If you think rock bands ride off into the sunset, Triumph’s here to remind you: there’s always time to press more vinyl, stir up a little myth, and maybe accidentally reunite in front of 300 screaming superfans.
Mike Levine isn’t exactly a guy lost in nostalgia, but he knows a good anniversary when he sees one. “Classics,” the 1989 contractual-obligation greatest hits compilation that the band didn’t exactly celebrate at the time, just got the deluxe double vinyl treatment for its 30th birthday. Why now? “It never really got its due,” Levine shrugs. “It was what we call in the industry a recording contract commitment—meaning the label wanted out, and they weren’t going to spend a dime more than they had to.”
Cut to 2020, and suddenly that dusty hits comp gets a gatefold makeover, two bonus live tracks, and, you know, actual attention. “It sounds great,” Levine said, still a little surprised. “I was knocked out how good it sounds.”
The bonus tracks are what elevate the package beyond reissue landfill. First, “Never Surrender,” a face-melter from the US Festival that somehow managed to capture Triumph’s full pyro-powered arena bombast… in broad daylight. “We were known for big special effects and playing at night,” Levine laughed. “There, we were in naked daylight—but we kicked ass.”
Then there’s “Blinding Light Show / Moonchild,” a track from their 2008 reunion at Sweden Rock Festival. “We wanted something from that show on there, too,” Levine explained. “In the end, it’s a cool listening experience. And for anyone who actually plays records—it’s kinda fun to have to get up and flip it over.”
I bring up “Rock & Roll Machine,” a prog-metal scorcher from 1977 that sounds suspiciously like a garage band losing its mind in the best way possible. “Punk rock wasn’t even really a thing yet,” Levine said. “Maybe the Ramones in New York, but not much else. We called it garage rock. You just turn it up and steam along.”
Not that Triumph was trying to predict the future. “I wouldn’t say we predicted punk rock,” Levine clarified. “But we were right there at the right time for it.” It was the moment they traded in the band’s metaphorical Volkswagen for “a Lincoln. But not a Cadillac. Yet.”
But the biggest hit on Classics, the sleek, radio-friendly “Somebody’s Out There,” came just as the band was quietly falling apart. “Yeah, we kinda knew,” Levine admitted. “It’s not always about personalities. It’s about creativity. Everyone wants to go their own way, and then the record label wants you to go some other way entirely.”
Vocalist Rik Emmett pulled the plug before things got sad. “We went out on top,” Levine said. “We weren’t out there trying to make $12.19 at some bar. The Sport of Kings tour was a sellout everywhere.”
Which brings us to the documentary. Set for a fall 2020 release, it’s being produced by Banger Films—the same folks behind docs on Rush, Iron Maiden, and ZZ Top—which means it’ll probably be required viewing for anyone who still alphabetizes their records by label.
As part of that film, the band played a secret one-off reunion show for 300 rabid fans. It wasn’t supposed to happen. “There were like 2,500 requests for 150 spots,” Levine said. “People flew themselves to Toronto, booked their own hotels. We thought, hell, maybe we should play.”
Three rehearsals later, “We looked at each other and said, ‘We’re not too bad!’” Levine grinned. “It sounded pretty cool. No plans to do another record. We’re allergic to that part. But playing live? It felt phenomenal.”
Triumph also has fond memories of Louisville. “I think we got arrested there once... for something bad.” He didn’t elaborate, but let’s all just assume it involved fireworks and a questionable parking decision.
Thirty years later, Triumph’s Classics finally gets its roses. And if you squint hard enough while flipping that second record, you might just hear the faint sound of a band refusing to go gently.
Listen to the interview above and then check out the classics below.
