Triumph -

Triumph was a Canadian hard-rock band that released six albums on Attic Records between 1976 and 1983, followed by three further studio albums and a live double-LP through 1987 on MCA. They scored a stateside breakthrough with their 1981 album Allied Forces, which spawned the Billboard rock hits “Fight the Good Fight” and “Magic Power,” followed by the 1983/84 albums Never Surrender and Thunder Seven and the hits “All The Way,” “A World of Fantasy,” and “Spellbound.”

Members: Mike Levine (bass, keyboards), Gil Moore (vocals, drums), Rik Emmett (vocals, guitar, 1975-88), Phil Xenidis [aka Phil X] (guitar, 1992-93), Rick Santers (rhythm guitar, keyboards, vocals)

Background

Triumph took shape in the Toronto area in 1975 when drummer–singer Gil Moore and bassist Mike Levine renamed the final Abernathy Shagnaster lineup for an Attic single, then recruited guitarist–singer Rik Emmett.

Moore started Abernathy Shagnaster’s Wash and Wear Band in 1969 and later played in Sherman & Peabody with future Moxy singer Buzz Shearman and eventual Goddo bassist–singer Greg Godovitz. He also ran a PA-hire operation in the Toronto area.

Levine attended Sir John A. Macdonald Collegiate Institute in Scarborough and led a reformed Motherlode lineup during 1970 with singer Wayne St. John.

Attic issued the 1975 Triumph single “Hobo,” a Larry Leischman number backed with “Got To Get You Back In My Life,” a Moore original. Moore and Levine cut the single with guitarist Fred Keeler and organist Peter Young, who both departed after this release. Soon after, Moore and Levine saw Emmett perform with Act III at the Hollywood Tavern in Toronto.

Emmett was born Richard Gordon Emmett in Toronto and studied guitar before his enrollment in the jazz program at Humber College. He then moved to the Justin Paige group and Act III, which performed “The Blinding Light Show,” a future Triumph piece. In mid-1975, he joined Moore and Levine a jam and joined Triumph upon review of their Attic contract.

The Moore–Levine–Emmett trio played its first paid date during September 1975 at Simcoe High School.

Triumph

Triumph released their self-titled debut album on October 13, 1976 through Attic.

The album contains nine titles, performed by guitarist and singer Rik Emmett, drummer and singer Gil Moore, and bassist Mike Levine. Emmett and Moore divide the lead-vocal credits across the program. Keyboardist Laurie Delgrande occupies the only outside player credit.

“24 Hours a Day” bursts from acoustic figures into hard trio drive as Rik Emmett projects over the faster surge. “Be My Lover” grinds through brawny pressure and a talk-box break. “Don’t Take My Life” bears down on a heavy chord figure as Gil Moore belts in a rougher front position. “Street Fighter” races on hard-edged speed, then “Street Fighter (Reprise)” dazes the same material into a slower, dreamier passage.

“What’s Another Day of Rock & Roll” runs on rough party voltage and blunt group phrasing. “Easy Life” lurches through looser movement before “Let Me Get Next to You” tightens into a white-knuckled charge. “Blinding Light Show/Moonchild” sprawls from acoustic passages into heavier sections, with Emmett’s extended runs marking the long-form close.

A1. “24 Hours a Day” (4:28) – Emmett
A2. “Be My Lover” (3:20) – Emmett
A3. “Don’t Take My Life” (4:58) – Moore
A4. “Street Fighter” (3:33) – Emmett, Moore
A5. “Street Fighter Reprise” (3:03) – Emmett, Moore

B1. “What’s Another Day of Rock ’N Roll” (4:52) – Moore
B2. “Easy Life” (3:56) – Emmett, Levine
B3. “Let Me Get Next to You” (3:03) – Emmett, Moore
B4. “Blinding Light Show / Moonchild” (8:41) – Emmett, Brockway, Young

Sessions occurred at Phase One Studios, Toronto, where Mike Levine and Phase One manager Doug Hill produced the album with staff engineer Brian Bell. The Toronto soundman had worked at Toronto Sound and appears on Klaatu (3:47 EST); George Semkiw remixed the tapes during his early Phase One freelance period.

