Part 2 of a 2 part series by request of reader DEKE! Today we look at the final album by the original Triumph. For the first installment, The Sport of Kings, click here!

TRIUMPH – Surveillance (1987 MCA, 2003 TML)

Triumph bassist Mike Levine once called this album your proverbial “contractual obligation” record. What he meant by that, was that Rik and the boys were barely on good terms anymore, the end was near, but the band needed to crank out one more album (plus a “greatest hits” record entitled Classics) before they could call it a day.

And who can forget that awkward interview on MuchMusic’s Power Hour, when Erica Ehm unwittingly asked Rik, “Have you ever thought of going solo? Wait a second, I have the chance to break up Triumph with this question!” Rik mumbled something about how the guys in the band always gave him the freedom to do whatever he wanted, and there was no need to go solo. Then a couple months later, WHAM!  The headline was all over the Toronto Sun — RIK QUITS TRIUMPH.

With the benefit of 20/20 hindsight, this sounds like the last album by a once powerful band. It sounds like a band out of ideas, a tired band, a band who doesn’t care anymore.  It has an atmosphere of “let’s see if this one will stick to the wall.”

Yes, Rik Emmett was and remains a genius guitar player.  Mike and Gil, God bless ’em, were the average backing band, given a tremendous boost in our native land due to the fact that they are Canucks. There’s a certain Canadian mediocrity to Triumph — not quite as good as Rush, but similar. A loyal fanbase, but with not nearly the treasure-rich back catalogue that Max Webster has. A talented guitar playing frontman, but as a vocalist a bit shrill even by Geddy standards. A T-shirt-and-jeans type image, maple leaf proudly emblazoned on their hockey jerseys, but an image just too bland for anybody but us hosers by the late 1980’s.

Surveillance struck me from the start as Rik taking control of the machine for one last spin. It treads the progressive tendencies, with two instrumental intro tracks, a guest shot by Steve Morse, and some lyrically interesting pieces (“All The King’s Horses”). This is tempered by Rik’s increasing interest in pop — “Let The Light (Shine On Me)”, and “On and On”. On Gil Moore’s side, we have nothing but terrible filler tracks, the worst of which is “Rock You Down”. This is perhaps the worst song Gil’s ever foisted upon us. At some points trying to be R&B, at others hopelessly lost in a morass of bad lyrics and muddy mix, it is a bit of a train wreck.  The whole album suffers from this muddy mix and too many odd crashing keyboard samples.

Dark Helmet.

The best tune was the lead single, “Never Say Never” (co-written by Rik’s new protege Sil Simone).  Unfortunately this is a video that Rik soon found embarrassing to watch.  The bouffant hairdo (or as Rik referred to it, “good hair production”), the fancy wardrobe…what was wrong with jeans and jerseys?  It was 1987.  That’s what was wrong with it.

I wanted to give this album one star, as I believe it truly has some of the worst songs of Triumph’s career. Upon reflection I couldn’t do it. I couldn’t because lyrically, I like some of this album, and musically there are a couple good moments here and there that save the album from being a total torpedo. The guitar playing, like on “Carry on the Flame”, is absolutely fiery.  You know a guitar player like Rik Emmett isn’t going to lay a turd.  There are a couple interesting riffs. And, as a Power Hour nerd, I loved the voice cameo by J.D. Roberts (now known as CNN’s John Roberts).

Much to my surprise (and delight, because I didn’t like it when bands broke up), Triumph carried on with one more album (Edge of Excess) and a new guitar player.  Phil X (ex-Frozen Ghost  and currently on tour with Bon Jovi) joined the band, while Toronto’s Mladen Zarron wrote on played on the majority of the album.  Sound wise, they rocked it up several notches before calling it a day.

When they did reunite with Rik, they didn’t play any songs from Surveillance.  Can’t say that I’m surprised.

This album serves as a reminder of what a terminally ill band sounds like. You can hear the tension and lack of cohesion. Despite that, there are still a couple interesting tracks and melodies here for the Triumph fan, some of which have not yet resurfaced on a compilation CD. Check it out if you’re a fan, avoid like the plague if you are not.

2/5 stars

Also worth noting:  The guy on the cover of Surveillance is the same dude from the Never Surrender album!