Who Wrote Suite Judy Blue Eyes?

Who Wrote Suite Judy Blue Eyes
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Was Sweet Judy Blue Eyes written for Judy Collins?

THIS IS THE ARTICLE FULL TEMPLATE Wednesday, October 4, 2017 THIS IS THE FIELD NODE IMAGE ARTICLE TEMPLATE 48 years ago today, David Crosby, Stephen Stills and Graham Nash released the second single from their self-titled debut album, a harmony-laden epic which – just as its title promised – was indeed an actual suite.

Composed by Stills, “Suite: Judy Blue Eyes” was famously written about singer Judy Collins, who was – at least at the time of its writing – Stills’ girlfriend.
In fact, Collins was actually in the studio when he recorded the original demo of the songand, as Stills revealed during a 2007 NPR interview, she told him “not to stay all night.” History does not reveal how long his recording session actually lasted, but it does confirm that he and Collins concluded their relationship pretty soon after that, which was pretty well telegraphed within the lyrics of the song.

When one listens to “Suite: Judy Blue Eyes,” the four individual sections are easily distinguishable: it’s a pop song for the first second, which lasts just slightly less than three minutes, then the second section – which lasts from 2:56 to 4:43 – is performed in half time relative to the first section, then the third section (4:43 – 6:25) is upbeat again, and then it concludes with the “doo-doo-doo-da-doo” vocalizations that have served as the signature segment of the song.

When “Suite: Judy Blue Eyes” was released, it climbed to #21 on the Billboard Hot 100, which was a few spots higher than Crosby, Stills & Nash’s previous single, “Marrakesh Express,” had made it, so it was definitely a win by those standards. More importantly, though, it’s a song that defines the CS&N harmonies perfectly, which is as wonderful a legacy as the trio could hope for.

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Crosby, Stills & Nash

When was Suite: Judy Blue Eyes written?

“Suite: Judy Blue Eyes”

Swedish picture sleeve

Single by Crosby, Stills & Nash

from the album Crosby, Stills & Nash

B-side

“Long Time Gone”

Released

September 1969

Recorded

February 1969

Genre

Folk rock, soft rock

Length

7 : 28 (album version) 4:35 (single edit)

Label

Atlantic

Songwriter(s)

Stephen Stills

Producer(s)

David Crosby Graham Nash Stephen Stills

Crosby, Stills & Nash singles chronology

” Marrakesh Express ” (1969)

” Suite: Judy Blue Eyes ” (1969)

” Woodstock ” (1970)

/td> Audio “Suite: Judy Blue Eyes” on YouTube

Suite: Judy Blue Eyes ” is a song written by Stephen Stills and performed by Crosby, Stills & Nash (CSN). It appeared on the group’s self-titled debut album in 1969 and was released as a single, reaching number 21 on the Billboard Hot 100 pop singles chart.

Who was the lead singer on Suite: Judy Blue Eyes?

Behind The Song: “Suite: Judy Blue Eyes” by Crosby, Stills & Nash, Written by Stephen Stills Crosby, Stills & Nash arrived in our lives in 1971 like a revelation. This was the song which introduced them, as brand-new, brave, expansive and exciting as the glorious sound of these three guys singing harmony.

CSN was unlike any other group which came before them, so their debut with this song opening the album was perfect. It was complex, ingenious and inspired, and exultant to experience. CSN was a simple equation, not unlike that of The Band. Great musicians and songwriters united by great songs sung in harmony.

No bombast, pretense or anything false. Like the cover photo – this is real. No costumes, make-up, lights or props. Just three musicians making music, and singing harmony. Rich, soulful, heartfelt harmony. Add to that their expansively-inspired original songs, each empowered and inspired by the times, their friendship, and their liberation from their previous bands.

The album was released in May 1969, months before the official break-up of The Beatles.
Already it provided hope—even before we learned that the dream was over—that good music was still to come.
There in the bounty of amazing original songs from all three was undeniably inspired greatness, and also a delightfully flagrant breaking of once-conventional pop music strictures.

Of these, one of the fundamental ones was song length, a practical consideration as any song over three minutes was usually too long for radio. The Beatles broke through this barrier first with “,” which is 7:11 in length. George Martin said they only did it because Richard Harris’ hit rendition of Jimmy Webb’s “MacArthur Park” was 7:21 in length.

Hey Jude” is ten seconds shorter than that, still everyone except Lennon was worried radio wouldn’t touch it.
He knew better.
They will,” he said.
Because it’s us.” Crosby, Stills & Nash, “Suite: Judy Blue Eyes.” The full unedited album cut, from their debut album.
Written by Stephen StillsProduced and Arranged by Stephen StillsAcoustic Guitars, Electric Guitars, Electric Bass, Piano, Organ, Percussion, Vocals: Stephen StillsGuitar, vocals: David CrosbyGuitar, vocals: Graham NashDrums: Dallas TaylorEngineer: Bill HalversonMastering Engineer: Rob GrenellPhotography: Henry Diltz/Morrison Hotel Galleries Released on Atlantic Records, May 1969 Stills started composing the various sections which became “Suite: Judy Blue Eyes” before “Hey Jude” was released and before the trio formed.

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. It became a hit, going to #21 on American pop charts, and #11 in Canada. CSN 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.

And all three were already serious songwriters. Stills’ “For What It’s Worth” was a giant hit, as was “Eight Miles High” for The Byrds, co-written by Crosby, and also many Hollies hits that Nash co-wrote, including “Carrie Anne,” “On A Carousel,” and “Stop Stop Stop.” But all three had expanded as artistic songwriters, inspired and empowered by the expansive evolution of songwriting sparked by Dylan, The Beatles, and others.

Yet Nash’s great “King Midas In Reverse” was deemed a little too strange for The Hollies, as was Crosby’s “Triad” for The Byrds. And although Stephen Stills was on fire in terms of songwriting, writing remarkable songs of love for Judy Collins, he had no outlet for them: Buffalo Springfield had already imploded by 1968.

All three were exceptional singers – each unique, and gifted vocally in different ways.
David Crosby, who sang harmonies in the The Balladeers before The Byrds, was then and remains one of the greatest and most creative harmony singers of all time.
In CSN, except when singing lead, he’d invariably sing the middle part, which is the toughest part to sing, the glue that holds the top and bottom part together and completes the chord.

He was a master at these ingenious middle parts, and the precise vocal blend needed to complement the other two voices. It started with only two: Stills and Crosby discovered they sounded great singing together on a new Beatles song they loved, cCartney’s “Blackbird.” When Graham Nash was in Los Angeles and heard them singing at Cass Elliot’s house, he asked them to sing it again.

By the third go-round, he added his third vocal part, and the group was born.
They signed with Atlantic and got busy making their album, with Stills pretty much taking the production reins.
The first two singles reflected their adventurous songwriting spirit: Nash’s “Marrakesh Express” was first, released along with the album in May 1969.

