1 00:00:01,067 --> 00:00:04,371          (gentle music)          2 00:00:02,000 --> 00:00:07,000 Downloaded from YTS.BZ 3 00:00:06,539 --> 00:00:07,674    Sebastian Bach:                  All right,                       here it is,                   4 00:00:07,707 --> 00:00:09,075         this is the song.        5 00:00:08,000 --> 00:00:13,000 Official YIFY movies site: YTS.BZ 6 00:00:11,378 --> 00:00:12,579               This               7 00:00:13,880 --> 00:00:15,682          fuckin' rules.          8 00:00:15,715 --> 00:00:17,183             This is-             9 00:00:17,217 --> 00:00:19,719    (guitar strings strumming)    10 00:00:19,753 --> 00:00:21,755         This is beautiful                   to me, man.           11 00:00:21,788 --> 00:00:25,425        (soft guitar music)       12 00:00:25,458 --> 00:00:30,930         ("24 Hours A Day"                   by Triumph)           13 00:00:30,964 --> 00:00:34,267          ♪ I'll tell you                    sweetly now           14 00:00:34,300 --> 00:00:37,771 ♪ Why I can't                    come to bed                      15 00:00:37,804 --> 00:00:41,241 ♪ I'm listening                  to the music                     16 00:00:41,274 --> 00:00:43,943 ♪ That's playing                 in my head ♪                     17 00:00:43,977 --> 00:00:46,579         Okay, let's talk                  about Triumph.          18 00:00:46,613 --> 00:00:47,580            (hand clap)           19 00:00:47,614 --> 00:00:48,581               Boom.              20 00:00:48,615 --> 00:00:49,582             Bubbles:                      Are you rolling?        21 00:00:49,616 --> 00:00:50,583       Fuckin' roll 'er up!       22 00:00:50,617 --> 00:00:52,619       Triumph documentary.       23 00:00:52,652 --> 00:00:54,454        Take one, mark it.                   (hand clap)           24 00:00:54,487 --> 00:00:55,622    (guitar strings strumming)    25 00:00:55,655 --> 00:00:57,123              John 5:                      I was obsessed,                     you know.            26 00:00:57,157 --> 00:00:59,325           I had to see                    this band live.         27 00:00:59,359 --> 00:01:04,064 ♪ I see myself up on             the stage and holding ♪          28 00:01:04,097 --> 00:01:06,232         Sebastian Bach:                 Triumph were gods                    in our town.          29 00:01:06,266 --> 00:01:08,735             John 5:                     I knew every song             and I bought the shirt.      30 00:01:08,768 --> 00:01:10,070           Oh, that's my                   old shirt, man.         31 00:01:10,103 --> 00:01:11,905         I think I had the              coolest one, though.       32 00:01:11,938 --> 00:01:13,740           Short-sleeved               sweatshirts were cool.      33 00:01:13,773 --> 00:01:17,243 ♪ It's late                      at night and                     I can't sleep                    34 00:01:17,277 --> 00:01:22,082 ♪ I gotta write some             rock and roll ♪                  35 00:01:22,115 --> 00:01:23,416              John 5:                        I was like,           36 00:01:23,450 --> 00:01:26,619      how are these guys not           as big as Led Zeppelin?     37 00:01:26,653 --> 00:01:27,787         (crowd cheering)         38 00:01:27,821 --> 00:01:31,124           Announcer:                  Please welcome from                  Toronto, Canada,        39 00:01:31,157 --> 00:01:33,126      the rock and roll machine,    40 00:01:33,159 --> 00:01:34,127              Triumph!            41 00:01:34,160 --> 00:01:35,328         (crowd cheering)         42 00:01:35,361 --> 00:01:37,464           Gil Moore:                    I'd like to see some             hands in the air!         43 00:01:37,497 --> 00:01:39,632         I wanna see some              allied forces out there     44 00:01:39,666 --> 00:01:40,633          making a little                   bit of noise,          45 00:01:40,667 --> 00:01:41,868        you know what I'm                   talking about?         46 00:01:41,901 --> 00:01:44,304    Live rock and roll should be     big and great and fantastic.    47 00:01:44,337 --> 00:01:46,306           Rik Emmett:                    That's the element                 of rock and roll         48 00:01:46,339 --> 00:01:49,476     that keeps adolescent             youth so gonzo about it.    49 00:01:49,509 --> 00:01:51,478           Do you wanna                    rock and roll?!         50 00:01:51,511 --> 00:01:53,980          Mike Levine:                 That gathering of 14,000       people in a hockey rink       51 00:01:54,013 --> 00:01:55,148                  is the epitome                   of what we do.  52 00:01:55,181 --> 00:01:56,816         Lawrence Gowan:              They had so many lights      53 00:01:56,850 --> 00:01:58,518     it looked like a used                 car parking lot.        54 00:01:58,551 --> 00:02:00,954          Brian Posehn:                   A lot of Flying-Vs            and feathered hair.         55 00:02:00,987 --> 00:02:03,123            Bubbles:                      Rik Emmett wore                really tight pants.        56 00:02:03,156 --> 00:02:06,626          Danko Jones:             And there's Levine rockin' a     'stache in a hockey jersey.     57 00:02:06,659 --> 00:02:07,961            How Canadian                     can you get?          58 00:02:07,994 --> 00:02:09,629           These guys are            from Torontoch:               59 00:02:09,662 --> 00:02:11,331           and they're                     blowing shit up!        60 00:02:11,364 --> 00:02:12,332         (hard rock music)              (explosions booming)       61 00:02:12,365 --> 00:02:15,301           Announcer:                Triumph! Triumph! Triumph!    62 00:02:15,335 --> 00:02:17,971           Gil Moore:                  Overkill has always been       one of my philosophies.       63 00:02:18,004 --> 00:02:20,140       (explosions booming)               (people cheering)        64 00:02:20,173 --> 00:02:21,307               Fan:                     Triumph is number one!     65 00:02:21,341 --> 00:02:23,309          Eddie Trunk:                      And I was just                   like, whoa!            66 00:02:23,343 --> 00:02:25,145         This jumped out of                the radio at me.        67 00:02:25,178 --> 00:02:27,313       ♪ Lay it on the line       68 00:02:27,347 --> 00:02:29,482         Steve Wozniak:              Triumph stood out a little      bit special and different      69 00:02:29,516 --> 00:02:31,084      and put on a great show.    70 00:02:31,117 --> 00:02:34,020          John Roberts:            Suddenly people realized this     Canadian music is damn good    71 00:02:34,053 --> 00:02:36,422          and we should be           promoting it to the world.    72 00:02:36,756 --> 00:02:38,691             John 5:                     They just kept going           and going and going         73 00:02:38,725 --> 00:02:40,927   and then all of a sudden,                  that's it.           74 00:02:44,397 --> 00:02:47,700           Nancy Inch:               That day changed the life        of a Triumph fan forever.     75 00:02:47,734 --> 00:02:49,202              Man:                      We never got to say                goodbye to them          76 00:02:49,235 --> 00:02:51,704     and they never got to                say goodbye to us.       77 00:02:51,738 --> 00:02:54,073    Paulette Borkowski:              And wmissing something.       78 00:02:54,107 --> 00:02:56,376         (loud rock music)        79 00:02:56,409 --> 00:02:58,211        Gil Moore:                       (shouting)                    Triumph loves you!           80 00:02:58,244 --> 00:03:08,188         (crowd cheering)         81 00:03:18,565 --> 00:03:21,534           Gil Moore:                     Metalworks is like               Triumph's home.          82 00:03:21,568 --> 00:03:24,370        We came here in the               early part of '78.       83 00:03:24,404 --> 00:03:26,372     You know, we're now the       oldest studio in the country,   84 00:03:26,406 --> 00:03:27,707      believe it or not,               yeah.                       85 00:03:27,740 --> 00:03:28,908            Hey, Marc.            86 00:03:29,409 --> 00:03:31,077        But it doesn't feel              like coming to work.      87 00:03:31,110 --> 00:03:33,112     You know, I come here         'cause this is where I hang.    88 00:03:34,080 --> 00:03:37,217    ("Magic Power" by Triumph)    89 00:03:37,250 --> 00:03:41,588 Gil Moore:                       This is really the only piece of Metalworks that's as it was.     90 00:03:42,455 --> 00:03:45,291     It's like an old violin             or an old guitar.         91 00:03:45,792 --> 00:03:47,927       The character of this           room will never change,     92 00:03:47,961 --> 00:03:51,798      it'll be here until the           building's torn down.      93 00:03:51,831 --> 00:03:54,634  You know, obviously Triumph           was the genesis of it,     94 00:03:54,667 --> 00:03:57,437           but the studio                  itself has been         95 00:03:57,470 --> 00:03:59,606          part of a lot of                recording stories,       96 00:03:59,639 --> 00:04:02,242             you know,                    over forty years.        97 00:04:02,275 --> 00:04:04,377        All the artists that            have come through here     98 00:04:04,410 --> 00:04:07,046     and the music they've             made that's on the radio    99 00:04:07,080 --> 00:04:09,549     or Spotify or wherever,      100 00:04:09,582 --> 00:04:11,417          it makes it part                  of history.            101 00:04:15,455 --> 00:04:16,589          Self-admittedly,        102 00:04:16,623 --> 00:04:18,124        I'm just a pack rat.      103 00:04:18,157 --> 00:04:20,760     The band would be going         from city to city to city     104 00:04:20,793 --> 00:04:22,595          and Mike and Rik             would always think,         105 00:04:22,629 --> 00:04:25,098      oh, there goes Gil packing      a flight case full of stuff  106 00:04:25,131 --> 00:04:26,966      to take back to Toronto.    107 00:04:27,000 --> 00:04:29,602          Just goes on and                on and on and on.        108 00:04:29,636 --> 00:04:31,638         We collected an                unbelievable amount        109 00:04:31,671 --> 00:04:35,775          of historical                information on the band.    110 00:04:35,808 --> 00:04:38,778    Cassettes, press clippings,           boxes and boxes.         111 00:04:38,811 --> 00:04:40,280    Not for sale Triumph album.   112 00:04:40,313 --> 00:04:41,281           Master tapes.          113 00:04:41,314 --> 00:04:42,282            A postcard.           114 00:04:42,315 --> 00:04:43,283         Backstage passes.        115 00:04:43,316 --> 00:04:44,317        Piles of fan mail.        116 00:04:44,350 --> 00:04:45,485             A mobile.            117 00:04:45,518 --> 00:04:46,986        So these would hang               in record stores.        118 00:04:47,020 --> 00:04:48,655   A Rock and Roll Machine poster.  119 00:04:48,688 --> 00:04:52,191         An original Attic              "Magic Power" vinyl.       120 00:04:52,225 --> 00:04:53,192              A dub.              121 00:04:53,226 --> 00:04:54,193          Junk. Sticker.          122 00:04:54,227 --> 00:04:55,194             T-shirts.            123 00:04:55,228 --> 00:04:56,996         This is amazing.         124 00:04:57,030 --> 00:04:58,164           What that is,          125 00:04:58,197 --> 00:05:02,602       is an original first           generation Triumph shirt.    126 00:05:02,635 --> 00:05:04,437    I think we sold them for,     127 00:05:04,470 --> 00:05:06,806 if I'm not mistaken,             it was about six bucks.          128 00:05:08,141 --> 00:05:11,144    Yeah, try to buy a Beyonce          shirt for six bucks.       129 00:05:13,479 --> 00:05:14,614             Oh my God.           130 00:05:14,647 --> 00:05:18,685     I don't think I've heard        this for 25 years at least.   131 00:05:18,718 --> 00:05:20,320        This was the very               first one for Triumph.     132 00:05:20,353 --> 00:05:22,322       This went number one              in Dryden, Ontario,       133 00:05:22,355 --> 00:05:23,890           isn't that an                  interesting fact?        134 00:05:25,525 --> 00:05:27,060            Who goes to                 number one in Dryden?      135 00:05:27,694 --> 00:05:32,699    ♪ I took you in and tried        to make you feel at home ♪    136 00:05:33,199 --> 00:05:34,834            Gil Moore:                      Sounds like a                  really young guy.        137 00:05:34,867 --> 00:05:36,502    So that's the first thing        that goes through my head.    138 00:05:36,536 --> 00:05:37,704           I never liked                    my own voice           139 00:05:37,737 --> 00:05:39,339          but, you know,                  that guy's young,        140 00:05:39,372 --> 00:05:40,840         that's for sure.         141 00:05:40,873 --> 00:05:41,841        Sounds like a kid.        142 00:05:41,874 --> 00:05:42,842            (chuckles)            143 00:05:42,875 --> 00:05:47,046        ("Hobo" by Triumph)       144 00:05:47,080 --> 00:05:48,214           Gil Moore:                   When I was a teenager,     145 00:05:48,247 --> 00:05:49,682          I was trying to                   get into bands         146 00:05:49,716 --> 00:05:53,386  with musicians who were five,     six years older than I was,    147 00:05:53,419 --> 00:05:56,055      and they were far more             skilled than I was,       148 00:05:56,089 --> 00:05:58,891     so it took a lot of nerve       just to kind of, you know,    149 00:05:58,925 --> 00:06:00,827         show up and try to                get in the band.        150 00:06:00,860 --> 00:06:03,529      But eventually I finally            passed an audition       151 00:06:03,563 --> 00:06:05,331            and I joined                   Mondo Plus Four,        152 00:06:05,365 --> 00:06:08,000    went from Mondo Plus Four          to Sherman and Peabody,       153 00:06:08,034 --> 00:06:11,838 and Sherman and Peabody morphed       into Abernathy Shagnaster,    154 00:06:11,871 --> 00:06:13,840    it was all very hard rock.    155 00:06:13,873 --> 00:06:15,007     We'd come into schools,      156 00:06:15,041 --> 00:06:16,876          full-on Marshall            stacks on both sides,        157 00:06:16,909 --> 00:06:18,344      two lead guitar players,    158 00:06:18,378 --> 00:06:21,013       louder than, you know,             Iron Butterfly.          159 00:06:21,047 --> 00:06:25,918           (rock music)           160 00:06:25,952 --> 00:06:27,754           Gil Moore:              Teachers go like this and go,              you know,             161 00:06:27,787 --> 00:06:29,422        can't you play some                Beatles covers?         162 00:06:29,455 --> 00:06:30,423          Or agents said,         163 00:06:30,456 --> 00:06:32,392         can't you guys get                 matching suits         164 00:06:32,425 --> 00:06:34,060          and then we can                 book you in bars?        165 00:06:34,093 --> 00:06:36,396        So I figured out how              to become an agent       166 00:06:36,429 --> 00:06:37,897    and get an agent's licence    167 00:06:37,930 --> 00:06:41,067      and get aggressive about           booking my own band.      168 00:06:41,100 --> 00:06:43,736        That was kind of the        beginning of me thinking,      169 00:06:43,770 --> 00:06:45,905         when the industry               tells you something       170 00:06:45,938 --> 00:06:47,940       and they say go east,                 I go west.            171 00:06:48,775 --> 00:06:50,743        And that was kind of             a pivotal moment.         172 00:06:50,777 --> 00:06:53,079            (explosion)                   (glass breaking)         173 00:06:53,112 --> 00:06:54,580           Gil Moore:                      Back then it was                experimenting with       174 00:06:54,614 --> 00:06:56,582          different types                 of homemade pyro,        175 00:06:56,616 --> 00:06:58,584         building speakers,               buying amplifiers.       176 00:06:58,618 --> 00:07:02,221      And I bought a truck to           move the stuff around.     177 00:07:02,255 --> 00:07:03,556      One thing led to another    178 00:07:03,589 --> 00:07:05,057    and that's how I met Mike.    179 00:07:05,091 --> 00:07:06,058           (rock music)           180 00:07:06,092 --> 00:07:07,794            (explosion)                   (glass breaking)         181 00:07:08,261 --> 00:07:10,396        Okay, let's get the              timeline chart out,       182 00:07:10,430 --> 00:07:11,531          the whiteboard.         183 00:07:11,597 --> 00:07:13,232  Gil may have a whole different       timeline than I do, so-     184 00:07:13,266 --> 00:07:14,233               Man:                          That's okay.          185 00:07:14,267 --> 00:07:16,068      I am always right,               he is always wrong.         186 00:07:16,102 --> 00:07:17,403            (laughter)            187 00:07:17,437 --> 00:07:22,241        (groovy 60s music)        188 00:07:22,275 --> 00:07:25,244          Mike Levine:                 I grew up playing piano,             guitar and bass.        189 00:07:25,278 --> 00:07:27,914      And by the early 70s,       190 00:07:27,947 --> 00:07:29,081    I had been in lots of bands   191 00:07:29,115 --> 00:07:30,917      which just went nowhere,    192 00:07:30,950 --> 00:07:33,786     so being a professional             gigging musician,         193 00:07:33,820 --> 00:07:34,987       not on my dance card.      194 00:07:35,021 --> 00:07:39,492          (upbeat music)          195 00:07:39,525 --> 00:07:42,628          Mike Levine:              So then I started working              at a record label.       196 00:07:42,662 --> 00:07:44,464      So I learned a lot about         the record business         197 00:07:44,497 --> 00:07:47,467      and I got to know people         that made the music         198 00:07:47,500 --> 00:07:49,302          and people that                promoted the music,       199 00:07:49,335 --> 00:07:51,804      that had to put the               records in their trunk     200 00:07:51,838 --> 00:07:54,640  and put hundred dollar bills             into the sleeves        201 00:07:54,674 --> 00:07:57,677     and they gave them to radio       guys to get it on the air.  202 00:07:59,679 --> 00:08:01,948  For young a kid to be around       these professional guys       203 00:08:01,981 --> 00:08:03,950     that make huge records,      204 00:08:03,983 --> 00:08:06,786      taught me a lot about          how the people at the top     205 00:08:06,819 --> 00:08:09,121      don't start at the top,         they start at the bottom,    206 00:08:09,155 --> 00:08:10,490    and it's a lifetime of work   207 00:08:10,523 --> 00:08:12,458       up to the point where             you're successful.        208 00:08:12,492 --> 00:08:17,129         (70s rock music)         209 00:08:17,163 --> 00:08:18,130           Mike Levine:                    When I met Gil,         210 00:08:18,164 --> 00:08:19,632          he booked bands                 and he had a band        211 00:08:19,665 --> 00:08:21,634      and I had a PA business,    212 00:08:21,667 --> 00:08:23,636           the equipment                  was in his garage        213 00:08:23,669 --> 00:08:26,639      and at that point I            was also quasi-co-managing    214 00:08:26,672 --> 00:08:27,974    a band called Motherlode,     215 00:08:28,007 --> 00:08:30,009         and I used to rent                 stuff off Gil.         216 00:08:32,879 --> 00:08:34,514         Broken down stuff               that he rented me,        217 00:08:34,547 --> 00:08:35,815          it didn't work                    half the time          218 00:08:35,848 --> 00:08:39,018  and I'd have to take it back       and get new stuff off him.    219 00:08:39,051 --> 00:08:40,853           But we became                   kind of buddies         220 00:08:40,887 --> 00:08:42,054           and I realized                 that he was smart,       221 00:08:42,088 --> 00:08:43,923           except he had                    lousy PA gear.         222 00:08:44,090 --> 00:08:48,361    ♪ Everything I did for ya        always turned out wrong ♪     223 00:08:48,394 --> 00:08:50,363           Gil Moore:                At that point in my band,     224 00:08:50,396 --> 00:08:52,198    the musicians kept changing   225 00:08:52,231 --> 00:08:54,734      and I knew that Mike was       a really good bass player.    226 00:08:55,935 --> 00:08:57,537    So I called Mike and I go-    227 00:08:57,570 --> 00:08:59,205      Can you do me a favour?     228 00:08:59,238 --> 00:09:01,307          I'm in-between                    bass players,          229 00:09:01,340 --> 00:09:02,975           my guy quit,           230 00:09:03,009 --> 00:09:03,976        would you fill in?        231 00:09:04,010 --> 00:09:04,977     It's not a serious band,     232 00:09:05,011 --> 00:09:06,145           we don't play                   original music,         233 00:09:06,178 --> 00:09:07,313     we just play some covers.    234 00:09:07,346 --> 00:09:08,481      You know all the songs,     235 00:09:08,514 --> 00:09:09,815         you can play them                 in your sleep.          236 00:09:09,849 --> 00:09:11,317       I said no. Next call.      237 00:09:11,350 --> 00:09:12,318           (phone rings)          238 00:09:12,351 --> 00:09:13,553      It's only three weeks.      239 00:09:13,586 --> 00:09:15,187      It's really low stress      240 00:09:15,221 --> 00:09:16,722        and we make pretty                   good money.           241 00:09:16,756 --> 00:09:18,858           I need help,                 I can't find anybody.      242 00:09:18,891 --> 00:09:20,359        No, not interested.       243 00:09:20,393 --> 00:09:22,028         So I got all this                sound equipment.         244 00:09:22,061 --> 00:09:23,062     Sorry, I can't help you.     245 00:09:23,095 --> 00:09:24,697      We got Marshall stacks.     246 00:09:24,730 --> 00:09:25,698         Blah, blah, blah.        247 00:09:25,731 --> 00:09:26,699       We got lots of jobs.       248 00:09:26,732 --> 00:09:27,700          Wah, wah, wah.          249 00:09:27,733 --> 00:09:29,035 I've got jobs and jobs and jobs. 250 00:09:29,068 --> 00:09:30,736    I can't take him calling me   251 00:09:30,770 --> 00:09:32,538         and badgering me                 about it anymore.        252 00:09:32,572 --> 00:09:34,874         Jobs and jobs and                 jobs and jobs.          253 00:09:34,907 --> 00:09:36,909           He basically,                power of persuasion,       254 00:09:36,943 --> 00:09:37,910        talked me into it.        255 00:09:37,944 --> 00:09:40,046        (rock guitar riff)        256 00:09:40,079 --> 00:09:41,581           Mike Levine:                       Well, the                     money was okay.         257 00:09:41,614 --> 00:09:44,050       We were playing cover            songs in high schools,     258 00:09:44,083 --> 00:09:45,217           but it was fun         259 00:09:45,251 --> 00:09:47,253         and I realized how               much I missed it.        260 00:09:48,621 --> 00:09:50,756       That's when Gil and I            started chatting about     261 00:09:50,790 --> 00:09:52,592    let's do something serious.   262 00:09:52,625 --> 00:09:54,260          What if we took                  one more shot,          263 00:09:54,293 --> 00:09:55,494        like really dug in.       264 00:09:55,528 --> 00:09:57,930          Mike Levine:                   The vision was to               create a superstar,        265 00:09:57,964 --> 00:10:00,600           arena-filling,          three-piece hard rock band.     266 00:10:00,633 --> 00:10:03,135           Gil Moore:                    But our part-time              band that we play in,       267 00:10:03,169 --> 00:10:04,637      that's not gonna be it.     268 00:10:04,670 --> 00:10:06,939        Plus, Attic Records           had written us a cheque,     269 00:10:06,973 --> 00:10:08,207       we had a record deal.      270 00:10:08,240 --> 00:10:11,611            Sam Dunn:                  How did you get a record           deal without a band?      271 00:10:11,644 --> 00:10:13,613      I have no fucking idea.     272 00:10:13,646 --> 00:10:14,814        Honestly, it's like,      273 00:10:14,847 --> 00:10:16,682    I'm a pretty good salesman.   274 00:10:18,851 --> 00:10:20,486        (upbeat rock music)       275 00:10:20,519 --> 00:10:22,321           Gil Moore:                 Mike and I really had               the eye of the tiger      276 00:10:22,355 --> 00:10:26,692      and we went searching for        this, you know, god on gui. 277 00:10:26,726 --> 00:10:29,328          We're picturing               like a Jimmy Hendrix,      278 00:10:29,362 --> 00:10:32,198          and, uh, that's                 not easy to find.        279 00:10:32,231 --> 00:10:35,334      ♪ I've been searching           since you first left me      280 00:10:35,368 --> 00:10:39,372          ♪ Trying to find                 someone new ♪           281 00:10:41,240 --> 00:10:42,541            (dog barks)           282 00:10:42,708 --> 00:10:43,843                          Marc:        Hello.                      283 00:10:43,876 --> 00:10:45,044                How are ya, man?  284 00:10:46,712 --> 00:10:48,848            No, no, no,                     that's Pico.           285 00:10:48,881 --> 00:10:50,149            (dog barks)           286 00:10:50,216 --> 00:10:51,884           Rik Emmett:                All right, you're gonna            go up to your cart.        287 00:10:52,785 --> 00:10:59,759        (soft guitar music)       288 00:10:59,792 --> 00:11:10,336                ♪                 289 00:11:10,369 --> 00:11:11,671           Rik Emmett:                In the early seventies,      290 00:11:11,704 --> 00:11:15,508       I was still living at             home with my parents      291 00:11:15,541 --> 00:11:19,412      and my girlfriend and I wad      to move out and be togethe. 292 00:11:21,047 --> 00:11:22,048           By this time,          293 00:11:22,081 --> 00:11:24,350         I'd been in bands                 that had played         294 00:11:24,383 --> 00:11:27,053     straight mainstream-ish              kinds of music,          295 00:11:27,086 --> 00:11:29,889      so I was disenchanted.      