Pratt, Andy

Vinyl Records and Rare LPs:

Pratt, Andy - Andy Pratt Andy Pratt
Pop New - LP KC 31722 Columbia
Beautiful Sealed 1973 Original With Promotional Record Sticker Under Shrink. “Andy Pratt's Self-Titled Album Is A Very Quirky, Idiosyncratic Album That Definitely Establishes Pratt As A Major Force In The Singer-Songwriter Arena. He Also Sounds Very Depressed As Many Of The Song Titles Indicate (E.G. "Inside Me Wants Out," "So Fine, (It's Frightening)"). However, This Doesn't Diminish The Album's Power Or The Particular Style That Is Very Much Pratt's Own. The Highlight Of The Album Is The Near-Hit "Avenging Annie." Sung Mostly In Pratt's Falsetto Voice, It Is A Tale Of A Mythical Heroine Told From The Woman's Point Of View. The Fast Piano Technique Is Impressive, As Are Some Other Production Touches (Such As The Cat Sounds And Descending Guitar Line). The Song Deserves Its Classic Status Hands Down. The Next Number, "Inside Me Wants Out," Is In The Running As One Of The Most Dismal Songs Ever Recorded, And Could Seriously Be Used As A Study Tool For A Psychology Class -- Sigmund Freud Would Have A Field Day With It. It Also Has A Strong Hook, And Is Another Top-Notch Cut On The Album. There Is A Strong Jazz Element In Several Of The Songs, Particularly "Sittin' Down In The Twilight," With Its Almost Funky Trombone Solo. Pratt's Falsetto Voice Is Also A Strongly Felt Presence, Though Its Sometimes Shrill Quality May Not Be To The Liking Of All. Though This Album Is Not Nearly As Polished As Pratt's "Resolution," And Has A Very Different, More Home-Made Feel, It Is Nearly As Powerful.” – Michael Ofjord, AMG... more details
 
Pratt, Andy - Records Are Like Life Records Are Like Life
Pop New - LP 24-4015 Polydor
Sealed 1970 Original. “Andy Pratt's First Album Preceded 1973's Self-Titled Release On Columbia, Which Included The Minor Hit "Avenging Annie." Records Are Like Life Is A Lost Treasure. This Is Pratt At His Most Innocent, With Vocals That Sound Otherworldly And Songwriting That Is Way Ahead Of Its Time. Here Andy Pratt Sounds Like The Doppelgänger Of Another Pianist/Vocalist From Boston, Willie "Loco" Alexander. Both Men Play A Fusion Of Rock With Pop And Jazz Flavors And Lots Of Other Influences Invading The Framework Of Their Compositions, But Alexander Did It With More Emphasis On The Avant Garde While Pratt Kept It Serious -- Somewhat. Their Vocal Stylings Are Frighteningly Similar For Two Musicians Who Came From The Same Region And Same Point In Time, But Performed In Different Circles. "Shiny Susie" On Side One Is Almost Eight Minutes Long, Its Movements More Like A Mini-Play Than A Pop Tune. "Bella Bella" Was A Staple Of Pratt's Live Show, And Very Close To The Style Of What He Would Soon Record For Columbia. This First Effort Has Inventiveness That Sounds Fresh Decades Later. "Wet Daddy," The Opening Track, Is A Charming Guitar/Percussion Ditty. "Oliver" An Indication Of Where Pratt Would Take His Music: Elegant Piano, Double-Tracked Vocals, And A Unique Melody. The Rolling Drums Work Against The Bass And Piano At Points, With The Guitar Tastefully Finding Its Way Into The Mix; The Song Develops Into A Pretty Resolution. "Low Tide Island" Changes The Mood Again, With Pratt's Vocals Absolutely Spooky And Guitar And Strings Buffeting His Performance. A Truly Extraordinary Song. The Title Track Brings Things Back To The Jazz/Pop That Is Andy Pratt's Forte. Although He Would Co-Produce 1979's Motives With Emerson, Lake & Palmer Engineer Offord, It Is Interesting That This Is The Only Album Produced By The Artist On His Own. The Manic Intensity Of The Final Track And The Free Spirit Of The Performance Make This A Very Original Recording.” Joe Viglione, AMG.... more details
 

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