A Long History
After more than two decades in the making, Eric Left Riverton has finally been released.
The album’s story begins in late 1999, when longtime Riverton resident Pragnus Gray assembled a group of local musicians to record a set of original songs. For about a year, the music was performed live around Riverton — first under Gray’s birth name and later briefly under the moniker Car Models Blue, a phrase borrowed from lyrics in the album’s second track, “Seven.” (That song notably includes a cassette recording of Gray at age seven.)
As the project grew more ambitious, its band structure began to unravel. The group disbanded, and the recording effort was shelved for nearly two years. In 2002, Gray collected the surviving session tapes and digital files, learned Pro Tools from the ground up, and devoted over a year to rebuilding each song. He brought in new musicians, arranged and recorded vocal layers and instrumental sections — including strings, brass, and even choirs — then meticulously edited and mixed every track.
“The result is a piece of work that can truly be called a labor of love”.
-Pragnus Gray
By 2005, the production was complete. “The result is a piece of work that can truly be called a labor of love,” Gray reflected.
Yet the album remained unreleased for nearly twenty years. Gray turned his creative energy to an experimental film project of the same name, entered the field of public education, and pursued graduate studies — all while the record quietly waited in the background.
Producer and engineer T.J. Wenzl was invited to contribute to the final phase of putting the record out. For months he spent time with Pragnus Gray sorting through the multiple mixes of each song and making small adjustments to each one (for example adding an additional layer of spring reverb to the lead vocals in the song “Malaise”).
By the beginning of 2013, the two of them had completed some additional mixing and finalized the album’s sequencing and called it a wrap. Wenzl later described this work as “the kind of record people used to buy headphones for”.
The project drew on the talents of many contributors. Core musicians included Lesley Cayton, Kraig Ludensky, and Jagger Potter, along with Gray himself. Sound engineer Holbrook Gracia played a major role during early sessions, shaping production ideas and overseeing the recording of instruments ranging from electric guitars and percussion to tablas and backing vocals.
Gray’s own contributions extended across nearly every aspect of the production — lead and backing vocals, guitars, keyboards, drums, and piano, as well as arranging strings, horns, and glockenspiel parts.
Those involved in the project say they hope listeners will “feel the love poured into this record — and pay that love forward.”
Gray’s publicity team has confirmed plans for an interview to be published later this month. Stay tuned for updates.
Production Credits
The following credits include the core musicians who made this record possible as well as musicians who contributed additional guitars, backing vocals, and other instruments, including string and horn sections, backing vocals, choirs, glockenspiels, and percussion.
*All songs were written by Pragnus Gray (Steven J. Lawrence) and are registered copyrights with the United States Library of Congress © 2012.
Pragnus Gray… Producer, lead vocal, acoustic guitar, piano, organ, bass guitar, and additional electric guitars for particular tracks that accompanied Jagger Potter’s most excellent work
Holbrook Gracia… co-producer, sound engineer, recognizer of the artistry in others, motivator towards actualizing potential
Kraig Ludensky… Drums, percussion, tablas, strange and wonderfully alluring instruments, a genuinely kind, and naturally intelligent soul
Jagger Potter…Electric guitars on most songs and unique guitar effects as well as backing vocals and a warm and positive presence
Lesley Cayton… Cellos and backing vocals, stalwart supporter and all-around cheerleader
Nate Gibson… Trumpets and musical mentorship during the mixing process
Robert French… Trombones and excellent collaborator
Benjamin Cooley Hall…violin sections and provider of interpersonal sincerity and honest feedback during the mixing process
David Bennett…. Pragnus Gray’s personal close friend who encouraged him to put his songs out there. Bennett was the original founding member of Pragnus Gray’s live performances. Bennett plays guitar on the first track, as is fitting. If it wasn’t for him, this music might never have been created. Forever grateful.
Tracks 2-4, and 6-9 were co-produced by Pragnus Gray and Holbrook Gracia with significant input from Jagger Potter, Lesley Cayton, and Kraig Ludensky.
The remaining tracks were produced, arranged, recorded, and mixed by Pragnus Gray.
All songs were mixed by Pragnus Gray with the exception of “Where Come I” which was mixed by Holbrook Gracia with additional arrangements and mixing by Pragnus Gray.
The order of the songs on “Eric Left Riverton” were sequenced by Jerry MacDonald (who provided some pre-mastering) at Odd Fellows Recording.
TJ Wenzl crafted the final mastering of the record in his New Orleans studio, TrickPoT Studio, in collaboration with Pragnus Gray in August of 2025.
Special note of thanks to Nathan Pyritz, who finally, after 25 years, convinced Pragnus to cut the last four minutes out of “Yesterday’s Pants”, the last track.
TJ and Pragnus agreed and after agonizingly overthinking the idea right up to the very end of the mastering process, we decided to cut it!
But, make no mistake! When we release a double vinyl record of “Eric Left Riverton”, hopefully in 2026 or 2027, we will include the full version of “Yesterday’s Pants” as well as other tracks not included in the upcoming release.
*Pragnus Gray is the performing name of Steven J. Lawrence
