Just A Game

Triumph

RCA Records, 1979

http://www.triumphmusic.com

REVIEW BY: Christopher Thelen

ORIGINALLY PUBLISHED: 08/03/2000

If people were ready to write off the Canadian trio Triumph after their mediocre American debut Rock & Roll Machine, they were about to miss one of the greatest about-faces I've ever seen in music.

Their second American release, Just A Game, might not have been a smash in the eyes of some people (namely in the sales columns), but it contained eight incredibly strong performances that assured Rik Emmett and crew their place in the annals of rock history.

The album is best known for the hit song "Lay It On The Line," a track that still rightfully garners airplay for the band. And even though the song is now 21 years old, it still has lost none of the freshness that made it such a wonderful track way back in 1979. Emmett's vocals power this one right through the stratosphere, as does his stellar guitar work. Also key to this song's success is the drum work of Gil Moore.my_heart_sings_the_harmony_web_ad_alt_250

If Triumph was Moore's vehicle for Rock & Roll Machine, then Emmett had assumed his role in the driver's seat for Just A Game. The lead vocal chores are still shared between the two, but Emmett edges out Moore in the number of performances - and totally dominates when it comes time for the actual performances. (In Moore's defense, though, his vocal work had greatly improved over the previous album.)

Triumph also marked this period of their history by moving away from the "bar-band" mentality of their songwriting, and focused in on subjects that were a little more deep than the joys of playing rock and roll. Oh, sure, they still focus a little on the business - but this time, it's with a jaded eye on the title cut, a song which should serve as a warning for anyone out there who thinks they've just formed the next Matchbox Twenty. (If you can find an old vinyl copy of this one, pick up the one with the gatefold sleeve that contains the fun music industry board game/pimp slap.)

But Just A Game is much more than one hit single and an indictment of the music industry. Simply put, there is not a single bad performance on this entire record. From the live/studio morph of "Movin' On" to the lost-love ballad "Young Enough To Cry" (featuring Moore's vocals - listen to this track to hear how much he had improved), down to the incredible guitar work Emmett showcases on "Fantasy Serenade," and you'll find yourself wondering why Triumph never became a bigger player in the field.

There is one nod to bar band/cock rock on "American Girls," but it is done with tongue firmly planted in cheek that it's hard to take what Triumph is saying with any level of gravity. It's all good fun, and I think was meant to be that way.

Noleman, a longtime reader of "The Daily Vault," originally suggested that we take a closer look at Triumph, and I told him in a private e-mail it was hard to believe we hadn't given the band more coverage than we have to this point. (Note to Noleman: I'll still get to your other Triumph requests real soon.) After listening to Just A Game, I seem to think that trend will quickly reverse itself, as this record could well be one of the greatest lost classics in the hard rock field.

Rating: A

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© 2000 Christopher Thelen and The Daily Vault. All rights reserved. Review or any portion may not be reproduced without written permission. Cover art is the intellectual property of RCA Records, and is used for informational purposes only.