One thing that was evident was the fact that the tight, snappy and synthetic sound with a collage of percussion on the tracks was replaced by the largesse of the Fairlight. The CMI music computer was revolutionary in its day, and Forbes' collaboration with Tony and Allan gave Tapps a sound that took them to a musical crossroads. Eliminating the simplicity of the Roland instruments such as the SH-5, TR-808 drum machine, and the infamous JX-3P, the sampled drum sound gave Tapps a rockier edge.
Launched by the multi-mixed "Hurricane" (complete with the Arthur Baker-esque "You knock me" vocal edits in the intro of the extended mix), their Boulevard debut was the continued musical extension of their Power material mated with new technology. Complete with a new image and hipper styling, the group launched the album that went numerous singles deep. The album attempted to give Tapps a broad, pop sound to add to their dance base, but in many ways, the fans were always drawn back to what was the true sound of the group.
"Don't Pretend To Know" is a classic example of where the fans went and what the fans wanted. Driven by Coelho's trademark, driving lead line, the unmistakable counter melodies, electronic tension from and a strong lyric from John Savage, "Don't Pretend" became the group's fifth consecutive dance charting single and many hardcore fans, especially in the U.S. consider this to be the band's most sterling moment. Sung with urgency by Berthiaume, various remixes littered the market and it stands out as the elite selection from Tapps' only album. The Prince flavored "Goodbyes Are Hard To Say" (co-written by "Runaway" stylist Suzanne Francis), is a dedication for Allan's grandfather, who had recently passed away. It remains an uncut diamond on the record. In the Asia Pacific, the group's Motown cover “Sugar Pie Honey Bunch" led to extraordinary sales and a decade and a half later is their most in-demand track.
While the relationship with Boulevard spawned the album, Power actually merged with the company in 1987. "It is almost surreal to think about it fifteen years later" says Degiorgio. "In many ways, I think the worst thing about the Turn It On experience for me is that I felt I missed the creative growth of the group. Part of me truly wishes they would have stayed, but I'm not sure if it would have made a difference. Growth comes from the challenges that are out there".
While Tony decided to keep his solo production career at one classic underground single, Allan thought otherwise. With his passion in production, Allan produced innumerable dance singles with his trademark sound such as "The Main Attraction" by Yoh-Yo (on some labels misprinted as "The Main Event"), a 2nd collaboration with remixer Kevin Unger who worked on Tapps in the form of "Humpty Dumpty" on the Tamah label and works for the likes of Story Structure and Click. While the musical magic never eluded Allan, his sense of humor didn't either. He called his own foray into the record label business "Feed The Cat Productions", hoping one of his records would sell enough to at least Feed The Cat.
When it came back to Tapps following up their first and only album, they left the John Forbes-produced experience to produce themselves. Ironically, recorded for Boulevard with the band having complete and total control, "You're The One" is actually Degiorgio's favorite all-time Tapps single. Written by Tony, Allan and Candy on the lyrics, they also switched equipment, shedding the big sound of the Fairlight for the Emulator II. It also included their first experiment with horns on record, something that would foreshadow Allan's work in the South American market with Latin sounds.
While the song never captured the charts like their previous recordings, Degiorgio always felt that this song's 'deeper' chorus and tremendous pre-chorus sections were the essence of the group. "I've always been of the opinion that this, followed by Runaway, are the true soul of Tapps. This by far, is the best thing they've ever done".
While Coelho went on to produce a few dance covers of his favorite classics such as Roni Griffith's "Desire" with Yoh-Yo and a hyper-kinetic version of "La Bamba", he also bookended those recordings with "Jackin'" by the Homewreckers. The latter was the only non-NRG record Allan produced (with Hernani Raposo), and a U.S. remix of the track by Richie Jones made it a huge hit in England. Today, Jones is one of the chief producer/programmers for Ric Wake, and has worked with the likes of Celine Dion and Jennifer Lopez.
For DaCosta, the time had come to put a close on the proceedings in 1988. Six years of studio, writing and assorted production work had reached its peak for Allan's one time partner in musical crime. One further Tapps recording "Crazy For You", written with Al Kussin and Coelho was quietly released on a Tapps re-issue Greatest Hits album. After this recording, it also spelled the end for the band that had big dreams and a lot of great ideas.
Two months from the group's 20th anniversary of their debut record, Coelho remembers the group's tenure fondly. "I remember how great it felt to have our first record and how we struggled. It was never easy. Canada wouldn't play a record like this on the radio, so we actually were a lot more popular outside of Canada than we were at home. You'd be amazed how many people ask about when we will do a new record. I am happy that we've touched someone with our music. It's really all we originally set out to do. I guess it worked".
Together with the 20th anniversary of Tapps' comes a similar one for Power Records. "My record label was founded on about $ 200.00 from a DJing gig, and to this day, I still can't believe that Tapps was the first domestic act we attempted and it sold. I won't forget the day we got that international call that changed the lives of everyone. Today, the music stands up as a testament of what passion for music does and how it lives" says Degiorgio. While the label would go on to spawn three new labels, international hits and a reign of terror for its president as a producer on the NRG charts around the world, one undeniable point remains.