296 00:11:29,922 --> 00:11:32,591         Plus, I-I really                   wanted to be           297 00:11:32,625 --> 00:11:35,761       in something that was          playing progressive rock.    298 00:11:35,795 --> 00:11:41,901        (rock guitar music)       299 00:11:41,934 --> 00:11:43,736           Rik Emmett:                    Act III, and it                   was progressive,        300 00:11:43,769 --> 00:11:46,405       but we were playing              way over our heads.        301 00:11:46,439 --> 00:11:47,740           Yes medleys,           302 00:11:47,773 --> 00:11:49,075           King Crimson,          303 00:11:49,108 --> 00:11:50,076           Gentle Giant.          304 00:11:50,109 --> 00:11:52,244         (hard rock music)        305 00:11:52,278 --> 00:11:53,913           Neill Dixon:                   Because we booked                  so many clubs          306 00:11:53,946 --> 00:11:57,249      and I was out looking            at bands every night,       307 00:11:57,283 --> 00:11:59,952         as soon as I came                 across Act III,         308 00:11:59,985 --> 00:12:02,588    I knew that this was going         to be a happening band      309 00:12:02,621 --> 00:12:04,890          and they were                building a reputation       310 00:12:04,924 --> 00:12:06,726           quite quickly                   because of Rik,         311 00:12:06,759 --> 00:12:08,761            so there was                  some notoriety.          312 00:12:08,794 --> 00:12:10,763         If you're looking              for a guitar player,       313 00:12:10,796 --> 00:12:13,899      there's only a handful           of great guitar players     314 00:12:13,933 --> 00:12:15,234          and he was one                    of the best.           315 00:12:15,267 --> 00:12:17,937        (rock guitar riff)        316 00:12:17,970 --> 00:12:19,238            Rik Emmett:                     Gil and Mike,          317 00:12:19,271 --> 00:12:21,607          they had posters                 already printed         318 00:12:21,640 --> 00:12:23,242        and the word was out             along the grapevine       319 00:12:23,275 --> 00:12:25,411        that there was this             thing called Triumph       320 00:12:25,444 --> 00:12:28,280         that was trying to                find guitarists.        321 00:12:29,949 --> 00:12:31,951         I remember playing           that Hollywood Tavern        322 00:12:31,984 --> 00:12:35,955       and there's two lanky,      skinny guys with long hair.     323 00:12:35,988 --> 00:12:37,623          Those guys look                  like musicians.         324 00:12:37,656 --> 00:12:39,291         Why are they here?       325 00:12:39,325 --> 00:12:42,461      Levine just looked like            something biblical,       326 00:12:42,495 --> 00:12:44,463            like really,                   really long hair        327 00:12:44,497 --> 00:12:47,333          and then this               incredibly thick beard.      328 00:12:47,366 --> 00:12:48,968          And Gil was a                    tall, skinny guy        329 00:12:49,001 --> 00:12:51,137       and he was wearing one           of those hats of his.      330 00:12:51,170 --> 00:12:52,972          He knew we were                  looking at him          331 00:12:53,005 --> 00:12:55,508          and his playing                  was phenomenal.         332 00:12:55,541 --> 00:12:56,842          Mike Levine:               Visually, he was awesome;     333 00:12:56,876 --> 00:12:58,477      singing, he was awesome.    334 00:12:58,511 --> 00:13:01,247           Rik Emmett:                 During my performance             I did a flying kick        335 00:13:01,280 --> 00:13:02,915      and my shoe came off.       336 00:13:02,948 --> 00:13:05,251           Gil Moore:                    And the shoe goes              flying across the stage,    337 00:13:05,284 --> 00:13:07,319         miraculously he                 doesn't miss a beat.      338 00:13:07,353 --> 00:13:08,320          I look at Mike,         339 00:13:08,354 --> 00:13:09,455            he looks at                     me and we go,          340 00:13:09,488 --> 00:13:10,456            that's him.           341 00:13:10,489 --> 00:13:11,824           Mike Levine:                     He's the guy.          342 00:13:11,857 --> 00:13:13,793     He's a little short but,          you know, that's okay.      343 00:13:13,826 --> 00:13:16,195         ♪ I'm all right          344 00:13:16,829 --> 00:13:19,331            Rik Emmett:                  At some point I got          called over to their table.   345 00:13:19,365 --> 00:13:22,201          Mike Levine:                     We sat down with             Rik and had a chat.         346 00:13:23,169 --> 00:13:24,170           Rik Emmett:                  At a certain point,        347 00:13:24,203 --> 00:13:27,006        Mike Levine slid an              Attic Records cheque      348 00:13:27,039 --> 00:13:29,675    for me to look at and say,               we're legit,          349 00:13:29,708 --> 00:13:30,810      we've got a record deal,    350 00:13:30,843 --> 00:13:32,645          there's a record                 company cheque.         351 00:13:32,678 --> 00:13:34,480       So if I join this band     352 00:13:34,513 --> 00:13:38,484    the ability to make records         is not that far off,       353 00:13:38,517 --> 00:13:40,853    it's a strong possibility     354 00:13:40,886 --> 00:13:43,222        'cause they know how              to make it happen.       355 00:13:43,255 --> 00:13:45,224        And Triumph said,             whether we work or not,      356 00:13:45,257 --> 00:13:47,359        we'll guarantee you               175 bucks a week.        357 00:13:47,393 --> 00:13:50,029       And so, that, with my            girlfriend's earnings,     358 00:13:50,062 --> 00:13:52,198         we could rent a                 crappy little house.      359 00:13:52,231 --> 00:13:54,700        Act III would not              have made that possible,    360 00:13:54,733 --> 00:13:58,370          there wasn't a               consistent 175 a week.      361 00:13:58,404 --> 00:14:00,206         So, meeting them,                     I went,             362 00:14:00,239 --> 00:14:02,641         maybe there's a                stronger marriage here     363 00:14:02,675 --> 00:14:04,810           in terms of a                    common ground          364 00:14:04,844 --> 00:14:06,979          that's going to                 be a partnership.        365 00:14:07,012 --> 00:14:13,018           (rock music)           366 00:14:15,054 --> 00:14:16,388        (boat horn tooting)       367 00:14:16,422 --> 00:14:22,862      (acoustic guitar music)     368 00:14:22,895 --> 00:14:24,029           Nancy Inch:                 My name is Nancy Inch       369 00:14:24,063 --> 00:14:27,032 and I am a                       Triumph junkie.                  370 00:14:27,066 --> 00:14:29,535 I am probably one of             their greatest fans.             371 00:14:29,568 --> 00:14:31,036      And in my spare time,       372 00:14:31,070 --> 00:14:34,206          I participate in                 Facebook groups         373 00:14:34,240 --> 00:14:37,209       created for Triumph               fans exclusively,         374 00:14:37,243 --> 00:14:39,411          and we celebrate             everything Triumph,         375 00:14:39,445 --> 00:14:40,880       videos and pictures        376 00:14:40,913 --> 00:14:42,882      and concert footage                    and stories,          377 00:14:42,915 --> 00:14:45,918      and we live vicariously        every day through the page.   378 00:14:47,286 --> 00:14:50,089    I wrote a letter to Gil        really just letting him know    379 00:14:50,122 --> 00:14:53,092      that the magic power of         Triumph is alive and well    380 00:14:53,125 --> 00:14:54,260           and thriving           381 00:14:54,293 --> 00:14:55,794           and that they                   are celebrated.         382 00:14:55,828 --> 00:14:57,796         And we're here,               we're supporting you,       383 00:14:57,830 --> 00:14:59,298    we haven't gone anywhere.     384 00:14:59,465 --> 00:15:02,368          ("Magic Power"                     by Triumph)           385 00:15:02,401 --> 00:15:03,535           Gil Moore:                     From time to time,       386 00:15:03,569 --> 00:15:07,706      fans come in from out of        town and visit Metalworks    387 00:15:07,740 --> 00:15:13,045      and it fascinates me how        strong their feelings are    388 00:15:13,078 --> 00:15:14,914       after all these years,              for the band.           389 00:15:15,915 --> 00:15:17,082               Fan:                      Annapolis, Maryland.      390 00:15:17,783 --> 00:15:19,084  Triumph's Metalworks Studio.    391 00:15:20,452 --> 00:15:21,921    It's a rock and roll studio.    392 00:15:21,954 --> 00:15:23,122         The band Triumph.        393 00:15:25,457 --> 00:15:26,659             Thanks.              394 00:15:28,794 --> 00:15:32,598           Gil Moore:                  This idea of a fan event         started with Nancy Inch,    395 00:15:32,631 --> 00:15:33,799             who said,            396 00:15:33,832 --> 00:15:37,603      would you let a group of    Triumph fans tour Metalworks?    397 00:15:37,636 --> 00:15:40,773      And it was such a                heart-warming kind of requ. 398 00:15:40,806 --> 00:15:44,109    And we've always felt this         huge debt to our fans,      399 00:15:44,143 --> 00:15:46,111         um, always will,         400 00:15:46,145 --> 00:15:47,980            and I went,                of course we'll do it!      401 00:15:50,816 --> 00:15:52,785         We're really lucky               in the sense that        402 00:15:52,818 --> 00:15:56,021      we have a big live event       sound and lighting company    403 00:15:56,055 --> 00:15:57,156         and audio visuals.       404 00:15:57,189 --> 00:16:00,526        So to do the kind of        event we're talking about      405 00:16:00,559 --> 00:16:02,494         it's all there in                 our warehouses.         406 00:16:05,130 --> 00:16:06,098    This is a great warehouse     407 00:16:06,131 --> 00:16:09,268     because it's a double                wide for starters,       408 00:16:09,301 --> 00:16:11,437    so a little more elbow room   409 00:16:11,470 --> 00:16:14,440      and we'll clear the                  whole floor area        410 00:16:14,473 --> 00:16:15,941       and dream something up     411 00:16:15,975 --> 00:16:18,143         that we think will              be fun for the fans.      412 00:16:22,481 --> 00:16:23,782         Mike and Rik and I              have talked about it      413 00:16:23,816 --> 00:16:26,618         and if we can play               a couple songs,          414 00:16:26,652 --> 00:16:29,655    absolutely we want to try          to do that, you know,       415 00:16:29,688 --> 00:16:31,357          to play loud and                 to play strong,         416 00:16:31,390 --> 00:16:32,658    it's an endurance contest,    417 00:16:32,691 --> 00:16:34,693    so that's the tough part.     418 00:16:36,729 --> 00:16:37,863           Mike Levine:                   We haven't played                 in a long time,         419 00:16:37,896 --> 00:16:40,032          me personally,          420 00:16:40,065 --> 00:16:41,166            in a band.            421 00:16:41,200 --> 00:16:42,534          I did practice                    a little bit           422 00:16:43,869 --> 00:16:45,704        but, uh, we'll see.       423 00:16:47,206 --> 00:16:48,841            Rik Emmett:                     I think it'll                   be nice from a,         424 00:16:48,874 --> 00:16:52,544    you know, sort of closing         a chapter for the band.      425 00:16:52,578 --> 00:16:54,713        There's a lot more             history now behind it,      426 00:16:54,747 --> 00:16:56,682      but it's still kind of           just a similar process      427 00:16:56,715 --> 00:16:57,683         where we're going                   to build up           428 00:16:57,716 --> 00:16:59,718         and then just play                a little gig.           429 00:17:02,688 --> 00:17:06,358     This is about the three         of us having an integrity     430 00:17:06,392 --> 00:17:07,826      for what's happening.       431 00:17:07,860 --> 00:17:09,828           And, you know,                    that'll take          432 00:17:09,862 --> 00:17:13,665      several more rehearsals          to get the thing to gel.    433 00:17:13,699 --> 00:17:15,534       Well, I've done the             wah-wah thing, right?       434 00:17:15,567 --> 00:17:18,003         (guitar jamming)         435 00:17:18,037 --> 00:17:21,340         (cymbals ringing)        436 00:17:21,373 --> 00:17:23,008          (vocalization)          437 00:17:23,042 --> 00:17:26,045         (guitar riffing)         438 00:17:26,078 --> 00:17:27,713            Gil Moore:                     Back in the 70s                  when we got Rik         439 00:17:27,746 --> 00:17:29,715        we went, oh my god,                 we've got it,          440 00:17:29,748 --> 00:17:33,018     like we've got the exact         group that we dreamed of     441 00:17:33,052 --> 00:17:34,720         but we know it's                going to be bigger        442 00:17:34,753 --> 00:17:37,089         and more exciting                and more dramatic        443 00:17:37,122 --> 00:17:39,591   and we're going to do things      that other bands don't do.    444 00:17:39,625 --> 00:17:41,560             So, yeah,                  Alice Cooper's cool,       445 00:17:41,593 --> 00:17:42,795           KISS is cool,          446 00:17:42,828 --> 00:17:45,731     and the psychedelic bands       from the sixties were cool,   447 00:17:45,764 --> 00:17:50,569   and we're going to take cues     from every one of these eras   448 00:17:50,602 --> 00:17:52,771         and do something               completely different.      449 00:17:55,107 --> 00:17:56,442          John Roberts:                 Back in those days,        450 00:17:56,475 --> 00:17:58,277           I was working                   for CHUM Radio          451 00:17:58,310 --> 00:18:00,746      and all of the                   kids in the                      neighbourhood               452 00:18:00,779 --> 00:18:02,347      I was only 18                    at the time,                453 00:18:02,381 --> 00:18:04,349                 knew that there                  was a rock band  454 00:18:04,383 --> 00:18:06,018          that was living                  down the street         455 00:18:06,051 --> 00:18:08,887    because we would hear music      emanating from the basement   456 00:18:08,921 --> 00:18:10,122       every once in a while.     457 00:18:10,155 --> 00:18:11,924    And there was always trucks      that were coming and going    458 00:18:11,957 --> 00:18:13,725         and putting things               into the garage          459 00:18:13,759 --> 00:18:15,227         and taking them                  out of the garage.       460 00:18:15,260 --> 00:18:18,063 Most bands were travelling       around in minivans at the time,  461 00:18:18,097 --> 00:18:19,231     well, they had a minivan            for a little while        462 00:18:19,264 --> 00:18:20,766       but then they bought                a 10-ton truck          463 00:18:20,799 --> 00:18:22,267       and they ended up with            a tractor trailer         464 00:18:22,301 --> 00:18:24,403     that they would roll up           to these small venues       465 00:18:24,436 --> 00:18:25,938           in and around                  the Toronto area         466 00:18:25,971 --> 00:18:28,240  and they would start unloading       all of this equipment.      467 00:18:28,273 --> 00:18:29,608          (horn honking)          468 00:18:29,641 --> 00:18:30,943           Rik Emmett:             When we played high schools,    469 00:18:30,976 --> 00:18:33,912      no one had ever seen an         act that did what we did     470 00:18:33,946 --> 00:18:35,581                    on the scale                     that we did,  471 00:18:35,614 --> 00:18:36,748                  at that level.  472 00:18:36,782 --> 00:18:37,916           (rock music)           473 00:18:37,950 --> 00:18:38,917           Rik Emmett:                      It was like...         474 00:18:38,951 --> 00:18:40,185           (truck honks)          475 00:18:40,252 --> 00:18:41,787           Rik Emmett:                    They're bringing a          transport trailer truck       476 00:18:41,820 --> 00:18:43,789   into our school parking lot,   477 00:18:43,822 --> 00:18:44,790          what the hell?!         478 00:18:44,823 --> 00:18:48,127           (rock music)           479 00:18:48,160 --> 00:18:49,328           Rik Emmett:                   We had principals                    that got mad          480 00:18:49,361 --> 00:18:51,630        because the trucks              wrecked their grass.       481 00:18:51,663 --> 00:18:54,967         (loud rock music)        482 00:18:55,000 --> 00:18:56,135               Yeah!              483 00:18:56,168 --> 00:18:57,503           Rik Emmett:                 And loading this gear in    484 00:18:57,536 --> 00:18:59,972  and setting up and teachers          and students going like,    485 00:19:00,005 --> 00:19:00,973             oh my god,           486 00:19:01,006 --> 00:19:03,575        something amazing               is about to happen!        487 00:19:03,609 --> 00:19:08,113         ♪ Don't take my                life away from me ♪        488 00:19:08,147 --> 00:19:11,116           Gil Moore:                     We had a desire                   to be theatrical        489 00:19:11,150 --> 00:19:13,585              and be                     somewhat outrageous       490 00:19:13,619 --> 00:19:15,454      but we had no budget,               or very little,          491 00:19:15,487 --> 00:19:17,289      so Mike and Rik would              come out on stage         492 00:19:17,322 --> 00:19:19,158           with sparklers                on their guitars.         493 00:19:19,825 --> 00:19:20,959      We had the mirror wheel,    494 00:19:20,993 --> 00:19:23,462      which was this rotating           disc of broken mirrors     495 00:19:23,495 --> 00:19:25,831          that we'd shine                  a spotlight on.         496 00:19:25,864 --> 00:19:27,633           And we had so                     much dry ice          497 00:19:27,666 --> 00:19:30,969      that there would be this        wall of fog on the stage.    498 00:19:31,003 --> 00:19:32,471           Rik Emmett:                      And people are                    going, whoa,          499 00:19:32,504 --> 00:19:35,641      they have dry ice in a           high school, you know.      500 00:19:35,674 --> 00:19:37,976      And they're in a cloud!     501 00:19:38,010 --> 00:19:45,851         (loud rock music)        502 00:19:48,086 --> 00:19:49,521           Gil Moore:                   I can't believe it.        503 00:19:49,555 --> 00:19:51,690    This is the Triumph torch.    504 00:19:51,723 --> 00:19:52,891         This was a beauty.       505 00:19:54,226 --> 00:19:55,227        It's built to last.       506 00:19:55,260 --> 00:19:57,062           This thing is                  like heavy duty.         507 00:19:57,095 --> 00:19:58,864         One day I decided                we needed a torch.       508 00:19:58,897 --> 00:20:00,199            (laughter)            509 00:20:00,232 --> 00:20:03,869         So I did what any              torch seeker would do      510 00:20:03,902 --> 00:20:07,239        and I looked in the          Yellow Pages under "torch".   511 00:20:08,740 --> 00:20:11,410       And I found a company             called Rexo-Therm.        512 00:20:12,244 --> 00:20:13,412           I drove down                    to Rexo-Therm,          513 00:20:13,445 --> 00:20:15,047      a guy comes out of the            back and he comes up,      514 00:20:15,080 --> 00:20:16,048       can I help you, sir?       515 00:20:16,081 --> 00:20:18,750         I said, yes, sir,            I'd like to buy a torch.     516 00:20:18,784 --> 00:20:20,919        What type of torch                 would you like?         517 00:20:20,953 --> 00:20:22,921          The biggest one                  you have, sir.          518 00:20:22,955 --> 00:20:24,256        What are you going                 to do with it?          519 00:20:24,289 --> 00:20:26,091        I have a rock band                 named Triumph,          520 00:20:26,124 --> 00:20:27,426         we need a torch.         521 00:20:27,459 --> 00:20:28,427        He's got this thing,      522 00:20:28,460 --> 00:20:29,428         he brings it over,       523 00:20:29,461 --> 00:20:31,263            and he goes,                     stand back.           524 00:20:31,296 --> 00:20:34,433         Gas comes in here                 through a hose.         525 00:20:34,466 --> 00:20:35,934       This is a gate valve       526 00:20:35,968 --> 00:20:39,271         that controls how                much gas goes in.        527 00:20:39,304 --> 00:20:40,606       This is the manifold.      528 00:20:40,639 --> 00:20:42,274       This thing that looks              like a spark plug        529 00:20:42,307 --> 00:20:45,611      is the igniter switch            that fires this baby.       530 00:20:45,644 --> 00:20:47,946       And this is where the          gas comes out and woosh!     531 00:20:47,980 --> 00:20:50,949            (laughter)            532 00:20:50,983 --> 00:20:55,020    He does this, then he goes       over with, uh, an igniter.    533 00:20:55,053 --> 00:20:56,488        (booming explosion)       534 00:20:56,521 --> 00:21:00,192          This flame goes                like fourteen feet.       535 00:21:01,627 --> 00:21:02,761            And I went,                     I'll take it.          536 00:21:02,794 --> 00:21:04,129            (laughter)            537 00:21:04,162 --> 00:21:11,136         (loud rock music)        538 00:21:11,169 --> 00:21:16,608                ♪                 539 00:21:16,642 --> 00:21:17,943              Gowan:                      In the seventies,        540 00:21:17,976 --> 00:21:21,313      there was a club                 scene in Toronto                 that was so vibrant         541 00:21:21,346 --> 00:21:25,651      and so vital to the              rock music that we know     542 00:21:25,684 --> 00:21:28,020          that-that arose                  from that era,          543 00:21:28,053 --> 00:21:30,188        and Triumph falls            squarely into that period     544 00:21:30,222 --> 00:21:31,690         and that's when I                 first saw them.         545 00:21:31,723 --> 00:21:33,992           Right off the                    bat I noticed          546 00:21:34,026 --> 00:21:36,361      they had enough gear to         play Maple Leaf Gardens.     547 00:21:36,395 --> 00:21:37,863        And although that                    sounds like,          548 00:21:37,896 --> 00:21:39,665          I'm not making a                 joke about that,        549 00:21:39,698 --> 00:21:41,500    that was really important     550 00:21:41,533 --> 00:21:45,504    because they had declared        themselves above the pack.    551 00:21:45,537 --> 00:21:52,010       ("Rocky Mountain Way"                 by Triumph)           552 00:21:52,044 --> 00:21:53,879           Rik Emmett:                    Canadians loved                     cover bands,          553 00:21:53,912 --> 00:21:55,013      they just loved them,       554 00:21:55,047 --> 00:21:57,716        so you couldn't find            and build an audience      555 00:21:57,749 --> 00:22:01,053    unless you played the game        that the audience wanted.    556 00:22:01,086 --> 00:22:02,521         So we were playing                  led Zeppelin          557 00:22:02,554 --> 00:22:04,489         and Deep Purple                     and Hendrix.          558 00:22:04,523 --> 00:22:06,825     And in our rehearsals                  we had decided         559 00:22:06,858 --> 00:22:09,995    that the closing number              of the show would be      560 00:22:10,028 --> 00:22:11,997         Rocky Mountain Way              because it had that       561 00:22:12,030 --> 00:22:13,332             bam bam!             562 00:22:13,365 --> 00:22:14,666           (guitar riff)          563 00:22:14,700 --> 00:22:15,834                   Rik Emmett:                         Bam bam!    564 00:22:15,867 --> 00:22:16,935      Gil's thing was like,       565 00:22:16,968 --> 00:22:20,339       you could have flash              pots on both sides        566 00:22:20,372 --> 00:22:22,674       and you could either                 go boom, boom          567 00:22:22,708 --> 00:22:25,010           or you could                   go a boom, boom!         568 00:22:25,043 --> 00:22:27,679      ♪ Rocky Mountain way        569 00:22:27,713 --> 00:22:33,518          ♪ Is better than                 the way we had ♪        570 00:22:33,552 --> 00:22:36,254       ♪ Yeah, yeah, yeah         571 00:22:36,288 --> 00:22:41,293                ♪                 572 00:22:43,795 --> 00:22:48,400        (soft guitar music)       573 00:22:48,433 --> 00:22:49,901            Gil Moore:                      We started in                    the era where          574 00:22:49,935 --> 00:22:51,069      getting in the studio       575 00:22:51,103 --> 00:22:53,071      was like getting to               meet the Wizard of Oz,     576 00:22:53,105 --> 00:22:55,741    it was something you hoped     would happen to you someday,    577 00:22:55,774 --> 00:22:58,744     and the transition hits         you like a ton of bricks.     578 00:22:58,777 --> 00:23:03,181 So, all the chutzpah and all     the energy and the stage slides  579 00:23:03,215 --> 00:23:05,517          and antics that                 we would do live,        580 00:23:05,550 --> 00:23:06,885         were meaningless                  in the studio.          581 00:23:06,918 --> 00:23:09,388   That's when you have to learn     how to be a better musician.  582 00:23:10,255 --> 00:23:12,724           Rik Emmett:                     Gil and I had                 written a few songs        583 00:23:12,758 --> 00:23:14,893       but we just, we didn't           have enough material.      584 00:23:14,926 --> 00:23:16,128            And Mike and                    Gil would say,         585 00:23:16,161 --> 00:23:18,397   well, was there something       that you played in your band    586 00:23:18,430 --> 00:23:20,399        before you joined               us that's an original?     587 00:23:20,432 --> 00:23:22,934     I went, yeah, you know,       "Blinding Light Show", maybe.   588 00:23:22,968 --> 00:23:24,069          I'm telling Gil,                    no, no,              589 00:23:24,102 --> 00:23:25,737      you're going to have to          play a floor tom roll,      590 00:23:25,771 --> 00:23:27,239         it's gotta sound                  like a tympani,         591 00:23:27,272 --> 00:23:29,574       (imitates drum roll)       592 00:23:29,608 --> 00:23:31,943        You know, like, and           Gil's going like, what?!     593 00:23:32,944 --> 00:23:34,946       These are the dreaded              mallets of death.        