Andy Pratt -

Andy Pratt is an American singer/songwriter from Boston, best known for the song “Avenging Annie” as his acclaimed 1976 album Resolution.

Background

He was born Andrew S. Pratt on January 25, 1947; the youngest of four children borne to educator Edwin Howard Baker Pratt (1913–1975) and Monte Carlo-born Aileen Kelly (1915–1976).

The elder Pratt served as headmaster of Buckingham Browne & Nichols, a K-12 private school in Cambridge, Massachusetts. Edwin Howard was the last-born son of financier/attorney Charles Pratt (1873–1927) and politician Ruth Sears Pratt (née Baker; 1877–1965), and the grandson of petroleum mogul Charles Pratt (1830–1891). Ruth served two terms (1929–1933) in the US House of Representatives (R; New York’s 17th district).

Andy graduated in 1968 with a degree in Literature from Harvard University. An avid songwriter and musician, he learned an array of keyboards (piano, clavinet, accordion) and string instruments (guitar, bass, sitar). In 1969, he landed a deal with Polydor Records.

Records Are Like Life

Andy Pratt released his debut album, Records Are Like Life, in August 1970 on Polydor.

Issued during a transitional moment between late-60s singer-songwriter introspection and early-70s studio experimentation, the album explores shifting tonal palettes and dynamic contrasts through compact and extended compositions. Pratt sings and performs on multiple instruments across the album, supported by an ensemble that complements his songwriting with flexible yet defined arrangements.

Guitarist Steve Crump appears on “Bella Bella,” while bassist Bill Elliott plays and sings on “Mindy” and arranges strings for “Low Tide Island.” Drummer Rick Shlosser handles percussion throughout. Pratt plays piano, clavinet, organ, and additional guitars across the set.

A1. “Wet Daddy” (5:02)
A2. “Oliver” (5:11)
A3. “Shiny Susie” (7:41)
A4. “Little Boy Hound Dog” (1:00)

B1. “Bella Bella” (4:35) – Guitar: Steve Crump
B2. “Mindy” (3:28) – Bass, vocals: Bill Elliott
B3. “Low Tide Island” (4:52) – String arrangement: Bill Elliott
B4. “Records + Records (Records Are Like Life)” (5:14)

Sessions took place at Aengus Studio with production by Aengus and Andy Pratt under Amphion Productions. Lacquers were cut by Robert Ludwig at Sterling Sound and pressed at Columbia’s Pitman plant. Polydor issued the album in the US with distribution handled by its domestic branch. David Jenks supplied the liner photo. Pratt composed all songs and co-published them through Seaweed Music, Intersong Music, and Chappell & Co.

Records Are Like Life, and the album received limited circulation at the time of release.

In 1972, he submitted a demo of his song “Avenging Annie” to WBRU, the campus station of Brown University in Providence, Rhode Island.

Andy Pratt

Andy Pratt released his self-titled second album in March 1973 on Columbia.

He composed ten of the eleven tracks and arranged the material around layered vocal passages, shifting meter, and frequent tonal modulation. The album merges acoustic balladry and electric textures with experimental voicings, drawing on orchestral instruments and altered tunings to support his piano-anchored arrangements. Most tracks reflect solo overdubbing with occasional full-band input.

Guitarist John Nagy contributes electric and acoustic parts alongside mandolin, mandola, and mandocello. Guitarist Anastasios Karatza plays electric guitar and hi-hat. Guitarist Jim Thompson adds electric fills while Bob McCarthy plays acoustic on “Call Up That Old Friend.” Andy Pratt plays all piano, clavinet, accordion, sitar, tabla, bass, and additional guitars. Bassist Abraham Laboriel appears on multiple tracks. Drummer Jesse Henderson plays full kit. Gary Anderson performs on baritone and tenor saxophone and flute. Organist Bill Elliott and backing vocalist Nick Koumoutseas appear on select numbers. Clarinetist John Payne, trombonist Roger Hock, conguero Juma Santos, and bongocero Rick Shlosser contribute additional textures.