The original 1976 Attic sleeve credits Northern Mills with the cover. Later In the Beginning… editions replaced the package with cover photography and digital design by Darko, whose credit appears with HRH Promotions and original band photography by Happy Snaps, Inc.

Rock & Roll Machine

Triumph released their second album, Rock & Roll Machine, on November 3, 1977 through Attic.

Rock & Roll Machine contains seven originals and a version of “Rocky Mountain Way,” first issued by Joe Walsh. Keyboardist Laurie Delgrande returns beside keyboardist Mike Danna, while Beau David, Elaine Overholt, Gord Waszek, Colina Phillips, and Rosie Levine add backing vocals.

“Takes Time” stomps as Moore belts across the firm opening surge. “Bringing It On Home” rallies around Emmett’s high reach and a broad singalong lift. “Little Texas Shaker” rolls through shout accents and a rougher room-floor stance. “New York City Streets, Pt. 1” drifts through a mellow stretch as Moore carries the softer arrangement. “New York City Streets, Pt. 2” returns to harder motion and sharper pressure.

“The City: War March / El Duende Agonizante / Minstrel’s Lament” marches from a martial opening into Spanish-tinged guitar, then builds through acoustic song form toward a full-band release. “Rocky Mountain Way” thunders through blunt low-end motion and heavy cover treatment. “Rock & Roll Machine” explodes into an emphatic title piece, with the mid-song solo section carrying the long charge.

A1. “Takes Time” (3:48) – Emmett, Levine, Moore
A2. “Bringing It on Home” (4:35) – Emmett, Levine
A3. “Little Texas Shaker” (3:24) – Emmett, Levine, Moore
A4. “New York City Streets, Pt. 1” (3:09) – Moore
A5. “New York City Streets, Pt. 2” (4:40) – Moore

B1. “The City: War March / El Duende Agonizante [The Dying Spirit] / Minstrel’s Lament” (9:20) – Emmett
B2. “Rocky Mountain Way” (4:04) – Walsh, Vitale, Passarelli, Grace
B3. “Rock & Roll Machine” (6:53) – Moore

Sessions spanned August through September 1977 at Phase One, where Levine and Hill continued as co-producers. Mike Jones recorded the album, and Semkiw returned for the mix before Toronto rock production work with Streetheart (Meanwhile Back in Paris).

Rene Zamic illustrated the Rock & Roll Machine cover during the same Toronto applied-art period that produced his 1978 illustration work on the first Saga album. Gaby Kremnitz supplied the main photography, with sleeve-photo credits also assigned to Lynne Waggett and Jim Murray.

Attic lifted “Rocky Mountain Way” as a 1977 single (b/w “Little Texas Shaker”). In June 1978, RCA issued an international version with a revised sequence and new artwork.

Rock & Roll Machine reached No. 19 on the RPM Top Albums/CDs chart in Canada and No. 182 on the Billboard 200 in the United States.

Just a Game

Triumph released their third album, Just a Game, in March 1979 through Attic in Canada and RCA in the United States.

Just a Game contains eight originals, with Emmett and Moore each assigned four main composer credits. Keyboardists Laurie Delgrande and Mike Danna return, joined by backing singers Beau David, Elaine Overholt, Gord Waszek, Colina Phillips, and Rosie Levine.

“Movin’ On” surges with audience applause behind Moore’s belted phrases and bright harmony layers across the main lift. “Lay It on the Line” rises from a soft intro into a hard full-band ascent as Emmett aims high through the arena-scale arrangement. “Young Enough to Cry” burns through a slow, raw Moore plea. “American Girls” barrels through direct force and a broader chant-ready finish.

“Just a Game” expands into grand arrangement turns and a lyric aimed at material desire. “Fantasy Serenade” concentrates Emmett’s classical guitar into a short instrumental. “Hold On” opens into an earnest acoustic-to-electric climb. “Suitcase Blues” lounges through light after-hours phrasing and off-center sway.