594 00:23:37,282 --> 00:23:39,951       (background laughter)         And, uh, every Rik Emmett's      song ever written             595 00:23:39,985 --> 00:23:44,156    (background laughter)         requires these mallets of death  to be utilized, you know,        596 00:23:44,189 --> 00:23:48,293       in a sort of a whoosh           kinda thing, you know.      597 00:23:48,326 --> 00:23:49,628         That's why we did                 well together,          598 00:23:49,661 --> 00:23:51,463        I have the mallets,             he writes the songs.       599 00:23:51,496 --> 00:23:52,631               Man:                         Can we hear a                   sample of that?         600 00:23:52,664 --> 00:23:53,999         (rolling cymbal)         601 00:23:57,169 --> 00:24:01,139           Rik Emmett:                   And then the wind               literally is me going-     602 00:24:01,173 --> 00:24:02,908          (blows heavily)         603 00:24:02,941 --> 00:24:04,276          And then doing                  another track of-        604 00:24:04,309 --> 00:24:06,077          (softly blows)          605 00:24:06,111 --> 00:24:08,580    And then putting the tracks     together and making the wind,  606 00:24:08,613 --> 00:24:10,782       'cause we didn't have           anything to make wind.      607 00:24:11,817 --> 00:24:18,457      ("Blinding Light Show"                 by Triumph)           608 00:24:18,490 --> 00:24:20,792          Mike Levine:                "Blinding Light Show"               is a very cool song.      609 00:24:20,826 --> 00:24:22,327            It's heavy,                      it's light,           610 00:24:22,360 --> 00:24:25,130    and it's got all kinds of      different changes through it.   611 00:24:25,163 --> 00:24:27,999        It opened the door                for us as a band         612 00:24:28,033 --> 00:24:29,801            to step out                  whenever we wanted.       613 00:24:29,835 --> 00:24:32,304        We could, you know,         have an acoustic guitar thing  614 00:24:32,337 --> 00:24:33,638        anytime we wanted,                    you know.            615 00:24:33,672 --> 00:24:35,307         We could have an             orchestral sounding piece    616 00:24:35,340 --> 00:24:36,641        whenever we wanted.       617 00:24:36,675 --> 00:24:38,310          It was a little                   bit different.         618 00:24:38,343 --> 00:24:42,013     ♪ And from where I stand,             I reach my hand         619 00:24:42,047 --> 00:24:45,350      ♪ To catch a love blow      620 00:24:45,383 --> 00:24:48,720      ♪ But the selfish stare           through electric air       621 00:24:48,753 --> 00:24:51,223         ♪ Is a blinding                     light show ♪          622 00:24:51,256 --> 00:24:54,025 Bubbles:                         I got into Triumph 'cause I was  playing the guitar back then     623 00:24:54,059 --> 00:24:55,360       and I was into Rush.       624 00:24:55,393 --> 00:24:56,862                      Same band.  625 00:24:56,895 --> 00:24:57,863                           What?  626 00:24:57,896 --> 00:24:59,130                      Same band.  627 00:24:59,164 --> 00:25:01,032             Bubbles:                     Rush and Triumph,           they're two different bands   628 00:25:01,066 --> 00:25:02,968    with six different people.    629 00:25:03,001 --> 00:25:04,669       You could easily turn            these guys into Rush,      630 00:25:04,703 --> 00:25:06,304            no problem,                   with some makeup.        631 00:25:06,338 --> 00:25:07,672           So you think                   that's Geddy Lee?        632 00:25:08,673 --> 00:25:11,009      And he's just glued on          a big fuckin' moustache.     633 00:25:11,042 --> 00:25:12,477       It just, it could be.      634 00:25:12,511 --> 00:25:15,514        You never saw them                 play together.          635 00:25:15,547 --> 00:25:17,649         Never saw them in               the same building,        636 00:25:17,682 --> 00:25:18,884             Same band.           637 00:25:19,518 --> 00:25:20,619           (rock music)           638 00:25:20,652 --> 00:25:25,357    ♪ And while the crowd keeps        Calling out "Hoorah" ♪      639 00:25:25,390 --> 00:25:27,225                Danko Jones:           There's elements                 about Triumph,              640 00:25:27,259 --> 00:25:29,394      that trump                       elements of Rush.           641 00:25:29,427 --> 00:25:32,030      But as a Triumph                 fan growing up,             642 00:25:32,063 --> 00:25:34,866        I had to deal with               like people going,        643 00:25:34,900 --> 00:25:36,868     why do you like Triumph?     644 00:25:36,902 --> 00:25:38,203      Because they're amazing     645 00:25:38,236 --> 00:25:41,373         and they've got a             guitar hero that slays,     646 00:25:41,406 --> 00:25:42,707           so fuck you!           647 00:25:42,741 --> 00:25:44,042          I like Triumph.         648 00:25:44,075 --> 00:25:46,578        I've chosen Triumph               as well as Rush.         649 00:25:46,611 --> 00:25:47,879   It's not an either/or thing.   650 00:25:47,913 --> 00:25:50,081      I'm not on a home team             or a visiting team.       651 00:25:50,115 --> 00:25:52,083    They're both from Toronto.    652 00:25:52,117 --> 00:25:54,052          John Roberts:                  Triumph unfairly get               compared to Rush        653 00:25:54,085 --> 00:25:56,087       because Rush came out             a little bit earlier      654 00:25:56,121 --> 00:25:57,956       and Rush got success             in the United States       655 00:25:57,989 --> 00:25:59,090      a little bit earlier.       656 00:25:59,124 --> 00:26:00,091      And then the fact that,     657 00:26:00,158 --> 00:26:02,227      oh, here comes another           power trio from Canada,     658 00:26:02,260 --> 00:26:05,030      and in the same way that     Rush broke out in Cleveland,    659 00:26:05,063 --> 00:26:06,364       when they delivered a            copy of "Working Man"      660 00:26:06,398 --> 00:26:07,866     to a local radio station,    661 00:26:07,899 --> 00:26:10,368        San Antonio was the             kickoff for Triumph.       662 00:26:10,402 --> 00:26:12,037         (hard rock music)        663 00:26:12,070 --> 00:26:13,705            Radio DJ:                   In San Antonio, Texas,     664 00:26:13,738 --> 00:26:18,376          this is KISS,                 K-I-S-S FM at 99.5.        665 00:26:18,410 --> 00:26:19,878           Mike Levine:                     There was this                   radio station,         666 00:26:19,911 --> 00:26:20,879              KISS FM,            667 00:26:20,912 --> 00:26:22,581         and there was two                hard rock freaks,        668 00:26:22,614 --> 00:26:24,049           Joe Anthony                      and Lou Roney,         669 00:26:24,082 --> 00:26:27,085      and they started playing          "Blinding Light Show".     670 00:26:29,120 --> 00:26:32,591       The phones lit up and             kind of became a hit      671 00:26:32,624 --> 00:26:36,094         and it spread from            San Antonio into Austin,    672 00:26:36,127 --> 00:26:38,496       into Corpus Christi              and to those areas.        673 00:26:39,831 --> 00:26:40,966       And then one day we              get the phone call.        674 00:26:40,999 --> 00:26:41,967           (phone rings)          675 00:26:42,067 --> 00:26:44,269      Will you guys come down          and headline a concert?     676 00:26:44,302 --> 00:26:48,440         (hard rock music)        677 00:26:48,473 --> 00:26:51,610           Gil Moore:                  Sammy Hagar's headlining           with The Runaways         678 00:26:51,643 --> 00:26:53,945     and Yesterday and Today                   on the bill,          679 00:26:53,979 --> 00:26:56,281    at the Municipal Auditorium            in San Antonio,         680 00:26:56,314 --> 00:26:58,149     which is a 5,500 seater,     681 00:26:58,183 --> 00:27:00,285          so not a small                    venue at all.          682 00:27:00,318 --> 00:27:02,587         Sammy bails out                     on the show.          683 00:27:03,788 --> 00:27:05,924             And so the               proposition to us is,        684 00:27:05,957 --> 00:27:08,627            can you take                 Sammy Hagar's place?      685 00:27:08,660 --> 00:27:09,628        And we realized that      686 00:27:09,661 --> 00:27:11,596       we don't really know           what we're doing, right?     687 00:27:11,630 --> 00:27:13,965     (stammers) We're capable          of playing high schools     688 00:27:13,999 --> 00:27:15,433      and bars at this point      689 00:27:15,467 --> 00:27:16,935         and here we get a              shot at the big time.      690 00:27:16,968 --> 00:27:22,107   ♪ We've been five years        working in a rock and roll band  691 00:27:22,140 --> 00:27:25,777       ♪ Blasting heavy metal           out across the land ♪      692 00:27:25,810 --> 00:27:26,945          Mike Levine:                 When we came on stage       693 00:27:26,978 --> 00:27:28,813        the audience went                absolutely ape shit.      694 00:27:28,847 --> 00:27:30,281           Gil Moore:                     They were just out               of their chairs          695 00:27:30,315 --> 00:27:31,783          and standing up                  the whole time.         696 00:27:31,816 --> 00:27:33,952    Mike and Rik and I kind of       looked at each other like,    697 00:27:33,985 --> 00:27:35,186    this is really happening!     698 00:27:35,220 --> 00:27:36,521          Mike Levine:                 So the confidence level,    699 00:27:36,554 --> 00:27:38,323       the meter went, errp,      700 00:27:38,356 --> 00:27:40,358        you know, just like               deep in the red.         701 00:27:41,226 --> 00:27:42,527           Rik Emmett:                     How do they know                   these songs?          702 00:27:42,560 --> 00:27:44,162      You know, the album            hasn't been out that long.    703 00:27:44,195 --> 00:27:47,832        Well, they must be            getting so much rotation,    704 00:27:47,866 --> 00:27:49,701     so much airplay exposure,    705 00:27:49,734 --> 00:27:50,835           that they know                    these songs.          706 00:27:50,869 --> 00:27:51,870         (hard rock music)        707 00:27:51,903 --> 00:27:55,840        ♪ What's another day              of rock and roll ♪       708 00:27:55,874 --> 00:27:57,175            Gil Moore:                       Record Week,          709 00:27:57,208 --> 00:27:58,843      which was the trade                  mag at the time,        710 00:27:58,877 --> 00:28:00,712      they put us on the front         cover the next week         711 00:28:00,745 --> 00:28:01,946        with a map of Texas,      712 00:28:01,980 --> 00:28:03,615          a circle around                    San Antonio           713 00:28:03,648 --> 00:28:05,617           and Austin and                  Corpus Christi,         714 00:28:05,650 --> 00:28:07,285      so that recognition                    kind of went          715 00:28:07,318 --> 00:28:10,321      across the whole music             industry in Canada.       716 00:28:10,355 --> 00:28:11,856        It's a great moment.      717 00:28:13,358 --> 00:28:16,027          Michael Cohl:                 The late seventies was           the early renaissance,     718 00:28:16,061 --> 00:28:18,163           greatest time                   for rock music,         719 00:28:18,196 --> 00:28:22,000     whether it was within           Canada or internationally.    720 00:28:22,033 --> 00:28:25,170   So whenever a Canadian group        started getting a buzz,     721 00:28:25,203 --> 00:28:27,338 most of them                     you went, meh,                   722 00:28:27,372 --> 00:28:28,673 not very good,                   not very good,                   723 00:28:28,707 --> 00:28:29,674 oh, pretty good.                 724 00:28:29,708 --> 00:28:31,342        And then there was               a buzz on Triumph.        725 00:28:31,376 --> 00:28:34,179           Gil Moore:                Michael Cohl now thinks            we can play Massey Hall,    726 00:28:34,212 --> 00:28:35,680        so we're going to               play a real concert        727 00:28:35,714 --> 00:28:38,016    in a real historic venue.     728 00:28:38,049 --> 00:28:39,684      This is like a dream.       729 00:28:39,718 --> 00:28:41,686           So, we put our                  tickets on sale,        730 00:28:41,720 --> 00:28:43,555         there was a really                strong response,        731 00:28:43,588 --> 00:28:45,090          sold two thirds                  of the tickets.         732 00:28:45,123 --> 00:28:47,726      Twenty-four hours later          the fire marshall says,     733 00:28:47,759 --> 00:28:49,060            no Triumph,           734 00:28:49,094 --> 00:28:51,396    Massey Hall is a tinderbox    735 00:28:51,429 --> 00:28:54,232  and those lunatics are going      to burn it to the ground.      736 00:28:54,265 --> 00:28:57,102       "Triumph's smoke bombs       too hot for Massey Hall".      737 00:28:58,436 --> 00:29:00,405      "Triumph, the local                  heavy rock trio,        738 00:29:00,438 --> 00:29:03,007    "was forced to cancel its        Massey Hall debut tonight     739 00:29:03,041 --> 00:29:04,843    "when the hall's management          discovered the band       740 00:29:04,876 --> 00:29:07,679    "was planning to use smoke       bombs as special effects."    741 00:29:07,712 --> 00:29:09,013        After we found out        742 00:29:09,047 --> 00:29:12,217    that they weren't going to       go along with our-our pyro,   743 00:29:12,250 --> 00:29:13,218        and let's face it,        744 00:29:13,251 --> 00:29:15,019        pyro is mandatory,        745 00:29:15,053 --> 00:29:17,055         so we went, okay,             that's a deal breaker.      746 00:29:17,088 --> 00:29:18,723           And I said,                     well, of course,        747 00:29:18,757 --> 00:29:19,891           we just go to                   the big venue,          748 00:29:19,924 --> 00:29:21,893      that's all, we're just          too big for Massey Hall.     749 00:29:21,926 --> 00:29:23,428          So we call CPI,         750 00:29:23,461 --> 00:29:24,729          get Michael Cohl                 on the phone.           751 00:29:24,763 --> 00:29:26,030           (phone rings)          752 00:29:26,064 --> 00:29:27,398           Gil Moore:                   And we said we want to          play Maple Leaf Gardens.    753 00:29:27,432 --> 00:29:29,234            And he went,                "You out of your mind?     754 00:29:29,267 --> 00:29:30,602        "You haven't even             played Massey Hall yet,      755 00:29:30,635 --> 00:29:32,403     "you can't possibly play            Maple Leaf Gardens,       756 00:29:32,437 --> 00:29:33,905           "we'd lose a                   zillion dollars."        757 00:29:33,938 --> 00:29:35,240         Most of the time                  you would play          758 00:29:35,273 --> 00:29:37,075      two Massey Hall shows,      759 00:29:37,108 --> 00:29:39,410     that'd be five and a half            thousand people,         760 00:29:39,444 --> 00:29:41,079        and depending on how               your record did,        761 00:29:41,112 --> 00:29:43,581       you could jump to the            Gardens and do 10,000.     762 00:29:43,615 --> 00:29:45,750            Gil Moore:               This back and forth ensued.   763 00:29:45,784 --> 00:29:46,918         We went trust us,        764 00:29:46,951 --> 00:29:48,753        the band is going to             somehow magically         765 00:29:48,787 --> 00:29:49,954      bring all these fans in,    766 00:29:49,988 --> 00:29:51,289          you got nothing                  to worry about.         767 00:29:51,322 --> 00:29:53,124          Michael Cohl:              And they were very pushy.     768 00:29:53,158 --> 00:29:55,627     Now they were pushing at         a level of they were here    769 00:29:55,660 --> 00:29:57,295           but they were                  really only here.        770 00:29:57,328 --> 00:29:59,964      I had more confidence           in their business sense      771 00:29:59,998 --> 00:30:02,333    and their pushiness and              their aggressiveness      772 00:30:02,367 --> 00:30:03,535     helping them get along,      773 00:30:03,568 --> 00:30:05,804    than I was about whether I       was sure about their show     774 00:30:05,837 --> 00:30:06,805          or their music.         775 00:30:06,838 --> 00:30:11,643         (hard rock music)        776 00:30:11,676 --> 00:30:13,144           Rik Emmett:                You walk out on a stage      777 00:30:13,178 --> 00:30:14,179       in Maple Leaf Gardens                Concert Bowl           778 00:30:14,212 --> 00:30:16,481         and you look out                 and you're going,        779 00:30:16,514 --> 00:30:18,349       man, are we going to              be able to do this?       780 00:30:18,383 --> 00:30:20,318          I had, and this                  was Gil's idea.         781 00:30:20,351 --> 00:30:22,387       I had a transformer        782 00:30:22,420 --> 00:30:29,394 inside my guitar so that I could run like 135 feet of cable       783 00:30:29,427 --> 00:30:30,895        without losing any                 guitar signal.          784 00:30:30,929 --> 00:30:34,532         (hard rock music)                (crowd cheering)         785 00:30:34,566 --> 00:30:36,534           Rik Emmett:                And so from that stage,      786 00:30:36,568 --> 00:30:38,703       we had a set of stairs     787 00:30:38,736 --> 00:30:41,206      and I went down and               out and into the crowd     788 00:30:41,239 --> 00:30:43,041      and the crowd went crazy    789 00:30:43,074 --> 00:30:44,909      and I had sort of a          bodyguard with me, you know,    790 00:30:44,943 --> 00:30:46,878      like, as I'm doing this,               you know.             791 00:30:46,911 --> 00:30:48,746     So when I came back to        the stage after that, I went,   792 00:30:48,780 --> 00:30:51,049            we got this                    one in the bag.         793 00:30:51,082 --> 00:30:58,089         (hard rock music)        794 00:30:58,122 --> 00:31:02,861                ♪                 795 00:31:02,894 --> 00:31:05,063          (crowd cheers)          796 00:31:05,096 --> 00:31:07,031         Riley O'Connor:                  Massey Hall and                  Maple Leaf Gardens       797 00:31:07,065 --> 00:31:08,700        were the milestones.      798 00:31:08,733 --> 00:31:10,034          If you can play                Maple Leaf Gardens,       799 00:31:10,068 --> 00:31:11,536      you can play anywhere,      800 00:31:11,569 --> 00:31:13,371      'cause it was                    the centre of                    the universe                801 00:31:13,404 --> 00:31:15,707      as far as the music              industry in Canada               was concerned.              802 00:31:15,740 --> 00:31:18,076          (crowd cheers)          803 00:31:18,109 --> 00:31:20,211          Mike Levine:                Maybe six record labels             came up to see us         804 00:31:20,245 --> 00:31:22,547         and after the show            they're all talking deal    805 00:31:22,580 --> 00:31:24,048        and how much they                   loved the band         806 00:31:24,082 --> 00:31:26,384            and wah wah                     wah wah wah.           807 00:31:26,417 --> 00:31:27,719         Five of them get                 up in the morning        808 00:31:27,752 --> 00:31:30,121     for the-the early flight             back to New York.        809 00:31:30,154 --> 00:31:31,122        The Globe and Mail,       810 00:31:31,155 --> 00:31:33,758       which is out at five            or six in the morning,      811 00:31:33,791 --> 00:31:35,426       just slaughtered us.       812 00:31:35,460 --> 00:31:36,594         It was horrible.         813 00:31:36,628 --> 00:31:37,929       Okay, so here we are.      814 00:31:37,962 --> 00:31:38,930       Headline: "Triumph:        815 00:31:38,963 --> 00:31:40,598    "all the trimmings but...     816 00:31:40,632 --> 00:31:42,634     this does not start well.    817 00:31:42,667 --> 00:31:45,637          "This three man             Toronto based rock combo     818 00:31:45,670 --> 00:31:48,139       "has been hovering in            our peripheral vision      819 00:31:48,172 --> 00:31:50,275      "like a winged insect.      820 00:31:50,308 --> 00:31:53,778          "Let's hope one               swatting is enough".       821 00:31:53,811 --> 00:31:56,281        (laughs) My god, I            forgot how bad this was.     822 00:31:56,314 --> 00:31:58,616       So all of these guys              read the newspaper        823 00:31:58,650 --> 00:32:01,452          and took a pass                   on the band.           824 00:32:01,486 --> 00:32:04,255      And Warren Schatz from            RCA Records slept in       825 00:32:04,289 --> 00:32:05,623          and he's reading                 the Toronto Sun,        826 00:32:05,657 --> 00:32:08,426          which gave us a                  glowing review.         827 00:32:08,459 --> 00:32:11,262     So he's thinking that he          better get on the phone     828 00:32:11,296 --> 00:32:12,263          and make a deal.        829 00:32:12,297 --> 00:32:13,932          So, he ended up                   making a deal.         830 00:32:13,965 --> 00:32:17,435           Announcer:                Triumph. Triumph. Triumph.    831 00:32:17,468 --> 00:32:19,771      Experience the kind                   of rock energy         832 00:32:19,804 --> 00:32:21,105      you've been waiting for.    833 00:32:21,139 --> 00:32:23,608           Rik Emmett:                  We had film footage               from that concert         834 00:32:23,641 --> 00:32:25,443           and we went on                 this Canadian tour       835 00:32:25,476 --> 00:32:27,779      and we cut together                  a TV commercial.        836 00:32:27,812 --> 00:32:30,481           Announcer:                  Their mission is to                blow up the country.      837 00:32:30,515 --> 00:32:32,984         (loud rock music)              (booming explosions)       838 00:32:33,017 --> 00:32:33,985                    Announcer:                         Triumph.    839 00:32:34,018 --> 00:32:35,453           Rik Emmett:               This was the masterstroke.    840 00:32:35,486 --> 00:32:38,022          Buy time during                 Star Trek reruns,        841 00:32:38,056 --> 00:32:39,023      after the high school-      842 00:32:39,057 --> 00:32:40,024         That was my idea.        843 00:32:40,058 --> 00:32:41,526         That was genius.         844 00:32:41,559 --> 00:32:44,495            Announcer:               Triumph, the three-man rock      and roll machine is coming.   845 00:32:44,529 --> 00:32:45,697         (loud rock music)        846 00:32:45,730 --> 00:32:47,532            Gil Moore:                     We gotta be the                  first rock band         847 00:32:47,565 --> 00:32:49,500           that's got its                own TV commercial         848 00:32:49,534 --> 00:32:52,003         that sells the big             theatrical performance     849 00:32:52,036 --> 00:32:53,838       because you could see          it 'cause it was visual.     850 00:32:53,871 --> 00:32:55,840           Announcer:                    Rock and Roll Machine,      851 00:32:55,873 --> 00:32:57,542         a new perspective                    in power.            852 00:32:57,575 --> 00:32:58,643         (explosion booms)        853 00:32:58,676 --> 00:33:01,012           Announcer:                      Available on RCA                records and tapes.       854 00:33:01,045 --> 00:33:02,280          (crowd cheers)          855 00:33:02,313 --> 00:33:04,115          (gentle music)          856 00:33:04,148 --> 00:33:07,318           Announcer:                     August 26th, 1978,       857 00:33:07,352 --> 00:33:11,656      the biggest outdoor rock     concert ever held in Canada.    858 00:33:11,689 --> 00:33:12,857     Mosport Park racetrack,      859 00:33:12,890 --> 00:33:14,659      where revving engines                were replaced           860 00:33:14,692 --> 00:33:17,161        by the hard pounding            beat of rock and roll.     861 00:33:17,195 --> 00:33:18,696       This is Canada Jam!        862 00:33:18,730 --> 00:33:22,000         (loud rock music)        863 00:33:22,033 --> 00:33:23,368          John Roberts:                     Everything was                 coming together          864 00:33:23,401 --> 00:33:25,370         at the right time                  for Triumph,           865 00:33:25,403 --> 00:33:28,673         and this was their              biggest gig to date.      866 00:33:28,706 --> 00:33:31,676           (drum beats)           867 00:33:31,709 --> 00:33:33,344          John Roberts:                 Suddenly, Canadians                  were saying            868 00:33:33,378 --> 00:33:35,713     this is an act that you         need to pay attention to.     869 00:33:36,748 --> 00:33:38,516           Gil Moore:                        We were on a                   pretty good roll        870 00:33:38,549 --> 00:33:40,018           but the whole                  goal from day one        871 00:33:40,051 --> 00:33:42,053          was we're going                across the border.        872 00:33:42,086 --> 00:33:45,056      If you were going to make ,      you had to make it in Amer. 873 00:33:45,089 --> 00:33:50,228   And we just saw that as the     Goliath that you had to slay.   874 00:33:50,261 --> 00:33:52,397          (crowd cheers)          875 00:33:52,430 --> 00:33:55,566         (loud rock music)        876 00:33:55,600 --> 00:33:58,936         Sebastian Bach:                 I saw Triumph when I           was about 10 or 11,         877 00:33:59,804 --> 00:34:03,041      and here's my most               amazing memory of                that show:                  878 00:34:03,074 --> 00:34:06,344          Gil Moore comes                  down off the kit        879 00:34:06,377 --> 00:34:08,346        and grabs the mic                and goes, what's up,      880 00:34:08,379 --> 00:34:10,181       we're gonna rock this             fuckin' place down!       881 00:34:10,214 --> 00:34:13,217         I go, the drummer                is the frontman!         