Beneath that is further musical strata featuring Stills on electric guitar, electric bass and percussion as well as former Clear Light member Dallas Taylor on drums. This is juxtaposed against a multi-layered and highly complex vocal arrangement. The emphasis of the track is rooted acoustically, with a decidedly organic and otherwise unencumbered melody. even did it in a different language just to make sure that nobody could understand it.” … I was left with all these pieces of songs and I said ‘Let’s sing them together and call it a suite,’ because they were all about the same thing and they led up to the same point.” The author also indicates that the “little kicker at the end about Cuba was just to liven it up because it had gone on forever and I didn’t want it to just fall apart.” The complete change in tempo, rhythm and style was likewise intentional as he adds that the trio “had sung all these lyrics about one thing” and so Stills mused “let’s change the subject entirely. In the liner notes booklet of the Crosby, Stills & Nash (1991), Stills recalls that the various segments “poured out over several months and filled several notebooks. Although initially coy about the origin and inspiration behind the track, it was later revealed that Stills muse was none other than folk singer/songwriter Judy Collins.
This Stephen Stills composition is divided into several notable movements - which are stunningly augmented by the additional vocal harmonies of David Crosby and Graham Nash.
It was also chosen as the band’s second single b/w “Long Time Gone”, grazing the Top 20 and peaking at #21.
This is one of Crosby, Stills & Nash’s (CSN) signature tunes and rightfully commences their landmark self-titled debut album.
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