Gil Moore of Triumph
 
When I first learned that I would be interviewing Gil Moore, the drummer, vocalist and one third of the Canadian power- house Triumph, I had no clue that there were really three interviews in one to be had. Not only did Gil have a lot to discuss regarding Triumph, the re-mastered Millennium catalog of Triumph, as well as the two live concert DVD's that have recently been offered to fans, but there was the matter of a little one room studio of retro gear, that has evolved over the years to one of the world's most respected recording studios (now boasting 6 studios named Metalworks Studios. Also, there is the Metalworks Institute, an off shoot of the Metalworks Studios, that teaches people wanting to break into the music world a variety of skills, such as engineering and audio production.
We talked for a good hour, and I know there are still 3 or 4 interviews in the making. I love my job.
Toe: Hi Gil, what have you been up to over the summer?

Gil: Well, we have been working on the new Greatest Hits CD/DVD, that may be released as a dual disc set. Not too sure about that part yet. Also, we have been working on the Live 8 A/V post production. It is an authored DVD for EMI that there is a very large push to get out as soon as possible. So that is keeping us really busy. We are working on another 5.1 room, as well as working on the Metalworks Institute expansion. Over the last year we have gained over 100 students. The Institute is right next door to the studio, so the students have access to some cool gear, as well as the engineers. We have curriculum prepared for the online college, and may try some test modules this fall. <<Selection in Document>>We also have Chris Taylor, a music lawyer (Avril Lavinge) coming in for a lecture. I see the online going up fully perhaps in 2007.

Toe: That sounds like an awesome opportunity to learn about the business, having a studio of that quality next door to a school that is for that exact purpose. I guess there is a good chance that you will never have to hire for the studio from the outside again?

Gil: I think there would be no reason to ever have to do that again. Unless it was an extreme circumstance. We are expanding to online courses perhaps as early as November also. Not too sure when that will be available, but keep an eye on the Metalworks Institute School of Sound and Music site.

Toe: Just recently, the 30th anniversary of Triumph's first show at Simcoe High school in Ontario. What do you remember of that show?

Gil: I remember that Ian Thomas played there a month before we did. I have no idea WHY I remember that, I just do. We had been rehearsing at a bowling alley. It was the best rehearsal space that I ever had in any band. We played back on the opposite side of the pins/lanes, and it was really wide, and hardwood. Just like a big wide stage. There was electricity in the air when we were rehearsing. Then, we played the gig at Simcoe. The kids there were going nuts!!! They were standing at the stage just going wild. It was like throwing raw meat to a pack of animals. I think we got paid like, $750 bucks for the gig. After the show, there were people there from 2 different schools asking us "Can you play our school?" "How much to play? Just name what day you can play there!!" It was wild.

Toe: Triumph was ahead of it's time when it came down to the business part of the industry. You were able to retain the rights to your music, as well as owning your own lights and PA gear. You had the unique ability to charge promoters for the provision of lights and sound. How did that come about?

Gil: We were fortunate. Mike had already worked for a record company, so he had a good inside knowledge of the music industry. I owned a sound and light company. Mike was able to land us a deal, while we were still playing gigs in clubs and bars. Mike got through to Rik and I that we had to hype ourselves and self promote much as possible. We had commercials airing inn the US. We would show up for shows in the States, with this huge light show, great sound and they raved about it. Yet when we would do this in Canada, the Industry would be like "Who the hell are you guys?" "What do you think you are doing. That is how it was in Canada at the time. Canada eats it's young. When we would play in Chicago, which was a great outlet for us, people would drive 1,000 miles to come and see us.

Toe: I recently talked to Brian Vollmer of Helix, and he swears that Joe Anthony (KISS/KMAC) otherwise known as the Godfather of Rock in Texas was a main reason that bands like Triumph flourished in Texas. Is this true?

Gil: Totally. Joe got us going in Texas. We then broke in the Mid-West and Southwest. The Northeast was always a huge venue for us. Some places, just never got us. We played Louisiana a lot, and they still hated us, and thought we sucked. You will never win everyone over. Back in the Northeast, places like Rochester, that people thought were tough areas to crack, loved us, and we did really well.

