Showing posts with label Pamela Polland. Show all posts
Showing posts with label Pamela Polland. Show all posts

June 06, 2014

The Gentle Soul - Flying Thing (1968)

If you haven’t seen our previous post featuring The Gentle Soul, you may want to check that out first. There’s a good, little biography about the group, including the famous names they worked with and why they had to split up. The best part, though, is that it features an interview conducted with half of The Gentle Soul, Pamela Polland.

You’ll notice near the beginning of that post that there was a song The Gentle Soul recorded, which had been written by a fourteen year old Jackson Browne. The song heard below in this post is that song. “Flying Thing” was one of the three songs Jackson Browne had written by the age of fourteen. He wrote the music and lyrics, but the arrangements were done by The Gentle Soul (Pamela Polland and Rick Stanley). It wasn’t released on The Gentle Soul’s only album (probably because it wasn’t written by them, as claimed by Pamela Polland herself), but it was released on one of the two singles the band put out. Unfortunately, like with their rest of their music, the single wasn’t promoted and it made little impact on the charts.



A Special Edition post with Rick Stanley of The Gentle Soul!

After a little over a year of correspondence, I’m proud to announce that The Gentle Soul’s Rick Stanley has supplied numerous stories to share with A Bit Like You And Me. Rick was kind enough to share a bunch of excerpts from an upcoming autobiography he’s writing, titled My Song of Life. There was a very large quantity of material, so I’ve taken the liberty of chopping it down to the very best parts.
Excerpts from My Song of Life by Rick Stanley

[...]Not long after my audition with Stephen [Stills, to try out for Buffalo Springfield], Terry [Melcher] contacted Pamela [Polland] and was raving about the two of us. He wanted to get us in the studio as soon as possible to make a demo for the Columbia Record exec.’s who make the decisions about signing new acts.

What happened next is a bit hazy in my fading memory-pictures, but I think some time passed before Terry had time to get us into the studio. Pamela had already started to recruit other musicians to back us up; and, I somehow ended up in the Valley, staying in a rented house with two of the potential band members: Riley “Wyldflower” Cummings and a drummer from Riley’s sort of Beatle-esque group. They had toured the southwest and one of the groupies latched on to them in Tulsa, by offering the money she received from an insurance claim for her broken leg, so that the drummer could buy a new set of drums. Riley wrote his own songs in the vein of the early Beatles- like “Love Me Do” and “Twist and Shout”- which didn’t interest me at all. It had been done and couldn’t possibly attract a record company or get us on the radio.

Riley was six-foot five-inches tall with wild, light-brown, curly hair and almost always stoned. He was a likable Irish-American, son of a car dealership owner in the valley, and played decent rhythm guitar in the typical pop band genre. But Pam and I were really acoustic folk musicians and I couldn’t understand why she wanted a pop guitar player who couldn’t really sing well enough to add a harmony. I think she just liked him. And so, she would come over and we would practice her songs and a few others in preparation for the Columbia demo with Terry. Meanwhile, we were trying to come up with a name for our group, which is probably more fun than practicing.

The original group with Riley “Wyldflower” Cummings and Sandy Konikoff [before The Gentle Soul was finalized as a duo]


One night, Riley had “scored” a kilo of grass with the groupie’s money and proceeded to lie back on his bed and blow pot smoke into the face of his cat, who just lay there on his chest, looking up at him and throwing cat-kisses with his eyes. Riley said, “He’s such a gentle soul,” and, I jumped on this and said, “That’s the name for our group! ‘The Gentle Soul’!” And so it was! I felt like Riley must have thought that marijuana was a universal balm for all creatures great and small, and that it couldn’t possibly do any harm. The next day, the cat was acting like he’d eaten fifty pounds of cat nip- running, flipping, and jumping in a spastic frenzy- seeing something in la la land and lunging for it, only to flop upside down on his back. He got up and bashed headlong into the patio window and lay there unconscious for a while. I guess the poor thing managed to get out of the house and we never saw it again.

