Latest / Arroe Collins Like It's Live / The 50th Anniversary Of Triumph Tour Rock n Roll Machine Reloaded With Gil Moore

Transcript

The 50th Anniversary Of Triumph Tour Rock n Roll Machine Reloaded With Gil Moore · Arroe Collins Like It's Live

• 0:00
  Speaker 1: So have you been there yet? Arrow.net, A-R-R-O-E.net, a collection.
• 0:05
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  Speaker 1: on Arrow.net, A-R-R-O-E.net. Enjoy your exploration. Good morning, Gil.
• 0:32
  Speaker 2: How are you doing, Arrow?
• 0:33
  Speaker 1: I am doing absolutely fantastic. How about you, sir?
• 0:36
  Speaker 2: Just great.
• 0:37
  Speaker 1: Dude, I have waited, I'm sure you're going to hear
• 0:40
  Speaker 1: this a million times, forever today to have a conversation
• 0:43
  Speaker 1: with you because I'm from the state of Montana. Triumph
• 0:45
  Speaker 1: was huge up there because we adopted Canadian music. When
• 0:49
  Speaker 1: everybody goes, oh, they're from Canada. No, they're from here.
• 0:52
  Speaker 1: What do you mean here? From this region. They're from here.
• 0:54
  Speaker 1: And that's what I've always loved about Triumph is that
• 0:57
  Speaker 1: you belong to everybody. And you guys have never said,
• 1:01
  Speaker 1: we're just a bunch of Canadians. It's like, no, you
• 1:04
  Speaker 1: belong to everybody. How do you feel from your edge?
• 1:08
  Speaker 3: Well, you know, I felt like when we crossed the
• 1:11
  Speaker 3: border into America, it was one of the greatest feelings.
• 1:17
  Speaker 2: As a musician growing up in.
• 1:19
  Speaker 3: The Toronto region, actually I'm in Mississauga, which is the
• 1:23
  Speaker 3: West End where I grew up with my folks. But,
• 1:26
  Speaker 3: you know, getting across the border and being accepted in
• 1:29
  Speaker 3: America just seemed like a huge badge that all the
• 1:32
  Speaker 3: musicians were trying to to achieve and you know when
• 1:35
  Speaker 3: we did and and we got really welcome with open
• 1:38
  Speaker 3: arms in america starting in texas and we spread it
• 1:41
  Speaker 3: through all the states uh i've never looked back on
• 1:45
  Speaker 3: that never changed my feelings about you know my love
• 1:48
  Speaker 3: for you know coming to the united states so this
• 1:50
  Speaker 3: tour coming up where we're playing all the shows.
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  Speaker 2: In the u.s it's still home to me whether we're
• 1:56
  Speaker 2: on the north.
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  Speaker 3: Or south side of the border as you say it's
• 1:58
  Speaker 3: all it's all one one great group of people.
• 2:02
  Speaker 1: You know, one of the things we're always taught as kids,
• 2:03
  Speaker 1: what came first, the chicken or the egg? I've got
• 2:05
  Speaker 1: to ask you, what came first, you or Neil Peart?
• 2:08
  Speaker 1: Because I think you're better than Neil. I've always said that.
• 2:12
  Speaker 1: I have stared at those posters my entire life. I'm
• 2:14
  Speaker 1: going to say it, 50 freaking years. And the thing is,
• 2:16
  Speaker 1: I've always, you know, when somebody told me that Neil
• 2:18
  Speaker 1: was part of Rush, I went, yeah, but you got
• 2:21
  Speaker 1: Gil over here at Triumph. What are you talking about?
• 2:24
  Speaker 2: You know what? I'm not actually sure. Like with Neil's
• 2:28
  Speaker 2: a bit older than me, maybe I'm thinking, but.
• 2:30
  Speaker 3: I could be I could be wrong. I guess you
• 2:32
  Speaker 3: could look that up. But I personally love Neil's playing.
• 2:37
  Speaker 3: I mean, that's a great compliment, but I really love
• 2:40
  Speaker 3: Neil's playing. I think he's one of the greatest of
• 2:42
  Speaker 3: all time. And and I love Rush for that matter.
