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Thursday, 12 August, 1999
Boomtang Boys dancin' for joy
By RIVA HARRISON -- Winnipeg Sun
Tony Grace is in the middle of a blistering rant in defence of dance music when his band's latest single, Pictures, starts playing on the radio.
Grace, a.k.a. one of The Boomtang Boys, pauses momentarily. Is he surprised? Flattered? Or is having a hit single second nature by now?
"I'm totally used to it," sighs Grace, in Winnipeg recently to promote the Boys' debut album, Greatest Hits Volume 1.
"I've heard this song a hundred million times, so my first reaction is this," he laughs, pretending to switch the station. "Actually, it's still nice to hear that song. It's a really good demonstration of our production. It's a really lush recording."
If Grace doesn't sound like an artist who's enjoying his first hit record, it's because he isn't a typical artist, nor is this disc his first recording. Grace is one-third of the Boomtang production team, which also includes his brother Paul and friend Rob De-Boer, and hit tunes are their forte.
Remember Bif Naked's Spaceman, Camille's Deeper Shade Of Love, or the dance remix of Ashley MacIsaac's Sleepy Maggie? Welcome to the Boomtang, where the singer/songwriter has been replaced by the producer/music director, and the remixed single has been replaced with a full album of dancable tracks.
"It ties into the philosophy of labels like Motown," Grace explains. "Before the concept album came about in the '70s, it was always a collection of singles that comprised an album. That's why we called it Greatest Hits Volume 1. It's a little cheeky, but there you have it."
It's also an apt description of The Boomtang Boys' debut, where roughly half the songs -- Billy Idol's Dancing With Myself, Yaz's Only You, Hot Butter's Popcorn, T-Rex's Bang A Gong and Cyndi Lauper's Time After Time -- are covers of previous hits, while the originals, including Pictures and Squeeze Toy, seem destined for success. The CD, released last month, entered the Canadian charts at No. 25. And climbing.
"It was our wish list. I loved the '80s. The '80s for me were a great combination of the new technology that was happening and the whole British invasion of Duran Duran," says the 34-year-old former drummer. "I was playing in bands all the time, and that's what gave me inspiration and got the juices flowing. We were deeply influenced by it, all the music out of England."
Grace says they have no problem recording covers because "right away we had a great song to work with. We were able to apply our chops to it and bring it into a contemporary dance format."
Which brings us to Grace's tell-us-what-you-really-feel opinions on dance music and its much-maligned predecessor, disco.
"There's a lot of stuff that gets labelled otherwise that is dance music. I think it's just a lot of baggage from the disco area," he says, noting while many refuse to admit they like it, they can't stop their toes from tapping when they hear a catchy dance tune. "There is something fundamental about it, something tribal. It's a celebration of life, I guess.
"The whole world dances. You can call it whatever, rock, alternative, electronica ... it's just another extension of dance music, of disco."
And while there's no question the popularity of dance has surged in the '90s, is he worried another "disco sucks" movement is just around the corner?
"No," he says, without cracking as much as a smile. "We're too well organized."
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Thursday, 22 July, 1999
Boomtang Boys create their own hits
By JANE STEVENSON -- Toronto Sun
TORONTO -- Toronto dance production team The Boomtang Boys -- Tony Grace, Paul Grace and Rob DeBoer -- are used to creating dance remix hits for other Canadian artists.
Since winning a 1995 Juno Award for best dance recording with Camille's Deeper Shade Of Love, their client list has included Kim Stockwood (12 Years Old), Ashley MacIsaac (Sleepy Maggie), Econoline Crush (All That You Are), Bif Naked (Spaceman), The Philosopher Kings (Charms) and Sky (Some Kinda Wonderful, Love Song).
So it's taken them some time getting used to having their own No. 1 hit in Canada. Squeeze Toy, from their just-released debut album, Greatest Hits, Volume 1, is the third ever Canadian single to debut at #1 on the Soundscan Top 200 singles chart in this country.
"It's very odd," said Tony, 34, down the line from Calgary yesterday prior to The Boomtang Boys' appearance Saturday at the multi-act, Hot Summer Rush concert at the Kingswood Music Theatre.
"In fact, this deal we did with Virgin is the first time we've ever been the artist, quote-unquote. We've always been behind-the-scenes guys with the label and with our remix work and so on, it's always some other artist. And then this time around we're the artist."
Naturally, The Boomtang Boys -- who opened for the Moffatts on their cross-Canada tour in the spring -- had to be convinced to tour.
"We didn't want to do it -- we said, 'No, we don't tour. This is not us,' " said Tony. "And somehow it went from that to opening up in Nanaimo for the Moffatts. I'm looking at Paul going, 'How did we get here?' "
Not that Tony, who studied percussion and drums and played in new wave bands as a teenager, and 27-year-old Rob, a classically-trained pianist with perfect pitch, hadn't already performed live.
