These are the Nightcaps. They play exciting Music. They play in an exciting manner. They play rhythm and Blues. They play good.
About The album
This album grew from an on location recording attempt at the 'Chalet' supper club in Dallas, an attempt marked by difficulties both electronic and acoustic. The final sessions took place in the main auditorium studios of WRR ... after hours. This is the first of what will probably be a long string of NIGHTCAP albums and is sure to find a waiting public.
About The Music
Check first the wild enthusiasm in 'Wine, Wine, Wine'. This Nightcaps standard has earned a place in WRR's old favorite's stack and sold over ten thousand copies in Dallas alone. Bill Shine's 'Let's Have a Party' vocal has made this and Thunderbird jukebox favorites from the day they were issued as singles. Jack Allday's hurry-up drumming on '24 Hours' almost blasted the old Hank Ballard Favorite clear over into the Jazz field. As I write this, '24 Hours' is number one on every Dallas hit chart and appears ready to crack the national market in a big way. My favorite in the album has to be the blues. What the Nightcaps called simply 'Blues In G' is just too much. It was my privilege to suggest the name 'Tough, That's All'. Listen to Hardtime's Saxophone tell what's wrong with the world.
About The Recording Session
12:40 A.M. . . . Bob Kelly, WRR all night D J and the guy who led the session as A and R man, sang out over the intercom, 'Twenty-four Hours, Take one.' Allday lit the fuse. Three short runs for mike levels . . . two full takes and another hit is in the can. Everyone feels good. Mojo Working is next. On this one Swartz has always waited until his solo before unlimbering the harmonica, but there is a gleam in Kelly's eye. 'We won't use the lead guitar after the opening', he says. 'Lay it down and blow your harp with Shine.' You mean play along while he's singing?' No. . . . Wait a minute. Just give him an amen after each phrase.' Another hit in the can. I've got to put this in about Swartz. Mario was telling me how he met Dave the first time. 'I was walking along the sidewalk about two blocks from my house when I heard this cat playing hillbilly chords on his front porch. ( Ed. note: Most musicians would have played them on a guitar) So I stopped and asked him if he ever played any Jimmy Reed stuff and he says he never heard of him. So I took him home with me and played a Reed record and when he heard the harmonica he thought it was a had noise."
Mario didn't let the lack of enthusiasm stop him, I'm glad to say, and anybody who listens to Dave's T-Bone Walker style intro to 'Tough, That's All' will be equally glad. 'Tough' was cut about 3:15 on Monday morning and Jon Hardtimes made the understatement of the session while the tape was rewinding. He stuck his head in the control room and grinned, 'I hit a couple of blue notes in there.' I've heard the record at least a hundred times and I still get goosepimples. The sax part on 'Sweet Little Angel' is another Kelly touch and the boys are quick to admit that it made all the difference on this one, too. 'Mojo Hand' is so closely related to the exuberant 'I'm a Lover Not a Fighter' that it took Bill Shine two tries to get the lyrics unraveled. When he finished it was voo-doo all the way. The last thing we did was the weirdest. One short number was needed to fill out the side, so I asked for an original instrumental. Swartz suggested a thing he had written called 'Sunset' . After one run thru, everybody came up with a different suggestion for changes. The end result is heard here as 'No Parking' and it features Mario's debut as a vocalist. 'Five years of Spanish lessons for this,' moaned Gene Haufler. Anyway, this has been fun. Recording with the guys, writing these not., airing their songs, and playing the tapes of the album for any musician who wandered by the studios. So far, everyone has been impressed. I'm betting you will be too.