Stories behind memorable albums of the 1970s as told by the artists

Tag: Stephen Stills

With Judy Collins and Stephen Stills, ‘There were sparks right away’

Judy Collins first met Stephen Stills when Collins was recording her seventh studio album “Who Knows Where the Time Goes" in 1968.

Judy Collins first met Stephen Stills when Collins was recording her seventh studio album “Who Knows Where the Time Goes” in 1968.

Judy Collins and Stephen Stills were driving around one day in Malibu, California, when Stills had an idea.

“He said, ‘You know, we need another song on this album,’” Collins says.

It was mid-1968 and Collins was coming off the success of her sixth studio album “Wildflowers,” which reached No. 5 on the Billboard Pop Albums charts after its release in October 1967. The album featured Collins’ Top 10 hit cover of Joni Mitchell’s “Both Sides Now.”

Stills’ band Buffalo Springfield had just broken up in May, 1968. When Collins and producer David Anderle were planning the next album, “Who Knows Where the Time Goes,” they decided to record it in Los Angeles.

“This was an opportunity to go to California and I was thrilled to be able to do that,” Collins says. “My producer said, ‘I want to bring you to California to make sort of a live album.’”

Anderle then put together a top-notch band in Los Angeles that included musicians with whom Collins had not previously worked. Among them were Buddy Emmons — who played with the Everly Brothers, Roger Miller and Ernest Tubb — on pedal steel guitar; James Burton — who recorded and played with Elvis Presley, Johnny Cash and Merle Haggard — on dobro and electric guitar; Chris Ethridge — who would go on to play with Gram Parsons and the Flying Burrito Brothers — on bass; Jim Gordon — a session drummer who backed the Everly Brothers — pianist Mike Melvin, who performed on the Beach Boys’ “Pet Sounds” album in 1966 and Frank Sinatra’s “That’s Life” album, also in 1966; Van Dyke Parks, a songwriting collaborator with Brian Wilson of the Beach Boys, on piano and electric piano; and Stills, fresh off the Buffalo Springfield gig, on guitar. (Collins has said in other published interviews that she believed Anderle had asked Stills to work on the album only to find out later that it was the other way around.)

“That’s where Stephen and I first met,” Collins says. “Stephen was somebody that I had never worked with before, so that was exciting. I didn’t know him and I really wasn’t aware of the Buffalo Springfield. I knew who they were but I didn’t know who the individual artists were. So it was a great surprise for me to meet him. And of course he’s a genius, so that was good.”

Not only that, but the attraction between Collins and Stills was there from the first moment.

“Yes, there were sparks right away,” she says.

There was an immediate attraction between Judy Collins and Stephen Stills when they first met.

There was an immediate attraction between Judy Collins and Stephen Stills when they first met.

So when Collins and Stills were driving around Malibu taking a break from recording sessions for “Who Knows Where the Time Goes,” Stills shared with Collins his idea about a song he thought they should record for the album.

“He said, ‘Let’s do “Someday Soon.”’ So that’s what we did,” Collins says.

Canadian singer-songwriter Ian Tyson, who with his wife Sylvia had formed the duo Ian and Sylvia in 1961, had written and recorded “Someday Soon” in 1964 but had not released it as a single. Collins was friends with Ian and Sylvia when they all lived in Greenwich Village in the mid-1960s.

“We used to hang out together. I had heard all of their songs,” Collins says.

So Collins didn’t need much convincing to record “Someday Soon” for the “Who Knows Where the Time Goes” album, and the song helped propel the album to No. 29 on the Billboard Pop Albums chart after its release in November 1968. The song itself would go on to become one of Collins’ signature songs.

Although the 1960s romance between Collins and Stills inspired Stills to write “Suite: Judy Blue Eyes” for his then-new band Crosby, Stills and Nash in 1969, Stills won’t be featured in these two shows.

And even though the two are no longer linked romantically, they are still making music together. They toured as a duo in 2017 and plan to do so again in 2018.

“We’ve remained friends all these years,” Collins says. “And I always thought that maybe someday we’d do something together, but we had no idea what that would be.

“He was always so deeply involved with Crosby, Stills and Nash and at the time, there wasn’t very much room at the table for anything else.”