882 00:34:13,251 --> 00:34:14,685            Down in the                    United States,          883 00:34:14,719 --> 00:34:16,387      if anybody says to me,      884 00:34:16,421 --> 00:34:18,723         what do they call                you up in Canada?        885 00:34:18,756 --> 00:34:20,558           What name do                   they lay on you,         886 00:34:20,591 --> 00:34:21,559          what's your ID,         887 00:34:21,592 --> 00:34:23,394         what do you sign                 on your moniker,         888 00:34:23,428 --> 00:34:24,729            I tell 'em,           889 00:34:24,762 --> 00:34:26,431            (screaming)                  everywhere we play,       890 00:34:26,464 --> 00:34:28,399           it's one name,         891 00:34:28,433 --> 00:34:31,903         'cause I know that              you people gave us,       892 00:34:31,936 --> 00:34:34,238    the rock and roll machine!    893 00:34:34,272 --> 00:34:38,076          (crowd cheers)          894 00:34:38,109 --> 00:34:40,244      ("Rock and Roll Machine"                 by Triumph)           895 00:34:40,278 --> 00:34:42,447            ♪ Ooh baby,                      you're crazy          896 00:34:42,480 --> 00:34:45,083          ♪ If you try to                   steal the show         897 00:34:45,116 --> 00:34:47,118             ♪ Get set,                       get ready            898 00:34:47,151 --> 00:34:48,753          ♪ Time to watch                  the Rocket go! ♪        899 00:34:48,786 --> 00:34:50,621         Sebastian Bach:                 I wanted to be that.      900 00:34:50,655 --> 00:34:53,124           Triumph really                created a rock star.      901 00:34:53,157 --> 00:34:54,125       ("Rock and Roll Machine                 continues)            902 00:34:54,158 --> 00:34:55,126       ♪ A fireball steamer,      903 00:34:55,159 --> 00:34:56,294      ♪ heavy metal screamer      904 00:34:56,327 --> 00:34:58,129          ♪ Playin' licks                hotter than hell ♪        905 00:34:58,162 --> 00:35:00,298            (screaming)           906 00:35:00,331 --> 00:35:01,666           Rik Emmett:                In order to communicate      907 00:35:01,699 --> 00:35:03,568        to the people at the            back of the building,      908 00:35:03,601 --> 00:35:05,236        you have to kind of              be larger than life,      909 00:35:05,269 --> 00:35:08,072        you have to become a        cartoon kind of character      910 00:35:08,106 --> 00:35:11,109      and there was a lot more of      that going on inside the b. 911 00:35:11,142 --> 00:35:13,111      Like Levine's hair was        starting to get down to here   912 00:35:13,144 --> 00:35:15,913   and he was moving around like    the lion in the Wizard of Oz,  913 00:35:15,947 --> 00:35:18,583          you know, making             faces at the crowd.         914 00:35:18,616 --> 00:35:20,918       Everybody was starting              to understand           915 00:35:20,952 --> 00:35:22,753          the energy of                    how this worked.        916 00:35:22,787 --> 00:35:24,155            You know, we                 belonged to them,         917 00:35:24,188 --> 00:35:25,456       they belonged to us        918 00:35:25,490 --> 00:35:27,959         'cause we belonged                to this song.           919 00:35:27,992 --> 00:35:30,461          And if all three                 things are...           920 00:35:30,495 --> 00:35:32,463       you've got a cyclone           going on here, you know.     921 00:35:32,497 --> 00:35:40,471        (rock guitar riff)                 (crowd cheers)          922 00:35:40,505 --> 00:35:42,473      ♪ Rock and Roll Machine     923 00:35:42,507 --> 00:35:44,976           ♪ Faster than                    you ever seen          924 00:35:45,009 --> 00:35:47,145      ♪ Rock and Roll Machine     925 00:35:47,178 --> 00:35:49,647       ♪ Everybody's eyes's              just lookin' at you       926 00:35:49,680 --> 00:35:52,016      ♪ Yeah, ooh, ahh, ahh!      927 00:35:52,049 --> 00:35:56,687            (drum roll)           928 00:35:56,721 --> 00:35:57,855               Fuck!              929 00:35:57,889 --> 00:36:04,862      ("Rock and Roll Machine"                 continues)            930 00:36:09,000 --> 00:36:10,134    Rosie Levine:                    Oh my Gothe spandex.          931 00:36:10,168 --> 00:36:11,202    Jeannette Emmett:                That was the                     white spandex.                932 00:36:11,235 --> 00:36:12,303          Sunny Moore:                      Oh yeah, yeah,                  I like that one.        933 00:36:12,336 --> 00:36:14,172         I've got a copy of              that one downstairs.      934 00:36:14,205 --> 00:36:15,973     That is quite a spandex.     935 00:36:16,007 --> 00:36:18,309    Jeannette Emmett:                Yeah. Ooh,                       isn't he cute?                936 00:36:18,342 --> 00:36:20,311           He is, he is.          937 00:36:20,344 --> 00:36:21,312 Kind of fond of this.            938 00:36:21,345 --> 00:36:22,847 Sunny Moore:                     The world tour.                  939 00:36:23,181 --> 00:36:24,849 Those I found in                 a tin box at his                 mother's house.                  940 00:36:24,882 --> 00:36:27,818 Jeannette Emmett:                Oh, that's cool,                 all the ticket stubs.            941 00:36:27,852 --> 00:36:29,687          Rosie Levine:              I think the fans are going       to be really surprised.       942 00:36:29,720 --> 00:36:31,522          I think for some           of these fans,tt:             943 00:36:31,556 --> 00:36:33,691      it's going to just               blow their minds,           944 00:36:33,724 --> 00:36:35,393      especially                       because they are                 going to play               945 00:36:35,426 --> 00:36:37,528        a couple of songs,            which nobody knows about.    946 00:36:37,562 --> 00:36:40,031          So I think that                   will just be,          947 00:36:40,064 --> 00:36:41,532       that will be really,                 really cool.           948 00:36:41,566 --> 00:36:42,700           Sunny Moore:                     They rehearsed                   the other day.         949 00:36:42,733 --> 00:36:45,536       Gil played drums for             three hours straight.      950 00:36:45,570 --> 00:36:46,871           Rosie Levine:                   Well, I saw him                 playing the bass,        951 00:36:46,904 --> 00:36:50,041         I was like, wow,                 this is serious.         952 00:36:50,074 --> 00:36:52,043            Oh, look,                      this is awesome.        953 00:36:52,076 --> 00:36:53,544         Jeannette Emmett:                 You can see the                 evolution, right?        954 00:36:53,578 --> 00:36:54,545               Yeah.              955 00:36:54,579 --> 00:36:55,546         And you go, okay,        956 00:36:55,646 --> 00:36:59,717      we're-we're starting to          become this mega thing.     957 00:36:59,750 --> 00:37:02,086        The hair, it's all                 about the hair.         958 00:37:02,119 --> 00:37:03,154             Well, no-            959 00:37:03,187 --> 00:37:05,056        (in unison) That's               all about the hair.       960 00:37:05,089 --> 00:37:07,058            (laughing)            961 00:37:07,091 --> 00:37:09,727             Oh yeah,                    hello honey, hello.       962 00:37:11,229 --> 00:37:15,733           Gil Moore:                   So, this is gen two        963 00:37:15,766 --> 00:37:18,569       of the Triumph sign,            which we lost gen one,      964 00:37:18,603 --> 00:37:21,706    it ended up in a warehouse           in London, England        965 00:37:21,739 --> 00:37:24,375           with one of             Blue Oyster Cult's Godzillas,   966 00:37:24,408 --> 00:37:27,411     probably there's an          Iron Maiden Eddie there as well. 967 00:37:28,746 --> 00:37:30,548     Yeah, we'll haul her out,              dust her off,          968 00:37:30,581 --> 00:37:32,583      fire it up and enjoy.       969 00:37:34,118 --> 00:37:37,421        (soft upbeat music)       970 00:37:37,455 --> 00:37:38,623               Man:                           You ready?           971 00:37:38,823 --> 00:37:40,091          Mike Primeau:                      When this                      thing turned on,        972 00:37:40,124 --> 00:37:41,626         it would bake you.       973 00:37:42,460 --> 00:37:46,264      You know, 81                     aircraft landing                 lights hitting ya.          974 00:37:46,297 --> 00:37:47,632              Brutal and bright.  975 00:37:48,332 --> 00:37:49,767         I had forty-one                     here already          976 00:37:49,800 --> 00:37:52,270      and it looks like we got          another eight or nine.     977 00:37:52,303 --> 00:37:54,272           There's the T,                  there's your R,         978 00:37:54,305 --> 00:37:55,606          there's your M.         979 00:37:55,640 --> 00:37:57,441         Hopefully it works       980 00:37:57,475 --> 00:37:59,477       and we don't find any              issues like this.        981 00:38:00,478 --> 00:38:02,213       We've got to find out            where this came from.      982 00:38:02,246 --> 00:38:04,715          We'll just have                 to chase it down.        983 00:38:04,749 --> 00:38:05,883         But we should be               able to get it going,      984 00:38:05,916 --> 00:38:07,418          we got a couple                  months, right?          985 00:38:14,292 --> 00:38:15,793        (cowbell clanging)        986 00:38:15,826 --> 00:38:17,928           Announcer:                     Now "Just a Game",       987 00:38:17,962 --> 00:38:20,131             the new                        Triumph album.         988 00:38:20,164 --> 00:38:21,265            Rik Emmett,           989 00:38:21,299 --> 00:38:22,633            Mike Levine,          990 00:38:22,667 --> 00:38:24,935             Gil Moore.           991 00:38:24,969 --> 00:38:26,437      Triumph's "Just a Game",    992 00:38:26,470 --> 00:38:29,140           on RCA records                   and tapes now.         993 00:38:29,173 --> 00:38:30,608           (rock music)           994 00:38:30,641 --> 00:38:32,109           Gil Moore:                       Everything was                    going north.          995 00:38:32,143 --> 00:38:33,611          Our phone lines                  were burning up         996 00:38:33,644 --> 00:38:35,279          with this offer                  and that offer,         997 00:38:35,313 --> 00:38:36,614        and can you do this              and go on this show       998 00:38:36,647 --> 00:38:37,815       and go on that show,       999 00:38:37,848 --> 00:38:38,983        and these guys want                to talk to you.         1000 00:38:39,016 --> 00:38:41,152         So Mike and I were             fending off the wolves     1001 00:38:41,185 --> 00:38:43,287        and the industry was            kind of pounding on us     1002 00:38:43,321 --> 00:38:44,488        because we didn't                   have managers.         1003 00:38:44,522 --> 00:38:48,192         (loud rock music)        1004 00:38:48,225 --> 00:38:50,027           Rik Emmett:                 Gil is spending more and       more time in the office       1005 00:38:50,061 --> 00:38:52,330      doing managerical stuff.    1006 00:38:52,363 --> 00:38:54,498        And Mike knew how he         was going to be able to       1007 00:38:54,532 --> 00:38:57,335    leverage the record company          to spend more money       1008 00:38:57,368 --> 00:38:59,704        on us than they were           spending on other bands.    1009 00:38:59,737 --> 00:39:00,838          Mike Levine:                  And we had a motto,        1010 00:39:00,871 --> 00:39:02,039          if the door's                   open a little bit,       1011 00:39:02,073 --> 00:39:03,941    a little crack in the door,     you drive a semi through it.   1012 00:39:03,974 --> 00:39:07,945         ♪ No I'm talking               about American girls       1013 00:39:07,978 --> 00:39:11,282      ♪ They got what I need,             American girls ♪         1014 00:39:11,315 --> 00:39:12,583           Rik Emmett:                 We make a record deal       1015 00:39:12,616 --> 00:39:14,618   and then the first thing Mike     and Gil are figuring out is,  1016 00:39:14,652 --> 00:39:16,987         how do we get more          money out of the label?       1017 00:39:17,021 --> 00:39:19,857           Gil Moore:                   We had this crazy idea        that we would film videos,    1018 00:39:19,890 --> 00:39:22,660       you know, and this was           before there was MTV.      1019 00:39:22,693 --> 00:39:24,028          Mike Levine:                  But I convinced RCA        1020 00:39:24,061 --> 00:39:25,830       to give us a couple of          hundred thousand dollars    1021 00:39:25,863 --> 00:39:27,198           so we could go                  to a soundstage         1022 00:39:27,231 --> 00:39:30,668       and film the band live           and make four videos.      1023 00:39:30,701 --> 00:39:32,370           Gil Moore:                     And they really                  kind of lit a fire       1024 00:39:32,403 --> 00:39:33,871          everywhere we                    went in America.        1025 00:39:33,904 --> 00:39:35,005          And I would go,         1026 00:39:35,039 --> 00:39:36,841          these guys are                  fucking geniuses.        1027 00:39:36,874 --> 00:39:43,848         ("American Girls"                   by Triumph)           1028 00:39:43,881 --> 00:39:47,351                ♪                 1029 00:39:47,385 --> 00:39:50,388           Gil Moore:                     We all kind of had               a role to play.          1030 00:39:50,421 --> 00:39:51,522         So I think Rik saw       1031 00:39:51,555 --> 00:39:54,058      somebody's got to really       concentrate on music here,    1032 00:39:54,091 --> 00:39:56,227          so he shouldered               that responsibility.      1033 00:39:56,260 --> 00:40:03,234         (soft rock music)        1034 00:40:03,267 --> 00:40:04,668                ♪                 1035 00:40:04,702 --> 00:40:06,604           Rik Emmett:                  I grew up listening to      everything from Deep Purple     1036 00:40:06,637 --> 00:40:08,773    to Crosby, Stills and Nash,   1037 00:40:08,806 --> 00:40:10,741         and I'd written               pop songs for Triumph       1038 00:40:10,775 --> 00:40:13,911       and Gil and Mike would        both go no, no, too wimpy.    1039 00:40:13,944 --> 00:40:15,913        But when I presented            "Lay It On The Line",      1040 00:40:15,946 --> 00:40:17,248          they both went,                    yeah, yeah,           1041 00:40:17,281 --> 00:40:19,083           no, this is,                     this is good.          1042 00:40:19,116 --> 00:40:23,254        (soft guitar music)       1043 00:40:23,287 --> 00:40:24,955           Mike Levine:                   Rik became better                   as a writer           1044 00:40:24,989 --> 00:40:26,290           and proof was                    in the pudding         1045 00:40:26,323 --> 00:40:29,126     because he wrote one of the       "evergreen" Triumph songs:  1046 00:40:29,160 --> 00:40:30,161       "Lay it on the Line".      1047 00:40:30,995 --> 00:40:34,465        (soft guitar music)       1048 00:40:34,498 --> 00:40:35,666                Oh.               1049 00:40:37,001 --> 00:40:38,803   Wow, where did you dig this?   1050 00:40:38,836 --> 00:40:40,304    Where did I put my glasses?   1051 00:40:40,337 --> 00:40:42,306            (laughing)            1052 00:40:42,339 --> 00:40:43,841          Kids, he's got                   to put on his,          1053 00:40:43,874 --> 00:40:45,509    they're progressive lenses.   1054 00:40:46,177 --> 00:40:49,313      ♪ It's the same old               story all over again ♪     1055 00:40:49,346 --> 00:40:50,815         It's the same old              story all over again.      1056 00:40:50,848 --> 00:40:52,483       You turn a lover into            just another friend.       1057 00:40:52,516 --> 00:40:54,151        I want to love you.           I want to make you mine.     1058 00:40:54,185 --> 00:40:56,020           Won't you lay                   it on the line?         1059 00:40:56,687 --> 00:40:59,523       ♪ I want to love you.      1060 00:40:59,557 --> 00:41:02,359            ♪ I want to                    make you mine ♪         1061 00:41:02,393 --> 00:41:04,462           Rik Emmett:                       I've written                  two drum holds.          1062 00:41:04,495 --> 00:41:05,463        So those are those        1063 00:41:05,496 --> 00:41:08,632          (imitates drum)         1064 00:41:08,666 --> 00:41:13,671          ♪ I'm tired of                playing foolish games      1065 00:41:13,704 --> 00:41:19,543      ♪ I'm tired of all your           lies makin' me insane      1066 00:41:20,010 --> 00:41:23,981      ♪ I don't ask for much,          truth will do just fine     1067 00:41:24,014 --> 00:41:29,854          ♪ Won't you lay                 it on the line ♪         1068 00:41:29,887 --> 00:41:33,357      ♪ Lay it on the line        1069 00:41:33,891 --> 00:41:35,059           Rik Emmett:                     As a songwriter,        1070 00:41:35,092 --> 00:41:36,193    I was starting to realize     1071 00:41:36,227 --> 00:41:38,529      it's not just a question            of the earworm,          1072 00:41:38,562 --> 00:41:41,699      it's a question of where         the earworm gets placed,    1073 00:41:41,732 --> 00:41:44,535      so I was now figuring               this stuff out.          1074 00:41:44,568 --> 00:41:46,704       Okay, we're going to           make these choruses come     1075 00:41:46,737 --> 00:41:47,872           and I would be                   saying, okay,          1076 00:41:47,905 --> 00:41:49,573          we're going to                    have a triad           1077 00:41:49,607 --> 00:41:51,208       and then we're going             to double the triad.       1078 00:41:51,242 --> 00:41:52,743       And then we're going            to go to another triad      1079 00:41:52,776 --> 00:41:54,044        and it's going to               be already doubled.        1080 00:41:54,078 --> 00:41:55,379         So, those choruses       1081 00:41:55,412 --> 00:41:58,883       ♪ lay it on the line       1082 00:41:58,916 --> 00:42:00,050     ♪ don't waste my time        1083 00:42:00,084 --> 00:42:02,987        Like radio is going                to go for that.         1084 00:42:03,020 --> 00:42:10,027       ♪ Lay it on the line       1085 00:42:10,060 --> 00:42:11,896     ♪ Don't waste my time        1086 00:42:11,929 --> 00:42:14,765      That's when album radio         really embraced Triumph.     1087 00:42:16,567 --> 00:42:18,903           Announcer:                       Over a year                      in the making,         1088 00:42:18,936 --> 00:42:20,704          eight new songs,        1089 00:42:20,738 --> 00:42:22,206          one great group:        1090 00:42:22,239 --> 00:42:23,207              Triumph.            1091 00:42:23,240 --> 00:42:25,209            ♪ Hold on             1092 00:42:25,242 --> 00:42:28,078           Gil Moore:                 "Just a Game" went gold             in the US in 1979         1093 00:42:28,112 --> 00:42:30,581         and that was a big               deal back then.          1094 00:42:30,614 --> 00:42:33,050    It meant bigger venues,               more ticket sales,       1095 00:42:33,083 --> 00:42:35,052        and a lot more fans.      1096 00:42:35,085 --> 00:42:37,054       ♪ Listen to your heart     1097 00:42:37,087 --> 00:42:40,624             ♪ Hold on            1098 00:42:40,658 --> 00:42:43,661         ♪ To your dreams         1099 00:42:46,297 --> 00:42:48,299          Matt Hoffman:               All right, I'm going to         take you down to the, uh,     1100 00:42:48,332 --> 00:42:50,935      the walls of Triumph.       1101 00:42:50,968 --> 00:42:53,804      A lot of rearranging,               a lot of nails.          1102 00:42:54,171 --> 00:42:55,773      This is the only room            in the whole house          1103 00:42:55,806 --> 00:42:56,941                where there's no                 children's toys.  1104 00:42:56,974 --> 00:42:58,142      This is my                       sanctuary                   1105 00:42:58,175 --> 00:43:01,478      and this is my collection        of Triumph stuff.           1106 00:43:01,512 --> 00:43:03,747         It spans the whole               career of Triumph        1107 00:43:03,781 --> 00:43:06,550      and these walls here have t      over 200 photos in them,    1108 00:43:06,584 --> 00:43:08,085      if you can believe that,    1109 00:43:08,118 --> 00:43:11,255 but I figured this was my little way of paying homage to them.    1110 00:43:11,288 --> 00:43:13,924         (loud rock music)        1111 00:43:13,958 --> 00:43:15,092          Matt Hoffman:                Back in the eighties,       1112 00:43:15,125 --> 00:43:16,427           every time you                   turned on MTV,         1113 00:43:16,460 --> 00:43:17,461          it was Triumph,         1114 00:43:17,494 --> 00:43:20,598  and seeing those explosions,             those lights,           1115 00:43:20,631 --> 00:43:22,433    the double-neck guitar,                   grabbed me           1116 00:43:22,466 --> 00:43:24,635     and that's how I really            discovered Triumph.        1117 00:43:25,970 --> 00:43:28,472     Yesterday, I got onto the       computer to check my emails   1118 00:43:28,505 --> 00:43:31,775       and I actually had an             email from Triumph.       1119 00:43:31,809 --> 00:43:33,611        Now I'm like, but I             had to double-check.       1120 00:43:33,644 --> 00:43:35,112        I'm like this can't                 be happening.          1121 00:43:35,145 --> 00:43:38,816   So I'm actually invited to go     to Metalworks for a fanfest.  1122 00:43:38,849 --> 00:43:40,618       Maybe there's a chance      they'll play a song or two,     1123 00:43:40,651 --> 00:43:43,454  I don't know, that's a fingers      crossed wishful thinking     1124 00:43:43,487 --> 00:43:44,521             but heck,                      I can't wait.          1125 00:43:44,555 --> 00:43:46,991        This-this day can't              happen soon enough.       1126 00:43:47,024 --> 00:43:48,392      Best email I ever got.      1127 00:43:49,526 --> 00:43:51,662          (birds squawk)          1128 00:43:51,695 --> 00:43:53,163      Paulette Borkowski:                I'm just waiting for         them to announce the dates    1129 00:43:53,197 --> 00:43:54,999      'cause I already have              the hotel chosen,         1130 00:43:55,032 --> 00:43:56,333        close to Metalworks,      1131 00:43:56,367 --> 00:43:57,835       so that I can book the             hotel that we need       1132 00:43:57,868 --> 00:43:59,703          and then book                   our flights, yeah.       1133 00:44:01,071 --> 00:44:02,506       I'm Paulette Borkowski     1134 00:44:02,539 --> 00:44:05,309     and my number one job is        to be a super Triumph fan.    1135 00:44:06,810 --> 00:44:10,280    I fell in love with Triumph        when I was 15 years old     1136 00:44:10,314 --> 00:44:11,982     and it's 35 years later      1137 00:44:12,016 --> 00:44:15,119         and I'm still in                love with Triumph.        1138 00:44:15,152 --> 00:44:17,821       When I got my driver's      licence on my 16th birthday     1139 00:44:17,855 --> 00:44:19,490      I knew that there was           only one thing I'd want      1140 00:44:19,523 --> 00:44:20,658          on my car for my                 licence plate           1141 00:44:20,691 --> 00:44:22,159         and that was going                to be "Triumph".        1142 00:44:22,192 --> 00:44:23,827         When I applied for               the licence plate,       1143 00:44:23,861 --> 00:44:25,496           it was taken           1144 00:44:25,529 --> 00:44:30,501        and T-R-Y-U-M-P-H                   was not taken.         1145 00:44:30,534 --> 00:44:33,671     So the next opportunity              to go backstage          1146 00:44:33,704 --> 00:44:35,839     I had all three members              autograph them.          1147 00:44:35,873 --> 00:44:38,375        Triumph kicks ass!        1148 00:44:39,376 --> 00:44:40,511           There's times                   when I thought,         1149 00:44:40,544 --> 00:44:41,845         is this overboard?       1150 00:44:41,879 --> 00:44:43,681   You know, some people like to     go out to dinner every night  1151 00:44:43,714 --> 00:44:44,715      or every other night,       1152 00:44:44,748 --> 00:44:46,717          some people like                 to buy a new car        1153 00:44:46,750 --> 00:44:48,018     every two or three years,    1154 00:44:48,052 --> 00:44:50,054   I drive a 12-year-old car but     I have a Triumph addiction,   1155 00:44:50,087 --> 00:44:52,923          so it's kind of                 what I do, yeah.         1156 00:44:53,424 --> 00:44:59,096        (soft dreamy music)       1157 00:44:59,129 --> 00:45:03,000           Rik Emmett:               1981 is when everything                was really solid        1158 00:45:03,033 --> 00:45:06,170         and the success of          "Just a Game" taught me       1159 00:45:06,203 --> 00:45:08,539    time is an important thing,   1160 00:45:08,572 --> 00:45:12,009       you can't be worried               about the clock.         1161 00:45:12,042 --> 00:45:13,544            Gil Moore:                      If we had our                      own place            1162 00:45:13,577 --> 00:45:15,045          that was beyond                 a rehearsal hall,        1163 00:45:15,079 --> 00:45:17,047              where it                  encompassed recording,     1164 00:45:17,081 --> 00:45:18,182       we could, you know,        1165 00:45:18,215 --> 00:45:20,384        really work harder                  on the songs.          1166 00:45:20,417 --> 00:45:21,852          Mike Levine:                 Sometimes Gil's the guy,               you know,             1167 00:45:21,885 --> 00:45:23,020          you ask him what                  time it is,            1168 00:45:23,053 --> 00:45:25,255         he tells you how                 to build a watch.        1169 00:45:25,289 --> 00:45:27,725      And so Gil asked himself             what time it was        1170 00:45:27,758 --> 00:45:30,594       and then decided to           build a recording studio.     