A1. “Movin’ On” (4:07) – Moore
A2. “Lay It on the Line” (4:02) – Emmett
A3. “Young Enough to Cry” (6:03) – Moore
A4. “American Girls” (5:01) – Moore

B1. “Just a Game” (6:13) – Emmett
B2. “Fantasy Serenade” (1:39) – Emmett
B3. “Hold On” (6:04) – Emmett
B4. “Suitcase Blues” (3:01) – Emmett

Sessions occurred during fall and winter 1978 at Sounds Interchange, Toronto, and Metalworks, Mississauga, with Levine as producer. Jones returned as recording engineer beside Ed Stone, whose role started a Triumph technical chain that continued through Stages and Surveillance.

Zamic built the Just a Game gatefold around a board-game layout. The inner spread extends the album title across playing squares and game-piece imagery, with photography by John Rolands and Philip Kaman.

Attic issued “Lay It on the Line” as a 1979 single, which reached No. 86 on the Billboard Hot 100 in the United States. “Hold On” followed in June 1979 (b/w “Just a Game”) and reached No. 38 on the Billboard Hot 100 and No. 33 on the RPM Top Singles chart in Canada.

Just a Game reached No. 19 on the RPM Top Albums/CDs chart and No. 48 on the Billboard 200 in the United States.

Progressions of Power

Triumph released their fourth album, Progressions of Power, in March 1980 through Attic.

Progressions of Power contains nine Emmett–Levine–Moore titles. Emmett adds Prophet 5 to guitar and vocal credits, while Levine holds the bass-and-keyboard role across the album.

“I Live for the Weekend” barrels through Moore’s blunt front and an extended ending with repeated fake stops. “I Can Survive” rallies on a broad singalong lift and firm full-band motion. “In the Night” dazes Emmett’s high plea through a moodier slow climb. “Nature’s Child” grinds through brawny chord pressure and a less ornate Moore delivery.

“Woman in Love” settles into a laidback sway with a heavier lower-body stamp. “Take My Heart” turns inward on soft acoustic picking and an earnest Emmett address. “Tear the Roof Off” explodes through fast Moore phrasing and hard trio thrust. “Fingertalkin’” concentrates flamenco-country picking into a brief acoustic display. “Hard Road” carries Emmett’s higher reach through a gutsy closing surge.

A1. “I Live for the Weekend” (5:18)
A2. “I Can Survive” (4:00)
A3. “In the Night” (6:16)
A4. “Nature’s Child” (5:41)

B1. “Woman in Love” (4:37)
B2. “Take My Heart” (3:28)
B3. “Tear the Roof Off” (4:28)
B4. “Fingertalkin’” (1:58)
B5. “Hard Road” (5:22)

Sessions spanned December 1979 through January 1980 at Phase One, where Triumph handled production without an outside producer credit. John Golden mastered the album.

Progressions of Power uses photography by John Rowlands and Nick Sangiamo. The front cover pairs the title with a monochrome image of a blasting building wall.

Attic issued “I Can Survive” as a 1980 single, which reached No. 91 on the Billboard Hot 100 in the United States. “I Live for the Weekend” reached No. 59 on the UK Singles Chart.

Progressions of Power reached No. 24 on the RPM Top Albums/CDs chart in Canada and No. 32 on the Billboard 200 in the United States.

Allied Forces

Triumph released their fifth album, Allied Forces, in September 1981 through Attic.

Allied Forces contains seven full-length Emmett–Levine–Moore songs plus two brief instrumentals: Levine’s “Air Raid” and Emmett’s “Petite Etude.” Elaine Overholt contributes backing vocals, while the trio’s keyboard credits include Oberheim, Prophet, MultiMoog, Roland vocoder, organ, and piano.

“Fool for Your Love” charges through a hard riff front and Moore’s rougher belt. “Magic Power” rises from acoustic strum into electric lift, with Hammond B3 mass beneath Emmett’s high projection. “Air Raid” funnels sound effects and keyboard noise into the title piece. “Allied Forces” thunders from that intro into one of Moore’s fastest full-band assaults. “Hot Time (In This City Tonight)” rides a city-night shout, a hard riff, and Emmett’s strident upper reach.