• 2:45
  Speaker 3: You know, there are fellow countrymen and so on. And
• 2:49
  Speaker 3: they were they were part of that, you know, movement
• 2:52
  Speaker 3: across the border. So many Canadian bands weren't able to
• 2:56
  Speaker 3: achieve that. And, you know, Rush and Triumph were kind
• 2:59
  Speaker 3: of the exceptions to the to the rule.
• 3:02
  Speaker 2: Uh at that point in time and uh.
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  Speaker 3: I don't know the you know maybe because we had
• 3:08
  Speaker 3: drum sets that were big maybe that neil and i
• 3:11
  Speaker 3: definitely had.
• 3:13
  Speaker 2: Similar kit oversized drum kits.
• 3:18
  Speaker 1: So now when I've been in the studio, we've always
• 3:20
  Speaker 1: laid the drum tracks first. So that means you're the leader.
• 3:23
  Speaker 1: Everybody has to keep up with you, Gil, because I mean,
• 3:26
  Speaker 1: the way you go at those drums, my God, I mean,
• 3:29
  Speaker 1: it's like I find myself. I realize we've got great
• 3:32
  Speaker 1: guitar work and great vocals. But when you hear those
• 3:34
  Speaker 1: drums and you experience them, I want to know what
• 3:37
  Speaker 1: the first steps in that studio were all about.
• 3:40
  Speaker 2: Well, you're right.
• 3:42
  Speaker 3: I mean, we would usually rehearse the songs, you know,
• 3:45
  Speaker 3: live off the floor. So we'd be playing everything, singing,
• 3:47
  Speaker 3: playing at the same time. But then when it comes
• 3:50
  Speaker 3: time to cut the tracks, usually we would just cut drums.
• 3:54
  Speaker 3: And what we would do there is we generally have
• 3:58
  Speaker 3: Mike playing along, not being recorded, but would be in
• 4:02
  Speaker 3: the monitor mix. Sometimes Rick as well, sometimes just Mike playing. And, uh,
• 4:08
  Speaker 3: trying to get the drums in the pocket. I mean,
• 4:12
  Speaker 3: obviously as a drummer, uh, you know, rhythm to me
• 4:15
  Speaker 3: is a super important element of all music. Doesn't matter
• 4:19
  Speaker 3: what kind of rock or any other kind of music
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  Speaker 3: and try to find that, that pocket, it sets up
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  Speaker 3: the track for, for all, all the guitars and all
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  Speaker 3: the vocals and everything else. So we work hard on
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  Speaker 3: that groove.
• 4:30
  Speaker 1: Yes, and you're one of those bands that I always
• 4:32
  Speaker 1: try to tell people, you've got to listen beyond the
• 4:35
  Speaker 1: lyrics because there's a lot going on back there. And
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  Speaker 1: your band is exactly that. It's almost like there's hidden
• 4:40
  Speaker 1: Easter eggs. And every time you keep going back to
• 4:42
  Speaker 1: a Triumph song, it's like, damn, why didn't I pick
• 4:44
  Speaker 1: that up 10 years ago?
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  Speaker 3: Well, you know, it's hard not to make sort of
• 4:52
  Speaker 3: generic music and make it boring. And I think every
• 4:56
  Speaker 3: band has that. You know how bands release greatest hits
• 5:00
  Speaker 3: or the record labels release greatest hits package, you know, after,
• 5:04
  Speaker 3: you know, a decade or more of releasing albums. You know,
• 5:07
  Speaker 3: I think bands should release worst songs ever. compilations of
• 5:12
  Speaker 3: the songs they hate that they recorded because.
• 5:16
  Speaker 2: Every band's got them.
• 5:17
  Speaker 3: I've never met a musician who thought everything they turned
• 5:21
  Speaker 3: out on their albums was great. The ones that are
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  Speaker 3: hits and the ones that get, even if they aren't hits,
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  Speaker 3: even if the fans just really embrace the songs but
• 5:30
  Speaker 3: they were never radio hits, it feels great and those
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  Speaker 3: ones stand the test of time. And, you know, the
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  Speaker 3: ones that don't, I mean, the greatest bands in the world,
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  Speaker 3: the Beatles and the Stones, they've got songs that.