1171 00:45:30,627 --> 00:45:32,062        We decided to build                a control room,         1172 00:45:32,096 --> 00:45:33,297    that was the first thing.     1173 00:45:33,330 --> 00:45:34,732  You know, then one thing led       to another and we're like,    1174 00:45:34,765 --> 00:45:35,933           well now we've                 taken it this far,       1175 00:45:35,966 --> 00:45:37,735         maybe we should                just build a studio        1176 00:45:37,768 --> 00:45:38,902           to go with the                   control room,          1177 00:45:38,936 --> 00:45:41,438      and it just gave us               the ability to record,     1178 00:45:41,472 --> 00:45:42,906       you know, on a whim.       1179 00:45:42,940 --> 00:45:44,775          Mike Levine:                   Okay, we're ready                     to roll...           1180 00:45:45,609 --> 00:45:46,910           Rik Emmett:                  On "Allied Forces",        1181 00:45:46,944 --> 00:45:49,113           I'm feeling my                  oats as a writer        1182 00:45:49,146 --> 00:45:52,449       and I'm thinking I can           write almost anything.     1183 00:45:53,817 --> 00:45:56,286         I want to take the              "Just a Game" album       1184 00:45:56,320 --> 00:45:59,790        and bring it into,                 you know, 1981          1185 00:45:59,823 --> 00:46:01,792      and what radio's doing      1186 00:46:01,825 --> 00:46:06,230         and our post-Zep               kinds of influences.       1187 00:46:06,263 --> 00:46:13,237      ("Fight The Good Fight"                by Triumph)           1188 00:46:13,270 --> 00:46:17,908                ♪                 1189 00:46:17,941 --> 00:46:20,077           Rik Emmett:                  "Fight the Good Fight"         grew out of the band,        1190 00:46:20,110 --> 00:46:21,578         pre-production,              in the studio together,      1191 00:46:21,612 --> 00:46:22,579         writing together,        1192 00:46:22,613 --> 00:46:24,081          coming up with                   parts together,         1193 00:46:24,114 --> 00:46:25,082          taking our time,        1194 00:46:25,115 --> 00:46:26,750           we were in our                   own studio.            1195 00:46:26,784 --> 00:46:27,851       (rhythmic rock music)      1196 00:46:27,918 --> 00:46:33,123      ♪ Days grow shorter and        the nights are getting long   1197 00:46:33,157 --> 00:46:37,294        ♪ Feels like we're              running out of time ♪      1198 00:46:37,327 --> 00:46:40,798           Rik Emmett:             I just felt like I had found          my home away from home     1199 00:46:40,831 --> 00:46:44,001      and I would sit there and e      the hockey game on the TV   1200 00:46:44,034 --> 00:46:46,470     and I would just be doing         overdubs all night long,    1201 00:46:46,503 --> 00:46:47,871          and I loved it.         1202 00:46:48,672 --> 00:46:51,308      ♪ Don't get discouraged     1203 00:46:51,341 --> 00:46:53,310         ♪ Don't be afraid        1204 00:46:53,343 --> 00:46:56,980         ♪ We can make it               through another day ♪      1205 00:46:57,014 --> 00:47:00,651           Gil Moore:                I do remember Rik spending     an inordinate amount of time    1206 00:47:00,684 --> 00:47:02,319           in the studio                  and-and Mike too.        1207 00:47:02,352 --> 00:47:04,087        I mean, Mike spent a           bajillion hours in there    1208 00:47:04,121 --> 00:47:07,825    mixing and refining stuff         and that sort of thing.      1209 00:47:07,858 --> 00:47:09,293          Mike Levine:                 We've always produced               our own records          1210 00:47:09,326 --> 00:47:12,162 and some of my background comes   out of record production,       1211 00:47:12,196 --> 00:47:14,498     so that becomes my           responsibility within the group  1212 00:47:14,531 --> 00:47:15,632    when we're making a record.   1213 00:47:15,666 --> 00:47:18,302           We worked well              creatively together         1214 00:47:18,335 --> 00:47:19,970         and those two guys                 listened to me         1215 00:47:20,003 --> 00:47:21,805       when they were singing          and doing overdubs.         1216 00:47:21,839 --> 00:47:22,806           As a producer,         1217 00:47:22,840 --> 00:47:24,508          when I had my                   producer's hat on,       1218 00:47:24,541 --> 00:47:27,811        they-they performed            very, very well for me.     1219 00:47:27,845 --> 00:47:28,812    Okay, are you ready, sir?     1220 00:47:28,846 --> 00:47:29,880            Rik Emmett:                         Okay!              1221 00:47:29,913 --> 00:47:31,014           Mike Levine:                     Okay, one time                   from the top.          1222 00:47:31,048 --> 00:47:32,850          Let's do this in                 one take, okay?         1223 00:47:32,883 --> 00:47:34,885           Rik Emmett:             Okay. If I've got it in me,           I'll get it out of me.     1224 00:47:35,686 --> 00:47:38,689           The band found                  its true heart,         1225 00:47:38,722 --> 00:47:42,526            as a musical                entity in that studio.     1226 00:47:42,559 --> 00:47:44,695      ("Fight the Good Fight"                by Triumph)           1227 00:47:44,728 --> 00:47:48,565          ♪ Fight the good               fight every moment ♪      1228 00:47:48,599 --> 00:47:50,534          Eddie Trunk:                 I remember the impact            hearing Allied Forces       1229 00:47:50,567 --> 00:47:51,835           on the radio.          1230 00:47:51,869 --> 00:47:54,872      It was a very                    stark contrast                   to what was                 1231 00:47:54,905 --> 00:47:58,909    part of, um, a lot of rock         and metal at that time.     1232 00:47:58,942 --> 00:48:02,079          ♪ Show the way          1233 00:48:02,112 --> 00:48:04,147          Eddie Trunk:                     There was a very                uplifting message,       1234 00:48:04,181 --> 00:48:06,984      a very unifying message,     which is important to fans,     1235 00:48:07,017 --> 00:48:09,853       especially when you're             discovering music.       1236 00:48:12,389 --> 00:48:15,192          Brian Posehn:              This was the one that I          just remember playing over    1237 00:48:15,225 --> 00:48:16,360        and over and over.        1238 00:48:16,393 --> 00:48:18,729      To me, this is the-the           quintessential record.      1239 00:48:19,396 --> 00:48:21,198      They wrote a couple                   of big anthems         1240 00:48:21,231 --> 00:48:23,533 and those were the               songs that really                appealed to me,                  1241 00:48:23,567 --> 00:48:24,902 You know, "Fight                 the Good Fight",                 1242 00:48:24,935 --> 00:48:26,703         where you could,                  you'd be alone          1243 00:48:26,737 --> 00:48:29,039    but you could picture being      in an arena full of people,   1244 00:48:29,072 --> 00:48:30,040       just, you know,            1245 00:48:30,073 --> 00:48:33,076      it had that sing-a-long               element to it          1246 00:48:33,110 --> 00:48:35,279          and a positive                    message too.           1247 00:48:37,447 --> 00:48:39,883        As a teenager and                   as a rock fan,         1248 00:48:39,917 --> 00:48:41,585        you have bands that              just disappoint you,      1249 00:48:41,618 --> 00:48:43,053       you know what I mean?      1250 00:48:43,086 --> 00:48:45,589         And, and Triumph                  never did that.         1251 00:48:45,622 --> 00:48:50,627          ♪ I can tell you                  where to start         1252 00:48:50,961 --> 00:48:54,431          ♪ Take a look                 inside your heart ♪        1253 00:48:54,464 --> 00:48:57,267          Joey Scoleri:                 Triumph connected with         one person at a time.        1254 00:48:57,301 --> 00:49:00,604 Every song that                  they wrote felt                  very personal.                   1255 00:49:00,637 --> 00:49:02,139         And when you were                  a Triumph fan          1256 00:49:02,172 --> 00:49:03,540        and you met another                 Triumph fan,           1257 00:49:03,573 --> 00:49:05,742       it created this bond       1258 00:49:05,776 --> 00:49:07,377     because you heard the                song on the radio,       1259 00:49:07,411 --> 00:49:09,046           they heard the                song on the radio         1260 00:49:09,079 --> 00:49:11,281         and you both felt                  the same way.          1261 00:49:14,584 --> 00:49:17,721           Rik Emmett:                The teenage high school          experience is one where      1262 00:49:17,754 --> 00:49:20,090     there's an awful lot of          people that feel lonely      1263 00:49:20,123 --> 00:49:24,594     and ostracized and feel          like they don't fit in.      1264 00:49:24,628 --> 00:49:26,263   There are an awful lot of            bands that were saying     1265 00:49:26,296 --> 00:49:28,265       let's get hammered,                let's get laid,          1266 00:49:28,298 --> 00:49:29,933            you know,                      let's die young.        1267 00:49:29,967 --> 00:49:34,471      And so, we were going to        be a band that gives kids    1268 00:49:34,504 --> 00:49:38,608          a positive sense                  of themselves.         1269 00:49:38,642 --> 00:49:41,111          Mike Levine:                    Our lyrics were                uplifting and positive     1270 00:49:41,144 --> 00:49:43,280         and a lot of times               giving people hope       1271 00:49:43,313 --> 00:49:45,782            and changing                  people's lives,          1272 00:49:45,816 --> 00:49:47,951    and that's something that,                you know,            1273 00:49:47,985 --> 00:49:49,052       I'm forever proud of.      1274 00:49:49,119 --> 00:49:52,155      Like we did get letters        about how people were gonna   1275 00:49:52,189 --> 00:49:54,491      you know, this girl was         going to commit suicide,     1276 00:49:54,524 --> 00:49:57,494     she couldn't live anymore      and then she put on "Hold On"  1277 00:49:57,527 --> 00:49:58,829     and it changed her life.     1278 00:49:58,862 --> 00:49:59,997             You know,                   that kind of stuff,       1279 00:50:00,030 --> 00:50:01,865          like you can't                  buy that, right?         1280 00:50:01,898 --> 00:50:04,501       There's no price you             can ever put on that       1281 00:50:04,534 --> 00:50:06,370          except feeling                    really good.           1282 00:50:07,037 --> 00:50:11,541       ♪ You're the master              of your own destiny        1283 00:50:11,575 --> 00:50:19,883       ♪ So give and take the          best that you can ♪         1284 00:50:19,916 --> 00:50:26,223         (loud rock music)        1285 00:50:26,256 --> 00:50:28,091            Nancy Inch:                    Triumph's music                    has seen me           1286 00:50:28,125 --> 00:50:31,061       through some of the           highest points in my life     1287 00:50:31,094 --> 00:50:34,398         but there has been              more times than not       1288 00:50:34,431 --> 00:50:36,900    that Triumph has brought me       from a really dark place,    1289 00:50:36,933 --> 00:50:40,270     kept me from, I was in a        dark place for a long time.   1290 00:50:40,303 --> 00:50:45,108           Um, yeah, and                  these guys, oof,         1291 00:50:45,142 --> 00:50:49,246  these guys, uh, gave me a       reason to keep going, you know,  1292 00:50:49,279 --> 00:50:52,115      reminding me that it's              going to be okay.        1293 00:50:53,650 --> 00:50:55,752           They mean the                    world to me.           1294 00:50:55,786 --> 00:50:58,255          Matt Hoffman:                   A couple years ago              I got this tattoo         1295 00:50:58,288 --> 00:50:59,456           with the motto             Fight the Good Fight,        1296 00:50:59,489 --> 00:51:01,625        which is part of the         reason I'm here right now,    1297 00:51:01,658 --> 00:51:03,560          little reminder                 every single day,        1298 00:51:03,593 --> 00:51:04,895     people should always, uh,    1299 00:51:04,928 --> 00:51:07,431        when things get bad             fight the good fight.      1300 00:51:09,099 --> 00:51:13,603    I was diagnosed in 2010          with stage 3 rectal cancer    1301 00:51:13,637 --> 00:51:16,273        and every single day             that I went to the-       1302 00:51:16,306 --> 00:51:17,941       to the hospital for              my chemo treatments        1303 00:51:17,974 --> 00:51:20,577            I would have                   Triumph playing.        1304 00:51:20,610 --> 00:51:23,580    "Fight the Good Fight" was          always the first song      1305 00:51:23,613 --> 00:51:24,915      going into the subway,      1306 00:51:24,948 --> 00:51:26,917          it just really,                  really took on          1307 00:51:26,950 --> 00:51:28,452            a whole new                    meaning for me.         1308 00:51:30,120 --> 00:51:31,755        Less than a month              after I got diagnosed       1309 00:51:31,788 --> 00:51:33,957          I sent an email                   to Rik Emmett.         1310 00:51:33,990 --> 00:51:35,492    "Hi Rik, hope all is well.    1311 00:51:35,525 --> 00:51:37,160         "I just wanted to              take a couple minutes      1312 00:51:37,194 --> 00:51:38,495     "to tell you some things.    1313 00:51:38,528 --> 00:51:41,965 "I have recently been diagnosed  with stage 3 cancer.             1314 00:51:41,998 --> 00:51:44,968     "I am only 42 years old           and just got married.       1315 00:51:45,001 --> 00:51:46,136          "Your music has                    always been           1316 00:51:46,169 --> 00:51:48,305         "a very important                piece of my life,        1317 00:51:48,338 --> 00:51:50,807      "especially now during            this difficult time.       1318 00:51:50,841 --> 00:51:51,975   "Thanks for the inspiration.   1319 00:51:52,008 --> 00:51:53,844          "All the best,                   Matt Hoffman."          1320 00:51:53,877 --> 00:51:56,813      And less than 24 hours,           I got a reply from Rik     1321 00:51:56,847 --> 00:51:58,682         and this is what                  he had to say.          1322 00:51:58,715 --> 00:52:01,518    "Hi Matt, I'm very sorry to       hear of your difficulties    1323 00:52:01,551 --> 00:52:02,853      "and these challenges.      1324 00:52:02,886 --> 00:52:05,122        "My heart goes out                to you and yours.        1325 00:52:05,155 --> 00:52:08,792  "I can only offer you the same    advice I gave my own brother:  1326 00:52:08,825 --> 00:52:11,962  "Don't let the disease or even    the fight against the disease  1327 00:52:11,995 --> 00:52:15,332           "become your               defining characteristics.    1328 00:52:15,365 --> 00:52:18,301      "Stay true to the best             parts of yourself.        1329 00:52:18,335 --> 00:52:19,836         "With love, Rik."        1330 00:52:20,670 --> 00:52:23,006            (Matt sobs)           1331 00:52:23,874 --> 00:52:25,342           You guys are                    making me cry.          1332 00:52:27,677 --> 00:52:28,845           That's cool.           1333 00:52:32,215 --> 00:52:35,051       This is my rock hero          writing that message to me.   1334 00:52:37,854 --> 00:52:39,689            Doesn't get                   better than that.        1335 00:52:42,592 --> 00:52:45,195        (soft guitar music)       1336 00:52:45,228 --> 00:52:51,034          ("Magic Power"                     by Triumph)           1337 00:52:51,067 --> 00:52:53,870           Rik Emmett:                  That's a pretty strong      thing that happens in music,    1338 00:52:53,904 --> 00:52:57,374   the bonding thing that occurs      between the band on stage    1339 00:52:57,407 --> 00:52:59,543         and the audience                   in the seats           1340 00:52:59,576 --> 00:53:01,244           and the music                 that's in the air.        1341 00:53:01,278 --> 00:53:04,648         ♪ Something's in                  the air tonight         1342 00:53:04,681 --> 00:53:06,816    ♪ Don't know what it is       1343 00:53:06,850 --> 00:53:09,486           Rik Emmett:                   You write a song and               it becomes a hit        1344 00:53:09,519 --> 00:53:11,655    and then you go and you're       playing it for an audience    1345 00:53:11,688 --> 00:53:13,690       and they start singing             it back to you,          1346 00:53:13,723 --> 00:53:16,193      is that song the same            thing that you wrote?       1347 00:53:16,226 --> 00:53:18,228           Not anymore,                  it belongs to them.       1348 00:53:19,896 --> 00:53:23,366      Along comes MTV and              it's changing the nature    1349 00:53:23,400 --> 00:53:24,868      of all of these things      1350 00:53:24,901 --> 00:53:28,705 and we hated that a video was    going to create a set of images  1351 00:53:28,738 --> 00:53:30,040        and people are going             to see that image         1352 00:53:30,073 --> 00:53:32,242     and they're never going          to hear that song again      1353 00:53:32,275 --> 00:53:37,214 without seeing that thing happen at that point in that song,      1354 00:53:37,247 --> 00:53:38,882        with that imagery.        1355 00:53:38,915 --> 00:53:40,884       But we had to do it.       1356 00:53:40,917 --> 00:53:41,952      We had to make videos.      1357 00:53:41,985 --> 00:53:44,054          Interviewer:                     Okay, so what we                  have here Gil,         1358 00:53:44,087 --> 00:53:46,923    this is, if you press the          space bar and just...       1359 00:53:48,124 --> 00:53:49,125              Uh oh.              1360 00:53:49,159 --> 00:53:50,760       ("Magic Power" plays)      1361 00:53:50,794 --> 00:53:54,097        This is the dreaded           birthday cakes in space.     1362 00:53:54,130 --> 00:53:55,098       (laughing) Oh my God!      1363 00:53:55,131 --> 00:53:57,434          ♪ Something's in                 the air tonight         1364 00:53:57,467 --> 00:53:59,769          ♪ You don't know                   what it is ♪          1365 00:53:59,803 --> 00:54:01,104          John Roberts:                   MTV was brand new,       1366 00:54:01,137 --> 00:54:03,540    people weren't really sure         what to do about videos.    1367 00:54:03,573 --> 00:54:04,874     Concert videos were great    1368 00:54:04,908 --> 00:54:07,544   but then they wanted to start    doing these conceptual things  1369 00:54:07,577 --> 00:54:09,579         and in some cases        1370 00:54:09,613 --> 00:54:13,250      the concept went way so         far off into left field,     1371 00:54:13,283 --> 00:54:15,252      as you would wonder               how it ever got there.     1372 00:54:15,285 --> 00:54:19,789      ♪ I'm young, I'm wild       1373 00:54:19,823 --> 00:54:21,925         I don't remember                this video, though.       1374 00:54:21,958 --> 00:54:23,927       I've never seen this!      1375 00:54:23,960 --> 00:54:27,264           Gil Moore:                   Well that was complete         unmitigated disaster.        1376 00:54:27,297 --> 00:54:30,100           (Gil laughs)           1377 00:54:30,133 --> 00:54:31,501          The director...         1378 00:54:32,335 --> 00:54:33,637        We come to the video      1379 00:54:33,670 --> 00:54:35,772          and there's this            gigantic white guitar        1380 00:54:35,805 --> 00:54:37,140          that looks like                  a birthday cake.        1381 00:54:37,173 --> 00:54:38,642         So he goes, okay,                that's the stage,        1382 00:54:38,675 --> 00:54:40,110         you guys are going               to go up on there.       1383 00:54:40,143 --> 00:54:42,612        And we went, no, no,             we don't do that,         1384 00:54:42,646 --> 00:54:43,613      that's stupid looking.      1385 00:54:43,647 --> 00:54:44,614          But now you've                   got this thing,         1386 00:54:44,648 --> 00:54:45,615            it exists.            1387 00:54:45,649 --> 00:54:48,285       (tape rewind effect)       1388 00:54:48,318 --> 00:54:50,620    ♪ Something you will hold     1389 00:54:50,654 --> 00:54:51,988       (tape rewind effect)       1390 00:54:52,022 --> 00:54:54,190            It's built,                so we go, reluctantly,      1391 00:54:54,224 --> 00:54:55,659         kind of looking                 at each other, like,      1392 00:54:55,692 --> 00:54:57,527          ah, I don't know                  about this.            1393 00:54:58,862 --> 00:55:02,332       Whoa! The drums just           came out of a black hole!    1394 00:55:02,365 --> 00:55:05,101             (imitates                  otherworldly effect)       1395 00:55:05,135 --> 00:55:06,770             Ricky:                     Whoa, what the hell               is going on here?         1396 00:55:06,803 --> 00:55:07,771             Julian:                      Now we're talking.       1397 00:55:07,804 --> 00:55:08,938     Where did she come from?     1398 00:55:08,972 --> 00:55:10,440       She's a space chick.       1399 00:55:10,473 --> 00:55:12,108           On a, what is                  she sleeping on?         1400 00:55:12,142 --> 00:55:13,276             Bubbles:                         Space bed?           1401 00:55:13,310 --> 00:55:14,444             Ricky:                     A space floaty bed.        1402 00:55:14,477 --> 00:55:16,112           (guitar riff)          1403 00:55:16,146 --> 00:55:17,113          ♪ She's young           1404 00:55:17,147 --> 00:55:19,115          Now the guitar-                     Oh shit.             1405 00:55:19,149 --> 00:55:21,117         Sebastian Bach:                   Now the guitar's                in her bedroom.          1406 00:55:21,151 --> 00:55:23,119     I didn't see that coming.    1407 00:55:23,153 --> 00:55:26,656       ♪ Got the magic power            of the music in me ♪       1408 00:55:26,690 --> 00:55:27,824           Gil Moore:                   That's logical, right?     1409 00:55:27,857 --> 00:55:29,659      If you had a spaceship,         where would you take it?     1410 00:55:29,693 --> 00:55:37,167          ("Magic Power"                     by Triumph)           1411 00:55:37,200 --> 00:55:38,268       (tape rewind effect)       1412 00:55:38,301 --> 00:55:40,370            Gil Moore:                      The minute it                  came out we went,        1413 00:55:40,403 --> 00:55:41,371         oh no, we gotta                      pull this,           1414 00:55:41,404 --> 00:55:42,539     it-it-it can't come out.     1415 00:55:42,572 --> 00:55:44,007      this is like too, this-     1416 00:55:44,040 --> 00:55:45,175      wanna talk Spinal Tap,      1417 00:55:45,208 --> 00:55:46,843         this was serious                    Spinal Tap,           1418 00:55:46,876 --> 00:55:48,712      that's what I'm talking             about right now.         1419 00:55:49,379 --> 00:55:53,183      John Roberts:                    Concept videos really were       great fodder for MTV rotat, 1420 00:55:53,216 --> 00:55:54,851        but they're awful                   in retrospect,         1421 00:55:54,884 --> 00:55:57,520    whereas what has longevity    1422 00:55:57,554 --> 00:55:58,788         and what will last       1423 00:55:58,888 --> 00:56:02,225 is this idea of just a good old  honest concert presentation.     1424 00:56:02,258 --> 00:56:05,161         (hard rock music)        1425 00:56:05,195 --> 00:56:07,497           Announcer:                  Triumph. Critics call it     the best rock and roll show     1426 00:56:07,530 --> 00:56:08,865            of the year.          1427 00:56:08,898 --> 00:56:10,667          Announcer 2:                    Come see Triumph's        brilliant stage production.     1428 00:56:10,700 --> 00:56:12,502        The pride of Canada,                   Triumph.            1429 00:56:12,535 --> 00:56:14,337         Live in concert                  tonight at 8:00 PM       1430 00:56:14,371 --> 00:56:16,005               at the                  Convention Centre Arena.    1431 00:56:16,039 --> 00:56:17,374          Mike Levine:               Hi, this is Mike Levine                   of Triumph           1432 00:56:17,407 --> 00:56:19,008        and we'll be playing                 centre field          1433 00:56:19,042 --> 00:56:20,343               at the                 World Series of Rock,        1434 00:56:20,377 --> 00:56:22,846      Milwaukee County Stadium             on May the 28th.        1435 00:56:22,879 --> 00:56:24,347           Gil Moore:                       Thank you very                  much, Cleveland!        1436 00:56:24,381 --> 00:56:25,682        You're hot tonight!       1437 00:56:25,715 --> 00:56:26,916          (crowd cheers)          1438 00:56:26,950 --> 00:56:28,218           Gil Moore:                   Our tours back then              would be, you know,        1439 00:56:28,251 --> 00:56:31,020   close to a hundred shows,       mainly in the United States.    1440 00:56:31,054 --> 00:56:32,188          Mike Levine:                    Madison, Thursday.       1441 00:56:32,222 --> 00:56:33,223         Milwaukee, Friday.       1442 00:56:33,256 --> 00:56:34,391         Chicago, Saturday.       1443 00:56:34,424 --> 00:56:36,259     In the big buildings,                in the big cities.       1444 00:56:36,292 --> 00:56:38,094             MTV VJ:               A great triumvirate, Triumph,   1445 00:56:38,128 --> 00:56:40,897    in concert Saturday night,            only here at MTV.        1446 00:56:40,930 --> 00:56:43,767           Announcer:                       Triumph on RCA             records and cassette.        1447 00:56:45,935 --> 00:56:46,903           JD Roberts:                     Are you all set?        1448 00:56:46,936 --> 00:56:48,238              Crew:                         We're all set.         1449 00:56:48,271 --> 00:56:50,740   Okay. Anyways, you've been on    the road since, uh, January.   