Yes, it is Stephen Stills playing bass. Not only that but he plays all the instruments except for the drums. I read recently that all of the music for this album was recorded in one day.
Not one summer has gone by since this album came out that my family has not played this album. The absolute sound of summer and quintessential late 60s Southern California. One of the best albums ever recorded. The crown jewel of this supergroup's collective careers. Musical gods coming together.
Doug, may I had to your history time line??? Stephen Stills is the first ever musician to be inducted twice on the SAME NIGHT !!! Frankly it's an special honor that he deserves. He's always been remarked as a wonderful musician but frankly, he IS the best "living" acoustic guitar player out there. But they always dismiss how well he actually plays his Martin & the sounds that he is able to get out of it. Thank you for your reaction. Syl.
My older brother had this album before they performed this at Woodstock. I already knew the lyrics at age 12. This song defines them. I learned to sing harmony by singing along with all their songs, including Neil.
It was my understanding that they were all living in the Laurel Canyon area of LA along with many other area musicians. It was Stills and Crosby that first discovered how well their voices blended while singing. When at a party at Cass Eliot's, they sang for Graham Nash, He joined in and the rest is history.
When Stephen plays this song acoustic the guitar is tuned to an open E (eeeebe), which may explain why the whole thing is in the key of E. All those strings tuned to the same note also gives that sitar sound that you noted.
Stephen Stills is a freaking genius musician - he plays nearly everything on this. This track literally changed my life ... I heard it late 1969 aged 12 when my best friend's older sister bought the album, and the world would never be the same again. Inspired me to learn to play guitar, and I'm still playing all these years later . (Really looking forward to seeing both Graham Nash & Judy Collins at the Port Fairy Folk Festival in Australia in a couple of weeks time 🙂)
It's often difficult to find and sing David Crosby's harmonies, because they aren't always obvious. More than one of his bandmates have remarked on how good he was at instantly "finding" that missing harmony, much like George Harrison did with The Beatles. Now Doug needs to find the tuning control on his keyboard!
I am glad you said what you did about David Crosby’s parts in the harmony. I can pick out and sing Nash’s and Stills’ parts, but Crosby’s blend is so seamless that it is difficult for my ear to separate it out. Not just for this song, but most CSN songs; Crosby was truly a musical genius. Listen to “Southern Cross” to hear true beautiful harmony. Love your reactions, Dr. Helvering. Please keep up the good work.
@@jamesking9807 I did not know that until you replied, and then I looked it up; apparently Timothy B. Schmit sang the harmony vocals on the recording. However, when I saw CSN live in concert, David Crosby was singing a vocal harmony. Thank you for setting the record straight on that. Nonetheless, Southern Cross is still ranked right after Suite Judy Blue Eyes in my personal ranking of favorite CSN songs.
Yeah,"Southern Cross" is one of my favorites. Apparently Crosby didn't commit to rejoining Stills and Nash and doing the album until it was halfway finished. One of the tracks that was already done was S.C.
"What have you got to lose" isn't Stephen Stills asking Judy Collins to hang out with him. He's singing her line when she was telling him to leave the home they shared together on the East Coast to form Crosby Stills and Nash and record their debut album in Los Angeles. She's asking him what does he have to lose by getting out of their house and doing this project, he's saying his heart is what he has to lose because he knows leaving for California will end the relationship.
Not according to Collins at all. Her NYC therapist was encouraging her to see other people and limit seeing Stills to once or twice a week, which meant, as he pointed out: "I spent half my time flying back and forth from LA to NYC". (Great photo online of them in an airport and she has a huge bouquet of flowers.) She teased him that he must have been reading her diary/calendar to get those days into the song.
Stacy Keach was the man that Collins left Stills for. Stills' work on this song is unbelievable - he plays multiple guitar parts and bass on the song via overdubs.
Glad you and Megan were able to see and hear CSN&Y in concert. Isn’t it amazing how important those brilliant moments in our life become as we look back at them. So glad I was able to see ELP, Moodies, Jean Luc Ponty, Weather Report and others when that moment was available. Wish I had seen more, glad for the ones I did.
The Spanish section at the end reflects the influence of Latin American music on Stills. His dad was some sort of military intelligence officer who was stationed in Central and South America, and young Stephen went along with him and took in the music of the region. Other Stills songs that show this Latin influence include Uno Mundo, Love The One You're With, Turn Back The Pages and Cuban Bluegrass.
I reluctantly use the word "underappreciated" to describe Stephen Stills (often overused, or used out of context). The man is just a mountain of talent!
I completely agree with you - his contributions to various projects are always astonishingly good. I've wondered whether it's because of his general appearance and posture.. I mean, he looks very much like a second-hand car salesman, or a fridge repairer or something; not really like a typical instrumentalist or songwriter. Maybe I'm talking nonsense but I cannot find any other reasons why he isn't in the same league of fame as say, Bob Dylan, David Bowie, Freddie Mercury, Lennon & McCartney, Mick Jagger and of course, Neil Young. He deserves to be.
@@dogsmusicbookstravelscience In certain circles, I think he is held in the same company as those you mentioned. Have you checked out any video clips of his Manassas project?
@@Mister_Samsonite Yes, in circles where people are serious about music, I agree. In that environment, he's surely more esteemed than, say, Mick Jagger. But in the general public's mind, I don't think too many people will be able to tell you who Steven Stills is - but they'd probably know Jagger. Then again, it says a lot about Stills' authenticity as a musician that he never pursued the 'celebrity' side of fame. Re Manassas, I still have a tape deck so I can still play my old Manassas tapes that have somehow survived all these years. I haven't looked for video clips yet, but cheers, you've given me something new to do!
@@dogsmusicbookstravelscience You said it perfectly brother! Certain musicians are engrained in the average public "consumers" awareness, but people like, say Gary Moore for example, are mostly known among other musicians. I know someone who has a full length video performance of Manassas, but I don't know if it's something you can buy.