“Fight the Good Fight” builds from 12-string depth and keyboard accents into a broad, high-sung ascent. “Ordinary Man” opens on choir-like voices and acoustic restraint before the riffing cuts in near the middle. “Petite Etude” condenses clean classical picking and light jazz-chord turns into a short instrumental. “Say Goodbye” follows the slide-guitar lead-in with a bright final lift and Hammond support.

A1. “Fool for Your Love” (4:34)
A2. “Magic Power” (4:54)
A3. “Air Raid” (1:18) – Levine
A4. “Allied Forces” (5:05)
A5. “Hot Time (In This City Tonight)” (3:23)

B1. “Fight the Good Fight” (6:16)
B2. “Ordinary Man” (7:17)
B3. “Petite Etude” (1:15) – Emmett
B4. “Say Goodbye” (4:34)

Sessions occurred during 1980/81 at Metalworks, the Mississauga studio Gil Moore established as Triumph’s in-house recording base. Triumph produced the album with returning engineers Mike Jones and Ed Stone; Dave Dickson and Mark Woods assisted the sessions.

Allied Forces features artwork and illustration by Brian Zick, a painter-illustrator whose original gouache-and-acrylic cover art centered the Triumph logo and Flying V guitar graphic. Nick Sangiamo supplied the photography after earlier RCA photo credits on albums by the Guess Who, New Birth, and Jon Lucien.

Attic lifted “Allied Forces” as a pre-album single in August 1981. “Magic Power” became the second single (b/w “Hot Time (In This City Tonight)”) and reached No. 14 on the RPM Top Singles chart in Canada. It also reached No. 51 on the Billboard Hot 100 and No. 8 on the Billboard Mainstream Rock chart in the United States. “Fight the Good Fight” reached No. 18 on the Billboard Mainstream Rock chart.

Allied Forces reached No. 13 on the RPM Top Albums/CDs chart in Canada and No. 23 on the Billboard 200 in the United States.

Never Surrender

Triumph released their sixth studio album, Never Surrender, in January 1983 through RCA in the United States after a December 1982 Attic issue in Canada.

Never Surrender contains ten titles, including three short instrumentals and one Tammy Patrick co-credit. Emmett and Levine add Fairlight CMI, Emulator, Yamaha CS-80, Prophet 5, OB-Xa, MultiMoog, and Roland vocoder parts.

“Too Much Thinking” hammers through Reagan samples, determined lower-end motion, and a talk-box solo. “A World of Fantasy” lifts Emmett’s high projection through polished electric sweep and a sustained melodic reach. “A Minor Prelude” frames fast classical picking as a brief entrance to “All the Way.” “All the Way” aims Emmett’s cry over a rhythmic riff and a chant-like battle-call shape. “Battle Cry” slows into clenched Moore phrasing and a soldier image that fixes the lyric’s wartime focus.

“Overture (Procession)” sets short guitar figures against synth backing before the title piece. “Never Surrender” expands through section turns, Moog bass notes, chunky strum, and full-shred release. “When the Lights Go Down” moves from acoustic intro into a square concert-floor surge as Moore belts the stage lyric. “Writing on the Wall” brightens around Emmett’s upper-range lift and a direct closing drive. “Epilogue (Resolution)” eases into soft guitar figures with light jazz-classical shading.

A1. “Too Much Thinking” (5:39)
A2. “A World of Fantasy” (5:03) – Triumph, Patrick
A3. “A Minor Prelude” (0:44)
A4. “All the Way” (3:45)
A5. “Battle Cry” (5:00)

B1. “Overture (Processional)” (1:52)
B2. “Never Surrender” (6:41)
B3. “When the Lights Go Down” (5:08)
B4. “Writing on the Wall” (3:39)
B5. “Epilogue (Resolution)” (2:42)

Sessions occurred during 1982 at Metalworks, where Triumph co-produced the album with David Thoener, a recent soundman for AC/DC, the J. Geils Band, Roy Buchanan, and Kiss. Thoener recorded and mixed the album, with additional recording by Stone and assistant work by Hugh Cooper.

Dean Motter designed the Never Surrender package during his Toronto album-cover period after CBS Records Canada art-direction work. Ken Steacy illustrated Motter’s concept before his mid-Eighties comics work for Pacific, Comico, DC, Eclipse, and Vortex. The front cover sets the title across a metallic shield form against a black field.