• 5:40
  Speaker 2: They wish they could take back.
• 5:43
  Speaker 3: Those, those would be, that'd be a funny album instead
• 5:45
  Speaker 3: of a best of a worst of would be a
• 5:47
  Speaker 3: nice concept.
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  Speaker 2: I think I discovered something here. I don't know.
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  Speaker 1: It was Randy Bachman that told me, he says, stop
• 5:53
  Speaker 1: looking at my hits and start looking at my strikeouts.
• 5:55
  Speaker 1: And that woke me up when he told me that,
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  Speaker 1: because all of a sudden every song on the album
• 6:01
  Speaker 1: had a true honest to God purpose.
• 6:03
  Speaker 2: Yeah.
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  Speaker 3: Yeah, it's like, you know, hard to it's it's it's
• 6:08
  Speaker 3: really hard to get a collection of songs as well.
• 6:11
  Speaker 2: That's the other thing, because you tend.
• 6:12
  Speaker 3: To get into a writing groove. And, you know, then
• 6:16
  Speaker 3: the next thing you know, songs are starting to sound
• 6:18
  Speaker 3: the same. And that's OK. Are we better to keep,
• 6:22
  Speaker 3: you know, sounding sort of like a cohesive unit?
• 6:25
  Speaker 2: And there's a lot of.
• 6:27
  Speaker 3: Similarities between our tracks or are we becoming really kind
• 6:31
  Speaker 3: of boring and and you know one-dimensional and what we
• 6:34
  Speaker 3: really need to do is you know put more spice
• 6:37
  Speaker 3: into what we're doing and have more variance in the
• 6:40
  Speaker 3: instrumentation the vocals and the tracks always a challenge in
• 6:43
  Speaker 3: the studio.
• 6:45
  Speaker 1: Please do not move there's more with gilmore from triumph
• 6:47
  Speaker 1: coming up next The 50th anniversary tour, the rock and
• 6:52
  Speaker 1: roll machine reloaded. We are back with Gilmore from Triumph.
• 6:56
  Speaker 1: Don't you love the way that where we are in
• 6:58
  Speaker 1: music today? I realize that we don't have the music
• 7:01
  Speaker 1: stores and even Walmart is slowing down on record sales
• 7:03
  Speaker 1: and things. But the fact of the matter is, is
• 7:05
  Speaker 1: that people are discovering new music every day. And I
• 7:08
  Speaker 1: love the fact that you guys are going out on
• 7:10
  Speaker 1: the road because I would love to see Generation Alpha
• 7:12
  Speaker 1: and Beta get out there and go, you know, Triumph
• 7:14
  Speaker 1: is my favorite band of all time. Dude, let's talk.
• 7:17
  Speaker 1: Let's go through the entire emotional journey we've all had
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  Speaker 1: with Triumph.
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  Speaker 2: Yeah, we're getting that now. I mean, at our shows,
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  Speaker 2: it's amazing.
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  Speaker 3: Like there's, you know, multiple generations that are there, families
• 7:31
  Speaker 3: and so on.
• 7:31
  Speaker 2: Of course, we never had that back in the day.
• 7:34
  Speaker 3: It was all everyone. Well, they were all young kids and,
• 7:36
  Speaker 3: you know, we were young, too. And so it's it's
• 7:39
  Speaker 3: really nice to see that. You know, we never adopted
• 7:42
  Speaker 3: our parents music like the kids I grew up with.
• 7:46
  Speaker 2: I mean, it was like, are you kidding me, Benny Goodman?
• 7:48
  Speaker 2: Forget it. Elvis seemed like an old guy.
• 7:55
  Speaker 3: But rock and roll, after Elvis, and of course the
• 7:59
  Speaker 3: Beatles took over the world, that music has stayed with us,
• 8:04
  Speaker 3: but it's also been passed forward. I have three kids,
• 8:08
  Speaker 3: and their musical tastes are right up to date, but
• 8:11
  Speaker 3: they go right back.
