And all three were already serious songwriters. It became a hit, going to #21 on American pop charts, and #11 in Canada.ĬSN all came from big rock bands before getting together: David Crosby in The Byrds, Stephen Stills in Buffalo Springfield and Graham Nash in The Hollies. When it came time for a second single to be released in September 1969, Atlantic, their label, deemed it too long, and it was edited down to 4:35 in length. Stills started composing the various sections which became “Suite: Judy Blue Eyes” before “Hey Jude” was released and before the trio formed. Photography: Henry Diltz/Morrison Hotel Galleries The full unedited album cut, from their debut album.Īcoustic Guitars, Electric Guitars, Electric Bass, Piano, Organ, Percussion, Vocals: Stephen Stills (Oct.Crosby, Stills & Nash, “Suite: Judy Blue Eyes.” By 1978, when she concludes in this forthright, radiant work, she had made scores of records-and quit drinking to save her life.
Her memoir portrays the now legendary talent she rubbed shoulders with, especially songwriters like Joni Mitchell, Stephen Stills, and Leonard Cohen, and captures a time in the musical scene replete with experimental drugs and sex, while her encroaching alcoholism stalks her story darkly. Steeped in the work of Jo Stafford and Elton Hayes, later songs by Woody Guthrie and Pete Seeger, Collins was a natural troubadour of traditional ballads like “The Gypsy Rover” and “Maid of Constant Sorrow” and gradually made a name for herself on the circuit, like the Gate of Horn in Chicago and Gerde’s Folk City in Greenwich Village she secured a long-running record deal with Elektra by 1961, when she was 22. Collins was there, rather accidentally: she was a classical pianist who had largely grown up in Denver, Colo., to a blind, hard-drinking father who read Dylan Thomas in Braille and hosted a radio literary program she was married and with a young child when her husband suggested that she get a job at Michael’s Pub in Boulder singing the folk songs she loved. Collins’s improbable and utterly charming tale of assuming iconic status as a popular music star from the early 1960s’ onward also proves a tremendously valuable chronicle of the early folk music scene.
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