A1. “Avenging Annie” (5:08)
A2. “Inside Me Wants Out” (3:12)
A3. “It’s All Behind You” (3:43)
A4. “Summer Summer” (3:35)
A5. “Call Up That Old Friend” (3:06)

B1. “Give It All to Music” (3:28)
B2. “Who Am I Talking To” (3:11)
B3. “All the King’s Weight” (4:16)
B4. “So Fine (It’s Frightening)” (2:37)
B5. “Sittin’ Down in the Twilight” (3:36)
B6. “Deer Song” (4:10)

Sessions took place in Boston in early 1973 with engineering and production handled by John Nagy, who also performed and arranged stringed parts. Columbia issued the album domestically on LP with mastering credited to in-house facilities.

Columbia lifted “Avenging Annie” as the album’s lone single. It reached number 78 on the Billboard Hot 100 and gained modest FM rotation across select markets. Roger Daltrey later recorded the song for his 1977 solo album One of the Boys, revising the lyrics to third-person. Andy Pratt peaked at number 192 on the Billboard 200. Though it did not chart internationally, it placed third on Dutch music journal OOR’s year-end album list for 1973.

Resolution

Andy Pratt released his third album, Resolution, in June 1976 on Nemperor.

The album marks a stylistic shift toward expansive production and vocal layering across a sequence of eleven compositions. It combines rhythmic piano patterns with orchestral and choral embellishments, arranged in dynamic contrasts and underscored by shifting instrumental textures. Arif Mardin supervised the project, applying structural polish and ensemble balance to Pratt’s compositions. The arrangements alternate between tightly scored ensemble sections and passages of sparse vocal-piano interplay.

Guitarist Mark Doyle plays lead and bass guitars, piano, and percussion. Bassist Tony Levin appears alongside Hugh McDonald. Keyboardist Andy Mendelson plays organ and synthesizer, with Ken Bichel contributing additional synthesizer and mellotron. Drummers include Richard Mendelson, Andy Newmark, and Steve Gadd. Percussionist Ruben Bassini contributes alongside conguero Carlos Martin. Arif Mardin arranges strings and horns and adds percussion. Backing vocals are provided by the Rowans, Luther Vandross, David Lasley, and Diane Sumler.

A1. “Resolution” (3:16)
A2. “If You Could See Yourself (Through My Eyes)” (2:53)
A3. “Constant Heat” (3:51)
A4. “Karen’s Song” (3:25)
A5. “Can’t Stop My Love” (3:09)

B1. “Everything Falls Into Place (Lillian’s Song)” (3:46)
B2. “That’s When Miracles Occur” (3:54)
B3. “Some Things Go On Forever” (3:11)
B4. “Treasure That Canary” (3:33)
B5. “Set Your Sights” (3:02)
B6. “Love Song” (3:07)

Pratt recorded Resolution at multiple studios during late 1975 and early 1976 with co-production by Arif Mardin and mixing conducted under Nemperor’s partnership with Atlantic Records. Mardin developed the orchestral and horn scores in tandem with Pratt’s piano arrangements. Tracking combined live band takes with layered overdubs across the ensemble and vocal sections.

Nemperor issued “Resolution” and “Karen’s Song” as singles. While neither charted independently, the album reached number 104 on the Billboard 200. It stands as Pratt’s highest-charting and best-selling release. Columbia later reissued the album on CD through Sony’s Legacy division.

Shiver in the Night

Andy Pratt released his fourth album, Shiver in the Night, in July 1977 on Nemperor.

The album continues his pursuit of tightly arranged, piano-led songwriting framed by layered ensemble interplay. Orchestral touches and backing vocals intertwine with compact rhythm section passages across eleven tracks that vary in length and harmonic density. The material reflects collaborative input from core players and expanded contributors across multiple recording locations.