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  Speaker 2: Uh to the you.
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  Speaker 3: Know i'll call it the roots of rock and roll
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  Speaker 3: maybe not to the bill bill haley era but certainly
• 8:19
  Speaker 3: or the elvis era but but certainly to the stones
• 8:22
  Speaker 3: and the beatles.
• 8:23
  Speaker 1: Well you know you made an impact on people because
• 8:25
  Speaker 1: look at magic power that album that all-star tribute my
• 8:28
  Speaker 1: god i mean it seems like everybody came out of
• 8:30
  Speaker 1: the woodwork to help out with that that had to
• 8:32
  Speaker 1: have been a brilliant feeling in the band's soul.
• 8:37
  Speaker 3: You know, the thing about that tribute album is we
• 8:42
  Speaker 3: were just, you know, we were in we're not worthy
• 8:44
  Speaker 3: phase because you just feel like, you just feel like,
• 8:47
  Speaker 3: holy crap, like all these people that we admire are actually,
• 8:53
  Speaker 3: you know, saluting us by participating. I have to say
• 8:58
  Speaker 3: Mike Klink, the producer, you know, obviously one of the
• 9:01
  Speaker 3: most famous guys in rock and roll from being behind
• 9:06
  Speaker 3: the big board. That gave them a lot of confidence
• 9:11
  Speaker 3: in the quality of the album and the quality of
• 9:13
  Speaker 3: the studios that would be used. Mike used not only
• 9:16
  Speaker 3: the best musicians, but he used all the best studios
• 9:19
  Speaker 3: as well. Um, but geez, you, you go down there, whether,
• 9:23
  Speaker 3: whether it's, you know, the, the singers from Mickey Thomas to, uh,
• 9:27
  Speaker 3: you know, to, to Dee Snider and Joey Belladonna and
• 9:30
  Speaker 3: just so many of Nancy Wilson from heart, like so
• 9:34
  Speaker 3: many of them, it's, it just goes on and on.
• 9:36
  Speaker 2: I can't even mention them all guitar players. And it's
• 9:39
  Speaker 2: the same thing. Drummers. It's out of sight. Um, every
• 9:42
  Speaker 2: one of the Tommy Aldridge, one of my idols, Brent Fitz,
• 9:44
  Speaker 2: who I'm playing with now, um.
• 9:47
  Speaker 3: Fantastic, fantastic tracks, you know, and some of the comments
• 9:52
  Speaker 3: they made to, you know, like Dean Castronovo from Journey.
• 9:57
  Speaker 3: What a phenomenal drummer. What a phenomenal singer. And just
• 10:01
  Speaker 3: did a masterful vocal.
• 10:04
  Speaker 2: On the record.
• 10:05
  Speaker 3: But, you know, if you read the comments that he
• 10:07
  Speaker 3: made about us, I mean, it's like, gee whiz. It's
• 10:10
  Speaker 3: really it's humbling.
• 10:11
  Speaker 2: It is. Yeah.
• 10:13
  Speaker 1: I want to know where you're getting the tickets to
• 10:15
  Speaker 1: get the best seat in the house every single night.
• 10:17
  Speaker 1: Is it from Live Nation, Ticketmaster? Where are you getting that?
• 10:20
  Speaker 1: Because every night you're there in that seat. I'm going,
• 10:22
  Speaker 1: how the hell did he get that seat again? He
• 10:24
  Speaker 1: keeps getting up there and you've got the best seat
• 10:26
  Speaker 1: in the whole damn house, dude.