The album produced three Billboard Mainstream Rock entries in the United States: “All the Way” at No. 2, “A World of Fantasy” at No. 3, and “Never Surrender” at No. 23.

Never Surrender reached No. 36 on the RPM Top Albums/CDs chart in Canada and No. 26 on the Billboard 200 in the United States.

Thunder Seven

Triumph released their seventh studio album, Thunder Seven, on November 19, 1984 through MCA.

Thunder Seven contains nine Emmett–Levine–Moore titles and the solo Emmett instrumental “Midsummer’s Daydream.” Lou Pomanti joins on synthesizer, keyboards, programming, and production support. Rick Santers appears among the backing-vocal credits.

“Spellbound” opens on a cold synthesizer figure before Moore belts through a hard first-side surge. “Rock Out, Roll On” crawls through darker production and a plodding lower-body stomp as Emmett roughens his upper range. “Cool Down” keeps Emmett in heavier voice over a thick mid-tempo grind. “Follow Your Heart” loosens the surface with alternating Moore and Emmett phrases and a direct arena lift.

“Time Goes By” thunders harder than the earlier single, with group-vocal lift and an extended Emmett break. “Midsummer’s Daydream” settles into a short acoustic instrumental with clean classical turns. “Time Canon” stacks a cappella voices into a brief choral bridge. “Killing Time” slows into a doleful Emmett-Moore exchange. “Stranger in a Strange Land” returns the side to firmer motion and blues-derived bends. “Little Boy Blues” closes with a low-lit instrumental display and Emmett’s bent-note phrasing.

A1. “Spellbound” (5:11)
A2. “Rock Out, Roll On” (5:18)
A3. “Cool Down” (4:51)
A4. “Follow Your Heart” (3:27)

B1. “Time Goes By” (6:02)
B2. “Midsummer’s Daydream” (1:41) – Emmett
B3. “Time Canon” (1:31)
B4. “Killing Time” (4:14)
B5. “Stranger in a Strange Land” (5:15)
B6. “Little Boy Blues” (3:43)

Sessions spanned July through August 1984 at Metalworks, where Triumph co-produced the album with Eddie Kramer, the veteran Hendrix, Led Zeppelin, Kiss, and Peter Frampton soundman. Kramer took the producer/mixer credit, with Stone as engineer, Cooper in the mixing credit, and Noel Golden as assistant.

Motter handled art direction, design, and illustration for Thunder Seven. The cover recasts the Vitruvian Man as a mechanized figure inside a circular technical diagram, with Leonardo da Vinci and H.R. Giger as stated visual reference points.

MCA issued “Follow Your Heart” as a December 1984 Canadian single (b/w “Stranger in a Strange Land”), followed by a February 1985 US issue. “Spellbound” became a January 1985 single (b/w “Cool Down”), followed by the December 1985 promotional single “Killing Time” (b/w “Rock Out, Roll On”). “Follow Your Heart” reached No. 35 on the RPM Top Singles chart in Canada and No. 88 on the Billboard Hot 100 in the United States.

Thunder Seven reached No. 37 on the RPM Top Albums/CDs chart and No. 35 on the Billboard 200 in the United States.

Stages

Triumph released their first live album, Stages, on October 14, 1985 through MCA.

Stages documents concert recordings from 1981–84 and adds two new studio tracks, “Mind Games” and “Empty Inside.” Gary McCracken drums on “Mind Games” after a Moore arm injury, while keyboardist Rob Yale joins the credits.

“When the Lights Go Down” enters through crowd noise and throws Moore’s belt against a hard stage surge, with the blues break pulling the performance into a rougher pocket. “Never Surrender” stretches Emmett’s high cry across heavier section turns and a larger concert finish. “Allied Forces” thunders through Moore’s fastest phrasing and a blunt full-band assault. “Hold On” sheds the studio swell for a stripped acoustic arrangement, which leaves Emmett’s upper reach exposed over the crowd hush.

“Magic Power” rises from the softer opening into the larger singalong lift, with Emmett projecting the high phrases across the room. “Rock & Roll Machine” expands into a long middle jam, with the solo passages carrying the track’s showpiece function. “Lay It on the Line” tightens the acoustic-to-electric climb into a cleaner arena ascent.