1450 00:56:50,774 --> 00:56:52,409          How are things                 going on the tour?        1451 00:56:52,442 --> 00:56:54,911       We've gone from being            popular and happening      1452 00:56:54,944 --> 00:56:58,081   to being suddenly, you know,           larger than life.        1453 00:56:58,114 --> 00:57:00,617           And we decided                  that it was time        1454 00:57:00,650 --> 00:57:02,585         to really break                  the United States.       1455 00:57:02,619 --> 00:57:04,687       You know, we wanted to        end up on the US Festival.    1456 00:57:04,721 --> 00:57:07,056          (80s pop music)         1457 00:57:07,090 --> 00:57:08,725         Steve Wozniak:                For the US Festival                      in 1983,            1458 00:57:08,758 --> 00:57:11,227        I wanted all people               of all music types       1459 00:57:11,261 --> 00:57:14,731      to find kind of their             days in this event.        1460 00:57:14,764 --> 00:57:16,766      And I love                       good heavy                       metal music.                1461 00:57:16,800 --> 00:57:17,934                      And I even                       understand  1462 00:57:17,967 --> 00:57:19,569      how they're                      somehow                          relating                    1463 00:57:19,602 --> 00:57:21,905       to other human beings               in playing it.          1464 00:57:21,938 --> 00:57:22,972       But I didn't realize       1465 00:57:23,006 --> 00:57:25,742     how incredible our heavy        metal day was going to be.    1466 00:57:25,775 --> 00:57:27,911         Festival Goer:                 Over 300,000 people              just getting along,        1467 00:57:27,944 --> 00:57:30,413       having a good time,                  no trouble.            1468 00:57:30,447 --> 00:57:31,448 It's California,                 1469 00:57:31,481 --> 00:57:32,782 it's where it's at.              1470 00:57:32,882 --> 00:57:35,285          Mike Levine:                   I think the event is        bigger than any one band,      1471 00:57:35,318 --> 00:57:36,786            you know,                  there's so many fans,       1472 00:57:36,820 --> 00:57:38,755       there's two or 300,000            people out there.         1473 00:57:38,788 --> 00:57:39,956         Some of them are                  here to see us.         1474 00:57:39,989 --> 00:57:41,458       Some of them are here              to see Van Halen,        1475 00:57:41,491 --> 00:57:43,460     but more-more than that,        they're here for the event.   1476 00:57:43,493 --> 00:57:45,462         It's a gathering                    of people.            1477 00:57:45,495 --> 00:57:48,298          John Roberts:                  I remember flying in             over the US Festival      1478 00:57:48,331 --> 00:57:50,467     and it was an amazing                 adrenaline rush,        1479 00:57:50,500 --> 00:57:51,968    I can only imagine what it        was like for those guys,     1480 00:57:52,001 --> 00:57:54,137     it was the biggest venue           they've ever played.       1481 00:57:54,170 --> 00:57:55,805           Rik Emmett:                      I'm sitting in                   the helicopter         1482 00:57:55,839 --> 00:57:59,476      and we're going over these       fields of all of these peo. 1483 00:57:59,509 --> 00:58:01,511           I was going,                       oh shit!             1484 00:58:02,345 --> 00:58:04,280       What the fuck have we          got ourselves into here?     1485 00:58:04,981 --> 00:58:06,416          (crowd cheers)          1486 00:58:06,449 --> 00:58:07,917           Gil Moore:                      There were so                      many people,          1487 00:58:07,951 --> 00:58:11,921        the security and the       throngs of press and media,     1488 00:58:11,955 --> 00:58:13,323      it was just a circus.       1489 00:58:13,690 --> 00:58:15,959        (cameras clicking)                (crowd cheering)         1490 00:58:15,992 --> 00:58:18,795           Gil Moore:                     I met Steve on the           afternoon of the show        1491 00:58:18,828 --> 00:58:21,464           and we hit it                   off and I said,         1492 00:58:21,498 --> 00:58:24,300      why don't you introduce          us when we go on stage?     1493 00:58:24,334 --> 00:58:25,969      Have you introduced                     any bands?           1494 00:58:26,002 --> 00:58:26,970               No.                1495 00:58:27,003 --> 00:58:27,971     Would you introduce us?      1496 00:58:28,004 --> 00:58:29,339          Oh, I'd love to.        1497 00:58:29,372 --> 00:58:33,009     So, we literally walk                on stage together.       1498 00:58:34,043 --> 00:58:37,146         Steve Wozniak:                That was very rare but I      mean I was glad to do it.      1499 00:58:37,180 --> 00:58:39,349      (chuckles) I'm so glad             now that I did it!        1500 00:58:40,850 --> 00:58:42,318           Okay, there's                    more to come.          1501 00:58:42,352 --> 00:58:44,487   Here's one of the groups that    really believed in this event  1502 00:58:44,521 --> 00:58:46,356      as we believe in them,                  Triumph!             1503 00:58:46,389 --> 00:58:48,525          (crowd cheers)          1504 00:58:48,558 --> 00:58:51,361       I'd like to see some               hands in the air!        1505 00:58:51,394 --> 00:58:53,062        I want to see some             Allied Forces out there     1506 00:58:53,096 --> 00:58:55,031          making a little                   bit of noise!          1507 00:58:55,064 --> 00:58:56,232           Rik Emmett:                 For the heavy metal day,    1508 00:58:56,266 --> 00:58:59,068       it was mostly guys and            it was broiling hot,      1509 00:58:59,102 --> 00:59:00,703        so they'd all taken               their shirts off,        1510 00:59:00,737 --> 00:59:04,307      so it was just pink flesh t      went as far as you could s, 1511 00:59:04,340 --> 00:59:05,808     out and over the hills.      1512 00:59:05,842 --> 00:59:08,311        It was surreal to be             playing that gig.         1513 00:59:08,344 --> 00:59:18,655         ("Allied Forces"                    by Triumph)           1514 00:59:18,688 --> 00:59:21,357        ♪ I've got something                  on my mind           1515 00:59:21,391 --> 00:59:23,526       ♪ I want you to know       1516 00:59:23,560 --> 00:59:26,396           ♪ Rock troops                   are on the move         1517 00:59:26,429 --> 00:59:28,431     ♪ It's startin' to show      1518 00:59:28,731 --> 00:59:30,199          Eddie Trunk:                    The US Festival                        in '83             1519 00:59:30,233 --> 00:59:34,871    can be looked at as one of    the defining greatest moments    1520 00:59:34,904 --> 00:59:37,073         in the history for              hard rock and metal,      1521 00:59:37,106 --> 00:59:40,410      and it was an incredibly            important stage          1522 00:59:40,443 --> 00:59:42,078       for Triumph to be on.      1523 00:59:42,111 --> 00:59:44,714         Their inclusion                  sent a big message       1524 00:59:44,747 --> 00:59:46,749           about how far                    they had come          1525 00:59:46,783 --> 00:59:48,718          in their career                  at that point.          1526 00:59:48,751 --> 00:59:50,887          Danko Jones:                If you go down the list          of the heavy metal day,      1527 00:59:50,920 --> 00:59:52,889    Van Halen, Ozzy Osbourne,     1528 00:59:52,922 --> 00:59:54,757    Judas Priest, M tley Cr e,    1529 00:59:54,791 --> 00:59:56,759         these are bands                that look dangerous        1530 00:59:56,793 --> 00:59:58,962      and then here are these           three guys from Canada     1531 00:59:58,995 --> 01:00:01,631    who are on the same stage        but they're all in white.     1532 01:00:01,664 --> 01:00:04,133    Rik Emmett sounds angelic,               even Gil,             1533 01:00:04,167 --> 01:00:07,437    and they looked like they        went to boys choir school.    1534 01:00:07,470 --> 01:00:09,939       So it situated Triumph              as the good guys        1535 01:00:09,973 --> 01:00:13,343         in an era that was          meant for the dirtbags.       1536 01:00:14,177 --> 01:00:15,278     Here's what I want to do,    1537 01:00:15,311 --> 01:00:16,613           I want to see                    everybody now          1538 01:00:16,646 --> 01:00:18,481        putting your hands               together like this.       1539 01:00:18,514 --> 01:00:23,152         (loud rock music)        1540 01:00:23,186 --> 01:00:24,954          (crowd cheers)          1541 01:00:24,988 --> 01:00:26,155            Gil Moore:                         Louder!             1542 01:00:26,189 --> 01:00:28,157         (crowd cheering)                 (loud rock music)        1543 01:00:28,191 --> 01:00:29,492            Gil Moore:                         Louder!             1544 01:00:29,525 --> 01:00:32,328      Triumph was a well-oiled           machine that day.         1545 01:00:32,362 --> 01:00:35,164            The singing,               the playing, everything.    1546 01:00:35,198 --> 01:00:37,700    And you could tell they               wanted perfection.       1547 01:00:37,734 --> 01:00:39,569        And that was rare.        1548 01:00:40,536 --> 01:00:52,682           (guitar riff)          1549 01:00:52,715 --> 01:00:57,186             John 5:                 I was definitely connected     to this band because of Rik.    1550 01:00:57,220 --> 01:00:59,555 It was kind of like              if Eddie Van Halen               1551 01:00:59,589 --> 01:01:01,758 was this lead                    singer too.                      1552 01:01:01,791 --> 01:01:08,164        (rock guitar riff)        1553 01:01:08,197 --> 01:01:10,500           Rik Emmett:                I remember thinking I         gotta try and play this good    1554 01:01:10,533 --> 01:01:11,567       because there's all              these cameras here.        1555 01:01:11,601 --> 01:01:14,003       They had them on arms,          they had them on tracks,    1556 01:01:14,037 --> 01:01:16,506    you couldn't escape them,          they were everywhere.       1557 01:01:16,539 --> 01:01:17,840          And sometimes                    I'm going to run        1558 01:01:17,874 --> 01:01:19,509         and I'll look like               a tiny little guy        1559 01:01:19,542 --> 01:01:21,878     running all the way over         in front of this giant PA    1560 01:01:21,911 --> 01:01:23,713          and it'll look                   a little goofy.         1561 01:01:23,746 --> 01:01:25,848         So I thought, wow,       1562 01:01:25,882 --> 01:01:29,519       there isn't a human            within a hundred yards,      1563 01:01:29,552 --> 01:01:31,688      except the cameramen.       1564 01:01:31,721 --> 01:01:34,057             John 5:                   I remember watching                     this on TV           1565 01:01:34,090 --> 01:01:35,892      and I was like this                   is incredible,         1566 01:01:35,925 --> 01:01:37,727         and he was running              around entertaining       1567 01:01:37,760 --> 01:01:39,729      these couple of hundred             thousand people,         1568 01:01:39,762 --> 01:01:40,897         playing perfectly.       1569 01:01:40,930 --> 01:01:47,270        (rock guitar riff)        1570 01:01:47,303 --> 01:01:49,272             John 5:                     But then he sat down      1571 01:01:49,305 --> 01:01:52,075        and entertained a               couple million people,     1572 01:01:52,108 --> 01:01:53,776        the people at home,       1573 01:01:53,810 --> 01:01:56,079        and it was genius.        1574 01:01:56,112 --> 01:02:03,086      (soft guitar strumming)              (crowd cheers)          1575 01:02:03,119 --> 01:02:27,577                ♪                 1576 01:02:27,610 --> 01:02:30,947           Gil Moore:                     The US Festival             represented a realization     1577 01:02:30,980 --> 01:02:33,583            that we had                    reached a point         1578 01:02:33,616 --> 01:02:37,920       where our fans were         unequivocal in their support.   1579 01:02:37,954 --> 01:02:40,623          (crowd cheers)          1580 01:02:42,325 --> 01:02:45,294         Steve Wozniak:               Gil Moore, Rik Emmett                 and Mike Levine!        1581 01:02:45,328 --> 01:02:46,295              Triumph!            1582 01:02:46,329 --> 01:02:47,497          (crowd cheers)          1583 01:02:47,530 --> 01:02:50,366           Gil Moore:                      We felt grateful                 and legitimized.        1584 01:02:50,833 --> 01:02:52,668     ♪ Happy birthday to you      1585 01:03:02,345 --> 01:03:05,248         ♪ Happy birthday                   dear Triumph           1586 01:03:05,281 --> 01:03:08,785     ♪ happy birthday to you      1587 01:03:09,619 --> 01:03:13,089    ("When the Lights Go Down"               by Triumph)           1588 01:03:13,122 --> 01:03:15,124             ♪ When the                    lights go down ♪        1589 01:03:16,826 --> 01:03:20,329             ♪ When the                    lights go down ♪        1590 01:03:20,530 --> 01:03:26,969         ♪ We're ready to                 light the fuse ♪         1591 01:03:27,003 --> 01:03:33,976           (rock music)           1592 01:03:34,010 --> 01:03:42,819                ♪                 1593 01:03:42,852 --> 01:03:45,988           ♪ Oh when the                  lights go down ♪         1594 01:03:46,022 --> 01:03:47,523             One more.            1595 01:03:47,557 --> 01:03:50,193   ♪ When the lights go down      1596 01:03:50,226 --> 01:03:51,194               Now.               1597 01:03:51,227 --> 01:03:54,063           ♪ It's time to                  light the fuse ♪        1598 01:03:55,231 --> 01:04:00,036          (vocalization)          1599 01:04:00,069 --> 01:04:06,008     (electric guitar strums)     1600 01:04:06,042 --> 01:04:08,477 So, yeah, we're remembering it   the same way, right, yeah, yeah. 1601 01:04:08,511 --> 01:04:09,679              Okay.               1602 01:04:09,712 --> 01:04:11,347     Yeah, just don't let this        one throw you off though.    1603 01:04:11,380 --> 01:04:13,149     (electric guitar strums)     1604 01:04:13,182 --> 01:04:14,684          Don't let that                   throw you off.          1605 01:04:15,551 --> 01:04:16,519      It's years of going...      1606 01:04:16,552 --> 01:04:18,654     (electric guitar strums)     1607 01:04:18,688 --> 01:04:19,889    Gil Moore:                       Yes.                          1608 01:04:20,056 --> 01:04:27,063         (hard rock music)        1609 01:04:27,096 --> 01:04:38,107                ♪                 1610 01:04:39,909 --> 01:04:41,043           Rik Emmett:                   It's not supposed                 to have bang bang.       1611 01:04:41,077 --> 01:04:42,445        That was two, yeah.       1612 01:04:45,581 --> 01:04:48,384           Gil Moore:                  Does it seem to you            that I'm pounding the crap    1613 01:04:48,417 --> 01:04:49,385         out of the drums?        1614 01:04:49,418 --> 01:04:50,386       Playing regular, no.                 That's fine.           1615 01:04:50,419 --> 01:04:51,387            Gil Moore:                    I mean it's like-        1616 01:04:51,420 --> 01:04:52,889          No, it's good.          1617 01:04:52,922 --> 01:04:54,123          It sounds good.         1618 01:04:54,156 --> 01:04:55,992           It all sounds,              it's gonna be fine.         1619 01:04:58,961 --> 01:05:00,263            Reporter:                  Who did you come down            to see in particular?       1620 01:05:00,296 --> 01:05:01,264               Fan:                            Triumph!            1621 01:05:01,297 --> 01:05:02,265              Fan 2:                           Triumph.            1622 01:05:02,298 --> 01:05:03,599       Great Canadian band.       1623 01:05:03,633 --> 01:05:06,068          We're here for               Triumph, man, Triumph.      1624 01:05:06,102 --> 01:05:08,371           (rock music)           1625 01:05:08,404 --> 01:05:10,706           Gil Moore:                    In those years after               the US Festival,        1626 01:05:10,740 --> 01:05:15,378  we'd reached the stage where       we were part of this wave,    1627 01:05:15,411 --> 01:05:16,879        in the United States               particularly,           1628 01:05:16,913 --> 01:05:18,547         but it was really                kind of worldwide,       1629 01:05:18,581 --> 01:05:20,716            of hard rock                   just dominating.        1630 01:05:20,750 --> 01:05:22,718          (crowd cheers)          1631 01:05:22,752 --> 01:05:24,053          Mike Levine:                     We were starting                    to realize           1632 01:05:24,086 --> 01:05:27,423      that we were in that lucky       1/10th of 1% of the populan 1633 01:05:27,456 --> 01:05:29,458        that gets to live                    their dream.          1634 01:05:29,492 --> 01:05:35,097           (rock music)           1635 01:05:35,131 --> 01:05:36,766          John Roberts:              Triumph, in the early 80s,    1636 01:05:36,799 --> 01:05:37,967          they were as big                 as Van Halen,           1637 01:05:38,000 --> 01:05:39,101          they were as big                 as M tley Cr e,         1638 01:05:39,135 --> 01:05:41,470        they were drawing                equal crowds to them      1639 01:05:41,504 --> 01:05:44,106        and they were really             kind of riding high.      1640 01:05:44,140 --> 01:05:46,275         And then from a               business perspective,       1641 01:05:46,309 --> 01:05:47,643          things crashed.         1642 01:05:52,181 --> 01:05:54,283            Gil Moore:                     When we started                     with RCA,            1643 01:05:54,317 --> 01:05:55,985             they were                     very supportive         1644 01:05:56,018 --> 01:05:58,287      but we saw this shift       1645 01:05:58,321 --> 01:05:59,322        and they seemed like              they were going          1646 01:05:59,355 --> 01:06:01,824           in a different                direction musically.      1647 01:06:01,857 --> 01:06:04,260        And we really didn't           think that they believed    1648 01:06:04,293 --> 01:06:05,261           in hard rock,          1649 01:06:05,294 --> 01:06:08,264       or for that matter,                  in Triumph.            1650 01:06:08,297 --> 01:06:10,433          Mike Levine:                RCA fired the president      1651 01:06:10,466 --> 01:06:13,769      and replaced him with a         guy named Jose Menendez.     1652 01:06:13,803 --> 01:06:16,939    And Jose broke the news          that he was signing Menudo    1653 01:06:16,973 --> 01:06:19,108           for tens of                   millions of dollars,      1654 01:06:19,141 --> 01:06:20,443           of which a big                   chunk of it            1655 01:06:20,476 --> 01:06:22,645         would have been                 our marketing money.      1656 01:06:22,678 --> 01:06:26,816          So we got into a               contractual dispute.      1657 01:06:26,849 --> 01:06:29,618           Rik Emmett:                   Mike and Gil decided        we're going to figure out      1658 01:06:29,652 --> 01:06:31,487            how to get                     away from RCA.          1659 01:06:32,989 --> 01:06:33,990      And I was going like,       1660 01:06:34,056 --> 01:06:35,825       well you guys go to            New York and fight that      1661 01:06:35,858 --> 01:06:38,828  I'll go in the studio and see     if I can record some stuff.    1662 01:06:38,861 --> 01:06:41,163           (guitar riff)          1663 01:06:41,197 --> 01:06:44,166           Gil Moore:                  We had a very, very high     profile lawyer represent us.    1664 01:06:44,200 --> 01:06:46,002         He represented the                 Rolling Stones         1665 01:06:46,035 --> 01:06:47,003            and Yoko Ono          1666 01:06:47,069 --> 01:06:50,006    and he found a deficiency             in our contract          1667 01:06:50,039 --> 01:06:51,674         but the judge just                dismissed it,           1668 01:06:51,707 --> 01:06:53,075      looked the other way.       1669 01:06:53,109 --> 01:06:56,345          Mike Levine:               At the time, RCA was still        a big name in America        1670 01:06:56,379 --> 01:06:59,181 and we're are these long-haired     musicians from Canada         1671 01:06:59,215 --> 01:07:00,850           in front of a                  75-year-old judge        1672 01:07:00,883 --> 01:07:04,620      who probably owned an          RCA TV, an RCA telephone.     1673 01:07:04,653 --> 01:07:06,455          I grew up with a                 RCA dishwasher,         1674 01:07:06,489 --> 01:07:08,657            an RCA this,                     an RCA that.          1675 01:07:08,691 --> 01:07:10,860            Gil Moore:                        You know,                     Elvis is on RCA         1676 01:07:10,893 --> 01:07:13,863  and how dare these Canadians        challenge these guys,        1677 01:07:13,896 --> 01:07:16,866        that's the feeling              that we got in court.      1678 01:07:16,899 --> 01:07:18,367         We had this lawyer       1679 01:07:18,401 --> 01:07:21,003          that was full of               courtroom theatrics.      1680 01:07:21,037 --> 01:07:23,339          And at one point                he got so animated       1681 01:07:23,372 --> 01:07:25,508      that he kind of goobered    1682 01:07:25,541 --> 01:07:28,844   and then this spit goober       went right towards the judge    1683 01:07:28,878 --> 01:07:32,848 and it was disastrous because       all of a sudden our lawyer    1684 01:07:32,882 --> 01:07:34,850     is spitting on the judge.    1685 01:07:34,884 --> 01:07:37,186           (Gil laughs)           1686 01:07:37,219 --> 01:07:38,220               True.              1687 01:07:38,254 --> 01:07:42,391           (rock music)           1688 01:07:42,425 --> 01:07:44,260          Mike Levine:                 Now we've lost in court.    1689 01:07:44,293 --> 01:07:46,896         We have to buy the             contract out from RCA.     1690 01:07:46,929 --> 01:07:48,264      How much does RCA want?     1691 01:07:49,098 --> 01:07:50,232          Three million.          1692 01:07:50,266 --> 01:07:51,734           Rik Emmett:                      That money was                   on advance,            1693 01:07:51,767 --> 01:07:53,569         we were going to                   have to sell,          1694 01:07:53,602 --> 01:07:55,604       you know, 5 million,               6 million records        1695 01:07:55,638 --> 01:07:56,639        on the next record        1696 01:07:56,672 --> 01:07:58,908     in order to start getting          back to level again.       1697 01:07:58,941 --> 01:08:02,244            ♪ Spellbound                    (spellbound) ♪         1698 01:08:02,278 --> 01:08:06,215         ♪ Dreaming of you                all of the time ♪        1699 01:08:06,248 --> 01:08:08,184          Mike Levine:               We had already recorded                "Thunder Seven",        1700 01:08:08,217 --> 01:08:10,386     so we figured whoever                 liked that album        1701 01:08:10,419 --> 01:08:11,687      was going to sign us,       1702 01:08:11,720 --> 01:08:13,722       if they came up with              the dough as well.        1703 01:08:14,590 --> 01:08:17,393           Gil Moore:                      Irving Azoff had               just taken over MCA,      1704 01:08:17,426 --> 01:08:21,063    which was not the greatest            label at the time.       1705 01:08:21,097 --> 01:08:22,398          Irving Azoff:                 When I went to MCA,        1706 01:08:22,431 --> 01:08:24,900     it was this joke of a         record company in the valley    1707 01:08:24,934 --> 01:08:27,069         that nobody wants                   to sign to.           1708 01:08:27,103 --> 01:08:28,237         Um, so, you know,        1709 01:08:28,270 --> 01:08:30,239       we had nowhere to go            but up when we started.     1710 01:08:30,272 --> 01:08:32,241    And having been a manager,    1711 01:08:32,274 --> 01:08:35,578      I believed that the core        to a band's longevity        1712 01:08:35,611 --> 01:08:38,581      was the ability to tour           well and sell tickets.     1713 01:08:38,614 --> 01:08:43,119   Triumph was an arena sellout,        headlining mega star.      1714 01:08:43,152 --> 01:08:44,587        They kind of checked               all the boxes           1715 01:08:44,620 --> 01:08:46,789      for what we were looking            for in those days.       1716 01:08:47,656 --> 01:08:50,626            Gil Moore:                     So we went over                  to meet Irving.         1717 01:08:50,659 --> 01:08:52,795       We sat down for lunch           and Irving said, okay,      1718 01:08:52,828 --> 01:08:53,796     so I got the worst label,    1719 01:08:53,829 --> 01:08:55,331           but I'll pay                    the most money.         1720 01:08:55,364 --> 01:08:56,999        So what do you guys                want for lunch?         1721 01:08:57,032 --> 01:09:00,970           (rock music)           1722 01:09:01,003 --> 01:09:04,907           Gil Moore:                  It seemed like the start         of phase two of Triumph.    1723 01:09:04,940 --> 01:09:06,408            Reporter:                     For five months                     of the year,          1724 01:09:06,442 --> 01:09:08,744       touring is a way of               life for Triumph.         1725 01:09:08,777 --> 01:09:11,247  This sold out concert at the         Spectrum in Philadelphia    1726 01:09:11,280 --> 01:09:15,584    is just one of 94 stops                on the '85 tour.        1727 01:09:15,618 --> 01:09:18,420       Altogether, a million            people will pay to see     1728 01:09:18,454 --> 01:09:21,790         and hear the high                tech extravaganza        1729 01:09:21,824 --> 01:09:24,126         that is a Triumph                 show this year.         1730 01:09:24,160 --> 01:09:28,464          ♪ Rock and roll               lives and breathes ♪       1731 01:09:28,497 --> 01:09:30,299          Joey Scoleri:                  When Triumph came            out with "Thunder Seven",     1732 01:09:30,332 --> 01:09:31,800        they're firing on                   all cylinders.         1733 01:09:31,834 --> 01:09:34,970    And they were writing songs        that got on rock radio.     