He wrote it while in The Hollies, but they didn’t feel it was hit-single material for them, what with the exotic Morrocan hippie details like cobra charmers and “striped djebellas.” But for CSN, it was a Top 40 hit, and went to #28 on American pop charts and #17 in Canada and the UK Their second single was “Suite: Judy Blue Eyes.” To this day, it remains the quintessential CSN song.

Its power comes in large part, of course, from the combined clout of those three voices in harmony.
Except for those visceral harmony vocals, the full vision of “Suite: Judy Blue Eyes” as a record was Stephen Stills.
He was not only the singer and songwriter, he was essentially their George Martin, arranging and producing everything.

But he also played almost all the instruments. He led the way more than is commonly known. A great electric guitar player who jammed and played with Hendrix years before CSN, Stills was always on his own turf. He didn’t live in Laurel Canyon like the others, and rarely smoked pot.

Instead of being out partying, he far preferred being in the studio making music.
I was the only guy at Woodstock who was straight!” he said.
Stills played almost everything on the first album,” said the late Dallas Taylor, who was their drummer.
Except for the drums, which I played, he played almost all the guitars—acoustic and electric—organ, piano, bass, percussion.

He put it all together. He doesn’t get that credit much, but Stills is a genius at production.” His genius for writing songs then—and a lot of powerful ones—is reflected in a remarkable recording from 1968 which contains the first solo incarnation of “Suite: Judy Blue Eyes.” Titled Just Roll Tape, it was released in 2005 as an album.

It’s a recording of many songs from the time, all inspired and new, that he made in a couple of hours in 1968, after his girlfriend Judy Collins wrapped up recording. Successive masterpieces came rolling out, including all of “Suite: Judy Blue Eyes” except the final section. Here it’s still under construction.

Stills, all on his own, high on love, expanded the song form into a suite in a way nobody—save those Liverpool lads on their Abbey Road medley—had done quite the same way. We spoke about the origins of this song and record with Stills in 2005 at the famed Polo Lounge of the Beverly Hills Hotel.

To capture the seamless power of that unique CSN vocal sound, they recorded their together, all on one microphone. It is all one performance, sung from start to finish each time, which gives that real-time feel of these old friends jamming. To get that perfect take, Stills said, took a long time, doing it over and over.

But they got it. Who Wrote Suite Judy Blue Eyes Crosby, Stills & Nash. The iconic cover photo by Henry Diltz. Courtesy of Henry Diltz/Morrison Hotel Gallery STEPHEN STILLS : started out as little bits, and all of a sudden I realized that they fit together, and one thing led to another, but nothing was finished.

I actually liked the way that I did it on Just Roll Tape, but I realized that with other people involved, it would be hard for them to pick up. Because only half of it is half-time. Three-quarters of it is in the same tempo as the first part, and then it changes. It’s a little more legato. If you notice, at Woodstock, in the film, at the beginning when we first start—a warm, wet wind had just hit the guitars.

So there were a few seconds of tuning the guitar, and then we walked out. B ut if you notice on the film, we start “Suite: Judy Blue Eyes,” it was horrifyingly out of tune. And luckily I was the only one at Woodstock who was straight. There were too many people, and I didn’t want to relinquish any control whatsoever.

At least until after I played. I never worried that “Suite: Judy Blue Eyes” was too long. I’d been to school and had played lots of overtures and things like that. I grew up on “Rhapsody in Blue” and things like that. So this was just doing the same thing with words. I certainly never worried about it. And it wasn’t that long anyway; it was only seven minutes.

But they still wouldn’t put it out as a single. So I said, “You guys are nuts. ” And then, sure enough, it wasn’t eighteen months until somebody put out something just as long. And how long is “Stairway to Heaven”? Part of the reason we had gone to Atlantic was because they were adventurous.

I mean, Ahmet loved But he wouldn’t put it out as a single. So I said, “Do what you did with Ray Charles. Put out half of it.” I didn’t care. The final section of the song was an afterthought that seemed fun. Basically what happened is that we sang that whole album in people’s living rooms ad nauseum, So things had time to develop.

It was almost like road testing it. Which is what I like to do before I make records now. Teach it to the band and play them in the show and see how people react. It’s true that “Suite: Judy Blue Eyes” was written for Judy Collins ? Yeah, of course I wrote it for Judy Collins.

” Suite: Judy Blue Eyes” by Stephen Stills It’s getting to the point where I’m no fun anymoreI am sorrySometimes it hurts so badly I must cry out loudI am lonelyI am yours, you are mine, you are what you areYou make it hardRemember what we’ve said and done and felt about each otherOh, babe have mercyDon’t let the past remind us of what we are not nowI am not dreamingI am yours, you are mine, you are what you are
You make it hard
Oh, oh, oh, oh, ohTearing yourself away from me now you are freeAnd I am cryingThis does not mean I don’t love you I do that’s foreverYes and for alwaysI am yours, you are mine, you are what you areYou make it hardSomething inside is telling me that I’ve got your secretAre you still listening?Fear is the lock and laughter the key to your heartAnd I love youI am yours, you are mine, you are what you areYou make it hardAnd you make it hardAnd you make it hard
And you make it hard

Friday eveningSunday in the afternoonWhat have you got to lose?Tuesday morningPlease be gone I’m tired of youWhat have you got to lose?Can I tell it like it is? (Help me I’m sufferin’)Listen to me babyIt’s my heart that’s a sufferin’ it’s a dyin’ (Help me I’m dyin’)And that’s what I have to lose (To lose)I’ve got an answerI’m going to fly awayWhat have I got to lose?Will you come see meThursdays and Saturdays?

What have you got to lose?
Chestnut brown canaryRuby throated sparrowSing a song, don’t be long
Thrill me to the marrow
Voices of the angelsRing around the moonlightAsking me said she so free
How can you catch the sparrow?
Lacy lilting ladyLosing love lamentingChange my life, make it right
Be my lady
Que linda me la traiga CubaLa reina de la Mar CaribeCielo sol no tiene sangreahi
Y que triste que no puedo vaya oh va, oh va

: Behind The Song: “Suite: Judy Blue Eyes” by Crosby, Stills & Nash, Written by Stephen Stills

Does Judy Collins have dementia?

Judy Collins The Power of Music For more than fifty years, Judy Collins has wooed the world with hits such as “Both Sides Now” and “Send in the Clowns.” Now age 74, the Grammy award-winning singer shows no signs of slowing down. She is the author of several books, founder and CEO of a record label, Wildflower Records, and she’s an activist, speaking around the country about mental health and suicide prevention.

Collins also still tours heavily.
Recently, she was the featured performer at the 13th Annual Music Has Power Awards by the Institute for Music and Neurologic Function.
Preserving Your Memory talked with Collins about the performance, her long career, and why she believes music can soothe the body and soul.