“A World of Fantasy” drives Emmett’s high projection through the side’s polished mid-tempo lift before “Druh Mer Selbo” shifts the set into Moore’s drum solo. “Midsummer’s Daydream” pares the surface to acoustic figures and clean classical turns. “Spellbound” bites through the late-set synthesizer figure and Moore’s strident front. “Follow Your Heart” answers with a looser Moore-Emmett handoff and a direct crowd-ready rise. “Fight the Good Fight” explodes into the strongest extended performance, alternating softer Emmett passages with harder full-band peaks and a broad final lift.

Of the two exclusives, “Mind Games” tightens the studio add-on around Moore’s belt, Gary McCracken’s firm drum part, and a double-tracked guitar figure. “Empty Inside” slows into a doleful Emmett address over drum-machine time and Rob Yale’s keyboard support.

A1. “When the Lights Go Down” (6:00)
A2. “Never Surrender” (6:43)
A3. “Allied Forces” (5:07)
A4. “Hold On” (4:21) – Emmett

B1. “Magic Power” (6:12)
B2. “Rock & Roll Machine” (10:20) – Moore
B3. “Lay It on the Line” (5:03) – Emmett

C1. “A World of Fantasy” (4:18) – Triumph, Patrick
C2. “Druh Mer Selbo” (4:12) – Moore
C3. “Midsummer’s Daydream” (2:42) – Emmett
C4. “Spellbound” (3:56)
C5. “Follow Your Heart” (3:37)

D1. “Fight the Good Fight” (7:36)
D2. “Mind Games” (4:49)
D3. “Empty Inside” (4:04)

Triumph produced Stages from 1981–85 live recordings and two new studio tracks. Stone and Cooper returned for the mix-and-engineering credits, with Dave Runstedler and Noel Golden in assistant roles.

The live package uses concert photography by Paul Natkin, Ross Marino, Patrick Harbron, Rodney Bowes, Dimo Safari, Nick Sangiamo, Bruce Kessler, and Phil Regendanz. Raj Rama supplied the front- and back-cover photos. Natkin had entered music photography in 1976 and later shot album covers for Ozzy Osbourne and Johnny Winter; Marino documented concert stages through the 1970s and early 1980s; Harbron’s rock photography appeared across album covers, tour books, publicity work, and magazine assignments.

Stages reached No. 31 on the RPM Top Albums/CDs chart in Canada and No. 50 on the Billboard 200 in the United States.

The Sport of Kings

Triumph released their eighth studio album, The Sport of Kings, in August 1986 through MCA.

The Sport of Kings introduces outside co-credits on four titles and a larger keyboard staff. Keyboardist Lou Pomanti appears with Michael Boddicker and Scott Humphrey, while Johnny Rutledge and Neil Donell appear among the backing-vocal credits.

“Tears in the Rain” moves from a sequencer figure into sampled beat pressure as Moore belts over the power-chord entrance. “Somebody’s Out There” glides through a polished single shape as Emmett projects the upper phrases over a bright surface. “What Rules My Heart” restores a statelier Moore front and firmer full-band stance. “If Only” lifts Emmett through symphonic keyboard layers and a broad chorus rise. “Hooked on You” trades Moore and Emmett phrases across a straight, blues-derived drive.

“Take a Stand” sharpens the album around guitar-forward accents and a firmer Emmett reach. “Just One Night” softens into an earnest Moore address with a clean, video-scale sweep. “Embrujo” condenses Spanish-inflected classical picking into a short instrumental. “Play with the Fire” stretches into a harder multi-part surge, with Emmett’s high cries and large solo break. “Don’t Love Anybody Else but Me” layers guitar harmonies under a pronounced chorus. “In the Middle of the Night” closes with a polished lift and Emmett’s most charged upper-range phrasing.