1734 01:09:35,004 --> 01:09:37,973      Levine had the promotion           down to a science         1735 01:09:38,007 --> 01:09:40,309      and they finally started        making really good videos    1736 01:09:40,342 --> 01:09:43,145       that were getting a              ton of play on MTV.        1737 01:09:43,179 --> 01:09:46,482     ♪ Keep your dreams alive     1738 01:09:46,515 --> 01:09:48,817       ♪ Follow your heart        1739 01:09:48,851 --> 01:09:50,319          ♪ You've got to                follow your heart ♪       1740 01:09:50,352 --> 01:09:51,587    Riley OBy that point,         1741 01:09:51,687 --> 01:09:54,690 Triumph was delivering big arena numbers in the United States     1742 01:09:54,723 --> 01:09:57,026 because they would go into as       many markets as they could    1743 01:09:57,059 --> 01:09:59,028    possibly put their show in    1744 01:09:59,061 --> 01:10:01,730       and all the audiences          were just lapping it up.     1745 01:10:04,099 --> 01:10:06,368       You were driven into              the show experience       1746 01:10:06,402 --> 01:10:10,072    from the opening number and       then it became a journey.    1747 01:10:10,105 --> 01:10:13,209            Let me hear                    you out there.          1748 01:10:13,242 --> 01:10:15,211          (crowd cheers)          1749 01:10:15,244 --> 01:10:16,712           Joey Scoleri:                      Triumph's                     "Thunder Seven"         1750 01:10:16,745 --> 01:10:19,415         it was the envy of           the touring business.        1751 01:10:19,448 --> 01:10:20,549         And at that time,        1752 01:10:20,583 --> 01:10:22,551          Michael Jackson                  and his brothers        1753 01:10:22,585 --> 01:10:25,254      were looking to have the           biggest show in pop.      1754 01:10:25,287 --> 01:10:26,722          I think it was                 Jermaine and Tito,        1755 01:10:26,755 --> 01:10:27,723      or maybe it was Marlon,     1756 01:10:27,756 --> 01:10:28,891         I can't remember                    which ones,           1757 01:10:28,924 --> 01:10:32,094    but those guys went to the       Triumph show in New Mexico,   1758 01:10:32,127 --> 01:10:34,430         saw the show and                  went holy shit!         1759 01:10:34,463 --> 01:10:37,099      And then they hired              Triumph's lighting guys.    1760 01:10:37,132 --> 01:10:39,101      What better way to have          the biggest show in pop     1761 01:10:39,134 --> 01:10:41,437      then just to steal the            biggest show in rock?      1762 01:10:41,470 --> 01:10:43,272           (rock music)           1763 01:10:43,305 --> 01:10:46,308            ♪ Yes I know          1764 01:10:47,309 --> 01:10:49,111            ♪ You've got                    to let it go ♪         1765 01:10:49,144 --> 01:10:51,280           (rock music)                    (crowd cheers)          1766 01:10:51,313 --> 01:10:52,615    Gil MooreThank you!           1767 01:10:52,648 --> 01:10:54,650         Triumph loves you!       1768 01:10:56,151 --> 01:10:59,455            Reporter:                   This year's Triumph               tour is now over,         1769 01:10:59,488 --> 01:11:01,991       but next March after a           new record's released      1770 01:11:02,024 --> 01:11:04,593     the band will be back                on the road again.       1771 01:11:04,627 --> 01:11:07,630        Ninety more concerts            in ninety more cities.     1772 01:11:08,297 --> 01:11:11,000           Rik Emmett:                   There was so much              touring and so many gigs    1773 01:11:11,033 --> 01:11:14,003     but the whole landscape               was changing.           1774 01:11:14,036 --> 01:11:17,339       AOR radio did not mean          what it had meant before    1775 01:11:17,373 --> 01:11:20,676  and MCA said "Thunder Seven"       was too album-oriented.       1776 01:11:20,709 --> 01:11:23,679         It's the MTV era,                 we-we need hits,        1777 01:11:23,712 --> 01:11:25,114           we gotta get                   outside writers.         1778 01:11:25,147 --> 01:11:26,115           So we gotta                      get a producer         1779 01:11:26,148 --> 01:11:27,116      that had those kind                   of connections         1780 01:11:27,149 --> 01:11:28,517      and brought those songs.    1781 01:11:33,322 --> 01:11:36,392          Ron Nevison:                 A lot of people like the          engineering work I did     1782 01:11:36,425 --> 01:11:41,230 on Led Zeppelin, Bad Company,          The Who, Quadrophenia.     1783 01:11:41,263 --> 01:11:43,399      And as a                         producer, uh,               1784 01:11:43,432 --> 01:11:44,400            I was on the charts,  1785 01:11:44,433 --> 01:11:47,169                    I was, had a                     hot mid-80s.  1786 01:11:47,202 --> 01:11:48,904           Summer of '85,         1787 01:11:48,937 --> 01:11:52,007   my Heart single exploded,              "What About Love".       1788 01:11:52,041 --> 01:11:53,909           Rik Emmett:                   Ron was the guy that             got parachuted in         1789 01:11:53,942 --> 01:11:55,411          to save these                 things commercially        1790 01:11:55,444 --> 01:11:57,579    and now his reputation with       record company presidents    1791 01:11:57,613 --> 01:11:58,580         was he's the man,        1792 01:11:58,614 --> 01:11:59,581            he's the guy                  that can do it.          1793 01:11:59,615 --> 01:12:00,916           Ron Nevison:                     In those days,         1794 01:12:00,949 --> 01:12:05,454  the albums that had rock hits    that could cross over to pop,   1795 01:12:05,487 --> 01:12:06,522     that was the big success,    1796 01:12:06,555 --> 01:12:08,190           that was what                    we aimed for,          1797 01:12:08,223 --> 01:12:10,326       uh, hopefully without           compromising the band.      1798 01:12:11,860 --> 01:12:15,531    I had read that Triumph              was a faceless band,      1799 01:12:15,564 --> 01:12:20,703   so I pushed them a little       bit to have Rik sing mostly.    1800 01:12:20,736 --> 01:12:22,871         It had a lot to                     do with MTV,          1801 01:12:22,905 --> 01:12:24,707       lead guitar player,               singer, frontman.         1802 01:12:24,740 --> 01:12:26,842        I thought it would                be a better look.        1803 01:12:26,875 --> 01:12:28,877         Ron's job was to                   make records,          1804 01:12:28,911 --> 01:12:32,014         not to supply an                 image for a band.        1805 01:12:32,047 --> 01:12:34,750      Ron has a particular             way to work                 1806 01:12:34,783 --> 01:12:37,519            and, uh, he can be a             little heavy-handed,  1807 01:12:37,553 --> 01:12:39,922    which is good with a band,    1808 01:12:39,955 --> 01:12:43,225      but Triumph was used to        doing records on their own,   1809 01:12:43,258 --> 01:12:45,427        so it was a little               backwards for them.       1810 01:12:45,461 --> 01:12:46,962          Mike Levine:               Traditionally in Triumph,                you know,             1811 01:12:46,995 --> 01:12:49,798   Gil would sing some songs and     Rik would sing some songs.    1812 01:12:49,832 --> 01:12:52,568          Now it became,               you know, almost a war.     1813 01:12:52,601 --> 01:12:55,404        Ron would play Gil                 off against Rik         1814 01:12:55,437 --> 01:12:56,972      or Rik off against Gil,     1815 01:12:57,005 --> 01:12:59,141       and, you know, about           who's going to sing what     1816 01:12:59,174 --> 01:13:01,944 and he'd tell them both they     were going to sing this one song 1817 01:13:01,977 --> 01:13:04,146           and they both                learned it and then,       1818 01:13:04,179 --> 01:13:05,914        no, Gil, you're not               going to sing it,        1819 01:13:05,948 --> 01:13:07,549        or Rik, you're not                going to sing it.        1820 01:13:07,583 --> 01:13:10,552       I'm thinking this is            not going to end well.      1821 01:13:11,387 --> 01:13:13,222           Rik Emmett:                       We'd cut all                    the beds in LA         1822 01:13:13,255 --> 01:13:15,257     and Ron pulled me aside      1823 01:13:15,290 --> 01:13:17,893    and said you've got to be      able to sing all these songs.   1824 01:13:17,926 --> 01:13:20,329         And I went, whoa,                whoa, whoa, whoa.        1825 01:13:23,665 --> 01:13:25,968          I know that it's                  Gil's band,            1826 01:13:26,001 --> 01:13:28,003         really in the end,                it's Gil's band,        1827 01:13:29,004 --> 01:13:31,006          and Ron doesn't                 understand that.         1828 01:13:33,108 --> 01:13:35,244         On the flight back                 I sat with Gil         1829 01:13:35,277 --> 01:13:37,446           and I broached                    the subject.          1830 01:13:38,280 --> 01:13:41,617       I kind of feel like we          should give this a shot.    1831 01:13:41,650 --> 01:13:44,153          And Gil was not                  happy with me,          1832 01:13:44,186 --> 01:13:45,487         I was a traitor.         1833 01:13:45,521 --> 01:13:49,491        And so it was like,               oh man, you know,        1834 01:13:49,525 --> 01:13:51,994        I think I even had              tears on that flight.      1835 01:13:53,829 --> 01:13:55,798           Gil Moore:                  It's enough of a problem           for us to figure out      1836 01:13:55,831 --> 01:13:58,467        how we're going to            write a really good song     1837 01:13:58,500 --> 01:14:00,202        and how we're going                to perform it,          1838 01:14:00,235 --> 01:14:01,670           we don't need                somebody else in here      1839 01:14:01,703 --> 01:14:04,740   mucking around with a formula     that we already know works.   1840 01:14:04,773 --> 01:14:06,575          Mike Levine:                   We're flying home                 and nobody's happy       1841 01:14:06,608 --> 01:14:09,311        and we're arguing                    about stuff.          1842 01:14:09,344 --> 01:14:11,113          You know, as we                 called ourselves,        1843 01:14:11,146 --> 01:14:12,815       the Three Musketeers,      1844 01:14:12,848 --> 01:14:13,916          all of a sudden                 we weren't really        1845 01:14:13,949 --> 01:14:15,751   the Three Musketeers anymore.  1846 01:14:15,784 --> 01:14:18,287        That was the very,                 very first time         1847 01:14:18,320 --> 01:14:21,490       that I felt isolated              from Mike and Rik,        1848 01:14:21,523 --> 01:14:23,125    I mean, just in every way,    1849 01:14:23,158 --> 01:14:24,793        we just felt like,                    you know,            1850 01:14:24,827 --> 01:14:28,530 all of a sudden the brotherhood  just seemed to feel fractured.   1851 01:14:28,564 --> 01:14:32,367         ♪ Hold on to love        1852 01:14:32,401 --> 01:14:36,638         ♪ Just one night         1853 01:14:36,672 --> 01:14:38,974          ♪ Don't try to                   fight about it          1854 01:14:39,007 --> 01:14:42,344      ♪ Take me I'm yours         1855 01:14:43,345 --> 01:14:46,482           Gil Moore:                     We ended up firing          Ron because it was like       1856 01:14:46,515 --> 01:14:47,683        if we don't get away                from this guy,         1857 01:14:47,716 --> 01:14:48,984           we won't even                    get a record.          1858 01:14:49,017 --> 01:14:51,687         And aside from his               technical skills,        1859 01:14:51,720 --> 01:14:54,223           Mike Clink was               cheering us on saying,     1860 01:14:54,256 --> 01:14:56,024      you know, hey the world          hasn't come to an end,      1861 01:14:56,058 --> 01:14:57,359        we're going to make                a great record,         1862 01:14:57,392 --> 01:14:59,228     let's pull this together.    1863 01:14:59,261 --> 01:15:02,264       He was our Dr. Phil,                   you know,            1864 01:15:03,098 --> 01:15:06,869 that was pulling us back from    the brink of the abyss, really.  1865 01:15:06,902 --> 01:15:09,371           Mike Clink:                     We completed 90%                  of the record,         1866 01:15:09,404 --> 01:15:12,341        yet we were still                shy of that one song      1867 01:15:12,374 --> 01:15:14,843        and maybe possibly                that one single,         1868 01:15:14,877 --> 01:15:18,747        so it was up to the           band to write that song.     1869 01:15:20,015 --> 01:15:22,050          Irving Azoff:               It was a difficult time         for rock bands in the 80s     1870 01:15:22,084 --> 01:15:26,221    that weren't making three        and a half minute jingles,    1871 01:15:26,255 --> 01:15:28,657        but I never expected            pop hits from Triumph.     1872 01:15:28,690 --> 01:15:30,425        Now I can't tell you             that our, you know,       1873 01:15:30,459 --> 01:15:33,061        one of our promotion        heads didn't say to them,      1874 01:15:33,095 --> 01:15:35,697       give me something I             can put on the radio.       1875 01:15:35,731 --> 01:15:38,033          Mike Levine:                    Every promo guy                  wants hit singles,       1876 01:15:38,066 --> 01:15:41,537        so we had to deliver              and Ron's gone,          1877 01:15:41,570 --> 01:15:42,971            what are we                      going to do?          1878 01:15:43,572 --> 01:15:44,873           Rik, go home.          1879 01:15:44,907 --> 01:15:46,308        Go home and write.        1880 01:15:50,279 --> 01:15:51,613         It was 11th hour.        1881 01:15:51,647 --> 01:15:52,781          (clock chimes)          1882 01:15:52,814 --> 01:15:55,050           Rik Emmett:                     I gotta write                    about something,        1883 01:15:55,083 --> 01:15:57,452            somehow, some way,             some buddy, somehow,    1884 01:15:57,486 --> 01:15:58,954             something,                   somebody, someway.       1885 01:15:58,987 --> 01:16:00,088            (crashing)            1886 01:16:00,122 --> 01:16:03,292           Rik Emmett:                   Uh oh, somebody's                     out there.           1887 01:16:03,325 --> 01:16:05,193           Somebody's out                  there somewhere.        1888 01:16:05,227 --> 01:16:06,695              Hmmm,               1889 01:16:06,728 --> 01:16:07,763         that's something.        1890 01:16:07,796 --> 01:16:14,570  ("Somebody's Out There" Intro)  1891 01:16:14,603 --> 01:16:17,706          ♪ Is it fate or                   random chance          1892 01:16:17,739 --> 01:16:21,777        ♪ How can I decide        1893 01:16:21,810 --> 01:16:24,880         ♪ Are we victims                  of circumstance         1894 01:16:24,913 --> 01:16:28,283     ♪ When destinies collide     1895 01:16:29,151 --> 01:16:31,720           Rik Emmett:             "Somebody's Out There" didn't       involve outside writers      1896 01:16:31,753 --> 01:16:34,590       and was just Rik going           you wanna pop single,      1897 01:16:34,623 --> 01:16:37,092  I'll give you a pop single,                here you go.          1898 01:16:38,327 --> 01:16:40,095          Joey Scoleri:                    That song had                    all the elements        1899 01:16:40,128 --> 01:16:41,430         that radio loved                   at that time.          1900 01:16:41,463 --> 01:16:42,598         It had keyboards,        1901 01:16:42,631 --> 01:16:44,099         harmony, vocals,         1902 01:16:44,132 --> 01:16:45,601           a huge chorus.         1903 01:16:45,634 --> 01:16:49,438         ♪ Somebody's out                 there somewhere ♪        1904 01:16:49,471 --> 01:16:50,973          Joey Scoleri:                   Every rock station                   played it,           1905 01:16:51,006 --> 01:16:52,441          it crossed over                   to pop radio,          1906 01:16:52,474 --> 01:16:56,144      and you heard it every 15        minutes on some radio stat. 1907 01:16:56,178 --> 01:16:57,646       The song was massive.      1908 01:16:59,381 --> 01:17:01,316           Rik Emmett:                      Triumph seemed                  to me to be like        1909 01:17:01,350 --> 01:17:03,952           this cat that                   had nine lives,         1910 01:17:03,986 --> 01:17:06,221       it just kept pulling             itself up off the mat      1911 01:17:06,254 --> 01:17:07,389          and I would go,         1912 01:17:07,422 --> 01:17:09,291  I guess we're going to have           another round of this.     1913 01:17:09,324 --> 01:17:10,792           Announcer:                Five semi-trailer trucks,     1914 01:17:10,826 --> 01:17:12,427        over 100 stagehands,      1915 01:17:12,461 --> 01:17:16,298  set to bring you the biggest          show in rock, Triumph.     1916 01:17:16,331 --> 01:17:17,766          John Roberts:               Gil was always thinking      1917 01:17:17,799 --> 01:17:19,601         about how to make                 the band better,        1918 01:17:19,635 --> 01:17:21,436         how to make the                     show bigger,          1919 01:17:21,470 --> 01:17:24,006      and he had the drum riser t      comes up out of the ground  1920 01:17:24,039 --> 01:17:25,774         and it looks like                an alien spaceship       1921 01:17:25,807 --> 01:17:27,442      taking off with all                  of these lights.        1922 01:17:27,476 --> 01:17:30,112          (drum beating)          1923 01:17:30,145 --> 01:17:32,681          John Roberts:                  He really understood         the power of technology       1924 01:17:32,714 --> 01:17:35,150      and how to apply that           to Triumph's live show.      1925 01:17:36,685 --> 01:17:39,821          (crowd cheers)          1926 01:17:39,855 --> 01:17:42,724           Gil Moore:                      We were still                   completely viable,       1927 01:17:42,758 --> 01:17:45,227     our popularity on radio             wasn't suffering,         1928 01:17:45,260 --> 01:17:47,696       our concert touring               wasn't suffering,         1929 01:17:48,597 --> 01:17:52,434       but the communication         broke down within the band.   1930 01:17:57,606 --> 01:17:59,508          Mike Levine:                     Everybody was                   somewhat burnt out       1931 01:17:59,541 --> 01:18:01,376           because of all                    the bullshit          1932 01:18:01,410 --> 01:18:03,845             around the                "Sport of Kings" record.    1933 01:18:03,879 --> 01:18:08,650         The fallout from               that was-was horrible      1934 01:18:08,684 --> 01:18:11,653        and reflected from               that point onwards        1935 01:18:11,687 --> 01:18:13,155       in the band's career.      1936 01:18:14,322 --> 01:18:17,359           Rik Emmett:                  It was very unsettling     1937 01:18:17,392 --> 01:18:21,029      that record companies        somehow could lose that faith   1938 01:18:21,063 --> 01:18:24,499    and that even your partners        might lose that faith,      1939 01:18:24,533 --> 01:18:28,203    you know, like, why are we       losing faith in ourselves?    1940 01:18:28,236 --> 01:18:33,241      Sometimes I ask myself,          how can I maintain this?    1941 01:18:33,909 --> 01:18:36,378     And the answer is that I          don't think that I can.     1942 01:18:37,412 --> 01:18:40,015    The spectre of huge tours     1943 01:18:40,048 --> 01:18:42,184     that last really long                 periods of time,        1944 01:18:42,217 --> 01:18:45,554       they just bite too big          a chunk out of my life.     1945 01:18:45,587 --> 01:18:48,056          And I need time         1946 01:18:48,090 --> 01:18:51,226 to be able to do some of the     other things that I want to do.  1947 01:18:51,259 --> 01:18:58,233       (upbeat guitar music)      1948 01:18:58,266 --> 01:19:01,403                ♪                 1949 01:19:01,436 --> 01:19:04,072           Rik Emmett:                      Music is an                  infinite challenge.        1950 01:19:04,106 --> 01:19:06,208         Creativity is an                infinite challenge.       1951 01:19:06,241 --> 01:19:08,243       I want to chase that       1952 01:19:08,276 --> 01:19:11,246     and Triumph was feeling             like a box to me.         1953 01:19:11,279 --> 01:19:13,515           (rock music)           1954 01:19:13,548 --> 01:19:16,918        ♪ Keeping the faith              is a constant fight       1955 01:19:16,952 --> 01:19:20,555           ♪ We live and                    we breathe it          1956 01:19:20,589 --> 01:19:24,726        ♪ And when you feel              the cause is right        1957 01:19:24,760 --> 01:19:28,563     ♪ You gotta believe it       1958 01:19:28,597 --> 01:19:32,467           Gil Moore:                 Triumph started to feel         more like we were working     1959 01:19:32,501 --> 01:19:38,907      and we had an obligation        to continue as a band        1960 01:19:38,940 --> 01:19:41,910       but for me personally,                you know,             1961 01:19:41,943 --> 01:19:43,411        everything changed                 with my father,         1962 01:19:43,445 --> 01:19:48,450     so, um, I don't know that         I would have survived,      1963 01:19:48,683 --> 01:19:53,021     uh, you know, my father's     passing any better than I did.  1964 01:19:55,123 --> 01:20:01,363          (sombre music)          1965 01:20:01,396 --> 01:20:03,565           Gil Moore:                      He was my mentor                and my best friend       1966 01:20:04,499 --> 01:20:06,501            and suddenly                  he's not there.          1967 01:20:09,004 --> 01:20:12,140      When Triumph started,        he took such a keen interest,   1968 01:20:12,174 --> 01:20:13,975        documenting every                    single show,          1969 01:20:14,009 --> 01:20:16,211          handling all our                financial matters        1970 01:20:16,244 --> 01:20:18,847        and teaching me all              his business skills.      1971 01:20:20,015 --> 01:20:21,850         And he was really                proud of the band.       1972 01:20:23,385 --> 01:20:25,687      He was really the fourth            member of Triumph.       1973 01:20:28,089 --> 01:20:30,892       All I can remember was          how horrible it was         1974 01:20:30,926 --> 01:20:34,262          to actually have                 to play shows           1975 01:20:34,296 --> 01:20:40,769       and had not made a-a        recovery, uh, psychologically,  1976 01:20:40,802 --> 01:20:44,439      and just go through the           motions like a ghost.      1977 01:20:44,472 --> 01:20:46,942     It adversely affected                   Mike and Rik          1978 01:20:46,975 --> 01:20:49,878        because they had to              put up with the fact      1979 01:20:49,911 --> 01:20:53,548       that I was essentially            completely silent         1980 01:20:53,582 --> 01:21:00,589 and we played maybe ten shows       under those circumstances.    1981 01:21:02,257 --> 01:21:05,694       I remember once, in a            conversation with Rik,     1982 01:21:06,595 --> 01:21:09,931      and he said that Triumph        felt like an empty house.    1983 01:21:11,066 --> 01:21:13,535       I knew what a house             full of love was like       1984 01:21:13,568 --> 01:21:15,036     and how it made me feel      1985 01:21:15,070 --> 01:21:17,772      and when he used that            expression I thought,       1986 01:21:17,806 --> 01:21:19,641     I think he's got a point.    1987 01:21:22,277 --> 01:21:27,048           Rik Emmett:             My own unhappiness with the        circumstances of the band,    1988 01:21:27,082 --> 01:21:28,416      the parameters of it,       1989 01:21:28,450 --> 01:21:32,254    the way that it had played          out over 13-odd years,     1990 01:21:32,287 --> 01:21:33,755          I'd had enough.         1991 01:21:33,788 --> 01:21:37,259       I didn't see a future          for myself there anymore.    1992 01:21:41,496 --> 01:21:47,302    This is, "band splits after       wowing 12,000 rock fans.     1993 01:21:47,335 --> 01:21:49,504          "Last show for                 Triumph guitarist".       1994 01:21:49,537 --> 01:21:53,141      Yeah, this was the end.     1995 01:21:53,174 --> 01:21:55,110      "Triumph guitarist and          guiding light Rik Emmett     1996 01:21:55,143 --> 01:21:57,112       "played his last show           with the band yesterday     1997 01:21:57,145 --> 01:21:59,314   "in a bittersweet homecoming.  1998 01:21:59,347 --> 01:22:01,950       "Shortly after a show            that left 12,000 fans      1999 01:22:01,983 --> 01:22:04,152    "standing on their feet at      the Kingswood Music Theatre,   2000 01:22:04,185 --> 01:22:05,587       "Emmett announced he             was quitting the band      2001 01:22:05,620 --> 01:22:07,455      "he helped found nearly              two decades ago         2002 01:22:07,489 --> 01:22:08,590      "in the city's west end,    2003 01:22:08,623 --> 01:22:11,993   "and took from beginnings            in the Gasworks Tavern     2004 01:22:12,027 --> 01:22:15,597      "to the heights of the         US Festival in California.    2005 01:22:15,630 --> 01:22:18,099 "Emmett's backstage announcement   capped weeks of rumours        2006 01:22:18,133 --> 01:22:19,668          "that Triumph's                   end was near           2007 01:22:19,701 --> 01:22:22,604    "and spelled the end of one     of Toronto's most successful   2008 01:22:22,637 --> 01:22:24,639         "and influential                   rock bands".           2009 01:22:27,375 --> 01:22:29,611           Rik Emmett:                    I only ever wanted              to be good at music.      2010 01:22:29,644 --> 01:22:31,646         I only wanted to                 service my talent        2011 01:22:32,514 --> 01:22:36,318         and I only wanted               to honour my talent       2012 01:22:36,351 --> 01:22:38,486          and Triumph had                 become something         2013 01:22:38,520 --> 01:22:41,189         where I could no                   longer honour          2014 01:22:41,222 --> 01:22:42,657          in the way that                  I wanted to...          2015 01:22:43,692 --> 01:22:47,362    that gift that I possessed.   