Preserving Your Memory: How was the performance at the Music Has Power Awards? Judy Collins: Oh my goodness, it was just wonderful. It was so interesting because just as I was leaving to go, I received a letter from my neighbor’s daughter. I’d given him a copy of Over the Rainbow, my book and audio CD, for his grandchildren.

His daughter was writing to say they had played the songs for his wife, who is suffering from dementia. His daughter said when they played the songs her mother became very animated and danced around, and for the length of the song, regained herself. I read the letter to the audience during my concert.

I thought it was such a very interesting and synchronistic thing that went along with the power of music to be healing. PYM: Has music helped you through the struggles you’ve had throughout your life? JC: Absolutely. For me, art and music—the practice of music, the listening to music, the attention to art in general—are all things that help our mental health.

They encourage us to be mentally healthy and to be involved with our lives in a very direct and active way. I have always been involved with the verbal and the visual arts. These are the things I’ve depended on for my mental and physical health, my enjoyment, and my education. PYM: One tragic situation you faced was your son’s suicide.

Do you have advice for people struggling with grief, loss of a loved one, or mental illness in the family? JC: The things I suggest to survivors and people who are witnesses to dementia and the loss of presence in their loved one is to get your life in order.

Put the oxygen mask on yourself and make sure you get the help you need.
Get therapy if you need it.
Look for groups of people that can help you.
You have to take care of yourself.
Go to concerts or other places for entertainment, get a massage or facial, and take care of your feet.
All of these things are important for laughter, therapy, and staying on top of your own mental health.

PYM: In your book Sanity and Grace (Tarcher, 2003), you mention some of the people who helped you cope after Clark’s death. When dealing with mental health issues of a family member, how important is it for people, especially caregivers, to have a support system? Judy Collins has captivated many listeners with the power of her voice.

JC: It’s essential.
You cannot have a healthy life without a support system.
Reach out to people you can talk to spouses, friends, therapists, people in your spiritual group, anyone who can be on the same wavelength and listen to you.
One of the most important things we can find in life is somebody to listen to us.

My old friend Ed Schneidman wrote books about suicide and was considered to be the father of the suicide prevention movement. He felt talk therapy was instrumental in healing and that people could get through anything and live past midnight if they were in talk therapy.

It’s an extreme point of view, but having done this and been in talk therapy for most of my adult life, I totally agree with him. I very much believe in human contact as a healing force. PYM: Some reports say your mother had Alzheimer’s. Is that true? JC: No, she didn’t have Alzheimer’s. She died of a stroke.

She had a number of mini-strokes, which obviously is different from dementia, but the result is similar because the brain shuts down in certain areas, and the person disappears on you and doesn’t remember names and other things. So it’s the same kind of result, and of course it’s very upsetting.

PYM: What about your own health? You still do a lot of performing. How do you keep yourself physically and mentally healthy? JC: I do a number of things in my regular daily life to ensure my health. For me, exercise is the most dramatic mood-altering activity I can do, so I exercise on a regular basis and I’ve been doing a form of meditation for about 35 years.

I also watch what I eat and stay away from junk foods. I try to do activities like crossword puzzles, practicing piano, and making music to increase my brain health. I take vitamins, and I don’t take any mind-altering drugs or drink. I also laugh a lot.

I think laughter is something that is very healing and important in terms of mental health.
PYM: You recently taped a special in Ireland for PBS? JC: Oh, yes.
We did a wonderful show at the Dromoland Castle in County Clare, Ireland.
I had three guests.
Ellen Ellis, a wonderful six-year-old step dancer, danced to one of my songs.

Mary Black, a wonderful Irish singer, did a duet with me, and I did another duet with Ari Hest, a very fine up-and-coming American singer-songwriter. Then I sang a lot of the old wonderful Irish songs like “Danny Boy,” plus some new songs of mine like “New Moon Over the Hudson,” which is about Ireland.

We had a wonderful band with pipers, guitarists, and drummers, and it was just a magical night.
The special will air on WGBH (in Boston) and around the country on PBS in March.
PYM: Anything else in the works? JC: I do 120 shows a year around the world.
We usually list all the concerts on my website, judycollins.com.

PYM: Wow! How do you do it? To what do you attribute your success and longevity? JC: Many things have contributed to my being able to sustain a career in music for 54 years and be working more and better, I think, than I’ve ever worked in my life. First, I’ve always had a positive attitude about life.

I’ve had a lot of illnesses. I’ve had polio, tuberculosis, alcoholism, hepatitis, eating disorders—you name it. I’m always hopeful. I always know I’m going to live through whatever it is, somehow. I’ve also always reached out for the help I needed. I’ve gotten therapy since I was around age 23; I went to treatment and stopped drinking 35 years ago; I’ve read books on mental health; and I’ve read and listened to nutritionists and healers.

I believe the discipline of my life, having a positive attitude, being willing to seek help, and having music in my life are all things have contributed to my being able to have a full and healthy lifestyle. PYM: Any final words for the readers? JC: Just stay in touch with the arts and music, and keep your brain and heart happy! Music as Medicine A number of studies show music therapy can be beneficial to people with dementia.

The Institute for Music and Neurologic Function (IMNF), in Bronx, N.Y., strives to expand the growing pool of knowledge. Its staff studies the link between neuroscience and music therapy, educates and trains future music therapists, and provides music therapy services to a broad range of people, says Concetta Tomaino, DA, MT-BC LCAT, the co-founder and executive director at the IMNF.

Music Has Power Awards Started in 2000, the Music Has Power Awards recognizes people who have contributed to advancing knowledge about music and the brain or have otherwise helped advance the IMNF’s mission. Selecting Judy Collins as the featured performer for this year’s ceremony was an easy choice.

“We like to have an artist that resonates with our mission,” Dr. Tomaino says. “Judy’s music has deep meanings for many of the people we knew would be in attendance, and Judy herself speaks about the transformative power of music and how important it has been in her and her family’s lives.” Music and Alzheimer’s Research and clinical practice show people with dementia still recognize music that was personally important to them, says Dr.

Tomaino. “The music tends to have historical connections that are emotionally charged and representative of a certain time, person or place,” she explains. With music therapy, those particular songs can act as a gateway to seemingly lost memories. In addition, during early dementia, use of melodies may help patients recall names of people, addresses, phone numbers, and things they need to do.

Start with songs from his youth or songs you know he once enjoyed. However, don’t be afraid to try different things. Coming up with a good playlist may take some trial and error. Watch the response. If your loved one seems upset or otherwise negatively affected by a particular song or type of music, remove it from the playlist. On the other hand, if she seems to enjoy a song, play it more often and try out similar music. Don’t overstimulate. Refrain from playing music too loudly and avoid programs or stations with commercial interruptions. Also, eliminate other distractions like the television and background conversations, noises, and movements. Use faster-paced music to boost mood. To induce relaxation, say, during mealtime or before bed, play or sing slower-paced, soothing songs. Encourage toe tapping, hand clapping, or even dancing. Music provides a good opportunity to get in some physical activity.

