From the first ringing guitar notes sounding a joyful cry of celebration in “Awake With the Rain” to the last wistful, fading chorus of the final song, “1000 Nights,” the 1988 debut album by Grace Pool is infused with the love of life and a passion for creating exciting and fresh music.
That stirring, self-titled debut was followed by another equally inspired album, Where We Live, in 1990.
The music captured on those two recordings is not easily defined by genre. Grace Pool has been variously described as Ethereal, Jangle-pop, Folk-rock, and Alternative Rock. They were all of those things and more, thanks to the roots, inspirations, and passions of the band’s two co-founders, singer-songwriter Elly Brown and multi-instrumentalist Bob Riley. The pair’s work in Grace Pool would fit comfortably into a playlist with bands like The Sundays, Sixpence None The Richer, and The Innocence Mission. In the late 1980s, they shared radio play with The Motels and Til Tuesday.
The story of Grace Pool can be told simply—girl meets boy, they form a band, band gets record contract, band loses contract. It’s a story that has been repeated too many times, by many of the artists covered in Muse—October Project and Nan Vernon come immediately to mind. Fortunately, the music that was the flower at the end of Grace Pool’s winding and colorful path to being is still alive and timeless.
When did you change your career path from acting to music?
During my second year at Academy, I got a job singing in a restaurant on W 44th St. I formed my own band eventually, playing at the original Lone Star Cafe and The Bitter End and downtown. We opened for Sam and Dave, Junior Walker and the All Stars, and James Brown at Lone Star.
When did you write your first song?
I began writing as it became harder for me to find interesting, emotionally resonant covers that spoke to me. I play a tiny bit of piano and guitar, and I used a little tape recorder. I worked with Bob Gulian, who’s now my brother in law—a lovely songwriter, and I learned a lot. I guess I just started and integrated a few songs at a time. I never thought I could write, singing was my thing. I was a screamer, still in my late teens back then, an R&B and country singer.
Where did you and Bob Riley grow up?
Riley was born in Durham North Carolina, with an early childhood move to Florida, and high school years in New York City.
I was born in Oswego, New York. My Dad taught at SUNY Oswego. I moved to New York City at 17, right out of High School, to attend the American Academy of Dramatic Arts. I thought I was headed for theatre and acting.
What was Riley’s musical background?
He was a bitchen drummer. He played in early Madonna’s band and recorded with Patty Austin and even Brian Wilson, as he began getting into drum programming. His feel for programing developed into his synth love. He always played guitar. He became a self-taught engineer.
When did you and Riley become bandmates and lifemates? Which came first?
First, we were both hired to join a band called South, that included the legendary guitarist Lonnie Mack and some other great musicians. It set up camp in Milford, Pennsylvania. I was brought out to make the harmonies thick and to sing token “girl” songs. Lonnie was the main lead voice, I learned so much from him. Riley was brought out from NY. where he’d been pursuing his passion as a drummer. He was a successful, up and coming session drummer in the late 70s early 80s. That’s how we met. We were just friends but did try writing together out there. There was a lot of time and we were young and inspired, but nothing came of that.
Then, The Man, Ed Labunsksi, whose brainchild this was, drove into a tree out there and died. Chapter closed.
Back in NYC, I had my bands and Ry became drummer and we stayed friends.
Eventually after about 3 to 5 years, realized we were in love, got hitched and found a little house in Lincolndale about an hour upstate.
And the early version of Grace Pool came then?
Riley set up a studio—Grace Pool was born there. We both just merged. I would wail. He would program great beats and then strum away. We loved being in nature. We wrote and wrote and created soundscapes—very in love. We always played with friends throughout, like Glenn Marrow in Rage to Live, and other stuff. Life was sweet.
How did the actual studio band come together?
We wanted to play out and get back our NYC playing vibe, so we thought about what musicians we knew that would be into it and approached them. We booked a gig at CBGB—they had the best sound system— just to try. Shawn Colvin was one of my best friends, so she did us a favor with harmonies and acoustic guitar—we hadn’t met Terry yet. Clifford Carter and Frank Vilardi were musicians Ry felt would understand it. That was a cool gig, our first. We used sequenced bass and it worked, so we went from there.
Shawn clearly had her own thing going and we were lucky to find a very young, talented Terry Radigan. We started playing around town. We were so lucky to find this original collective. All so special and very gifted. We were in love and full of life, music, and optimism.
How were you connected to the record label, did they approach you through an A&R person?
My best friend and maid of honor was a secretary at Warner Bros and slipped them our demo tape. My friend gave out our home demos to Warner Brothers—they came to a gig at The Bitter End and signed us basically.
What was your experience of recording your albums?
We always knew how we wanted things to flow. Warners brought on Steve Nye to produce the first album. Riley was happy to have freedom for second album when Warners’ allowed him to do the production. I was having health problems and the songs are of struggle and not understanding the world so well on Where We Live. The critics didn’t like it as much but we were losing the stars in our eyes.
…and there were new band members brought on at that time?
Money was not flowing after the first album and both Clifford and Frank got busy and I believe Terry was itching to start a solo career. She was growing and younger and writing some powerful stuff of her own. Finding Beki Brindle was an amazing thing!! She was such a strong guitarist we were blown away and at that time in her life she was happy to come on board.
How did you happen to record the cover of “Stay”?
I knew the minute I heard it, I just felt the lyrics and melody—the love and empathy. It’s a beautiful song. I fell in love with The Blue Nile “A Walk Across the Rooftops” album, saw them play, and just melted. I wanted very much to sing it though I miss the mournful wail of Paul Buchanan’s voice on ours, to be honest.
Do you see differences in sound, tone, and songwriting between “Grace Pool” and “Where We Live”?
So the first one we were in love with life and nature. the second one I was besieged by mystery illness (trying to hide it) and we were more world-weary. That is reflected in the songs I think. Also, Beki’s beautiful blues guitar brought a gorgeous new element that we loved.