2016 01:22:47,395 --> 01:22:49,397       And I don't say that.      2017 01:22:53,868 --> 01:22:55,870    I say it with all humility.   2018 01:22:57,872 --> 01:22:59,240    It's called "Say Goodbye".    2019 01:23:00,108 --> 01:23:07,015        (soft guitar music)       2020 01:23:07,048 --> 01:23:10,785                ♪                 2021 01:23:10,819 --> 01:23:13,955           Gil Moore:                     I wanted it to end               on a positive note       2022 01:23:13,989 --> 01:23:18,159         but we went into a           dark place for years.        2023 01:23:19,027 --> 01:23:22,697          Mike Levine:                 All those special things      that we did together, uh,      2024 01:23:22,731 --> 01:23:25,867     it was really sad when we       weren't doing them anymore    2025 01:23:26,534 --> 01:23:29,704      and there was acrimony         and that's never any good.    2026 01:23:29,738 --> 01:23:31,206           ♪ Say goodbye          2027 01:23:31,239 --> 01:23:37,846     ♪ Cuz I'll be leavin'                 in the mornin' ♪        2028 01:23:37,879 --> 01:23:40,582           Gil Moore:                    It's a strange place           to find yourself in         2029 01:23:40,615 --> 01:23:43,184     when you've played with            the same three guys        2030 01:23:43,218 --> 01:23:46,621  for years and years and then      the guitar player leaves.      2031 01:23:49,057 --> 01:23:50,725         Do you keep going?              Do you replace him?       2032 01:23:50,759 --> 01:23:52,727       It's a tough decision.     2033 01:23:52,761 --> 01:23:55,563          So we decided to                  give it a shot         2034 01:23:55,597 --> 01:23:57,632            and that led                    us to Phil X.          2035 01:23:57,665 --> 01:24:00,135      ♪ Child of the city         2036 01:24:00,168 --> 01:24:01,803              Phil X:                     I was a huge fan,        2037 01:24:01,836 --> 01:24:04,739        so it was cool to               go into the studio,        2038 01:24:04,773 --> 01:24:07,275      be holding a guitar and         looking at Gil and Mike.     2039 01:24:08,209 --> 01:24:10,612     So it was kind of like,         is this really happening?     2040 01:24:11,546 --> 01:24:18,186           (rock music)           2041 01:24:18,219 --> 01:24:20,522             Phil X:                        We were all in                  new territory           2042 01:24:20,555 --> 01:24:22,557        but everybody had                   the same goal:         2043 01:24:22,590 --> 01:24:24,225    let's make a great record.    2044 01:24:25,994 --> 01:24:28,563         And I think it was          eleven shows we played,       2045 01:24:28,596 --> 01:24:31,232           and obviously                  it's a tough gig.        2046 01:24:31,266 --> 01:24:32,600           People want to                   hear the hits          2047 01:24:32,634 --> 01:24:34,436         and if I was in                     the audience          2048 01:24:34,469 --> 01:24:36,471  and I didn't see Rik Emmett             play with Triumph,       2049 01:24:36,504 --> 01:24:38,506         I'd be like, who                 the fuck is that?        2050 01:24:39,174 --> 01:24:41,643        (rock guitar riff)        2051 01:24:41,676 --> 01:24:43,745          Mike Levine:               It was a great experience            working with Phil         2052 01:24:43,778 --> 01:24:48,450      but it was kind of weird     being on stage without Rik,     2053 01:24:48,483 --> 01:24:50,485          it didn't really                feel like Triumph.       2054 01:24:53,455 --> 01:24:55,623           Gil Moore:                     For me it was a               turning point in my life    2055 01:24:55,657 --> 01:24:58,793      and I wanted to spend             time at Metalworks,        2056 01:24:58,827 --> 01:25:01,663        go behind the scenes            and get off the stage.     2057 01:25:02,730 --> 01:25:03,965          Mike Levine:                 We had paid our dues,       2058 01:25:03,998 --> 01:25:05,600      had a lot of success,       2059 01:25:05,633 --> 01:25:08,269        and there's other              things in life to do.       2060 01:25:12,941 --> 01:25:14,242           Rik Emmett:                 After I left Triumph,       2061 01:25:14,275 --> 01:25:16,744       I was really trying                 to figure out           2062 01:25:16,778 --> 01:25:18,813       what kind of an artist              did I want to be        2063 01:25:18,847 --> 01:25:21,116          and how much did                I want to evolve,        2064 01:25:21,149 --> 01:25:25,753     because Triumph had had         enough success at a level     2065 01:25:25,787 --> 01:25:28,423    that it was probably going       to be almost impossible       2066 01:25:28,456 --> 01:25:32,127      for me to overshadow it,    2067 01:25:32,160 --> 01:25:35,830        so I knew that there              was a legacy there       2068 01:25:35,864 --> 01:25:37,298            that I would                  have to honour,          2069 01:25:37,332 --> 01:25:39,801          not the least of               which was the songs.      2070 01:25:39,834 --> 01:25:41,469           ♪ Hold on              2071 01:25:41,503 --> 01:25:43,471     ♪ Hold on to your dreams     2072 01:25:43,505 --> 01:25:45,006           ♪ Hold on              2073 01:25:45,039 --> 01:25:48,176           Rik Emmett:            I was touring and writing and       eventually making records,    2074 01:25:48,209 --> 01:25:51,312  so I got to scratch a lot of       things off my bucket list.    2075 01:25:51,346 --> 01:25:52,547    If I'd stayed in Triumph,     2076 01:25:52,614 --> 01:25:55,316  I never would have had an       opportunity to do those things.  2077 01:25:55,350 --> 01:25:58,019          (crowd cheers)          2078 01:25:59,220 --> 01:26:02,023           Rik Emmett:                I was really starting               to change who I was.      2079 01:26:03,892 --> 01:26:07,128    But the thing that changed           the world for me was      2080 01:26:07,162 --> 01:26:11,299         my brother Russell                got sick in 2006        2081 01:26:11,332 --> 01:26:14,169         and passed away in               the fall of 2007.        2082 01:26:15,837 --> 01:26:17,639           And he was the                   one that said,         2083 01:26:17,672 --> 01:26:19,674          you gotta clean                  up this baggage.        2084 01:26:19,707 --> 01:26:23,044      My dying wish, you gotta         fix things with Triumph.    2085 01:26:24,045 --> 01:26:25,480          And the olive                    branch was there        2086 01:26:25,513 --> 01:26:27,849            and I said,                    okay, I'll try.         2087 01:26:28,750 --> 01:26:29,984          (crowd cheers)          2088 01:26:30,018 --> 01:26:31,186          Tom Cochrane:                Ladies and gentlemen,       2089 01:26:31,219 --> 01:26:33,388      it's a great pleasure to       welcome the newest members    2090 01:26:33,421 --> 01:26:34,689              to the                 Canadian Music Hall of Fame   2091 01:26:34,722 --> 01:26:35,890          and my friends,         2092 01:26:35,924 --> 01:26:38,426     Rik Emmett, Mike Levine,     2093 01:26:38,459 --> 01:26:40,361      one of my best friends,     2094 01:26:40,395 --> 01:26:43,031     Gil 'The Impaler' Moore,                of Triumph.           2095 01:26:43,064 --> 01:26:44,599          Yeah, lets hear                  it for Triumph!         2096 01:26:44,632 --> 01:26:46,000          (crowd cheers)          2097 01:26:46,034 --> 01:26:49,370            Gil Moore:                 Being inducted into the        Canadian Music Hall of Fame   2098 01:26:49,404 --> 01:26:50,572              in 2008,            2099 01:26:50,605 --> 01:26:52,207             turned out                    to be a catalyst        2100 01:26:52,240 --> 01:26:54,242           to get back                    together with Rik.       2101 01:26:56,778 --> 01:26:59,714           Rik Emmett:               And I didn't realize it             meant that much to me.     2102 01:26:59,747 --> 01:27:01,883         Now I know that it           does and that it did.        2103 01:27:01,916 --> 01:27:05,853          (crowd cheers)          2104 01:27:06,554 --> 01:27:08,890           Gil Moore:                    Through that process           it just seemed like         2105 01:27:08,923 --> 01:27:11,059       we got to get a couple            of shows on the road      2106 01:27:11,092 --> 01:27:13,728          to show our kids                 what's going on         2107 01:27:13,761 --> 01:27:15,763            and interact                   with each other.        2108 01:27:16,431 --> 01:27:18,099           Mike Levine:                    The fun part of                   it was there,          2109 01:27:18,132 --> 01:27:20,702     which was always part             of the Three Musketeers,    2110 01:27:20,735 --> 01:27:22,737        when we were on the               road all the time.       2111 01:27:23,605 --> 01:27:25,573            Rik Emmett:                     You know, I'd                   lost my brother         2112 01:27:25,607 --> 01:27:28,543     but the beautiful thing         about the Triumph reunion     2113 01:27:28,576 --> 01:27:32,714 was I got other brothers back       that I'd lost for decades,    2114 01:27:32,747 --> 01:27:35,984       so that was kind of             like a sweet miracle.       2115 01:27:37,418 --> 01:27:40,221     Twenty years is a long time       to not talk to each other.  2116 01:27:40,255 --> 01:27:42,056      I-I broke their hearts,               I know I did           2117 01:27:42,090 --> 01:27:44,492       and I felt, you know,           it's a terrible thing.      2118 01:27:44,525 --> 01:27:47,929    Um, there was a lot guilt.    2119 01:27:47,962 --> 01:27:50,632       I had a lot of anger       2120 01:27:50,665 --> 01:27:52,934      but when you're angry,                 in the end,           2121 01:27:52,967 --> 01:27:55,103       who are you angry at            in those circumstances,     2122 01:27:55,136 --> 01:27:57,005     you're angry at yourself     2123 01:27:57,038 --> 01:28:01,776  for not being able to figure         it out and move past it.    2124 01:28:01,809 --> 01:28:03,811        And you try to be              angry at other people       2125 01:28:03,845 --> 01:28:07,582    and blame them and you go,            but it's not them,       2126 01:28:07,615 --> 01:28:08,583        this is all on you,       2127 01:28:08,616 --> 01:28:11,452        you're the one that            has to figure this out.     2128 01:28:11,486 --> 01:28:13,388           So, it took me                    a long time,          2129 01:28:13,421 --> 01:28:16,724       but in the end I think             I'm better for it.       2130 01:28:16,758 --> 01:28:19,260       And I think Triumph            fans are better for it.      2131 01:28:20,862 --> 01:28:24,165           (rock music)                    (crowd cheers)          2132 01:28:24,198 --> 01:28:28,269       ♪ I know that I can               survive just fine         2133 01:28:28,303 --> 01:28:32,273     ♪ I said I can survive       2134 01:28:32,307 --> 01:28:39,280           ♪ I said I can              survive on my own ♪         2135 01:28:39,314 --> 01:28:49,957                ♪                 2136 01:28:49,991 --> 01:28:51,159                Wow.              2137 01:28:51,192 --> 01:28:52,827    I'm from Honolulu, Hawaii.    2138 01:28:52,860 --> 01:28:53,895    I came up from Connecticut.   2139 01:28:53,928 --> 01:28:55,330     Dripping Springs, Texas.     2140 01:28:55,363 --> 01:28:56,331           San Antonio.           2141 01:28:56,364 --> 01:28:58,566          We are the only                  one from Brazil         2142 01:28:58,599 --> 01:28:59,567      that are enjoying this,     2143 01:28:59,600 --> 01:29:01,569           it is such a                    huge privilege.         2144 01:29:01,602 --> 01:29:03,404           Nancy Inch:                 There's photos that                  I've never seen.        2145 01:29:03,438 --> 01:29:05,206            This is like                   early seventies.        2146 01:29:05,239 --> 01:29:07,709     I've only gotten ten feet          and I can't breathe.       2147 01:29:08,710 --> 01:29:11,312       I wasn't sure what to          expect for this fan event    2148 01:29:11,346 --> 01:29:13,481         and I'm in it and               I'm still not sure        2149 01:29:13,514 --> 01:29:16,017  what I'm supposed to expect           because this is beyond     2150 01:29:16,050 --> 01:29:20,121      any of my wildest fantasies      that I could have dared dr. 2151 01:29:20,154 --> 01:29:21,522              Matty!                      -What's up Nancy?        2152 01:29:21,556 --> 01:29:22,657            Nancy Inch:                    Did you see-did                   you see this?          2153 01:29:22,690 --> 01:29:23,958           No, I haven't                   seen that one.          2154 01:29:23,991 --> 01:29:25,059         Okay, take it in.        2155 01:29:25,093 --> 01:29:27,362    It's the handwritten lyrics       to "Lay it on the Line".     2156 01:29:27,395 --> 01:29:28,363         Get the hell out.        2157 01:29:28,396 --> 01:29:29,564               Yeah.              2158 01:29:29,597 --> 01:29:31,032          Matt Hoffman:                This is blowing me away.    2159 01:29:31,065 --> 01:29:33,334         Man, I'm so glad I              stayed a Triumph fan      2160 01:29:33,368 --> 01:29:34,369          and I'm part of                  this experience.        2161 01:29:34,402 --> 01:29:37,538         This is, this is                  truly amazing.          2162 01:29:37,572 --> 01:29:41,042      Paulette Borkowski:          We all have that same common      thread of the commitment,      2163 01:29:41,075 --> 01:29:43,177     nobody would be here if          they weren't committed,      2164 01:29:43,211 --> 01:29:44,846      but Triumph breaking up,               you know,             2165 01:29:44,879 --> 01:29:46,881     decades and decades ago,     2166 01:29:46,914 --> 01:29:49,350        there's people that              still wanted more.        2167 01:29:49,384 --> 01:29:51,352           Gil Moore:                We really were connecting             with each other          2168 01:29:51,386 --> 01:29:54,856    more than with our fans in       Sweden and at Rocklahoma,     2169 01:29:54,889 --> 01:29:58,226        and so the fan event            needed to be intimate      2170 01:29:58,259 --> 01:30:01,295    because really it's for the        hardest of the hardcore     2171 01:30:01,329 --> 01:30:03,398          Triumph fans who               were the most loyal,      2172 01:30:03,431 --> 01:30:04,966         the most dedicated       2173 01:30:04,999 --> 01:30:08,102     and stuck with us for           years and years and years,    2174 01:30:08,136 --> 01:30:12,273  so it's about being able to      give something back to them.    2175 01:30:13,107 --> 01:30:14,308          Joey Scoleri:              Good afternoon, everybody.    2176 01:30:14,342 --> 01:30:15,443     How are we doing today?      2177 01:30:15,476 --> 01:30:17,812          (crowd cheers)          2178 01:30:17,845 --> 01:30:19,247          Joey Scoleri:                 Triumph super fans!        2179 01:30:19,280 --> 01:30:21,416          (crowd cheers)          2180 01:30:21,449 --> 01:30:22,850         This is awesome.         2181 01:30:22,950 --> 01:30:26,454 Mike Levine:                     Unbeknownst to the fans,         they had no idea we were there.  2182 01:30:26,487 --> 01:30:28,823      They hadn't seen us               and they're all seated     2183 01:30:28,856 --> 01:30:32,193    to watch a thank you video        that we put together.        2184 01:30:32,226 --> 01:30:33,961       Direct your attention             to the screen here,       2185 01:30:33,995 --> 01:30:35,797      I think you're going to          really enjoy this video.    2186 01:30:35,830 --> 01:30:36,898          (crowd cheers)          2187 01:30:36,931 --> 01:30:38,466          Mike Levine:                       We're hiding                 behind the screen         2188 01:30:38,499 --> 01:30:41,836       and we can see out but             nobody can see in.       2189 01:30:42,737 --> 01:30:45,339         What we're feeling               backstage is, boy,       2190 01:30:45,373 --> 01:30:48,142         these are the top                fans that we have.       2191 01:30:48,176 --> 01:30:49,644      We may never play again.    2192 01:30:49,677 --> 01:30:52,146       We better be really                 fucking good.           2193 01:30:52,180 --> 01:30:54,549           Gil Moore:                   We've always felt this           huge debt to our fans.     2194 01:30:54,582 --> 01:30:59,153        It fascinates me how        strong their feelings are      2195 01:30:59,187 --> 01:31:01,022          after all these               years with the band,       2196 01:31:01,055 --> 01:31:04,559      it's hard to get over,              really, you know,        2197 01:31:04,592 --> 01:31:05,526        I want to see them,       2198 01:31:05,560 --> 01:31:06,794             I want to                   shake their hands.        2199 01:31:06,828 --> 01:31:08,029            Thank them.           2200 01:31:08,062 --> 01:31:10,865          (crowd cheers)          2201 01:31:10,898 --> 01:31:13,534           (rock music)           2202 01:31:13,568 --> 01:31:15,470          (crowd cheers)          2203 01:31:15,503 --> 01:31:20,975           (rock music)           2204 01:31:21,008 --> 01:31:27,515    ("When the Lights Go Down"               by Triumph)           2205 01:31:27,548 --> 01:31:28,516                ♪                 2206 01:31:28,549 --> 01:31:32,653           ♪ Spotlights           2207 01:31:32,687 --> 01:31:36,324           ♪ Houselights                    ready to cue           2208 01:31:36,357 --> 01:31:40,194            ♪ Backstage                    smoke is risin'         2209 01:31:40,228 --> 01:31:43,698          ♪ Steaming like                  a witch's brew          2210 01:31:43,731 --> 01:31:47,702          ♪ I wanna play                 some rock 'n' roll        2211 01:31:47,735 --> 01:31:51,706      ♪ I wanna sing the blues    2212 01:31:51,739 --> 01:31:54,542      ♪ But I've had enough       2213 01:31:54,575 --> 01:31:57,044        ♪ I feel it comin'        2214 01:31:57,078 --> 01:32:00,214      ♪ Left the party roll       2215 01:32:00,248 --> 01:32:04,252             ♪ When the                     lights go down         2216 01:32:04,285 --> 01:32:07,889          ♪ We're ready to                  play the blues         2217 01:32:07,922 --> 01:32:12,593             ♪ When the                     lights go down         2218 01:32:12,627 --> 01:32:14,862       ♪ It's time to light       2219 01:32:14,896 --> 01:32:16,697        ♪ Time to light           2220 01:32:16,731 --> 01:32:19,934     ♪ Time to light the fuse     2221 01:32:19,967 --> 01:32:23,437          (crowd cheers)                  (loud rock music)        2222 01:32:23,471 --> 01:32:24,705           Rik Emmett:                  Talk about surreal,        2223 01:32:24,739 --> 01:32:27,375         it was like all of             those kinds of moments     2224 01:32:27,408 --> 01:32:29,710       of like being on stage          at the US Festival,         2225 01:32:29,744 --> 01:32:32,046      being on stage at the              Aragon in Chicago         2226 01:32:32,079 --> 01:32:33,214       or Maple Leaf Gardens,     2227 01:32:33,247 --> 01:32:35,583        they're all part and            parcel of this tsunami     2228 01:32:35,616 --> 01:32:38,085         that's coming over               you from the fans.       2229 01:32:38,119 --> 01:32:40,388          Mike Levine:                    How's everybody                     doing today?          2230 01:32:40,421 --> 01:32:42,623          (crowd cheers)          2231 01:32:42,657 --> 01:32:44,592          Mike Levine:                 Being on stage with                 Rik and Gil again,       2232 01:32:44,625 --> 01:32:47,261       I mean, that was quite          an emotional experience     2233 01:32:47,295 --> 01:32:49,664           and I think it                  was a validation        2234 01:32:49,697 --> 01:32:53,100       as to what we actually          meant to people's lives,    2235 01:32:53,134 --> 01:32:55,136        how we could thrill              them with our music.      2236 01:32:55,169 --> 01:32:56,637    It was pretty incredible.     2237 01:32:56,671 --> 01:32:58,940         It's like really                  special for us.         2238 01:32:58,973 --> 01:33:01,342       We want to thank you               guys for coming.         2239 01:33:01,375 --> 01:33:03,711         I think you know               what to do right now.      2240 01:33:04,712 --> 01:33:06,747            Gil Moore:                     In a band there                  are milestones,         2241 01:33:06,781 --> 01:33:08,950       if you're lucky enough              to be successful        2242 01:33:08,983 --> 01:33:10,618         the first time you               get a gold record        2243 01:33:10,651 --> 01:33:12,453            or your sell                    out a concert,         2244 01:33:12,486 --> 01:33:15,957         and the fan event                was in that realm        2245 01:33:15,990 --> 01:33:19,760    of life's greatest moments       that you'll never forget.     2246 01:33:19,794 --> 01:33:21,095      ♪ Come on and sing now      2247 01:33:21,128 --> 01:33:22,430          ♪ I'm young now         2248 01:33:22,463 --> 01:33:27,435          ♪ I'm wild now,                 I want to be free        2249 01:33:27,468 --> 01:33:33,641       ♪ Got the magic power            of the music in me ♪       2250 01:33:33,674 --> 01:33:35,142          ♪ I'm young now         2251 01:33:35,176 --> 01:33:39,814      ♪ I'm wild and I'm free     2252 01:33:39,847 --> 01:33:45,453          ♪ Got the magic                power of the music        2253 01:33:45,486 --> 01:33:50,324         ♪ I got the music        2254 01:33:51,692 --> 01:33:54,161          ♪ Yeah yeah             2255 01:33:54,195 --> 01:34:11,946                ♪                 2256 01:34:11,979 --> 01:34:20,988          (crowd cheers)          2257 01:34:21,155 --> 01:34:23,124          Mike Levine:                   Thank you everybody!      2258 01:34:23,157 --> 01:34:25,660         Triumph loves you!       2259 01:34:25,693 --> 01:34:35,703          (crowd cheers)          2260 01:34:45,379 --> 01:34:55,389          (crowd cheers)          2261 01:35:05,433 --> 01:35:12,339          (crowd cheers)          2262 01:35:12,373 --> 01:35:15,342     (crowd chants "Triumph")     2263 01:35:15,376 --> 01:35:16,377          Joey Scoleri:                All right, everybody.       2264 01:35:16,410 --> 01:35:17,511           Let's hear it                     for Triumph!          2265 01:35:17,545 --> 01:35:18,846      How did ya like that?       2266 01:35:18,879 --> 01:35:23,384          (crowd cheers)          2267 01:35:23,417 --> 01:35:25,086           Joey Scoleri:                   That was pretty                  amazing, right?         2268 01:35:25,119 --> 01:35:30,357           (rock music)           2269 01:35:30,391 --> 01:35:33,060       I just cannot tell you          how much you meant to me    2270 01:35:33,094 --> 01:35:35,563         as a young person             starting to play music,     2271 01:35:35,596 --> 01:35:37,098           how much you                     inspired me,           2272 01:35:37,131 --> 01:35:38,632           how much you                    made me believe         2273 01:35:38,666 --> 01:35:41,936     that coming from Toronto,       Canada things could happen.   2274 01:35:46,440 --> 01:35:47,975           Rik Emmett:                  Credit and thanks goes          to my two partners,         2275 01:35:48,008 --> 01:35:49,043           Gil and Mike,          2276 01:35:49,076 --> 01:35:52,313      who invited me along on          their quest for success.    2277 01:35:52,346 --> 01:35:53,781          Interviewer:                     What have you                      got planned?          2278 01:35:53,814 --> 01:35:57,418 Is it going to be more           spectacular than anything ever?  2279 01:35:57,451 --> 01:35:58,586            Absolutely.           2280 01:35:58,619 --> 01:36:00,087 Mike Levine:                     We'd like to                     share this award                 2281 01:36:00,121 --> 01:36:01,255 with those in the                music industry                   2282 01:36:01,288 --> 01:36:02,823 who helped us do                 the heavy lifting                2283 01:36:02,857 --> 01:36:04,458 at the very                      beginning of                     the band.                        2284 01:36:04,492 --> 01:36:06,560 We know who you are              and we thank you.                2285 01:36:06,594 --> 01:36:07,962 Crew:                            We take a lot                    of precautions.                  2286 01:36:07,995 --> 01:36:08,963 JD Roberts:                      Do you ever                      have accidents?                  2287 01:36:08,996 --> 01:36:09,964 No.                              2288 01:36:09,997 --> 01:36:10,965 (explosion booms)                2289 01:36:10,998 --> 01:36:12,399 No, not too often.               2290 01:36:12,433 --> 01:36:13,734 You must think to                yourself that eventually         2291 01:36:13,768 --> 01:36:15,569 the rock and roll                machine is just gonna            2292 01:36:15,603 --> 01:36:17,972 sputter out and                  run out of gas.                  2293 01:36:20,141 --> 01:36:21,408 (laughs)                         2294 01:36:21,442 --> 01:36:22,409 Gil Moore:                       Mike and Rik,                    2295 01:36:22,543 --> 01:36:24,411 thank you for                    your enduring                    friendship.                      2296 01:36:24,445 --> 01:36:25,412 We're a team.                    2297 01:36:25,446 --> 01:36:27,314 We'll be a                       team forever.                    2298 01:36:27,348 --> 01:36:28,582 Thank you.                       2299 01:36:28,616 --> 01:36:45,866         (crowd applauds)         2300 01:36:45,866 --> 01:36:47,468            JD Roberts:                    When you walked                    up the ramp           2301 01:36:47,501 --> 01:36:49,136        and you looked out             into that amphitheatre      2302 01:36:49,170 --> 01:36:51,639      and saw 300,000 people,            what did you think?       2303 01:36:51,672 --> 01:36:54,041         It's good to see            California is into Triumph.   2304 01:36:55,409 --> 01:36:57,411       I mean you didn't go,                 holy shit.