"Rob and I used to do tons of that," said Tony. "I guess Paul (who's 43) did it as a deejay playing in front of an audience. And that was great and everything, but that's past for me. I don't need that to keep the juices flowing, to keep me doing what I do. I love to spend my time in the studio and that goes for Paul and Rob as well."
Which brings us to Greatest Hits, Volume 1, which features originals, like Squeeze Toy -- a bouncy, squeaky, annoying bit of pop fluff sung by Kim Esty -- and covers including Billy Idol's Dancing With Myself, Cyndi Lauper's Time After Time and T. Rex's Bang A Gong sung by various guest vocalists. There's also a hidden track, a cover of Joni Mitchell's Both Sides Now.
"That was the really fun part about making the album," said Tony. "Because Billy Idol didn't call us up and say, 'Guys, can you do a remix of Dancing With Myself,' it was sort of like a wish list of stuff we'd have loved to have produced or remixed."
So what's the deal with the album title, considering this is The Boomtang Boys' first release? The record, having spawned Pictures, the second single in Canada, is expected to be released in the U.S., Europe and Japan in the fall.
"Yeah, we're trying to be funny," said Tony. "This is pop music and you're there to have fun. I hate people who get so serious about the music. It's pop music. It's funny when I talk to some people about this, some of them use words like, it's cheesy pop -- cheesy is a bad word to use. But it's not serious music in that sense. Like, for example, Squeeze Toy, it's a novelty song, you either love it or hate it. I'm not trying to change the world with this record."
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Tuesday, 6 July, 1999
Boomtang Boys to release debut album
By KAREN BLISS -- Jam! Music
TORONTO -- The Boomtang Boys point to the small studio laboratory in the corner of a tiny, unassuming house in downtown Toronto. There, the Canadian remix kings, whose debut album, Greatest Hits Volume One hits stores July 13, pump out the beats that have made pop hits out of dance mixes, or is that dance hits out of pop songs? On the wall is a photo gallery in homage to Benny, the dog which inspired the No. 1 hit, "Squeeze Toy". Betcha thought the culprit was a yellow rubber duckie.
"He had a chewy squeeze toy and he'd already ripped the bunny, or whatever the hell it was apart, and all that was left was the little plastic centre that makes the sound," recounts Tony Grace, one-third of the Boomtang Boys team. "So Benny's chewing on the thing and it's loud, and I took the thing out of his mouth and said, 'This is annoying,' and it was like, ding! Light bulb!"
While some might indeed find the cute dance-pop hit annoying, the track, sung with killer coy by Kim Esty, has squeaked its way to the top of the charts. The Boomtang Boys became the third Canadian group to enter the Soundscan singles chart at No.1 in April with the Squeeze Toy EP. Not bad for a fluke.
"Originally, I sampled (the squeak) and I started working on some music and I was like some dirty old man squeezing, squeezing. It was a horrible thing," Tony laughs. "Then we sat down about a week later, Paul (Grace), Rob (DeBoer) and myself and started working out the lyrics. So it was a reversal. Usually, with songwriting, Paul will have some music melody phrase and then have this lyric a few seconds later and then work the song out."
"This," adds his brother Paul, "started with the sound, then went to the lyrics, then went to the music."
On the group's full-length album Greatest Hits Volume 1, the trio, originally known for applying its commercial remix skills to tracks by artists like Sky, Econoline Crush, Bif Naked, Kim Stockwood, Corey Hart and The Philosopher Kings, mainly does the Boom thing to other people's classics.
The best of the lot are Billy Idol's "Dancing With Myself" (sung by Kim Esty), T-Rex's "Bang A Gong" (sung by Radiate's Devin Mason) and the hidden track, Joni Mitchell's "Both Sides Now" (sung by Emese Zaduban, an artist The Boomtang Boys might sign to its label).
Why the crystalline wistfulness of "Both Sides Now" is buried in the hidden portion of the CD, even after an alternate hidden mix of Hot Butter's "Popcorn" has pumped its course, is a mystery. Melodic, reflective and a song with some substance, it just might be the recognizable hit Virgin International needs to break pop charts all over the world.
"For some reason, somebody at the record label thought that putting on a cover of a Judy Collins song -- that's the way they put it. It's Joni Mitchell but Judy had the big hit -- would actually be detrimental to the sales of the album, which just blew my mind. So (our A&R guy) decided it would be put on the album as a hidden track."
Paul, who DJs six nights a week locally and has developed a keen sense for what the movers and shakers want (the reason record labels have gone to The Boomtang Boys in the first place to get the team's treatment on singles), says he actually uses that track to reinstate life to the dancefloor when he's played a "bad" song.
"Depending on the night, 'cause I play two very house nights and wouldn't play it on those nights, but the more commercial nights, if I screw up and play something that clears the floor, I grab it and put it on and I'll get all the people back on the floor again."
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