Soon, we all moved in to an old house on Venice Beach that Pam and the groupie managed to lease. Each of us had our own room and I rigged up some bamboo curtains on the walls all around my little abode, and slept on an old mattress with a new cotton cover that I found in a thrift store. Pam still had her own place, but would come over to practice. The groupie and the drummer had the choice room downstairs, and Riley and I had our little rooms upstairs. I was beginning to feel like this wasn’t going anywhere. The drummer didn’t know how to drum and Riley’s main focus was getting high. Anyway, nature doesn’t allow a vacuum to persist, and thus brought a stranger to the house. He arrived when the drummer was away for some reason and proceeded to seduce the groupie without much effort. After four days of being serviced by the stranger, her previous lover returned: the inadequate drummer. The groupie pretended that nothing had happened with the stranger, and offered the attic as her new lover’s bedroom.

The attic was where we practiced, and this didn’t suit lover-boy at all. He never spoke a word to any of us; only the groupie was privy to his profound thoughts. He would just sit and stew when we were up there, making all kinds of bored and inconvenienced expressions, with his little poet’s pad in full view and his pencil sticking out from behind one ear. I didn’t like this asshole’s attitude at all. He didn’t contribute anything for rent, expected to be fed, and all for the price of having sex with the groupie when the drummer wasn’t around. You may be a bit surprised to know who this guy was. It was Jim Morrison- you know, The Doors.

The whole thing finally came to a head when the drummer discovered Jim and his true love going at it in his own bed. He flew into a rage, but ended up begging the groupie to stay with him. It was clear that she finally understood why he wanted her: the bloody drums and the rest of her insurance money to live on, of course! So, that day, he packed up his drums and left the house. Jim didn’t hang around much longer either[...]

Thanks,
Rick Stanley

There is a lot more to tell about Rick's unusual life; check out My Song of Life by Rick Stanley when it comes out. If you want to know when it’s released, just send your email to nr.stan[at]gmail[dot]com.

How hilarious is that? Even though Rick didn't seem to appreciate Jim Morrison's antics, I have to say it sounds pretty amusing all these years later! And it's definitely fun to know that The Gentle Soul's name was helpfully inspired by a cat. A big 'thank you' to Rick Stanley for sharing such interesting excerpts from his forthcoming book, My Song of Life! Be sure to check out the book when it's released, as it contains other stories involving Stephen Stills, Neil Young, Levon Helm, and many, many more!

And now that you've enjoyed this exclusive story, why not check out what other exclusive stories we've received?



album art

The Gentle Soul - Flying Thing (1968)

Loading the ABLYAM player...(Might not work on mobile devices)


Lyrics:

She’s a flying thing that sings
With her eyes like smoky rings
And the sun can feel her presence in the sky

And I think I’m gonna stay
‘cause there’s nothin’ in our way
And she says that she can teach me how to fly
(Teach me how to fly)

If I could love her more than I have ever loved before
Then tomorrow I’ll be standing at her door

And when I hear her voice
I have no other choice
But to bend back my head and search the sky

Her hair is spun so fine
Roses fell like laughing wine
And she says that she can teach me how to fly
(Teach me how to fly)

If I could give her all the things she’s never had before
Then tomorrow I’ll be standing at her door

To see her walking by is to see a windy sky
And the clouds reflecting in her eyes

And the softness of her skin
Makes me wonder where I’ve been
And she says that she can teach me how to fly
(Teach me how to fly)

If she could love me more than she has ever loved before
Then tomorrow I’ll be standing at her door

She’s a flying thing that sings
With her eyes like smoky rings
And she says that she can teach me how to fly
(Teach me how to fly)
And she says that she can teach me how to fly
(Teach me how to fly)
And she says that she can teach me how to fly
(Teach me how to fly…)

May 24, 2013

The Gentle Soul - Our National Anthem (1968)

Formed in 1966, this duo featured singer/songwriters Pamela Polland and Rick Stanley, who released two singles and one full length album on Epic Records in 1968. Their album, self-titled The Gentle Soul, featured a who’s who of famous names as accompanying session musicians: Ry Cooder, Van Dyke Parks, Paul Horn, Taj Mahal, and Larry Knechtel. The album was also produced by famed musician and record producer Terry Melcher, who had significantly helped shape the sound of The Byrds as well as working with The Beach Boys. The album even featured a song written by Jackson Browne, who was not yet famous and only fourteen years old at the time. Despite some serious talent coming from all angles, the band was never given proper promotion from their label and they split apart in 1969.