@@Mister_Samsonite I suppose you're acquainted with Stills' work on the "Super Sessions" album he made with Al Kooper and Mike Bloomfield back in 1968. Phenomenal album. I still have the vinyl and also purchased the CD version for its extra tracks. Stills only collaborated on half the album, but nevertheless, it's as fine an exploration of the intersections between rock, blues and jazz as it gets. If you're not acquainted, here is a link to the full album: ua-cam.com/video/IxRIcjsjdYE/v-deo.html
Glad you got to see CSN&Y. I never got to see that combination live. I did see each of them solo, Crosby/Nash, CSN, CPR, Croz with the Lighthouse band, NY with Crazy Horse, and even Buffalo Springfield without Stills and Young.
The torturous look on your face, Doug, as the microtonal differences between the recording and your piano assailed your ears, speak to the exquisite pair of ears you possess!! Chuck in Northern New England
This album was released in May of 1969. Another album full of brilliant harmonies was released in September of the same year. Abbey Road. Because has the prettiest harmonies the Beatles ever did. The harmonies on Because can be compared to the harmonies of Suite Judy Blue Eyes. I suggest Because from the Anthology it is accapella and just so beautiful. CSN were just incredible. Deja Vu is an iconic American Classic. One of the best albums ever. Thanks Doug!
I was 6 when this song came out, and it's a core part of my musical experience. I always feel ecstatic hearing it. I have every moment and sound memorized, but it always feels fresh. I hope you'll do more of these classics.
Yeah I came of age musically at about nine years old (when the Beatles premiered here). I was also into Motown and other pop music (my little transistor radio) on AM at the time.
What a treat! I played this song at my very first gig... It was my high school graduation and our ceremony was at Carnegie Hall... What a place to have your first gig! Needless to say It was one of my musical highpoints... Cheers!
Great stuff Doug! One of the greatest albums ever, full of some of their greatest songs. My two best friends back in 1972 put together a band we called "Mellow" and we did a lot of CSN[Y] songs, with Jay (Stephen) and Frank (Graham), leaving me to be (David). Yes, he sings some very tricky stuff. For whatever reason, I had a similar ear I guess, and I could do it. Also, the range (I'm a Kavalier Baritone). Very similar stuff goes on in "Teach Your Children" "Carry On" "Deja Vu". You can hear an easier version of what he does in "Helplessly Hoping." Oh, Doug...if you sing Graham's part, what does Megan sing?😆 Another quick historical note, The three of us traveled to Houston, Texas in the summer of 1974 to see CSNY in concert, which was a fantastic show, doing all the CSNY material plus a lot of their solo stuff. You know what was even better? The opener for the show was Jesse Collin Young! If that wasn't enough, the middle act was... The Beach Boys! One of best shows I ever went to. Keep up the great work, Doug!
Discovered this gem of a group just a year ago, at 26, and it's been a whirlwind journey of musical discovery since. CSN, alongside Neil Young, quickly ascended to the top of my all-time favorites. Their vinyls now hold a special place in my collection, each one a testament to their incredible journey through the annals of music history. However, it's bittersweet to note that despite their collective brilliance, Stephen Stills hasn't quite received the recognition he deserves as a guitarist and songwriter, especially when compared to Neil. His work with Manassas is equally remarkable, showcasing his vast talents. Here's to the unsung heroes of music like Stills, whose contributions continue to resonate with fans across generations.
I too was late to the CSN(Y) phenomenon, probably 25 years ago and this was the first song I heard, what a start. 71 now and regularly listen to them.....like once a week!!😂😂🇬🇧
Thanks for the listening and the comment to this great song. The live version in Woodstock 69 is real amazing, with minimal instrumentation and very clear harmony singing without any recording trick.
Hey, Doug! Here’s a suggestion: The first section of Shawn Phillips’ 1970 album, Second Contribution. It runs about 13:30, and to me, it’s the sound of the early 1970s. The titles are: "She Was Waitin' For Her Mother At The Station In Torino And You Know I Love You Baby But It's Getting Too Heavy To Laugh," "Keep On," "Sleepwalker" and "Song for Mr. C." Of course, "She Was Waitin' . . ." is more familiarly known as "Woman." I've got it up on UA-cam; search for "Shawn Phillips- 'She Was Waitin' . . ./Keep On/Sleepwalker/Song for Mr C'"
Such a Wonderful song!! I lost my father a few years ago but he and his guitar buddies have played this song for the last fifty years!! Thank you for reviewing it.
I am a huge fan of all configurations of these guys......i saw them as CSN.....but im also a huge Neil Young fan.....i was heartbroken at David Crosby's passing last year.....amazing writers....vocalists......performer's on and on....i have most of their solo work as well.....thank you focusing on them Doug!
Funny and interesting commentary which goes well during the song. Something hard to do without pissing people off. Great reaction/musical analysis on the fly no less. And good ear obviously. Most people might not have caught the out of tuning - the lower notes most obvious. You speculated what the deal there might have been, but I suspected perhaps if you were using a turntable that it was a bit slow or fast. You did this well, with complete justice and yes it's a masterpiece for the ages, (I think half a century qualifies). I can't believe it's been that long because it makes me feel as young as I was then - as you said "groovy". You did make me feel like I was hearing it for the first time and had new things to say about it, which is amazing as I've heard it probably a thousand.
Their performance of this song at Woodstock is amazing! The entire Woodstock documentary is outstanding, but Suite: Judy Blue Eyes is one of the absolute highlights of the film.
Agreed. Many others point to the performances by Hendrix, Joe Cocker, Country Joe, Janis Joplin, Santana and others as the highlights, but the single song I've replayed most is that night's rendition of Suite: Judy Blue Eyes. I so wish I could have been there!
Hey Doug, I have just become familiar with your channel and thoroughly enjoy you. So many of the other reactors know nothing about music and it's a pleasure to hear your knowledge. I am an old lady of 67 years old and was raised in the music industry. My Daddy was the head engineer and top DJ at the AM radio station in my small home town of Picayune Ms for 42 years. He had a country music band that played all over the south in the early 70s, 80s and 90s. He was pretty much a regular on the Louisiana Hay Ride when rock a billy was big. He also owned a recording studio with a massive "8" track board (LoL) but the way that he could record 8 instruments, stop and mix those down to one track and free up 7 to add the vocals and mix them down to free up more tracks was absolutely amazing. He was a master at the board. When he would finish with the project you would think that it was recorded on a board with 64 tracks. This was in the 70s and 80s and it was referred to as "Stacking the Tracks". I was blessed with a good singing voice which allowed me to go into his studio and lay all the backup vocals on all the songs, which I loved doing. I graduated high school in 1975, right in the middle of the decade which produced the most awesome rock and roll music ever recorded. Now my Dad was country music to the bone but I was raised on rock and roll by my older brother who was an awesome drummer but we lost him to cancer when he was 27 years old in 1980. So so much of your reactions I am familiar with and that's why I can relate to them, whether it's country or rock. And I didn't mean to just ramble on like I have but I just wanted to give you some history about me and my enjoyment of music. My daughter who is 38 now is a rap and hip hop artist in the city of Laramie Wyoming. So I just subscribed to your channel and I am looking forward to the reactions in the future and am also going back and watching those that I have missed. So just know that I will be a fan from here on out. Oh, by the way, my daughter was raised on classic rock and knows every group from the 70s, and almost every song and who sang it!!! Lol 😅
There's a youtube video of some coffee-shop band playing this and playing and singing it very well. Stephen heard about it and commented that Suite: Judy Blue Eyes is an incredibly difficult song (deceptively so) to play and sing and he was impressed that these guys nailed it.
C, S & N are one of the "supergroups" that flourished in the late 60s and early 70s and one of my all-time favourite bands. Unfortunately the interpersonal animosities that developed, especially between Crosby and Nash, put paid to the band but the produced some of the best music of that period.
Hey Doug! Thanks for sharing Crosby, Stills, and Nash, one of the great harmony bands. When they were first recording the album the publicity of this great collaboration excited me and my older brother quite a bit as we loved the Byrds, Buffalo Springfield, and the Hollies and knew they were great melodic, harmonic bands so the combination of three guys from those great bands had to be good. We were NOT disappointed! This first album was amazing. I know that you like to take suggestions. I'm not sure how familiar you are with the origin bands of The Byrds, Buffalo Springfield, and the Hollies. You may have heard plenty from them. I'm not sure. May I make some suggestions from each of these bands? The Byrds - Known for the hits "Mr. Tambourine Man", "Turn! Turn! Turn!", "Eight Miles High", may I suggest a few lesser known but brilliant songs from them - "Renaissance Fair", "Tribal Gathering", Dolphins Smile". I could name dozens more but these are just samples. Buffalo Springfield - Known for "For What It's Worth" and possibly Neil Young's "Mr. Soul", may I suggest "Bluebird", "Rock and Roll Woman", "Questions" (reworked as the second part of "Carry On", the opening track from 'Deja Vu'. These are all Stills songs. Neil Young and Richie Furay each wrote some great songs in their brief career but the Stills songs shed light on the later CSN sound. Oh, and for a predecessor of that Latin portion of "Judy Blue Eyes", try "Uno Mundo". Other great Neil songs: "Expecting to Fly", "Broken Arrow" (reprised in "Country Girl" suite from 'Deja Vu'. The Hollies - Known for "Bus Stop", "Carrie Anne", "Dear Eloise" and several other hits with Graham Nash as well as after he left, may I suggest "Tell Me to My Face", "Rain on the Window", "Ye Olde Toffee Shoppe" (kind of a predecessor of "Our House"), "King Midas in Reverse". Again, there are several other great ones to try. Just a few suggestions to indicate the great musical foundations that formed the basis for the Crosby, Stills, Nash, & Young sound. Thanks for all the great listens and appreciations, Doug!
Prof. You remind me of who/what I wanted to be at 14: a musicologist of my generation's music. Alas, I got separated from making music by human rights and war crimes research. But watching you is heartwarming. BTW: Graham Nash is here in Sydney this weekend at the Opera House; he's like 83 played 4 sets.
I like how you mentioned that part about being invited to join in! I often find myself improvising a bass or baritone part when I sing along to CSN (and sometimes Y) songs.
Yes, it is incredible how well they pulled it off performing to such a massive crowd so early in their career as a band. And I wonder, has Neil ever explained why he refused to appear in the movie? Must have been quite a chore for the editors to cut him from the scenes.
Sometimes you do get kind of a second chance at a first listen. I have never before really paid attention to those lines "help me, I'm sufferin'" and "help me I'm dyin'" in the mix at 6:50, and man, those just hit hard.
You mentioned seeing CSNY back around the year 2000. My own experience seeing them perform live goes back much further. In fact, later this year it will have been 50 years since that fateful day. It was September 8, 1974, at a daylong festival concert at Roosevelt Raceway in Nassau County, NY on Long Island. The concert started before noon and went late into the night. The performers included The Beach Boys, Jesse Colin Young, Tom Scott and the L.A. Express, Joni Mitchell and Crosby, Stills, Nash and Young. Tom Scott’s group not only had a their own set, they also played backup for Joni Mitchell on several of her songs. And after her own set, Joni returned to provide background vocals for some of CSNY's songs. A non-musical “highlight” (I'm being facetious) of the day was when Bill Graham, who emceed the event, announced from the stage that then President Gerald Ford had just pardoned Richard Nixon. That announcement was received about as well as you'd expect by the crowd of mostly young concertgoers.
Good stuff Doug. You might want to change the name on the side from Stilly to Stills. Silly me for noticing while such a great piece of music was playing. Have you heard Loggins and Messina's 'Be Free' off their 1974 LP 'Mother Lode'? I think you'd love it. Also from the same LP the tune 'Move On' takes one on a nice journey. Thanks Doug for the enjoyment you bring!
When Stills and Collins got together to record and tour a few years ago (Pre-pandemic) she said the references to the days of the week were because her therapist had told her she needed to date and move Stills from being exclusive to only certain days: "The guy was reading my calendar." He went to her on her birthday, sang the song (It has a proposal in it: Change my life, make it right, be my lady) and she told him it was beautiful, but... no. They both cried and he gave her the Martin guitar and left. They were living on opposite coasts and Collins said, "I was in NYC and therapy and he hated both." They remained very close. The percussive in Section 3 is Stills using g his knuckles on the guitar. He spent some time in Latin America in high school and he loves the music (per the ending, too). And yes, it sounds like a sitar... on purpose - he loved the Beatles. It is all E except one string - B. P.S. NO ONE HAD A TRIP TO CUBA IN THE 1960S!!!!
I was hoping to get a musical analysis of their vocal intervals, if there is any. I've always been curious about if they're singing in certain intervals/modes that give them their unique sound, or if it's just their natural sound and the way it all interacts.
@@paulboudreau8841 My nod goes to the F&F version, probably because the recording tech is better on their version - which is amazing since it is live - and because Scott King's bass playing is outrageously good and Darwin's guitar work is awesome. If you watch the CSN videos where they are playing live they aren't nearly as good.
I had heard of this song for a long time. Finally sat down about a month ago to finally listen to it and realized I had heard it many, many times. I knew who it was, but never knew what song it was. Southern Cross is by far my favorite song of theirs, but this is really good as well.
Stephen Stills was an "Army Brat", his father had frequent postings in Central America. Stephen Stills graduated from Lincoln High School in Costa Rica. It is report that he is pretty fluent in Spanish.
If you want a real treat go to Foxes and Fossils and listen to their cover of this song on YT. When F&F recorded their rendition the Foxes were 15 and 16 years old.
Some of CSN/Y’s best songs have this call and response structure. Stills sings lead and the other two respond with classic harmonies. I first heard this in church, I think. Saw them live at big outdoor festivals in the early/mid 70’s and again when they reunited to release “Daylight Again” best known for Southern Cross. Tremendous.
the last "verse" is in Spanish - Per babelfish: Original Qué linda, me la traie a Cuba La reina de la Mar Caribe Cielo, sol, no llega tarde aquí Y qué triste que no puedo bailar, oh va, oh va Translation How nice, I brought it to Cuba The Queen of the Caribbean Sea Sky, sun, not late here And how sad that I can't dance, oh goes, oh goes
Stephen takes care of most of the instrumentation on the album himself, with Graham playing guitar or keyboard on a couple of tracks, David playing guitar on a couple of tracks, Dallas Taylor playing drums on a couple of tracks, and Stephen taking care of the rest. When asked if this bothered him, Graham Nash said, "When Stephen can go into the studio by himself, and come out ten minutes later with Suite: Judy Blue Eyes, why would you get in his way?"
That bass. Through the whole song.
Amazing.
I think Stephen played that, as well as most instruments on this album.
Yes, it is Stephen Stills playing bass. Not only that but he plays all the instruments except for the drums. I read recently that all of the music for this album was recorded in one day.
Not one summer has gone by since this album came out that my family has not played this album. The absolute sound of summer and quintessential late 60s Southern California. One of the best albums ever recorded. The crown jewel of this supergroup's collective careers. Musical gods coming together.
Totally agree. I always think how incredibly fortunate we were, those of use who had this sound as the background of our lives.
Doug, may I had to your history time line???
Stephen Stills is the first ever musician to be inducted twice on the SAME NIGHT !!! Frankly it's an special honor that he deserves. He's always been remarked as a wonderful musician but frankly, he IS the best "living" acoustic guitar player out there. But they always dismiss how well he actually plays his Martin & the sounds that he is able to get out of it.
Thank you for your reaction. Syl.
My older brother had this album before they performed this at Woodstock. I already knew the lyrics at age 12. This song defines them.
I learned to sing harmony by singing along with all their songs, including Neil.
It was my understanding that they were all living in the Laurel Canyon area of LA along with many other area musicians. It was Stills and Crosby that first discovered how well their voices blended while singing. When at a party at Cass Eliot's, they sang for Graham Nash, He joined in and the rest is history.
My very favorite CSN song. Thank you!!!!! It is a masterpiece.
"Southern Cross", comes in second for me!
When Stephen plays this song acoustic the guitar is tuned to an open E (eeeebe), which may explain why the whole thing is in the key of E. All those strings tuned to the same note also gives that sitar sound that you noted.
Stephen Stills is a freaking genius musician - he plays nearly everything on this.
This track literally changed my life ... I heard it late 1969 aged 12 when my best friend's older sister bought the album, and the world would never be the same again. Inspired me to learn to play guitar, and I'm still playing all these years later .
(Really looking forward to seeing both Graham Nash & Judy Collins at the Port Fairy Folk Festival in Australia in a couple of weeks time 🙂)
It's often difficult to find and sing David Crosby's harmonies, because they aren't always obvious. More than one of his bandmates have remarked on how good he was at instantly "finding" that missing harmony, much like George Harrison did with The Beatles. Now Doug needs to find the tuning control on his keyboard!
I am glad you said what you did about David Crosby’s parts in the harmony. I can pick out and sing Nash’s and Stills’ parts, but Crosby’s blend is so seamless that it is difficult for my ear to separate it out. Not just for this song, but most CSN songs; Crosby was truly a musical genius. Listen to “Southern Cross” to hear true beautiful harmony. Love your reactions, Dr. Helvering. Please keep up the good work.
Crosby didn't sing on 'Southern Cross'.
I learned how to sing harmony vocals by singing along with each of their parts. You couldn't have asked for better teachers
@@jamesking9807 I did not know that until you replied, and then I looked it up; apparently Timothy B. Schmit sang the harmony vocals on the recording. However, when I saw CSN live in concert, David Crosby was singing a vocal harmony. Thank you for setting the record straight on that. Nonetheless, Southern Cross is still ranked right after Suite Judy Blue Eyes in my personal ranking of favorite CSN songs.
Yeah,"Southern Cross" is one of my favorites. Apparently Crosby didn't commit to rejoining Stills and Nash and doing the album until it was halfway finished. One of the tracks that was already done was S.C.
Which is funny because “Southern Cross” is the name of Crosby’s boat!
"What have you got to lose" isn't Stephen Stills asking Judy Collins to hang out with him. He's singing her line when she was telling him to leave the home they shared together on the East Coast to form Crosby Stills and Nash and record their debut album in Los Angeles. She's asking him what does he have to lose by getting out of their house and doing this project, he's saying his heart is what he has to lose because he knows leaving for California will end the relationship.
It can be both and probably is.
Not according to Collins at all. Her NYC therapist was encouraging her to see other people and limit seeing Stills to once or twice a week, which meant, as he pointed out: "I spent half my time flying back and forth from LA to NYC". (Great photo online of them in an airport and she has a huge bouquet of flowers.) She teased him that he must have been reading her diary/calendar to get those days into the song.
Stacy Keach was the man that Collins left Stills for.
Stills' work on this song is unbelievable - he plays multiple guitar parts and bass on the song via overdubs.
I could (have) listen to these harmonies for decades!!!😊
Thank God you know this one, I was beginning to worry about you. Lol
Dude is a hippie, he listens to everything.
I remember the day I got this album ('69 or '70). It was my favorite for years.
Glad you and Megan were able to see and hear CSN&Y in concert. Isn’t it amazing how important those brilliant moments in our life become as we look back at them. So glad I was able to see ELP, Moodies, Jean Luc Ponty, Weather Report and others when that moment was available. Wish I had seen more, glad for the ones I did.
Great insights Doug! Thanks for the education & history!
For me, it's one of the best songs of the 20th century hands down
The Spanish section at the end reflects the influence of Latin American music on Stills. His dad was some sort of military intelligence officer who was stationed in Central and South America, and young Stephen went along with him and took in the music of the region. Other Stills songs that show this Latin influence include Uno Mundo, Love The One You're With, Turn Back The Pages and Cuban Bluegrass.
I reluctantly use the word "underappreciated" to describe Stephen Stills (often overused, or used out of context). The man is just a mountain of talent!
I completely agree with you - his contributions to various projects are always astonishingly good. I've wondered whether it's because of his general appearance and posture.. I mean, he looks very much like a second-hand car salesman, or a fridge repairer or something; not really like a typical instrumentalist or songwriter. Maybe I'm talking nonsense but I cannot find any other reasons why he isn't in the same league of fame as say, Bob Dylan, David Bowie, Freddie Mercury, Lennon & McCartney, Mick Jagger and of course, Neil Young. He deserves to be.
@@dogsmusicbookstravelscience In certain circles, I think he is held in the same company as those you mentioned. Have you checked out any video clips of his Manassas project?
@@Mister_Samsonite Yes, in circles where people are serious about music, I agree. In that environment, he's surely more esteemed than, say, Mick Jagger. But in the general public's mind, I don't think too many people will be able to tell you who Steven Stills is - but they'd probably know Jagger. Then again, it says a lot about Stills' authenticity as a musician that he never pursued the 'celebrity' side of fame.
Re Manassas, I still have a tape deck so I can still play my old Manassas tapes that have somehow survived all these years. I haven't looked for video clips yet, but cheers, you've given me something new to do!
@@dogsmusicbookstravelscience You said it perfectly brother! Certain musicians are engrained in the average public "consumers" awareness, but people like, say Gary Moore for example, are mostly known among other musicians. I know someone who has a full length video performance of Manassas, but I don't know if it's something you can buy.
@@Mister_Samsonite I suppose you're acquainted with Stills' work on the "Super Sessions" album he made with Al Kooper and Mike Bloomfield back in 1968. Phenomenal album. I still have the vinyl and also purchased the CD version for its extra tracks. Stills only collaborated on half the album, but nevertheless, it's as fine an exploration of the intersections between rock, blues and jazz as it gets. If you're not acquainted, here is a link to the full album:
ua-cam.com/video/IxRIcjsjdYE/v-deo.html
I've said it many times, and I'll say it again. This band and CSNY wouldn't have been shit without Steven Stills.
Looking at your wall of albums in the back... If I were going to pick a selection, that's 90% of what I'd pick. :)
One of the all time greats
Glad you got to see CSN&Y. I never got to see that combination live. I did see each of them solo, Crosby/Nash, CSN, CPR, Croz with the Lighthouse band, NY with Crazy Horse, and even Buffalo Springfield without Stills and Young.
I still have the vinyl, bought in 1969. Such a unique momentum in the pop/rock/folk history.
Thanks Doug, that was enlightening.
I love the guitar solo bridge in this song.
That’s not percussion in the background, it’s Steven Stills rapping on the guitar body with his hand and possibly a ring…
The torturous look on your face, Doug, as the microtonal differences between the recording and your piano assailed your ears, speak to the exquisite pair of ears you possess!!
Chuck in Northern New England
This album was released in May of 1969. Another album full of brilliant harmonies was released in September of the same year. Abbey Road. Because has the prettiest harmonies the Beatles ever did. The harmonies on Because can be compared to the harmonies of Suite Judy Blue Eyes. I suggest Because from the Anthology it is accapella and just so beautiful. CSN were just incredible. Deja Vu is an iconic American Classic. One of the best albums ever. Thanks Doug!
I was 6 when this song came out, and it's a core part of my musical experience. I always feel ecstatic hearing it. I have every moment and sound memorized, but it always feels fresh. I hope you'll do more of these classics.
Yeah I came of age musically at about nine years old (when the Beatles premiered here). I was also into Motown and other pop music (my little transistor radio) on AM at the time.
What a treat! I played this song at my very first gig... It was my high school graduation and our ceremony was at Carnegie Hall... What a place to have your first gig! Needless to say It was one of my musical highpoints...
Cheers!
Great stuff Doug! One of the greatest albums ever, full of some of their greatest songs. My two best friends back in 1972 put together a band we called "Mellow" and we did a lot of CSN[Y] songs, with Jay (Stephen) and Frank (Graham), leaving me to be (David). Yes, he sings some very tricky stuff. For whatever reason, I had a similar ear I guess, and I could do it. Also, the range (I'm a Kavalier Baritone). Very similar stuff goes on in "Teach Your Children" "Carry On" "Deja Vu". You can hear an easier version of what he does in "Helplessly Hoping." Oh, Doug...if you sing Graham's part, what does Megan sing?😆
Another quick historical note, The three of us traveled to Houston, Texas in the summer of 1974 to see CSNY in concert, which was a fantastic show, doing all the CSNY material plus a lot of their solo stuff. You know what was even better? The opener for the show was Jesse Collin Young! If that wasn't enough, the middle act was... The Beach Boys! One of best shows I ever went to.
Keep up the great work, Doug!
I liked how the album cover was in the background on the wall off the end of the keyboard as you played.
Discovered this gem of a group just a year ago, at 26, and it's been a whirlwind journey of musical discovery since. CSN, alongside Neil Young, quickly ascended to the top of my all-time favorites. Their vinyls now hold a special place in my collection, each one a testament to their incredible journey through the annals of music history. However, it's bittersweet to note that despite their collective brilliance, Stephen Stills hasn't quite received the recognition he deserves as a guitarist and songwriter, especially when compared to Neil. His work with Manassas is equally remarkable, showcasing his vast talents. Here's to the unsung heroes of music like Stills, whose contributions continue to resonate with fans across generations.
I too was late to the CSN(Y) phenomenon, probably 25 years ago and this was the first song I heard, what a start. 71 now and regularly listen to them.....like once a week!!😂😂🇬🇧
Thanks for the listening and the comment to this great song. The live version in Woodstock 69 is real amazing, with minimal instrumentation and very clear harmony singing without any recording trick.
Great, great song!
I attended a Judy Collins concert in the 1990s.. Sweetest Voice ..I cried.
Hey, Doug! Here’s a suggestion: The first section of Shawn Phillips’ 1970 album, Second Contribution. It runs about 13:30, and to me, it’s the sound of the early 1970s. The titles are: "She Was Waitin' For Her Mother At The Station In Torino And You Know I Love You Baby But It's Getting Too Heavy To Laugh," "Keep On," "Sleepwalker" and "Song for Mr. C." Of course, "She Was Waitin' . . ." is more familiarly known as "Woman." I've got it up on UA-cam; search for "Shawn Phillips- 'She Was Waitin' . . ./Keep On/Sleepwalker/Song for Mr C'"
Easily one of the greatest rock song suites in history. Stills was such an amazing guitarist in addition to all his other talents.
Such a Wonderful song!! I lost my father a few years ago but he and his guitar buddies have played this song for the last fifty years!! Thank you for reviewing it.
God, love Graham's harmonies.
I am a huge fan of all configurations of these guys......i saw them as CSN.....but im also a huge Neil Young fan.....i was heartbroken at David Crosby's passing last year.....amazing writers....vocalists......performer's on and on....i have most of their solo work as well.....thank you focusing on them Doug!
Classic from yet another band where they're all geniuses.
Thanks!
Thank you for your support!
Oh, no need to apologize for bringing in stuff you know and love!
Funny and interesting commentary which goes well during the song. Something hard to do without pissing people off. Great reaction/musical analysis on the fly no less. And good ear obviously. Most people might not have caught the out of tuning - the lower notes most obvious. You speculated what the deal there might have been, but I suspected perhaps if you were using a turntable that it was a bit slow or fast. You did this well, with complete justice and yes it's a masterpiece for the ages, (I think half a century qualifies). I can't believe it's been that long because it makes me feel as young as I was then - as you said "groovy". You did make me feel like I was hearing it for the first time and had new things to say about it, which is amazing as I've heard it probably a thousand.
Their performance of this song at Woodstock is amazing! The entire Woodstock documentary is outstanding, but Suite: Judy Blue Eyes is one of the absolute highlights of the film.
Agreed. Many others point to the performances by Hendrix, Joe Cocker, Country Joe, Janis Joplin, Santana and others as the highlights, but the single song I've replayed most is that night's rendition of Suite: Judy Blue Eyes. I so wish I could have been there!
The Best harmonies in modern music, none can compare.
Magic!
🙏❤🌹 Dallas & David 🌹❤🙏
Hey Doug, I have just become familiar with your channel and thoroughly enjoy you. So many of the other reactors know nothing about music and it's a pleasure to hear your knowledge. I am an old lady of 67 years old and was raised in the music industry. My Daddy was the head engineer and top DJ at the AM radio station in my small home town of Picayune Ms for 42 years. He had a country music band that played all over the south in the early 70s, 80s and 90s. He was pretty much a regular on the Louisiana Hay Ride when rock a billy was big. He also owned a recording studio with a massive "8" track board (LoL) but the way that he could record 8 instruments, stop and mix those down to one track and free up 7 to add the vocals and mix them down to free up more tracks was absolutely amazing. He was a master at the board. When he would finish with the project you would think that it was recorded on a board with 64 tracks. This was in the 70s and 80s and it was referred to as "Stacking the Tracks". I was blessed with a good singing voice which allowed me to go into his studio and lay all the backup vocals on all the songs, which I loved doing. I graduated high school in 1975, right in the middle of the decade which produced the most awesome rock and roll music ever recorded. Now my Dad was country music to the bone but I was raised on rock and roll by my older brother who was an awesome drummer but we lost him to cancer when he was 27 years old in 1980. So so much of your reactions I am familiar with and that's why I can relate to them, whether it's country or rock. And I didn't mean to just ramble on like I have but I just wanted to give you some history about me and my enjoyment of music. My daughter who is 38 now is a rap and hip hop artist in the city of Laramie Wyoming. So I just subscribed to your channel and I am looking forward to the reactions in the future and am also going back and watching those that I have missed. So just know that I will be a fan from here on out. Oh, by the way, my daughter was raised on classic rock and knows every group from the 70s, and almost every song and who sang it!!! Lol 😅
Happy you are here! Thank you for taking the time to share your story, certainly there is more Rock and Roll coming up in the near future 🎶
It was at a party at Mama Cass house that she suggested to Crosby, Stills and Nash that they form a group. Groovy!
There's a youtube video of some coffee-shop band playing this and playing and singing it very well. Stephen heard about it and commented that Suite: Judy Blue Eyes is an incredibly difficult song (deceptively so) to play and sing and he was impressed that these guys nailed it.
C, S & N are one of the "supergroups" that flourished in the late 60s and early 70s and one of my all-time favourite bands. Unfortunately the interpersonal animosities that developed, especially between Crosby and Nash, put paid to the band but the produced some of the best music of that period.
@Doug.Helvering
When they recorded this, they sped or slowed down the tape up slightly ... so it's in E but either pitched up or down slightly
Hey Doug! Thanks for sharing Crosby, Stills, and Nash, one of the great harmony bands. When they were first recording the album the publicity of this great collaboration excited me and my older brother quite a bit as we loved the Byrds, Buffalo Springfield, and the Hollies and knew they were great melodic, harmonic bands so the combination of three guys from those great bands had to be good. We were NOT disappointed! This first album was amazing. I know that you like to take suggestions. I'm not sure how familiar you are with the origin bands of The Byrds, Buffalo Springfield, and the Hollies. You may have heard plenty from them. I'm not sure. May I make some suggestions from each of these bands?
The Byrds - Known for the hits "Mr. Tambourine Man", "Turn! Turn! Turn!", "Eight Miles High", may I suggest a few lesser known but brilliant songs from them - "Renaissance Fair", "Tribal Gathering", Dolphins Smile". I could name dozens more but these are just samples.
Buffalo Springfield - Known for "For What It's Worth" and possibly Neil Young's "Mr. Soul", may I suggest "Bluebird", "Rock and Roll Woman", "Questions" (reworked as the second part of "Carry On", the opening track from 'Deja Vu'. These are all Stills songs. Neil Young and Richie Furay each wrote some great songs in their brief career but the Stills songs shed light on the later CSN sound. Oh, and for a predecessor of that Latin portion of "Judy Blue Eyes", try "Uno Mundo". Other great Neil songs: "Expecting to Fly", "Broken Arrow" (reprised in "Country Girl" suite from 'Deja Vu'.
The Hollies - Known for "Bus Stop", "Carrie Anne", "Dear Eloise" and several other hits with Graham Nash as well as after he left, may I suggest "Tell Me to My Face", "Rain on the Window", "Ye Olde Toffee Shoppe" (kind of a predecessor of "Our House"), "King Midas in Reverse". Again, there are several other great ones to try.
Just a few suggestions to indicate the great musical foundations that formed the basis for the Crosby, Stills, Nash, & Young sound. Thanks for all the great listens and appreciations, Doug!
They were unique when they started and even today. David Crosby RIP.
This song does thrill me!! Love the whole album. 💙🎵🎶🎶
CSN & sometimes Y - always great listening & glad to have grown up in that era.
Prof. You remind me of who/what I wanted to be at 14: a musicologist of my generation's music. Alas, I got separated from making music by human rights and war crimes research. But watching you is heartwarming.
BTW: Graham Nash is here in Sydney this weekend at the Opera House; he's like 83 played 4 sets.
I like how you mentioned that part about being invited to join in! I often find myself improvising a bass or baritone part when I sing along to CSN (and sometimes Y) songs.
Neil Yong joined them at Woodstock, which was their second gig together.
Yes, it is incredible how well they pulled it off performing to such a massive crowd so early in their career as a band. And I wonder, has Neil ever explained why he refused to appear in the movie? Must have been quite a chore for the editors to cut him from the scenes.
Sometimes you do get kind of a second chance at a first listen. I have never before really paid attention to those lines "help me, I'm sufferin'" and "help me I'm dyin'" in the mix at 6:50, and man, those just hit hard.
You mentioned seeing CSNY back around the year 2000. My own experience seeing them perform live goes back much further. In fact, later this year it will have been 50 years since that fateful day. It was September 8, 1974, at a daylong festival concert at Roosevelt Raceway in Nassau County, NY on Long Island. The concert started before noon and went late into the night. The performers included The Beach Boys, Jesse Colin Young, Tom Scott and the L.A. Express, Joni Mitchell and Crosby, Stills, Nash and Young. Tom Scott’s group not only had a their own set, they also played backup for Joni Mitchell on several of her songs. And after her own set, Joni returned to provide background vocals for some of CSNY's songs. A non-musical “highlight” (I'm being facetious) of the day was when Bill Graham, who emceed the event, announced from the stage that then President Gerald Ford had just pardoned Richard Nixon. That announcement was received about as well as you'd expect by the crowd of mostly young concertgoers.
Good stuff Doug. You might want to change the name on the side from Stilly to Stills. Silly me for noticing while such a great piece of music was playing.
Have you heard Loggins and Messina's 'Be Free' off their 1974 LP 'Mother Lode'? I think you'd love it. Also from the same LP the tune 'Move On' takes one on a nice journey. Thanks Doug for the enjoyment you bring!
Superb tune, one of my favourite folk/rock tunes too. I also absolutely love Pentangle's "Light Flight" well worth a Doug visit & reaction.
I've just opened Spotify and listened to this song it great song, good review thank you, love the hair.
One of, if not, the best songs ever written! Of course, in my opinion!!
Great song. Thanks Doug!
So Far (with Young)... has been my favorite album since i was 15. This is the closing song on that album. Phenomenal album.
When Stills and Collins got together to record and tour a few years ago (Pre-pandemic) she said the references to the days of the week were because her therapist had told her she needed to date and move Stills from being exclusive to only certain days: "The guy was reading my calendar." He went to her on her birthday, sang the song (It has a proposal in it: Change my life, make it right, be my lady) and she told him it was beautiful, but... no. They both cried and he gave her the Martin guitar and left. They were living on opposite coasts and Collins said, "I was in NYC and therapy and he hated both." They remained very close. The percussive in Section 3 is Stills using g his knuckles on the guitar. He spent some time in Latin America in high school and he loves the music (per the ending, too). And yes, it sounds like a sitar... on purpose - he loved the Beatles. It is all E except one string - B. P.S. NO ONE HAD A TRIP TO CUBA IN THE 1960S!!!!
So good. A little disappointed that Doug has already heard it, I enjoy seeing him hear some of my favourites for the first time.
I belonged to a folk club at my university. Fond memories.
I was hoping to get a musical analysis of their vocal intervals, if there is any. I've always been curious about if they're singing in certain intervals/modes that give them their unique sound, or if it's just their natural sound and the way it all interacts.
This is Gospel, unbelievable talents.
Magic!
Truly a masterpiece.
Thanks Doug!! (Foxes and Fossils) do an Amazing Cover of this and other CSN and sometimes Y. Harmonies and Bass are Over The Top!!
F&F cover is a close second to the original.
@@paulboudreau8841 My nod goes to the F&F version, probably because the recording tech is better on their version - which is amazing since it is live - and because Scott King's bass playing is outrageously good and Darwin's guitar work is awesome. If you watch the CSN videos where they are playing live they aren't nearly as good.
Never knew it was Side A, track 1.... W O W ! Complete banger to start an album.
I had heard of this song for a long time. Finally sat down about a month ago to finally listen to it and realized I had heard it many, many times. I knew who it was, but never knew what song it was. Southern Cross is by far my favorite song of theirs, but this is really good as well.
I always sing the top harmony in all their songs. ❤
Captain Beefheart you’ll love. “Trout Mask Replica”😊
Gotta listen to Trout Mask on headphones to get the full brilliance of the arrangements.
This is my go to reaction. I love this epic opus I call CSNs Bohemian Rhapsody.
4 Way Street - a live masterpiece
...three unreleased recordings of Crosby, Still, Nash and Young fighting at the Fillmore East.
Ah, the Flo and Eddie Mothers lineup. RIP Frank.@@grahamnunn8998
I'm told that this originally was an amalgamation of seperate tunes, brought together in this "suite". What d'ya think?
That sounds right to me, I have a memory of that information. Might have heard that during an interview or documentary. RIP David Crosby.
Stills said that very thing himself, bang on!
Check out Helplessly Hoping...
That song and Suite , and Guinnivere, is why it eclipses Deja Vu
It was common to speed up or slow down the master tapes during this era. Making the song sharp or flat of standard pitch.
Yeah that was probably it. I also thought if he was playing it on a turntable that it was a bit fast or slow - I know those are adjustable.
Stephen Stills was an "Army Brat", his father had frequent postings in Central America. Stephen Stills graduated from Lincoln High School in Costa Rica. It is report that he is pretty fluent in Spanish.
Maybe try old Fleetwood Mac? Need Your Love So Bad, Man Of The World, Rattlesnake Shake, Oh Well are prime examples.
If you want a real treat go to Foxes and Fossils and listen to their cover of this song on YT. When F&F recorded their rendition the Foxes were 15 and 16 years old.
Love the T-shirt!
Some of CSN/Y’s best songs have this call and response structure. Stills sings lead and the other two respond with classic harmonies. I first heard this in church, I think.
Saw them live at big outdoor festivals in the early/mid 70’s and again when they reunited to release “Daylight Again” best known for Southern Cross. Tremendous.
the last "verse" is in Spanish - Per babelfish:
Original
Qué linda, me la traie a Cuba La reina de la Mar Caribe Cielo, sol, no llega tarde aquí Y qué triste que no puedo bailar, oh va, oh va
Translation
How nice, I brought it to Cuba
The Queen of the Caribbean Sea
Sky, sun, not late here
And how sad that I can't dance, oh goes, oh goes
4-Way Street is one of the best live albums and the version on that is (even) better.
folksy masterpiece
I used to know how to play this song. I forget some of the words and the chord sequence in the outro
7:20- listen for the Easter egg prescient echo
I believe one of the acoustic guitars is tuned to EEEEBE. That is the sitar sound that you were hearing. Cheers
Came to say the same thing.
14:24... Trying new harmonies and trying to outdo each other. Those car trips must be fun.
Stephen takes care of most of the instrumentation on the album himself, with Graham playing guitar or keyboard on a couple of tracks, David playing guitar on a couple of tracks, Dallas Taylor playing drums on a couple of tracks, and Stephen taking care of the rest.
When asked if this bothered him, Graham Nash said, "When Stephen can go into the studio by himself, and come out ten minutes later with Suite: Judy Blue Eyes, why would you get in his way?"