing to know people are seeing it. The film has already been streaming in Canada, and it’s about to premiere in the U.S. How does it feel to know that people have witnessed these personal moments?

I’m totally fine with that. I don’t have an issue at all. If you’re part of the public — which we are —I t’s just the way it is. When somebody comes up and you’re at a restaurant. You’ve got a piece of steak in your mouth and some woman comes over and hits you on the arm and says, “Hey, sign this for my kid!” You want to tell her to go fuck herself, right? ( Laughs .) “Wait until I’m finished eating! Have some respect!” But you go, “Please come back,” you know? And then you sign her stuff later. Once you’re a public figure, you have to accept what happens. There’s no way to deny it. It’s kind of like being the president of the United States. You’re always  the president of the United States. Mike Levine will never be Mike Levine. He will always be Mike Levine of Triumph. You look at that, and it’s an honor to be there. You have to live with that. You can’t be an asshole. I was at the grocery store the other day. And even with a mask on the butcher came up to me and said, “Hey man, can you sign this?” He had an album. A vinyl album.

What, just laying around? In case you happened to randomly come by?

He knows I shop there! So, I just say, “Sure. Anything else you want me to sign?” I don’t have a problem with that. 

Triumph: Rock And Roll Machine , $19.95, premeires at 7:30 p.m., Friday, May 13, available on demand through May 30, nugs.net .

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