Written by Pamela Polland, this song was released as the group’s second single. Pamela, Rick, and their producer Terry were certain that this was going to be their break-out hit. As stated on Pamela’s website, “Pamela and Rick's message was always that love is the great healer, the great uniter, and that love is always right. That was the "anthem" of the Gentle Soul, and this song represented that theme.” Unfortunately, with zero effort to promote the band or this single, the song went nowhere.



A Special Edition post with Pamela Polland of The Gentle Soul!

It's my absolute pleasure to say that we recently had the fortune of conducting an interview with the incredibly kind and sweet Pamela Polland via email. These days, Pamela is teaching people to play ukulele, sing, and write songs in Hawaii and all over the world via video chat. She also lends her voice professionally to artists around the world. If you're interested in any of the items mentioned, please read the information after the story to find out how you can connect with Pamela.
A Bit Like You And Me: I know this breaks all rules of politeness, but what year were you born? When is your birthday?

Pamela Polland: I don't mind. I hope to be an inspiration, so I tell the truth about my age and hope to show how active, vital, and creative! one can be at ANY age with the right attitude. I especially like to show people what a long life the human voice can have if taken care of. I'm singing better than ever at 68.

August 15th, 1944.

ABLYAM: Can you recall a defining moment in your youth that lured you toward wanting to be a musical artist?

Pamela: Probably a few defining moments... I started writing songs at the age of 9 because my parents would only allow classical music in the house - maybe an occasional Broadway show score. But NEVER pop music: no Beatles, no Dylan - which was all my friends listened to. So in order to "hear" that kind of music at home, I started writing my own songs. But I really wanted to be a dancer, or a choreographer from childhood until I was around 16.

At sixteen, I looked back on my life... a funny thing to do at that age, but that's what I did, and said, "Hmmm. The one thing I've done consistently is write songs, so I think that's what I'll be. A songwriter."

ABLYAM: In your teenage years, you were playing folk clubs in Southern California, occasionally accompanied by Ry Cooder. How did the budding music scene of that area influence your music and your life?

Pamela: Actually, I worked with Ry for two years. I affectionately call him my first voice teacher, because he taught me how to truly listen and pay attention to nuance. I can't say how the LA music scene influenced my music, because I was always an originator. I didn't copy other people (as a writer). I forged my own path. In fact, I left California and lived in New York for six months because the "industry" couldn't figure out what I was doing. They were like, "You're too folk for rock and you're too rock for folk." But when I got back from NY, The Byrds had hit the scene, the term "folk rock" was born, and suddenly what I'd been doing for years made sense.

As for how the music scene influenced my life... well, it allowed me to be a professional doing what I love; and, I guess I could say it validated my simply being truly myself.

ABLYAM: In 1966, you formed The Gentle Soul with Rick Stanley. How and where did you first meet Rick?

Pamela: I'm pretty sure we were introduced by someone who knew I was looking for a new songwriting/singing partner. I'd been working up a duo with someone else who wasn't very reliable - read: wrong kind of drugs :-). So I got introduced to Rick, and we fit beautifully musically.

LOVED our voices together, and our writing styles merged well too.

ABLYAM: Given yours and Rick’s mutual interest in meditation, metaphysics, and spiritual exploration, did LSD or any other hallucinogenic have a part in your life?

Pamela: I had a short, but highly influential run with psychedelics. I LOVED LSD and the opening it gave me to broader perspectives that I might not have otherwise been privy to. But after a while, I felt it depleting my health and I wasn't willing to trade that for the glorious high.

I remember on one trip, laying out in the desert looking up at the starriest of skies, I asked God, "How can I have THIS without the drug?"
And the answer came back, "Without the drug."

Sometimes the simplest truths are the profoundest. To this day, I still can call up what I learned from those wonderful "trips."

Hallelujah.

ABLYAM: Would you say it had a significantly helping hand in the song-writing process?