Guitarist Mark Doyle handles arrangement duties. Bassist Hugh McDonald anchors most tracks, while Gary Link contributes additional bass and vocals. Drummers Andy Newmark and Rick Schlosser alternate across the set. Keyboardist Andy Mendelson plays synthesizer, clavinet, Rhodes piano, organ, string synthesizer, and additional keyboards. Rubens Bassini plays congas and percussion. Saxophonists include Michael Brecker, Louis Marini, and Lewis Del Gatto. Trumpeter Randy Brecker appears on brass sections. Backing vocals are performed by Luther Vandross, David Lasley, and G. Diane Sumler.

A1. “All I Want Is You” (5:15)
A2. “Rainbow” (3:27)
A3. “I Want to See You Dance” (4:03)
A4. “My Love Is So Tender” (2:48)
A5. “So Faint” (3:15)
A6. “Keep Your Dream Alive” (3:06)

B1. “Landscape” (4:17)
B2. “What’s Important to You” (3:57)
B3. “Mama’s Getting Love” (3:39)
B4. “Dreams” (3:46)
B5. “Born to Learn” (3:38)

Sessions took place at Atlantic Studios with engineering and mixing by Lew Hahn and mastering by George Piros. Additional recording was conducted at Columbia Recording Studios and Northern Studios in Maynard, Massachusetts, with engineering contributions from Gene Paul, Richard Mendelson, and Jesse Henderson. Arif Mardin produced the album and arranged strings and horns. Gene Orloff served as concertmaster. The package includes photography by David Gahr, Arthur Grace, and Michael Dakota, with art direction by Abie Sussman and Bob Defrin.

Nemperor did not issue any singles from Shiver in the Night in the US market. Distribution was handled by Atlantic in North America and Negram/WEA in Europe. The album did not chart but sustained Pratt’s momentum across tours and radio appearances into the following year.

Motives

Andy Pratt released his fifth album, Motives, in 1979 on Epic.

The album emphasizes tightly arranged studio performances anchored in multitrack vocal layering, recurring harmonic motifs, and varied instrumentation across nine compositions. Pratt balances piano-based writing with full-band interplay and intermittent electronic textures. The arrangements reflect the combined input of seasoned session players and returning collaborators under the direction of co-producer Eddy Offord.

Guitarist Mick Barakan appears on most tracks, while Mike Stern plays on side one’s latter numbers and three tracks on side two. Arti Funaro contributes additional guitar on “King In Beggar’s Clothes.” Bassist Tony Levin plays on the bulk of the album, while Brad Stahl handles low-end duties on “Christine,” “Close My Eyes When I Die,” and “Cross On a Hill.” Drummer Eric Parker appears throughout. David Sancious plays keyboards on “Christine,” “Saviour,” and “Cross On a Hill.” Philippe Saisse contributes Minimoog on five tracks and Polymoog on three. Alexander J. Ligertwood adds percussion to five numbers. Background vocals feature Robin Lane, R.A. Martin, Brenda Madison, Chip Harding, and Rob Davis. Andy Pratt plays additional keyboards and provides all lead vocals.

A1. “Love Insurance” (3:34)
A2. “Sing” (4:24)
A3. “Christine” (3:50)
A4. “King In Beggar’s Clothes” (2:49)
A5. “Saviour” (4:12)

B1. “Keep the Light Burning” (3:38)
B2. “Finally I’m Yours” (5:04)
B3. “Close My Eyes When I Die” (4:39)
B4. “Cross On a Hill” (4:22)

Recording and mixing took place under the supervision of Eddy Offord, who co-produced the album with Pratt. Lacquers were cut at Masterdisk and mastering was completed at Atlantic Studios. Epic issued the album under license from Nemperor Records, with full copyright retained by Nemperor. Art direction and management were handled in-house with visual assets credited to associated Epic staff.

Epic did not issue singles from Motives in the US market. The album did not chart and marked Pratt’s final release with Nemperor before his transition to independent labels and regional pressings.

Fun in the First World

In 1982, Andy Pratt released Fun in the First World, a five-song extended play on one-press Enzone.