By Tamekia Reece : Judy Collins

Did Judy Collins write her own songs?

‘Spellbound’ kicks off a busy 2022 for the legendary talent. Who Wrote Suite Judy Blue Eyes Judy Collins Shervin Lainez* Judy Collins is no stranger to songwriting. Ever since Leonard Cohen challenged her to write more for herself back in the mid ’60s — which led to Collins penning “Since You Asked” for her 1967 album Wildflowers — she’s contributed songs of her own alongside her often definitive interpretations of other writers’ work, including songs from Cohen, Bob Dylan, Joni Mitchell, Stephen Sondheim and more.

But Spellbound, coming out Feb.25, marks Collins’ first release on which every song is from her own hand, an achievement that seems remarkable and surprising after more than 60 years of recording.
Y’know, things happen when something shifts in your life and you put another discipline in, which leads you to dig out things that might never have happened,” the 82-year-old singer explains from her home in New York.

“The pandemic gave me a chance to actually sit with things that were cooking and get them cooked so they were well enough to go into the studio and record them.”

Who wrote the song Judy?

Andrew Bernard, the co-writer of John Fred and His Playboy Band’s No.1 song from 1968, “Judy In Disguise (With Glasses),” died Thursday morning at his home in Baton Rouge. He was 77. As co-producer and co-writer with Playboy Band leader John Fred Gourrier, Bernard made major creative contributions to “Judy In Disguise” and the singles that preceded it, “Up and Down” and “Agnes English.” He was also the band’s arranger and saxophonist.

Still feverishly creative in his 70s, Bernard performed and recorded in recent years with Baton Rouge’s Henry Turner Jr.
And Flavor and New Orleans singer-songwriter Carlo Ditta.
His baritone sax solo and Wurlitzer keyboard playing are featured in Ditta’s 2019 remake of “Agnes English.” “Andy brought the hitmaking skill to John Fred and His Playboy Band,” Ditta said.

“He had a genius about him during that time.” Bernard also recorded all of the horn parts for Turner’s 2020 album, “Now.” “Andrew could be one of the most stubborn, rambunctious characters you’d ever want to deal with,” Turner said. “But he was one of the most brilliant horn arrangers and songwriters I’ve ever met.

He never gave up on the music business.” Despite metastasized cancer, Bernard’s wife, Michelle, said Wednesday, “he was doing his music right up to the end. He thought ‘Judy In Disguise’ could be an excellent spy movie. He had all kinds of ideas about it.” A New Orleans native who grew up in Houma, Bernard moved to Baton Rouge to attend LSU.

In 1965, he joined John Fred and Playboy Band while he was still a music student at LSU. Bernard and Gourrier composed “Judy in Disguise,” their madly catchy pop-soul-psychedelic hit, at an old piano in the two-bedroom house near the Perkins Road overpass where Bernard lived with his first wife and their three children.

“We needed some songs for an album coming up,” Bernard said in 2010. “We were trying to write something for the kids, for the teenagers, that they would like. So, we were going to do something really simple.” Members of the Playboy Band and Buzz Bennett, music director at WTIX radio in New Orleans, initially disliked “Judy In Disguise.” Bennett, after saying the song was the worst record he’d ever heard, thought otherwise following explosive listener response to the song, predicting it would go to No.1.

Released in the U.S. by Shreveport’s Paula Records, “Judy In Disguise” was a global smash, charting No.1 and Top 10 in 18 countries. John Fred and His Playboy Band toured the U.S. and Europe, appeared on “The Tonight Show Starring Johnny Carson” and Dick Clark’s “American Bandstand” and met the Beatles at Apple Records in London.

A year after the success of “Judy in Disguise,” Bernard left the Playboy Band following his attempt to replace Gourrier as the group’s leader.
He also came to dislike “Judy In Disguise.” “It wasn’t my favorite song,” Bernard said.
I thought it was too dumb and simple.
I wouldn’t tell anybody that I wrote it.

For 10 years, I wouldn’t play the song. We went all the way to the top, but with nothing coming behind it.” After his music fame, Bernard worked in the north Louisiana oil patch until the early ’80s oil bust. Bernard carried on in music, leading his own group and performing with his vocalist sister, Judy.

Who first sang Behind Blue Eyes?

“Behind Blue Eyes”

Belgian sleeve single

Single by the Who

from the album Who’s Next

B-side

” My Wife ” (US)
” Going Mobile ” (Europe)

Released

6 November 1971

Recorded

May–June 1971

Studio

Olympic, London

Genre

Hard rock
folk rock

Length

3 : 41 (album version)
3:28 (original version)

Label

Decca
MCA
Track
Polydor

Songwriter(s)

Pete Townshend

Producer(s)

The Who
Glyn Johns
Kit Lambert, Chris Stamp, Pete Kameron

The Who singles chronology

” Baba O’Riley ” (1971)

” Behind Blue Eyes ” (1971)

” Join Together ” (1972)

/td>

Behind Blue Eyes ” is a song by English rock band the Who, It is the second single from the band’s fifth album, Who’s Next (1971), and was originally written by Pete Townshend for his Lifehouse project. The song is one of the Who’s best-known recordings and has been covered by many artists, including Limp Bizkit,

Who’s the famous Standard singer of all blue eyes?

Frank Sinatra
Sinatra, c. 1957
Born	Francis Albert Sinatra December 12, 1915 Hoboken, New Jersey, U.S.
Died	May 14, 1998 (aged 82) Los Angeles, California, U.S.
Burial place	Desert Memorial Park
Occupations	Singer actor
Years active	1935–1995
Spouses	Nancy Barbato ( m. ; div.) Ava Gardner ( m.1951; div.1957) Mia Farrow ( m. ; div.1968) Barbara Marx ( m.)
Children	Nancy Frank Jr. Tina
Parents	Antonino Martino Sinatra Natalina Garaventa
Musical career
Genres	Traditional pop easy listening jazz swing big band
Instrument(s)	Vocals
Labels	RCA Victor Columbia Capitol Reprise Warner Bros.
Formerly of	Rat Pack

Website	sinatra,com

Francis Albert Sinatra (; December 12, 1915 – May 14, 1998) was an American singer and actor. Nicknamed the ” Chairman of the Board ” and later called “Ol’ Blue Eyes”, Sinatra was one of the most popular entertainers of the 1940s, 1950s, and 1960s. He is among the world’s best-selling music artists with an estimated 150 million record sales.