Pamela: I don't think I wrote much while high. But I THOUGHT a lot while high, and then my thoughts eventually led to songs.

ABLYAM: Southern California in the mid-60s is somewhat synonymous with Haight-Ashbury and the center of the hippie movement. How close were you to that area? How involved, if at all, were you in that scene?

Pamela: Which scene? The Haight? If so, I visited a couple of times, but I was not close to that scene. I was deeply close to the Laurel Canyon creative scene in the mid to late '60s. And when I moved to Echo Park, my nearest neighbors were Jackson Browne and Glenn Fry; and JD Souther and Linda Ronstadt hung out with us; and even Kenny Loggins popped in. And we all knew The Byrds and Buffalo Springfield, The Association, and Jimi Hendrix would show up at the parties we went to. It was a melting pot of insane talent. I even knew The Doors and Joni Mitchell. When I look back on all the great talent I brushed up against, I can't believe that all happened in THIS lifetime :-)

ABLYAM: I think when the general population sees a male and female musical partnership such as The Gentle Soul’s, they naturally assume there’s some sort of romance between the artists. Was there ever a romantic side to your relationship with Rick?

Pamela: NEVER. If anything, we had a little trouble getting along :-) But we both loved the music we made. That was our glue.

ABLYAM: What time-frame were the songs on The Gentle Soul’s album recorded? Do you know what date the album was released in 1968?

Pamela: I thought the album was released in 1969. LOL! Just goes ta show what I know :-) We formed in late 1966, got our record deal in 1967, and started recording shortly thereafter. A couple of singles. And then I think we recorded most of the album in 1968. I really don't remember the release date. It was all spread out over a nearly two year period though.

ABLYAM: You mention on your website that a personal friend of yours and Rick’s, “Wendy,” was the inspiration for the song “Song for Three.” You also mention that it’s “too personal” to talk about. Can you provide any information about who Wendy was and how she managed to inspire this song?

Pamela: Wendy was actually male. He had the total spirit of a woman, but in a man's body. My brother was gay, but Wendy was something so different. He didn't think of himself as "gay," he just felt like a woman, but he had a penis. I don't think he ever wanted to use it!! He taught me more about being a woman than any "real" women I had known at that point, my mother included. He was so sweet and sort of translucent. But he was a MAJOR pot head, and refused to conceal it. This got him in a LOT of trouble and, eventually, jail. Really sad stuff. I adored him.

ABLYAM: I watched a television documentary which you were in called Inside Pop: The Rock Revolution featuring Leonard Bernstein. How were you approached to appear in that documentary?

Pamela: I think Clive might have suggested it. Leonard so sincerely wanted to understand the music of our (my) generation.

ABLYAM: You met Jackson Browne (who was 14 at the time), when you were 19. How and where did you meet?

Pamela: Bob's Big Boy :-) A mutual friend of ours, Sandi Bachom, who is currently a fine music videographer in New York City, knew that we both wrote songs and thought we'd enjoy meeting each other. So she brought Jackson and his dear friend and poet, Greg Copeland, to the Costa Mesa Bob's Big Boy, where I was waitressing to help put myself through college. The three of them sat at the bar and I served them hamburgers and then we arranged to meet at my house so I could hear Jackson's songs. At the time, he had only written three songs. When I heard "Flying Thing," I knew he was going places.

ABLYAM: The Gentle Soul recorded one of only three songs that Browne had written, “Flying Thing.” Was Browne responsible for the musical arrangement or only the lyrics?

Pamela: He wrote the song - music and lyrics, but the arrangement was ours (The Gentle Soul). In listening to it now, I can hear the total Mama's and Papa's influence - except for one little detail: they didn't exist then!! Perhaps we were THEIR influence?? :-)

ABLYAM: Why was “Flying Thing” left off of the album?

Pamela: Probably because we didn't write it.

ABLYAM: What’s your favorite Gentle Soul recording?

Pamela: "Our National Anthem" for sure. I LOVE that song and it still sounds like a hit to me. I guess I'm stuck in the '60s :-)

I still like most of the album. I never did care for the Overture. That was Terry's idea (producer) and I just thought it took up space that could have been filled with more of our songs.

