She started dating David Crosby around 1967, and he produced her debut album. Joni Mitchell also left a significant mark on the band. She told him it was a wonderful song but that it wouldn’t win her back.” ‘He must have been reading my diaries,’ she says wryly. “Collins, who hadn’t yet heard the song, was stunned and touched, recognizing the subtle reference to her therapy appointments in the lyrics.
“Visiting her Holiday Inn hotel room, Stills, still lovestruck, gifted her with a Martin guitar and sang and played ‘Suite: Judy Blue Eyes’ for her in its entirety,” writes Browne. So Stills used his song to try and woo her back. His famous line “Thursdays and Saturdays” even refers to the days of Collins’ regular therapy appointments, writes David Browne in “ Crosby, Stills, Nash & Young: The Wild, Definitive Saga of Rock’s Greatest Supergroup” (Da Capo Press).īut by then the pair had flamed out, and Collins was ready to move on. Later, Stills penned his song “Suite: Judy Blue Eyes,” describing their intimacies. She later wrote that he was “possibly the most attractive man I had ever seen.” Soon, the two were “making music all day and making love all night,” Collins once said, according to Doggett. That came the following year when Collins saw Stills at a party.
Through his band Buffalo Springfield, he released a song about her, “Bluebird,” before he even met her. Stills developed a crush on popular folkie Judy Collins after seeing her perform in Greenwich Village in the early ’60s, writes Peter Doggett in “ CSNY: Crosby, Stills, Nash & Young” (Atria Books).
Stephen Stills’ 1970 classic “Love the One You’re With” implies a casual attitude toward sexual relationships perfectly emblematic of the times.īut the men in his superstar group, Crosby, Stills, Nash & Young, lived in a whirlwind of tortured romance that was anything but casual, according to two new books out now - 50 years after the release of their debut album.
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