Born to Italian immigrants in Hoboken, New Jersey, Sinatra was greatly influenced by the intimate, easy-listening vocal style of Bing Crosby and began his musical career in the swing era with bandleaders Harry James and Tommy Dorsey, He found success as a solo artist after signing with Columbia Records in 1943, becoming the idol of the ” bobby soxers “.

Sinatra released his debut album, The Voice of Frank Sinatra, in 1946. When his film career stalled in the early 1950s, Sinatra turned to Las Vegas, where he became one of its best-known residency performers and part of the famous Rat Pack, His acting career was revived by the 1953 film From Here to Eternity, which earned Sinatra an Academy Award and a Golden Globe Award for Best Supporting Actor.

Sinatra then signed with Capitol Records and released several critically lauded albums, some of which were later considered as among the first ” concept albums “, including In the Wee Small Hours (1955), Songs for Swingin’ Lovers! (1956), Come Fly with Me (1958), Only the Lonely (1958), No One Cares (1959), and Nice ‘n’ Easy (1960).

Sinatra left Capitol in 1960 to start his own record label, Reprise Records and released a string of successful albums. In 1965, he recorded the retrospective album September of My Years and starred in the Emmy -winning television special Frank Sinatra: A Man and His Music,

After releasing Sinatra at the Sands, recorded at the Sands Hotel and Casino in Vegas with frequent collaborator Count Basie in early 1966, the following year he recorded one of his most famous collaborations with Tom Jobim, the album Francis Albert Sinatra & Antonio Carlos Jobim, It was followed by 1968’s Francis A.

& Edward K. with Duke Ellington, Sinatra retired for the first time in 1971, but came out of retirement two years later. He recorded several albums and resumed performing at Caesars Palace, and released ” New York, New York ” in 1980. Using his Las Vegas shows as a home base, he toured within the United States and internationally until shortly before his death in 1998.

Sinatra forged a highly successful career as a film actor.
After winning an Academy Award for best supporting actor in From Here to Eternity, he starred in The Man with the Golden Arm (1955) and The Manchurian Candidate (1962).
Sinatra also appeared in musicals such as On the Town (1949), Guys and Dolls (1955), High Society (1956), and Pal Joey (1957), which won him another Golden Globe.

Toward the end of his career, he frequently played detectives, including the title character in Tony Rome (1967). Sinatra received the Golden Globe Cecil B. DeMille Award in 1971. On television, The Frank Sinatra Show began on CBS in 1950, and he continued to make appearances on television throughout the 1950s and 1960s.

While Sinatra never learned how to read music, he worked very hard from a young age to improve his abilities in all aspects of music.
A perfectionist, renowned for his style and presence, Sinatra always insisted on recording live with his band.
He led a colorful personal life and was involved in turbulent relationships, including his second marriage to Ava Gardner,

He later married Mia Farrow in 1966 and Barbara Marx in 1976. Sinatra had several violent confrontations, often with journalists he felt had crossed him or work bosses with whom he had disagreements. He was deeply involved with politics starting in the mid-1940s and actively campaigned for presidents Franklin D.

Roosevelt, Harry S.
Truman, John F.
Ennedy and Ronald Reagan,
Sinatra was investigated by the FBI for his alleged relationship with the mafia,
Sinatra was honored at the Kennedy Center Honors in 1983, was awarded the Presidential Medal of Freedom by Ronald Reagan in 1985, and the Congressional Gold Medal in 1997.

He received eleven Grammy Awards, including the Grammy Trustees Award, Grammy Legend Award and the Grammy Lifetime Achievement Award, Sinatra was included in Time magazine’s compilation of the 20th century’s 100 most influential people. American music critic Robert Christgau called him “the greatest singer of the 20th century” and he continues to be regarded as an iconic figure.

Are David Crosby and Graham Nash still friends?

Rocking on – Nash is not the only graying music star who launched his career half a century or more ago and is still performing. This year has seen concert tours by former Beatles Paul McCartney and Ringo Starr, who are 80 and 82 respectively, and by the Rolling Stones, whose best-known members, Mick Jagger and Keith Richards, are 79 and 78.

Starr postponed several performances earlier this week after contracting COVID-19.) Others who hit the road in 2022 include Willie Nelson, 89, Buddy Guy, 86, Mavis Staples, 83, Smokey Robinson, 82, Boz Scaggs, 78, and Blondie, whose lead singer, Debbie Harry, is 77.
I saw (classical guitar giant) Andres Segovia perform at Grace Cathedral in San Francisco, when he was 92, and he killed me!” Nash said.

“The Ink Spots were still touring when they were all in their 70s and 80s. I mean, why not? Was it Mick Jagger who said: ‘You can’t trust anybody over 30?’ I wonder what he thinks about that now.” With the clock ticking, Nash is keeping as busy as ever.

In March, he released a live double-album.
Recorded at several concerts in 2019, it features him and a seven-piece band performing his first two solo albums, 1971’s “Songs for Beginners” and 1973’s “Wild Tales,” in their entirety.
The live album followed last November’s publication of his latest book, “A Life in Focus: The Photography of Graham Nash.” His previous book of photos, “Eye to Eye,” came out in 2004.

Nash’s next solo album is due in the spring. He is also featured on every number on the upcoming new album by Allan Clarke. “Allan is my oldest friend, and I’m honored, of course, to be on his album,” he said. “We’re both 80. I met him when I was 6. We started The Hollies in 1962, and he’s the voice behind (such Hollies’ hits) as ‘The Air That I Breathe’ and ‘Long Cool Woman in a Black Dress.’ Allan sent me a couple of tracks, and I added my vocals in my home studio in New York. David Crosby and Graham Nash are shown at a 1974 Crosby, Stills, Nash & Young concert perform in Oakland. The two have been estranged for the past seven years will reunite, in a manner, in a new Nash and Crosby compilation album that Nash is overseeing. “I do miss David,” Nash says of his former musical parner. (Robert Altman / Getty Images)

How long can you live with Lewy dementia?

References –

Dickson DW, Heckman MG, Murray ME, Soto AI, Walton RL, Diehl NN, van Gerpen JA, Uitti RJ, Wszolek ZK, Ertekin-Taner N, Knopman DS, Petersen RC, Graff-Radford NR, Boeve BF, Bu G, Ferman TJ, Ross OA. APOE epsilon4 is associated with severity of Lewy body pathology independent of Alzheimer pathology. Neurology.2018 Sep 18;91(12):e1182-e1195. doi: 10.1212/WNL.0000000000006212. Epub 2018 Aug 24. Citation on PubMed or Free article on PubMed Central Ferman TJ, Boeve BF, Smith GE, Lin SC, Silber MH, Pedraza O, Wszolek Z, Graff-Radford NR, Uitti R, Van Gerpen J, Pao W, Knopman D, Pankratz VS, Kantarci K, Boot B, Parisi JE, Dugger BN, Fujishiro H, Petersen RC, Dickson DW. Inclusion of RBD improves the diagnostic classification of dementia with Lewy bodies. Neurology.2011 Aug 30;77(9):875-82. doi: 10.1212/WNL.0b013e31822c9148. Epub 2011 Aug 17. Citation on PubMed or Free article on PubMed Central Hogan DB, Fiest KM, Roberts JI, Maxwell CJ, Dykeman J, Pringsheim T, Steeves T, Smith EE, Pearson D, Jette N. The Prevalence and Incidence of Dementia with Lewy Bodies: a Systematic Review. Can J Neurol Sci.2016 Apr;43 Suppl 1:S83-95. doi: 10.1017/cjn.2016.2. Citation on PubMed McKeith IG, Boeve BF, Dickson DW, Halliday G, Taylor JP, Weintraub D, Aarsland D, Galvin J, Attems J, Ballard CG, Bayston A, Beach TG, Blanc F, Bohnen N, Bonanni L, Bras J, Brundin P, Burn D, Chen-Plotkin A, Duda JE, El-Agnaf O, Feldman H, Ferman TJ, Ffytche D, Fujishiro H, Galasko D, Goldman JG, Gomperts SN, Graff-Radford NR, Honig LS, Iranzo A, Kantarci K, Kaufer D, Kukull W, Lee VMY, Leverenz JB, Lewis S, Lippa C, Lunde A, Masellis M, Masliah E, McLean P, Mollenhauer B, Montine TJ, Moreno E, Mori E, Murray M, O’Brien JT, Orimo S, Postuma RB, Ramaswamy S, Ross OA, Salmon DP, Singleton A, Taylor A, Thomas A, Tiraboschi P, Toledo JB, Trojanowski JQ, Tsuang D, Walker Z, Yamada M, Kosaka K. Diagnosis and management of dementia with Lewy bodies: Fourth consensus report of the DLB Consortium. Neurology.2017 Jul 4;89(1):88-100. doi: 10.1212/WNL.0000000000004058. Epub 2017 Jun 7. Citation on PubMed or Free article on PubMed Central Morra LF, Donovick PJ. Clinical presentation and differential diagnosis of dementia with Lewy bodies: a review. Int J Geriatr Psychiatry.2014 Jun;29(6):569-76. doi: 10.1002/gps.4039. Epub 2013 Oct 21. Citation on PubMed Nalls MA, Duran R, Lopez G, Kurzawa-Akanbi M, McKeith IG, Chinnery PF, Morris CM, Theuns J, Crosiers D, Cras P, Engelborghs S, De Deyn PP, Van Broeckhoven C, Mann DM, Snowden J, Pickering-Brown S, Halliwell N, Davidson Y, Gibbons L, Harris J, Sheerin UM, Bras J, Hardy J, Clark L, Marder K, Honig LS, Berg D, Maetzler W, Brockmann K, Gasser T, Novellino F, Quattrone A, Annesi G, De Marco EV, Rogaeva E, Masellis M, Black SE, Bilbao JM, Foroud T, Ghetti B, Nichols WC, Pankratz N, Halliday G, Lesage S, Klebe S, Durr A, Duyckaerts C, Brice A, Giasson BI, Trojanowski JQ, Hurtig HI, Tayebi N, Landazabal C, Knight MA, Keller M, Singleton AB, Wolfsberg TG, Sidransky E. A multicenter study of glucocerebrosidase mutations in dementia with Lewy bodies. JAMA Neurol.2013 Jun;70(6):727-35. doi: 10.1001/jamaneurol.2013.1925. Citation on PubMed or Free article on PubMed Central Pietrzak M, Papp A, Curtis A, Handelman SK, Kataki M, Scharre DW, Rempala G, Sadee W. Gene expression profiling of brain samples from patients with Lewy body dementia. Biochem Biophys Res Commun.2016 Oct 28;479(4):875-880. doi: 10.1016/j.bbrc.2016.09.114. Epub 2016 Sep 22. Citation on PubMed or Free article on PubMed Central Tsuang D, Leverenz JB, Lopez OL, Hamilton RL, Bennett DA, Schneider JA, Buchman AS, Larson EB, Crane PK, Kaye JA, Kramer P, Woltjer R, Kukull W, Nelson PT, Jicha GA, Neltner JH, Galasko D, Masliah E, Trojanowski JQ, Schellenberg GD, Yearout D, Huston H, Fritts-Penniman A, Mata IF, Wan JY, Edwards KL, Montine TJ, Zabetian CP. GBA mutations increase risk for Lewy body disease with and without Alzheimer disease pathology. Neurology.2012 Nov 6;79(19):1944-50. doi: 10.1212/WNL.0b013e3182735e9a. Epub 2012 Oct 3. Citation on PubMed or Free article on PubMed Central Vergouw LJM, van Steenoven I, van de Berg WDJ, Teunissen CE, van Swieten JC, Bonifati V, Lemstra AW, de Jong FJ. An update on the genetics of dementia with Lewy bodies. Parkinsonism Relat Disord.2017 Oct;43:1-8. doi: 10.1016/j.parkreldis.2017.07.009. Epub 2017 Jul 13. Citation on PubMed

What celebrities have had Lewy body dementia?

Lewy Body Dementia Resource Center Shares Robin’s Wish Documentary, Available on Video on Demand September 1, Reveals Robin Williams Struggle with Lewy Body Dementia NEW YORK, Aug.31, 2020 /PRNewswire/ – The 2014 death of beloved actor and comedian Robin Williams confused and devastated millions of people.

An autopsy revealed the true culprit of his struggle was Robin’s Wish, directed by Tylor Norwood, documents Williams’ experience with Lewy Body Dementia (LBD), detailing the painfully elusive nature of this disease.
Susan Schneider Williams, Robin Williams’ widow, discusses her long journey toward finding answers for what she called the terrorist inside her husband’s brain.

On September 1, the film will be available on iTunes, Amazon, Fandango, and other major platforms. ” Robin Williams struggled with getting the right diagnosis, which repeatedly parallels the experience we hear from people with LBD and their loved ones who call our helpline,” says Norma Loeb, executive director of the Lewy Body Dementia Resource Center, one of the consulting organizations for the film.

Being misdiagnosed can be dangerous because people with LBD are sensitive to medications, and the wrong drugs may cause severe reactions such as hallucinations or worse. The correct diagnosis is crucial to a better quality of life.” Robin Williams isn’t the only celebrity who has suffered with Lewy Body Dementia, the second most common form of progressive dementia.

Ted Turner, media proprietor and producer, currently has LBD and struggled to be diagnosed properly for several years. His daughter, Laura Turner Seydel, recently shared with Ms. Loeb, ” Robin’s Wish is a very powerful and impactful film that tells the true story of Robin Williams’ end of life struggles.

What he didn’t know was that he was battling Lewy Body Dementia. This film is very personal to me because my dad, Ted Turner, is also struggling with the disease. For most people like us, LBD flies under the radar, and it is often undiagnosed or misdiagnosed. With my Dad, it was undiagnosed for a number of years.” While the disease affects more men, women also get LBD including actresses Dina Merrill, Estelle Geddes, and Ms.

Loeb’s mother, Lillian. As detailed in the documentary, Lewy Body Dementia is a disease that’s notoriously difficult to diagnose due to its wide range of seemingly unrelated symptoms. “Although an estimated 1.4 million Americans have been diagnosed with LBD, many more may be experiencing symptoms without having reached a diagnosis,” says Ms.

Loeb. In Robin Williams’ case, this progressive type of dementia progressed quickly and led to increasingly disturbing mental and physical symptoms.
Despite access to the best medical care, doctors still misdiagnosed Robin Williams,
Such as cognition and memory issues (similar to Alzheimer’s disease), changes in gait (as in Parkinson’s disease), vivid and visual hallucinations, and sleep problems.

The hope of Robin’s Wish is that more persons and their medical practitioners will become aware of the disease and its difficulty to diagnose. Ms. Turner shared this, “It was important for the public that my dad bravely announced he had LBD in an interview with his friend Ted Koppel to let people know about this neurodegenerative disorder.

It is shocking to me that over 1.4 million people in the U.S. have been diagnosed with a disease whose name is relatively unknown. My wish for the sake of those with the disease and their families and caregivers is that the film can help raise awareness and lead to increased funding for research that will lead to effective prevention and management, and of course ultimately a cure.” “Since even those with excellent medical care often struggle to reach an accurate diagnosis, it’s crucial to raise awareness of Lewy Body Dementia to help all individuals find timely and appropriate treatment,” says Ms.

Loeb. The Lewy Body Dementia Resource Center in New York aims to educate and support those with LBD, their loved ones, and the general public on all things related to this neurodegenerative disorder. About Lewy Body Dementia Resource Center The Lewy Body Dementia Resource Center is a charitable 501(c)(3) non-profit organization based in New York which was created to provide much needed resources and assistance to those with Lewy Body Dementia and their families.

LBDRC’s mission is to raise crucially needed awareness of Lewy Body Dementia through the dissemination of information to health care professionals and the general public, offer loving support and services to people with LBD and their care partners, and to promote essential scientific advances.
The Lewy Body Dementia Resource Center is the only organization in the country that offers a live helpline at 516-218-2026.

They also have over 8,000 supportive resources on their website at:,

To contact Norma Loeb, executive director, LBDRC, please call 646-248-9292 or email,Press Contact: Marissa Kasarov(720) 775-8191SOURCE Lewy Body Dementia Resource Center

Can a person with Lewy body dementia live alone?

Lewy Body Dementia (LBD) is a condition where a person develops the symptoms of Parkinson’s disease dementia in addition to the symptoms of Lewy body dementia. Sometimes misdiagnosed as Alzheimer’s disease, LBD is caused by abnormal microscopic protein deposits that accumulate in the brain and interfere with normal brain function.

The result is a slow deterioration of thought processes.
Because there is no cure, treatment for LBD is about symptom management.
If you have LBD, live alone, and want to remain independent for as long as possible, it’s important to establish a plan that will help you to care for yourself.
Here are nine ways to live well with LBD: Be Informed.

The more you know about LBD, the better. Make sure your doctor answers all your questions. Visit the Lewy Body Dementia Association’s website at www.lbda.org and learn everything you can about this condition. Get information about resources and supportive services in your area for people with LBD.

Establish A Support Group. Let your friends and family know you have LBD and will need their support. Ask them to check in with you regularly to make sure everything is okay. Find people nearby who you can call if something goes wrong. Joining a self-help group in your area will help you to feel less alone and more connected to those facing the same challenges as you.

Relieve Stress. Regular exercise is a very effective way to reduce stress and stay fit, whether it’s cruising a shopping mall, playing golf or visiting the gym. Taking a nap during the day can also be quite relaxing, especially if you have insomnia. Recognize and Treat Depression.

Depression is a common but treatable symptom of LBD.
Mood-elevating medications prescribed by your physician can help you to maintain a positive state of mind.
Play Games.
Exercise your brain daily to keep mental processes clear and sharp.
Work crossword puzzles, play chess or study a new language.
It doesn’t matter what you do as long as it involves focused thinking and is something you enjoy.

Get an Alert Device. With a medical alert bracelet or necklace, you can summon immediate emergency help. These devices can also provide important medical information for emergency medical personnel. Get Legal Affairs in Order. Set up a meeting with your lawyer.

You might want to draw up a living will that states your wishes with regard to health care should you become unable to speak for yourself. Get a Hobby. Find an activity that you enjoy. Gardening, gourmet cooking, playing a musical instrument, knitting or fishing can all be enjoyable, rewarding and relaxing ways to spend time.

Arrange Outings. Weekly outings with friends or loved ones can provide a refreshing change of scene. Getting out will also help you to feel more connected to other people and to life in general. Being diagnosed with LBD is a challenge, but you can still enjoy life if you work at it.

What was Judy Collins greatest hit?

The Very Best of Judy Collins

Greatest hits album by Judy Collins

Released

August 21, 2001

Recorded

1964-75

Genre

Folk, Pop, Rock

Length

64 : 54

Label

Rhino, Elektra

Producer

Mark Abramson, David Anderle, Arif Mardin, Jac Holzman, Judy Collins

Judy Collins chronology

Classic Folk (2000)

The Very Best of Judy Collins (2001)

Judy Collins Sings Leonard Cohen: Democracy (2004)

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table> Professional ratings

Review scores Source Rating AllMusic

The Very Best of Judy Collins is a greatest hits album by singer/songwriter Judy Collins, It includes highlights of her career through 1975. All tracks are taken from her Elektra studio albums with one exception, the single version of Collins’ biggest hit ” Both Sides Now “, which peaked at No.8 on the Billboard singles chart.

What kind of voice does Judy Collins have?

Home Entertainment & Pop Culture Music, Contemporary Genres Folk Music Alternate titles: Judy Marjorie Collins Judy Collins, in full Judy Marjorie Collins, (born May 1, 1939, Seattle, Wash., U.S.), American folk and pop singer-songwriter known for her soaring soprano, eclectic repertoire, and political activism.

A classically trained pianist and self-taught guitarist, Collins performed in folk clubs and coffeehouses from 1959, popularizing works by such songwriters as Bob Dylan, Leonard Cohen, Phil Ochs, Tom Paxton, and Joni Mitchell, She also had great success with cabaret and theatrical songs by Jacques Brel, Kurt Weill, Stephen Sondheim, and Randy Newman,

Her biggest hits included Mitchell’s “Both Sides Now,” Sondheim’s “Send in the Clowns,” a haunting a cappella version of the spiritual “Amazing Grace,” and “Farewell to Tarwathie,” a Scottish whaling song accompanied by recordings of humpback whales.