Toe: What time period would be your fondest, looking back at the run you had from 1979 to 1987?

Gil: That, is a tough question. The biggest turning point would have to be Allied Forces. We had been around a few times, and people knew who we were, and what we were going to offer them. The crowds were great, we had depth in our catalog, playing at the arena level. Also, the record was going platinum, and we were gaining momentum.

Toe: What was the reason/inspiration to start up Metalworks back in 1978? Did you ever think that it would become such a huge part of your life after Triumph?

Gil: No, not really. I think the studio became a large thing after the way things unfolded with Triumph. The reason for starting the studio, which was one small room with a bunch of gear in it. It still exists, although the board and some other gear has been swapped out over the years. There are certain vintage mics and effects still there, that are worth tens of thousands of dollars to try and buy today.

Toe: The inevitable. What exactly happened when Triumph unfolded? There are so many versions and stories out there, and I think I am pretty clear on it all, but some of my viewers may be interested.

Gil: Well, the label wanted us to be more commercial. Rik was definitely wanting to write in a more commercial way. Mike and I wanted to play rock. What SHOULD have happened, was we should have taken a year off, Rik should have recorded some solo stuff, and regroup. But the bickering began, and continued, and as any bickering does, gets ugly. The chemistry was really bad. Then, in the middle of all of this, my Dad died. For a year and a half, I was a recluse. I did not want to come out of my house. I was literally a wreck. I just felt like I did not care about music anymore. By this point there were really bad vibes, and when Rik left there was a lot of bitterness. No one screwed Rik Emmett. We were never unreasonable.

Toe: Would it be fair to say a great deal of the issues that finally caused Rik to leave the band would have to do with the record label at the time pressuring you guys to not be yourselves, and put out music that was not in your interests?

Gil: Very true. The breakup was predicated by the record label. The pressure in the last 18 months of the band. Sport of Kings was the first time we had disagreements. You listen to songs like Allied Forces, Lay It, and Fight the Good Fight. Those were songs that we wrote. Sure there were creative differences at times when writing, but when does that not happen in a band?

Toe: Time is moving by, and a lot of people have speculated, asked, begged and wished for a reunion. Let's face it, although it would be a great time, and an amazing story, and a reason for Triumph (and Rik Emmett) fans to rejoice, time is becoming a factor. What are your thoughts on this? Do you get nostalgic and want to do it one more time?

Gil: Well, let me say this. Music aside, Triumph aside, I would just like to have my friend back. Rik was a close friend for 12 consecutive years, and I miss that. When things got bitter near the end, I remember saying to Rik "Do not get lawyers involved. We do not need to do things that way." After awhile, I had a lawyer calling me, asking who my lawyer was. I told him that I never had one, as I never thought I needed one. We only got lawyers involved to protect ourselves from the one we had calling. I never wanted things to end up like that.

Toe: Edge of Excess never really had a chance to go for a solid run. The label it was under imploded right when the album came out. Is there a chance of seeing this album also re-mastered and added to the Millennium catalog?

Gil: That is still tied up in legalities. It was a great album, probably my favorite, and I would really like to get it done.

Toe: You have released Live concerts of the US Festival in 1983 as well as a Night of Triumph, from a show on the Sport of Kings tour in Halifax. I think this is great, as there a re a great many fans that never got to experience Triumph live, and this gives 2 very distinct looks at the band, and the amazing show that went with the music. How are these 2 projects doing?

Gil: Both are doing really well. Both went Gold in Canada, and still moving. And of course there will be more to come with the Greatest Hits we are working on right now.

Toe: Do you see Mike very often?

Gil: Mike and I are still very good friends. Aside from working on the DVD releases and the re-mastering, Mike has a house in Jamaica and splits his time between Canada and there.

Toe: I read awhile back that you have not touched a drum kit since the band played the last show. Have you since hot the skins a bit?

Gil: Actually, yes. I played a couple of tracks for Dolores O'Riordan on her new album. She is a great musician and a great friend.

Toe: Gil, it has been amazing talking to you, but I feel like I have not even touched the surface, with Triumph, the studio and the school. Let's get together again, and talk more about all of your projects?

Gil: Definitely. Looking forward to it.

TO BE CONTINUED.....................