Out of all the so-called “Baby Rush” bands that came out of Ontario in the late ‘70s, none were more successful (commercially, at least) than Triumph. Sure, Max Webster was huge in Canada (and even recorded with Rush), but not really anywhere else. FM created probably the most interesting music of them all, and Saga totally went the distance with two dozen incredible albums (and are still at it). But Triumph had the hits, and a fair bit of character. Their songs were kinda dumb so they appealed to fans of April Wine (lots of songs about rock & roll, partying, chicks), but they were a trio with musical chops and a singer with a high voice (guitarist Rik Emmett), so the Rush fans dug ‘em too, while their other singer (drummer Gil Moore) had a very commercial rock voice that brought a certain accessibility to the band (ironic, however, that just about every one of the band’s most enduring songs were sung by Emmett).
Triumph’s self-titled debut arrived in 1976 to very little fanfare but it set the stage for a career that would span over a decade and yield ten albums. Much of the album is pedestrian hard rock but then the album ends with the epic, Floyd-esque “Blinding Light Show / Moonchild”, which would go on to be a centerpiece of the band’s live performances for most of their run.
In 1978, highlights from this and Triumph’s second album, Rock & Roll Machine, were compiled into an album (also, confusingly, titled Rock & Roll Machine) to introduce Triumph to the US market. That is where most fans first heard “24 Hours A Day”, the two-part “Street Fighter”, and the aforementioned “Blinding Light Show / Moonchild”, but this album is where those songs were first introduced (plus you get to hear Rik Emmett’s “Be My Lover” and that is a kickass tune).
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