The two did finally make an album together, titled “Everybody Knows,” which was released in September 2017. The album features an updated version of the Sandy Denny-written “Who Knows Where the Time Goes,” and a new Collins song called “River of Gold.”

“It was thrilling to have a new song on board for that album,” Collins says. “Stephen and I are going out again on tour this year in May and June. It was so much fun. We want to work on some more new songs together if we can find the time.”

Channeling the ‘Friday Night at Joni Mitchell’s House’ vibe at the local level

Lizanne Knott, with Tommy Geddes on the drums. (File photo by Mike Morsch)

Lizanne Knott, with Tommy Geddes on the drums.
(File photo by Mike Morsch)

It was like sitting around the Algonquin Round Table in New York City in the 1920s with the likes of great writers of the time – people like Dorothy Parker and George Kaufman.

Only the writers this time were musicians – like David Crosby, Stephen Stills, Graham Nash, Jackson Browne, Joni Mitchell, Howard Kaylan and Mark Volman – and it was the early 1970s.

And the venue wasn’t the historic Algonquin Hotel, in which the greatest writers, critics and actors of that earlier era gathered to exchange wordplay and witticisms. It was the living room of Joni Mitchell’s Laurel Canyon home in California.

There, on any given Friday night, some of the greatest singer-songwriters of their generation would pass around a guitar and play some of the songs they had been working on, songs that hadn’t yet been recorded. Songs that would someday be big hits.

“It was the early days of an incredible singer-songwriter movement in Los Angeles,” said Kaylan, who along with Volman were then members of the Turtles. “You were hearing the best songs that these guys had to offer. So if Graham was working on ‘Teach Your Children,’ that’s what he was playing for everybody.”

As the Friday night jam sessions continued, Kaylan thought that the competition among the artists to produce quality songs became more intense.

Nash didn’t see it that way.

“I never thought it was competitive, like ‘Look at what I wrote.’ Stephen and David and Jackson and Joni are incredibly good songwriters,” said Nash. “I didn’t feel competitive. I thought it was the joy of the discovery of a new song. We had a lot of music in our lives and that’s what we did.”

They were just being musicians, Nash recalls.

Skip Denenberg (File photo by Mike Morsch)

Skip Denenberg
(File photo by Mike Morsch)

“When we’d go anywhere, we’d take our guitars with us. That’s what people did. Everyone carried their guitars around,” said Nash. “And of course, those people – me and David and Stephen and Jackson and Joni – we were very creative. We always had new songs, and the first thing you did is play them for your friends.”

That story, about Friday nights at Joni Mitchell’s place, is excerpted from Volume I of the Vinyl Dialogues. And I was reminded of it when some local Philadelphia-area musicians got together Saturday night at a place called The Underground in Lansdale, Pennsylvania.

Lizanne Knott, Skip Denenberg and Michael Braunfeld – accompanied by the talented and always entertaining Tommy Geddes on drums – got together for an “in the round” show where each artist alternated telling stories and playing original songs in an intimate setting to an intimate audience.

It was not unlike sitting in Joni Mitchell’s living room listening to Crosby, Stills and Nash and Jackson Browne debut original material. If one were somehow lucky to be able to have done that.

This is not the first time that Lizanne has done a show like this. She and Skip partnered with another Pennsylvania singer-songwriter Craig Bickhardt for a similar show earlier in the summer.

There is a lot to like about a show like this for someone like me, a guy who asks artists about the back stories of songs and making records and then writes a series of books about that. As a writer, I like to hear about the inspiration and evolution of a song. And I particularly like it in a relaxing and intimate atmosphere, like we’re all just a bunch of friends sitting around the living room listening to music.

Which leads me to this point: Explore the local music scene in your area. If it’s anything like the Philadelphia area, there are some creative and talented artists who make some great music. Support those folks in their efforts, go to their shows and buy their CDs or downloads.

I’m probably never going to get to sit in Joni Mitchell’s living room and listen to David Crosby, Stephen Stills, Graham Nash and Jackson Browne play guitars and sing their songs.

But that’s OK. I’ve got a some highly creative singer-songwriters right in my own neighborhood and I love their music just as much. Plus I get to sit right in the front row and listen to all those wonderful stories and songs.

Teach your children that.

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