The seven and a half minute “Suite: Judy Blue Eyes” is a true suite in every way. Stills wrote this about his former girlfriend, folk singer Judy Collins. It is an early example of truly progressive music built on acoustic rhythms and harmonies throughout it’s four distinct sections. The first section is a traditional pop song, with the second, slower section focused on three-part harmonies, concluding with a brief acoustic lead by Stills. A unique percussion is played during the third part with a full drumbeat introducing the climatic ending part, which features some Spanish lyrics accompanying the famous “doo-doo-doo-da-doo” vocals. The song actually preceded Nash’s involvement in the group and was the very first recorded once he joined in mid 1968.
“Marrakesh Express” is a short but pleasant pop song by Nash, written while he was still with The Hollies but originally rejected by that group. It features an unforgettable, well-treated lead guitar by Stills and less harmonizing than on the opening song.
The song was a pop hit, reaching the Top 10 on the Billboard charts. Stills’ guitar riff floats over the song in a way reminiscent of the sitar. Crosby’s initial contribution, “Guinnevere”, is much darker song than preceding two songs. Very soft and hypnotic, the song never picks up the pace or the intensity and features strange tuning and time signatures.
the debut album in 1969, ushered in the start of the 1970’s singer songwriter period, a group of individual composers, vocalists, Crosby the ex Byrd, Stills from the Buffalo Springfield and Nash a former member of The Hollies. Each supplied a distinctive material to the CSN sound,
Harmonically brilliant, superb explorations into three part harmony.
The Fat Angel Sings 