The EP reflects a condensed approach to song structure with layered ensemble parts shaped around electric piano motifs, vocal counterpoint, and episodic instrumentation. Pratt integrates uptempo patterns and chordal interplay with alternating group and solo vocal segments. The material departs from prior orchestral arrangements in favor of concise production anchored in a tighter band format.

Guitarist Billy Loosigian plays all electric parts. Bassist John Troy performs and contributes vocals, while Mike Walsh plays additional bass. Drummer Jean-Dominique Sifantus provides rhythmic foundation across all tracks. Keyboard duties are split between Rob Van and Stephen Hague. Acoustic guitarist John Curtis participated in preproduction. Pratt plays piano and additional keyboards and performs all lead vocals. Background vocalists include Debbie Colbert, Janice Bollman, Patty Unitas, and Robin Lane.

A1. “Fun In the First World” (2:40)
A2. “Burn Up In the Fire” (2:50)
A3. “Who Will Be My Friend?” (4:34)
B1. “Israel” (3:22)
B2. “Paper Money” (3:44)

Sessions took place at Blue Jay Recording Studio and Syncro Sound with production by Leroy Radcliffe and engineering by Michael Golub. Assistant engineers included A. Buckland, W. Turbitt, and E. Goodreau. Mastering was completed by Howie Weinberg at Masterdisk. Pratt issued the EP through Endless Sky Music under the Enzone imprint, which he co-founded for limited regional distribution. Carrie Branovan took the cover photo, and Derrill Bazzy handled the back photography and layout design.

Enzone did not release singles from Fun in the First World, which circulated in small quantities with no formal promotional campaign. It did not chart but marked Pratt’s first release of the 1980s and introduced new collaborators who would appear on subsequent independent recordings.

Not Just for Dancing

Andy Pratt released his sixth full-length album, Not Just for Dancing, in 1985 on the Dutch label Aztec Records.

The album presents a concise set of nine tracks framed by digital-era production, layered keyboard voicings, and alternating rhythm formats. Pratt balances live ensemble elements with programmed sequences, creating contrast between full-band interaction and machine-based backdrops. The material draws from earlier songwriting alongside new collaborations, including a Lennon–McCartney cover and a guest-written ballad.

Guitarist Stephen Hague also handles keyboards and drum programming. Bassist Tony Levin plays both electric bass and Chapman Stick. Drummer Andy Newmark appears on multiple tracks. Hague shares rhythm duties with the Dutch band Face To Face, who play drums, bass, and guitar on “I Always Will Love You” and “It Will Get Better.” Keyboardist Paco Saval contributes additional parts and mixes two tracks. Saxophonist and flutist Stan Strickland performs on “Modern Police” and sings lead on that track’s chorus. Vocalists Jody Pyper and Lisa Boray appear on “I Always Will Love You” and “It Will Get Better.” Pratt sings all lead vocals and plays acoustic piano throughout.

A1. “Face I Wear” (3:55)
A2. “What Can I Do” (4:30)
A3. “I Always Will Love You” (5:25) – Jane Cann
A4. “Modern Police” (2:47)
A5. “It Will Get Better” (3:24)

B1. “I’m Only Sleeping” (4:03) – Lennon–McCartney
B2. “Age of Goodbye” (4:39)
B3. “One More Soldier” (4:46)
B4. “I Love You” (4:25)

Recording sessions took place at Blue Jay Studios, Farmsound Studio, and Sound Studio N. Mixing was split between Bob Clearmountain, Stephen Hague, Walter Turbitt, and Paco Saval. Michael Golub, Ron St. Germain, and Walter Turbitt engineered the sessions. Leroy Radcliffe produced eight tracks, with Pratt self-producing “I Always Will Love You.” Executive production was handled by Frank Van Der Gaag. Cover and label photography came from Carrie Branovan, Jek Lampers, and Carol Fonde.

Aztec did not promote singles from Not Just for Dancing. The album received limited distribution in continental Europe and did not enter any international charts. It marked Pratt’s final appearance on a non-US label and prefaced a shift toward independent releases under his own imprint.

Discography: