When Rik Emmett’s grandfather gave him an acoustic guitar as a child — one of the ones you ordered out of the catalogue — it wasn’t the hula girl and the palm trees stencilled on the front that enthralled his grandson. It was the sound it produced and the possibility of creating something that was unique and personal.

He’d barely learned to play two chords when the pre-teen wrote his first song. It was undoubtedly heavily influenced by those Beatles tunes he and his buddies lip-synced to as they strummed their tennis racquets and listened to Twist and Shout on an old Seabreeze record player.

That was the start of a musical journey that has taken Emmett from school auditoriums to some of the world’s biggest outdoor concert venues and back to the human-scaled concerts that his fans can now order up in their own local communities by going to his website and requesting his presence in their community.

And while the world may still want to measure him by the keening vocals, smoking lead guitar licks and driving rock and roll anthems he wrote with a Mississauga hard rock trio that went viral before viral was invented, Emmett has shown over and over throughout his long and enduring musical career that it is his own muse that he continues to chase — not anyone else’s pre-conceived idea of who he is or what he should play.

Under the spandex and makeup and that shock of blond hair in the 1970s was one very serious musician. This we have all learned — to our delight — as his eclectic tastes in guitar and musical styles have unfolded before our eyes in so many memorable musical releases over the years.

This is a thinking, inquisitive WORKING musician who has never stopped perfecting his craft. After the early Triumphant years, Emmett found himself on Middle Ground, you might say, between a rock band and a hard place.

Unlike so many contemporaries — long since forgotten — who put their imaginations on “repeat” by perfecting endless variations on the riff that made them famous, Emmett has always moved restlessly into new and adventurous directions. He founded a record label and the first thing he issued on it featured classical guitar, with the finger-style guitar pieces he’d always wanted to highlight in that format.

When he hooked up with Dave Dunlop to explore the sound of dual guitars in the group called Stringed Troubadours, the powers that be determined that the result was “smooth jazz.”

So, since another new “demographic pigeonhole,” — as he terms labels given to various musical genres — had been created to stick him in, he went with the flow, at least for a while.

He hired an expert rhythm section for a new CD, chiselled off the harder edges and sailed his way to a bunch more “Smooth Jazz” awards. But no category can hold Emmett for long. “I’m very uncomfortable listening to old recordings I’ve made,” he once said. “I am always interested in the NEXT song I’m working on, the next project coming down the pipe.” I’m sure he agrees with the wise assessment of American bandleader Duke Ellington who said there are only two kinds of music – good and bad. It’s quite clear the kind of music he has made, no matter what the label, and it is all good.

The thrill of sitting down with a guitar and his imagination and making some musical magic hasn’t lost any of its charm, all these years after he received his first guitar.

As he told one interviewer, “The thing that is still the most satisfying aspect of self-expression is to sit down with an acoustic, create, write, then sing & play something that I wrote myself. Even the anthems that filled arenas for Triumph can be boiled down to simple acoustic folk songs, which is how they started life anyway. I know that my career ‘reputation’ is probably more one of ‘guitarist’ – but the truth is, I’m one of those dreaded multiple-slash kinds of people – guitarist/singer/songwriter (add producer/arranger/recording artist into that mix), and it’s all just one big ball of wax.” And what a wondrous big ball of wax it has been.

You could say that Rik Emmett started his career in Triumph and worked his way back to Respect — one solid record at a time. He may have described himself best in a couple of lines from one of his best-known songs, Ordinary Man, when he wrote:

“I will not be a puppet. I cannot play it safe. I’ll give myself away, with a blind and simple faith.” Emmett hasn’t played it safe and he has paid simple faith to the music he believes in.

And we are all very grateful that he has given so much of himself away to us, in so many lovely and different forms, through the years.