• 10:29
  Speaker 3: Yeah, I think sitting where Brent and I sit on
• 10:34
  Speaker 3: those risers, you're right. We're dead center. How you get
• 10:38
  Speaker 3: the dead center tickets in the house would be great
• 10:41
  Speaker 3: because it's funny. We're getting ready to do the second
• 10:43
  Speaker 3: phase and everybody's like, can we get a video so
• 10:46
  Speaker 3: we can actually see what the audience sees? And we realized,
• 10:49
  Speaker 3: despite all the, you know, camera work that was going on,
• 10:52
  Speaker 3: because we always had like six or eight cameras flying,
• 10:56
  Speaker 3: we never had a camera from front of house. So
• 10:58
  Speaker 3: I never got to see what it's like, like facing
• 11:01
  Speaker 3: the drum risers or facing center stage. All I got
• 11:04
  Speaker 3: to see is looking at the back of my bandmates
• 11:06
  Speaker 3: heads and out towards the front of house consoles and
• 11:11
  Speaker 3: stuff like that.
• 11:12
  Speaker 1: See, I was the dude that was always to the
• 11:14
  Speaker 1: corner of the stage because I wanted to see what
• 11:16
  Speaker 1: you were doing on those drums. And that was the
• 11:18
  Speaker 1: closest I could get to see what you were doing
• 11:20
  Speaker 1: with your feet. Because that's the thing about it. Being
• 11:22
  Speaker 1: behind that trap set, I mean, it's like I can't
• 11:24
  Speaker 1: see the full body like I can see Rick.
• 11:28
  Speaker 3: That's got to be a drummer's thing because I did
• 11:30
  Speaker 3: exactly the same thing when I was a kid. And
• 11:32
  Speaker 3: I'll tell you one story that's incredible. So I had
• 11:35
  Speaker 3: a piano teacher. When I was growing up, my mother
• 11:38
  Speaker 3: was a very, very good pianist. And two of her sisters,
• 11:41
  Speaker 3: my aunts, were professionals. So my mom insisted I have
• 11:45
  Speaker 3: piano lessons, which I didn't really want to do. But anyway,
• 11:48
  Speaker 3: I went along with the piano lessons. And I had
• 11:50
  Speaker 3: a great piano teacher named Peter Goddard. And Peter was
• 11:55
  Speaker 3: also a writer for the for the Globe and Mail.
• 11:57
  Speaker 3: He was a music reviewer. So Led Zeppelin were playing
• 12:00
  Speaker 3: the rock pile in Toronto's first time they ever played
• 12:02
  Speaker 3: in Toronto. And I was hanging around outside the venue
• 12:05
  Speaker 3: because I didn't have a ticket or didn't have the
• 12:07
  Speaker 3: money to get in. And Peter saw me and he said, Gil,
• 12:11
  Speaker 3: what are you doing here? And I said, well, you know,
• 12:12
  Speaker 3: Led Zeppelin's here. I want to see John Bonham. But,
• 12:14
  Speaker 3: you know, I don't have a ticket and I don't have,
• 12:17
  Speaker 3: you know, money to get in or anything. He says,
• 12:20
  Speaker 3: come on with me. So he just kind of grabbed me. And,
• 12:22
  Speaker 3: you know, security wasn't that good back then. And he
• 12:25
  Speaker 3: had a press pass and he walked me right into
• 12:27
  Speaker 3: the stage. And he said, go just sort of cower
• 12:31
  Speaker 3: down over there in the wings. And you're a little guy.
• 12:33
  Speaker 3: No one will see you, you know. And at the time,
• 12:37
  Speaker 3: you know, here I am, you know, I don't know,
• 12:39
  Speaker 3: 12 or something. And I'm like not really realizing what
• 12:44
  Speaker 3: I mean. But I've just gotten to say I was really,
• 12:47
  Speaker 3: you know, sneaked through the back door and And there's
• 12:51
  Speaker 3: Robert Plant, and there's Bono and Abonzo, and I'm watching
• 12:55
  Speaker 3: the whole thing. As you say, and I can see
• 12:57
  Speaker 3: what he's doing with his kick pedal and stuff. And
• 12:59
  Speaker 3: I had my first set of drums at that point.
• 13:01
  Speaker 3: I had been mowing grass and shoveling snow the winter
• 13:05
  Speaker 3: before to save up to buy a set of lousy drums, actually,
• 13:09
  Speaker 3: but that's what I could get. And, yeah, that side
• 13:12
  Speaker 3: stage thing for drummers is very cool because that's how
• 13:14
  Speaker 3: you learn. And that's what I was doing. I was
• 13:16
  Speaker 3: trying to figure out what's what's what's John Bonham doing?
