About the album
The Satin Chaps began with a melody line, a catchy band name, and an auditory concept. The melody became Pigtail Park, the band name defined the style of an ensemble of masterful performers, and the concept created a new sound out of history’s hippest grooves.
From the fall of 2007, drummer Luke Strahota was driven to build the band when the melody line of Pigtail Park became the soundtrack for his every-day life—a band heavy on horns and organ that could take the bop-bop sound from his imagination to the dance floor. Influenced by ‘60s production catalogues (e.g. the KPM 100 and The In-Kraut: Hip Shaking Grooves From Germany 1967-1974) and composers such as Ingfried Hoffman, Gert Wilden, Alan Hawkshaw, Keith Mansfield, and The Peter Thomas Sound Orchestra, Strahota knew he could build the melody into an epic hook. He sought out musicians whose musical instincts he trusted: Eric Hedford, known for his rock-solid time-keeping as both a drummer and bassist, and Peter Dean, a sharp dresser and class act who knew his way around a keyboard. The three musicians formed a trinity of sound that is The Satin Chaps.
With the addition of Colin Sheridan on guitar and Jon Clark on Sax, the band’s first practice combusted into four songs—Wet Leather, Lil’ Sweater, Dry Rub, and Cruiser—and set the pace for the sounds you’ll hear on this record. Band members came to practice with a hook, a composition color, or a feeling they were caught on and driven to hear played out with all the right instruments and the right talent.
Recording began in 2010 at Eric’s studio using vintage microphones, amplifiers, and instruments to create a climactic wonderland of sound. Hedford’s consumption of soul rarities is reflected in his songwriting; floor burners like Jump, Shout, Shake and Cry Baby. Over the next year, several members of the band transitioned out, but the core members of the band were dedicated to the go-go-riffic sound, so they discovered new talents to replace the old. Bringing on friends to sing, shout and shake during recordings, The Chaps got to see their reactions and share the joy of performing their infectious grooves with others. Throughout 2011 mixing and overdubs continued while The Chaps played shows in Portland and Seattle to crowded dance floors of frugging, bobbed, freaked-out groovy crowds. When the mix was finished, Peter Dean arranged the album tracks like a chef pairing tastes. Each song retains a voice, and enhances not only how they play side-by-side but also as a whole listening sequence. Audiophiles will be enthralled by the rich sounds of this album. DJs will riff the beats. Symphonics will be wooed by the big beat. And casual listeners will have to tap their feet—if not dance.