I came back and played it for the Hollies, who rejected it, along with the first "Sleep Song. Guitars, organ, piano, bass: Stephen StillsĪn actual journey I took in 1966 from Casablanca to Marrakesh, with my first wife Rose. It's a love song, an answer to some other love songs, and part of a conversation. People ask, 'Who was Guinnevere?' Songs are seldom about one person. Cyrus Faryar from the Modern Folk Quartet played bouzouki Jack Casady's bass still gives me chills, it's like another voice. This was a demo I cut on borrowed studio time, hoping to land another record contract. After getting kicked out of the Byrds I didn't have a plan, but I went back to my roots, and "Guinnevere" is a combination of these two influences. Later I got involved with the folk music scene.
When all my friends were listening to Elvis and 1950s rock 'n' roll, I was listening to Chet Baker, Gerry Mulligan and West Coast jazz. Song originally released on Crosby, Stills & Nash, Unreleased early demo
Recorded at United Studio B, Hollywood, June 26, 1968
Later on, Jackson Browne said 'What about all the people who get left behind?' and wrote "For Everyman" in response. We imagined ourselves as the few survivors, escaping on a boat to create a new civilization. "Silver people on the shoreline" are guys in radiation suits. " It's a weird science fiction story, but one that could happen tomorrow. (Kantner couldn't be credited because he was being sued by his managers.) I borrowed the first part off a little Baptist church sign in Florida that said "If you smile at me I will understand, because that is something everybody everywhere does in the same language. Paul Kantner wrote two verses, Stephen wrote one, and I added the bits at both ends. Written in the main cabin of my boat the Mayan. Originally released on Crosby, Stills & Nash, May 29, 1969 Recorded at Wally Heider's Studio III, Los Angeles, February 20, 1969 Lead guitar, bass, organ – Stephen Stills (Crosby, Stills & Kantner Gold Hill Music, Inc., ASCAP/Stay Straight Music, Inc./Icebag Music Corp., BMI.) I took bits and pieces of it, put them into a song and it got posted through the record business instead of the mail. Unreleased first Crosby, Stills & Nash recording Recorded at The Record Plant, New York City, December 1968 I couldn't find a real steel player, so I had to make do with my little volume pedal and my Gretsch with the tone bar. This version is an alternate take where I'm playing a Chet Atkins Country Gentleman style guitar. She was a real knock-out, so much so that she got all the football players to stand up and read poetry, trying to impress her with how sensitive we were and how much we loved this awful stuff.
This song was inspired a long time ago by my tenth-grade English teacher in Tampa, Florida. Recorded at Sunwest Studios, Los Angeles, June 15, 1969 – Stephen StillsĮlectric guitars: Stephen Stills, Neil Young Even did it in a different language just to make sure that nobody could understand it. I said, 'Now that we've sung all these lyrics about one thing, let's change the subject entirely.' And we did. And 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. I was left with all these pieces of song 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. I had a hell of a time getting the music to fit. It poured out of me over many months and filled several notebooks. It started out as a long narrative poem about my relationship with Judy Collins. Original 7.5 ips tape courtesy of the Joel Bernstein Collection Song originally released on Crosby, Stills & Nash, May 29, 1969 Recorded at Wally Heider's Studio III, Los Angeles, early 1969 I intend to remove the following companies from the Register under section 318(1)(b) of the Companies Act 1993, on the grounds that the Registrar has reasonable grounds to believe that the company is not carrying on business and there is no proper reason for the company to continue in existence.Guitars, bass, percussion: Stephen Stills
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