• 13:18
  Speaker 3: What what what is it? What is that beat? What
• 13:20
  Speaker 3: is that movies making?
• 13:22
  Speaker 1: Oh, my God. You live jukebox hero from foreigner.
• 13:25
  Speaker 2: Oh, my.
• 13:25
  Speaker 1: That one guitar. I mean, you got in, though, where
• 13:28
  Speaker 1: that kid did not get in.
• 13:31
  Speaker 2: Yeah. Yeah. We all start there, right? I mean, it's
• 13:34
  Speaker 2: like from the bottom started at the bottom, like Drake said.
• 13:39
  Speaker 1: Oh my God. So, and you guys are touring around
• 13:42
  Speaker 1: once again, I'm from Montana. Canadian music was my lifestyle.
• 13:45
  Speaker 1: April wine. You guys are with, are you kidding me?
• 13:48
  Speaker 1: Come on. This is exactly what I had in my life.
• 13:51
  Speaker 1: I mean, it just blows me away. The two of
• 13:53
  Speaker 1: you on the same ticket.
• 13:55
  Speaker 3: April Wine's a great band, and Miles Goodwin, God rest
• 13:59
  Speaker 3: his soul, is one of my best friends. I met
• 14:02
  Speaker 3: Miles through golf, actually, not through music so much, but
• 14:06
  Speaker 3: he did spend a lot of time at Metalworks Studios.
• 14:09
  Speaker 3: We did a lot of mastering, actually, on April Wine
• 14:12
  Speaker 3: albums and stuff at our studios, but love those guys.
• 14:15
  Speaker 3: They've been awesome on the road, and they're going over
• 14:18
  Speaker 3: like gangbusters every night.
• 14:19
  Speaker 2: People love them.
• 14:21
  Speaker 1: Where can people go to find out more about you, Gil?
• 14:23
  Speaker 1: Because I want them to really dive into this and
• 14:26
  Speaker 1: experience triumph as a whole, even if it means getting
• 14:28
  Speaker 1: on Alexa and just sitting there and listening to your
• 14:30
  Speaker 1: deep cuts. It is the ultimate experience.
• 14:35
  Speaker 2: Well, what's going on with the tour is on our website,
• 14:38
  Speaker 2: which is triumphmusic.com.
• 14:40
  Speaker 3: Obviously, Ticketmaster and Live Nation, they're hosting the entire tour.
• 14:45
  Speaker 2: So all the shows are Live Nation shows.
• 14:48
  Speaker 3: I think Ticketmaster is probably the ticketing agency for the
• 14:53
  Speaker 3: whole tour or most of it. Uh, but as far as,
• 14:57
  Speaker 3: you know, deep cuts and stuff, like I'm amazed with,
• 14:59
  Speaker 3: with Spotify. Like I love using voice control because what
• 15:04
  Speaker 3: I do when I'm, uh, a lot of times when I'm,
• 15:06
  Speaker 3: when I'm listening to, to streaming is I go back
• 15:08
  Speaker 3: and I just pick one song from all sorts of
• 15:11
  Speaker 3: different albums and sort of paste it together as I'm
• 15:14
  Speaker 3: driving somewhere.
• 15:15
  Speaker 2: So, you know, that, that's kind of a, that's kind
• 15:17
  Speaker 2: of a cool thing.
• 15:18
  Speaker 3: If you want to look at Triumph from that point
• 15:20
  Speaker 3: of view, there's a way to sort of dive into
• 15:22
  Speaker 3: the back catalog.
• 15:23
  Speaker 1: Well, you got to come back to this show anytime
• 15:25
  Speaker 1: in the future, dude. The door is always going to
• 15:27
  Speaker 1: be open for you.
• 15:29
  Speaker 2: I sure appreciate that, Aaron. It's been a lot of
• 15:31
  Speaker 2: fun chatting.
• 15:32
  Speaker 1: Well, you be brilliant today, okay?
• 15:35
  Speaker 2: Okay, man. All the best.