A1. “Tears in the Rain” (3:55)
A2. “Somebody’s Out There” (4:04)
A3. “What Rules My Heart” (3:52) – Triumph, Maloney, Huff
A4. “If Only” (4:00) e
A5. “Hooked on You” (3:22)

B1. “Take a Stand” (4:33) – Triumph, Santers
B2. “Just One Night” (3:40) – Fanucchi, Martin, Schon
B3. “Embrujo [Spell]” (1:29)
B4. “Play with the Fire” (5:18)
B5. “Don’t Love Anybody Else But Me” (3:55) – Miller, Roynesdal
B6. “In the Middle of the Night” (4:34)

Sessions spanned May through August 1986 at Metalworks, Phase One, and One on One Studios in Los Angeles with Mike Clink and Thom Trumbo in the production roles. The Sport of Kings marked the first producer credit by Clink, a Record Plant engineer whose recent credits included Survivor, Jefferson Starship, Eddie Money, and UFO.

The Sport of Kings appeared in a Steeleworks sleeve designed by Tommy Steele, an American art director and designer whose mid-Eighties album work also included Neil Young (Old Ways), Tom Petty and the Heartbreakers (Pack Up the Plantation: Live!), and The Big Easy soundtrack. Adamoff shared the cover-concept credit with Joe Owens, Rik Emmett, and Petersen.

MCA issued “Somebody’s Out There” as a 1986 single, which reached No. 27 on the Billboard Hot 100 in the United States. “Tears in the Rain” reached No. 23 on the Billboard Mainstream Rock chart. “Just One Night” reached No. 33 on the RPM Top Singles chart in Canada.

The Sport of Kings reached No. 51 on the RPM Top Albums/CDs chart and No. 33 on the Billboard 200 in the United States.

Surveillance

Triumph released their ninth studio album, Surveillance, in November 1987 through MCA.

Surveillance is the last Triumph studio album with Emmett before the group’s later reunion period. The album widens the guest field with guitarist Steve Morse, keyboardist Dave Tkaczuk, and newscaster John Roberts, plus choir and backing-vocal parts from studio singers.

“Never Say Never” kicks past the prologue with biting riff pressure and a direct Moore belt. “Headed for Nowhere” digs into a longer riff sequence before Steve Morse’s electric solo cuts through the middle. “All the King’s Horses” pares the surface to gentle acoustic figures. “Carry on the Flame” expands around keyboard mass, spoken-news detail, and a fiery Emmett break. “Let the Light (Shine on Me)” opens the softer side with an airy, polished climb.

“Long Time Gone” drives a broad chant through high-tech synth sheen. “Rock You Down” thunders through blunt full-band motion and wild Emmett soloing. “Prelude: The Waking Dream” drifts as a short atmospheric instrumental before “On and On” returns to a clean, direct lift. “All Over Again” softens the late sequence with smoother phrasing and a lighter crest. “Running in the Night” eases out on glossy mid-tempo motion.

A1. “Prologue: Into the Forever” (1:01)
A2. “Never Say Never” (3:36) – Triumph, Simone
A3. “Headed for Nowhere” (6:07) – Triumph, Santers
A4. “All the King’s Horses” (1:47) – Triumph, Morse
A5. “Carry on the Flame” (5:14) – Triumph, Tkaczuk
A6. “Let the Light (Shine on Me)” (5:33)

B1. “Long Time Gone” (5:10)
B2. “Rock You Down” (3:57)
B3. “Prelude: The Waking Dream” (1:13)
B4. “On and On” (3:49)
B5. “All Over Again” (3:57) – Freeland, Pizzulo
B6. “Running in the Night” (3:51) – Triumph, Baker, Scott

Sessions spanned February through July 1987 at Metalworks, where Trumbo returned as producer with engineer Bill Kennedy. Stone mixed the album, while Bob Ludwig mastered the sequence.

Surveillance features cover art and illustration by Motter, whose concept used a Paul Rivoche illustration. Louie Mann directed and designed the package, with Adamoff also credited on the cover concept.

“Let the Light (Shine on Me)” reached No. 61 on the Canadian singles chart. “Long Time Gone” reached No. 23 on the Billboard Mainstream Rock chart in the United States. In 1988, “Never Say Never” appeared as a single (b/w “Headed for Nowhere”).

Surveillance reached No. 35 on the RPM Top Albums/CDs chart in Canada and No. 82 on the Billboard 200 in the United States.

Discography: