The song is a suite in the classical sense i. Collins is known for her piercing blue eyes. During a July 15, interview for the National Public Radio program Just Roll Tape , Stills revealed that Collins was present in the studio when the demo tapes were recorded.
Collins had advised Stills "not to stay [at the studio] all night. Collins and Stills had met in and dated for two years. In , she was appearing in the New York Shakespeare Festival musical production of Peer Gynt and had fallen in love with her co-star Stacy Keach , eventually leaving Stills for him. Stills was devastated by the possible breakup and wrote the song as a response to his sadness. In a interview, Collins gave her impressions of when she first heard the song:. And of course it has lines in it that referred to my therapy.
And so he wove that all together in this magnificent creation. So the legacy of our relationship is certainly in that song. It fades in on the opening of side one of the album. The timings below are for the full album version. The shortened version released as a single cut the second and fourth verses from the first section, cut the third and fourth verses from the second section, cut the final verse and preceding break from the third section, and shortened the guitar break between the second and the third sections.
The final section is the only part that stayed fully intact on the single. And although Stephen Stills was on fire in terms of songwriting, writing remarkable songs of love for Judy Collins, he had no outlet for them: Buffalo Springfield had already imploded by All three were exceptional singers — each unique, and gifted vocally in different ways. David Crosby, who sang harmonies in the The Balladeers before The Byrds, was then and remains one of the greatest and most creative harmony singers of all time.
He was a master at these ingenious middle parts, and the precise vocal blend needed to complement the other two voices. By the third go-round, he added his third vocal part, and the group was born. They signed with Atlantic and got busy making their album, with Stills pretty much taking the production reins. Its power comes in large part, of course, from the combined clout of those three voices in harmony. He was not only the singer and songwriter, he was essentially their George Martin, arranging and producing everything.
But he also played almost all the instruments. He led the way more than is commonly known. A great electric guitar player who jammed and played with Hendrix years before CSN, Stills was always on his own turf. Instead of being out partying, he far preferred being in the studio making music. He put it all together. Stills, all on his own, high on love, expanded the song form into a suite in a way nobody—save those Liverpool lads on their Abbey Road medley—had done quite the same way.
We spoke about the origins of this song and record with Stills in at the famed Polo Lounge of the Beverly Hills Hotel. To capture the seamless power of that unique CSN vocal sound, they recorded their together, all on one microphone. It is all one performance, sung from start to finish each time, which gives that real-time feel of these old friends jamming. To get that perfect take, Stills said, took a long time, doing it over and over. But they got it.
I actually liked the way that I did it on Just Roll Tape , but I realized that with other people involved, it would be hard for them to pick up.
Because only half of it is half-time. Three-quarters of it is in the same tempo as the first part, and then it changes. If you notice, at Woodstock, in the film, at the beginning when we first start—a warm, wet wind had just hit the guitars.
So there were a few seconds of tuning the guitar, and then we walked out. And luckily I was the only one at Woodstock who was straight. At least until after I played. Will you come see me Thursdays and Saturdays? What have you got to lose? One thing is obvious about Johnny Winter, the albino blues guitarist: regardless of his virtuoso playing, he could have found fame on his charisma alone. At Massey Hall last night where he performed two shows to a total of more than 3, fans you couldn't take your eyes off him.
Decked out in a dapper black, crushed velvet frockcoat, black turtleneck, lilac velvet trousers, his foot-long ghost-like hair brushing a silver chain around his neck, he took the audience by storm.
He was greatly helped by his brother, Edgar, a short-haired albino, who came on late in the act but drew a standing ovation with his first number, Tobacco Road. The combination of Johnny's stylish but pre-blues guitar picking and brother Edgar's versatility on electric piano, organ and sax not to mention his fierce voice was a memorable experience. Most of Johnny's repertoire was from his first album on Columbia and his latest, Second Winter.
The encore, Johnny B. Goode, was particularly good. Humble Sponge, which opened the show, suffered from a lack of tightness essential to a blues band. Also, its drummer lacked imagination and its singer was in danger of losing his voice by rasping away his vocal cords. Copyright protected material on this website is used in accordance with 'Fair Use', for the purpose of study, review or critical analysis, and will be removed at the request of the copyright owner s.
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