ABLYAM: The Gentle Soul broke up in 1969. Was it a sudden decision or something that you could see coming for some time? What caused the break up?

Pamela: We just weren't getting ANY support from our record company. You can only play local clubs so many times before it becomes drudgery.

I think if Columbia or Epic had really stepped up and promoted us, we would have stayed together a long time. They never sent us out on tour, they only advertised our album in ONE publication ONE time - they never set up interviews, got us on TV - nothing. We were just a tax write off for the world's largest record company who happened to need tax write offs in those days. It was sad beyond sad. We were so prolific and I still think damn good at what we did. Cute too :-) All we needed was some support.

As it was, we kicked it hard for three years and it was a slow fizzle at the end, realizing that we couldn't do it by ourselves anymore. And Rick was very dedicated to Maharishi and wanted to be as close to him as possible, so there was something organic to it all, but still sad.

ABLYAM: If you had the opportunity to do it all over again, knowing what you know now, would you change anything?

Pamela: Maybe I would have fought harder for CBS to back us. I've never been much of a fighter. I probably just accepted it all as "fate" at the time, but now I think we tend to make our paths. We all just let it fall apart.

ABLYAM: And lastly, what are you up to these days?

Pamela: I still sing and LOVE to record. With the digital age, if someone wants me as their backup (or even lead) vocalist, it's as easy as sending me a track, I record the vocal(s) in my home studio and fly my voice back to them via some file sharing service. I've been the back-up vocalist for Guido Bungenstock, a killer rock guitarist in Germany, for Marco Ragni, a talented singer songwriter in Italy, for Gary Smalls, a native American rocker from Wyoming, and many others - none of whom I have ever met in person!!! (They all found me on Facebook). Steven Kelley, a talented songwriter from Atlanta, has used me as the lead vocalist on his last four songwriter demos. I've got more projects lined up, and I always post the finished mixes on my Facebook profile wall.

ABLYAM: Thank you SO much for your time and willingness to share your stories with me and my readers.

Pamela: Oh, I'm honored to be asked!! Thank YOU for the opportunity to let people know more about me, the band, and that time in my life.

ABLYAM: I’m sure I can speak on behalf of everyone when I say we’re incredibly grateful.

Pamela: *I'M* grateful!!

A truly altruistic individual, Pamela signed off on her email with "Warmest aloha from Maui, Pamela". She was truly a pleasure to correspond with. I'd like to thank her once again for taking the time to add to our growing collection of first-hand '60s music history!

To visit Pamela's website, please click here.
If you're interested in seeing what Pamela is up to these days, why not like her Facebook page?
If you're interested in voice lessons, ukulele lessons, or songwriting lessons with Pamela via Skype, no matter where you are in the world, you can get more information on Pamela's site, here. You can also see an introductory video about it on YouTube.
Speaking of YouTube, see what Pamela is up to these days, musically, via her YouTube channel.
If you're looking for a female vocalist and you'd like to have Pamela record something on your behalf, be sure to get into contact with her here.

And now that you've enjoyed this exclusive story, why not check out what other exclusive stories we've received?

[Update: Rick Stanley of The Gentle Soul provided us with an exclusive story! You can read it here.]



album art

The Gentle Soul - Our National Anthem (1968)

Loading the ABLYAM player...(Might not work on mobile devices)


Lyrics:

You were involved with a dozen other loves last year
And I was out trying to conquer the world last year
But I knew we’d meet again
And that it would happen this way
Hey, hey, hey

It’s love
It’s for me
It’s alright
It’s alright for me
And it’s love
It’s love and it’s right for me
Hey, hey, hey

You never had the time to care at all last year
And I don’t remember if I was aware last year
But I knew we’d meet again
And we’d get together this way
Hey, hey, hey

It’s right for me
It’s alright
It’s alright for me
And it’s love
It’s love and it’s right for me
Hey, hey, hey

But I knew we’d meet again
And that it would happen this way
Hey, hey, hey

It’s alright for me
It’s alright
It’s alright for me
And it’s love
It’s love and it’s right for me