How long has Judy Collins been sober?

Get our weekly picks of what to do this weekend and the latest on Philly’s arts and entertainment scene. – Who Wrote Suite Judy Blue Eyes Photograph by Brad Trent Singer Judy Collins doesn’t mind at all if you bring up the whole “Suite: Judy Blue Eyes” homage. In fact, she’s meeting up with former boyfriend, songwriter Stephen Stills, in a couple of weeks, and they are headed out on tour together at the end of July.

Never mind that the song is about their breakup — Collins says the fact that people remember it (and many of her songs, including “Both Sides Now” ) is a “fantastic honor,” and calls herself the “luckiest person in the world.” It’s a bit of an odd thing to say after a 30-minute conversation about her alcoholism, bulimia, self-harm, and son’s suicide.

In her new book, Cravings: How I Conquered Food, (not to be confused Cravings: All the Food You Want To Eat, by model and hilarious Tweeter Chrissy Teigen), Collins focuses on her journey through alcohol and food addiction. For most of her life, she moved from food (mostly sugar) to cigarettes to alcohol and back to food, throwing up every day for 11 years while bingeing on Almond Joys and Necco Wafers.

It is a combination of a restricted diet, meditation, and recovery meetings that has helped her with sobriety, one she practices daily with meetings and mindfulness.
Collins passionately insists that she has found the answer to her food addiction, and hopes the book helps others walking the same journey.

She will be talking about her new book at the Parkway Central Branch of the Free Library on March 1st at 7:30 p.m. Tickets are $15, $7 for students. This interview has been condensed and edited. Don’t take this the wrong way, but it’s kind of nice to hear that you’re not perfect.

That this beautiful woman with the amazing voice and the career is kind of A mess, right? Most people are a mess part of their lives, and the beauty is figuring it out, how you get sober or get through the physical addiction and make it through. Surviving my son’s suicide? That was big, because that can kill you too.

But you’re not hanging out there alone. You have to get online or get on the phone or find a group and find others. This book isn’t about your music, but your journey with addiction, particularly with food. For me, it was a long, hard journey. I would like to save people that difficulty by starting with the solution.

The secret is to get off sugar, starches, grain, corn, flour, and all that crap.
That’s pretty intense.
It’s hard for the first 10 days to two weeks, and then all the cravings will disappear.
The truth is food is everywhere.
You have to be the gatekeeper.
Society is not going to do that for you.
Now what do you eat? What did you have for dinner last night? I have abundant meals every day, and I have no cravings, and I get to eat all these fabulous things.

Let me think. I wasn’t feeling well when I came home, so I had chicken soup and two ounces of cheese — real-fat feta cheese — and a big salad. How did you feel about having an eating disorder? Did you keep it a secret? For a long time, nobody talked about eating disorders.

When I got sober in 1978, no one really understood what eating disorders were, no one talked about them. I had one and I didn’t know what it was. It wasn’t until I started going to anonymous programs about food, and of course they knew what it was. Now people understand. They understand why Karen Carpenter died.

Why it was such a big deal when Princess Diana talked about her bulimia. It’s a big deal. It can lead to death, and it has. Throwing up every day for 11 years is going to have some health effects. What were the consequences? Well, I had a hemangioma on my vocal cord, probably due to the combination of drinking and bulimia.

And with 11 years of throwing up, I’ve had problems with my teeth the whole time — probably 15 or 16 root canals that could have been prevented, and now I have implants.
Did your music provide a safe space from the addictions, or did it fuel it? If I didn’t have the music, I’d be dead.
It’s curative and soothing and an inspiration.

How is your life now? When I became abstinent, I could work better and faster. The angst and chatter in my head ended because I wasn’t always thinking about what I was going to eat and when, and can I just have a little? It’s gone. Now I have a plan, I have three meals and two snacks and fruit.

I go to meetings, I have people on the phone with me, for food and alcohol meetings every day. You have a lot of energy! And you’re always on the road. In 2008, it was the financial crash and my entire industry changed, and now I have to do three times the amount of work to make the same kind of money.

Before 2008, I was probably doing 50 or 60 shows a year. Now I do 120, 130 shows a year.

Who did Judy Collins Love?

Stephen Stills from the group Crosby, Stills & Nash and Judy Collins come together after 50 years for their first album together, Everybody Knows, MICHEL MARTIN, HOST: And now we turn to a story of love, friendship and music. (SOUNDBITE OF SONG, “SUITE: JUDY BLUE EYES”) CROSBY, STILLS AND NASH: (Singing) It’s getting to the point where I’m no fun anymore.

MARTIN: Half a century ago, singer-songwriter Stephen Stills and Judy Collins fell in love. The romantic relationship only lasted two years, but the imprint of one on the other endured. After the couple split, Stephen joined the now legendary group Crosby, Stills & Nash. With emotions fresh from the breakup, he wrote what would become one of the group’s biggest hits and what many call the best rock breakup song ever, “Suite: Judy Blue Eyes.” (SOUNDBITE OF SONG, “SUITE: JUDY BLUE EYES”) CROSBY, STILLS AND NASH: (Singing) I am yours.

You are mine. You are what you are. JUDY COLLINS: (Singing) You make it hard (laughter). MARTIN: And Judy Collins’s career also blossomed. She was one of the most popular live acts of the 1960s and one of the female folk artists who defined the era with hits like this.

SOUNDBITE OF SONG, “BOTH SIDES NOW”) COLLINS: (Singing) I’ve looked at love from both sides now, from win and lose.
And still somehow, it’s.
MARTIN: So life went on.
They each went their separate ways.
And then a few years ago, they shared the bill at – a wait for it – AARP convention.
And they decided to record an album together for the first time.

It’s called “Everybody Knows.” They toured together this summer, and we are catching them just as the tour is winding down. They’re with us from our studios at NPR West in Culver City, Calif. Stephen Stills, Judy Collins, thank you so much for speaking with us.

COLLINS: You’re welcome. STEPHEN STILLS: You’re welcome. COLLINS: Thank you. Thank you. STILLS: You missed a couple of steps, but (laughter). MARTIN: OK. Yeah. There were a few ’cause – yeah. It’s been a while, yeah. STILLS: We never really lost touch with each other. We have a connection that’s pretty otherworldly, so you don’t let those things go.

MARTIN: Let’s go back all the way. And like, who saw who first? COLLINS: Actually, we have two versions of that. MARTIN: Well, of course you do. (LAUGHTER) COLLINS: I think we met as I was singing a song in John Haney’s (ph) little house up near Griffith Park.

And Stephen says that we met at the Whisky A Go Go. MARTIN: So who was liking who first? I mean, tell, you know, tell the truth. COLLINS: I didn’t know him until he started playing the guitar on the session and then I just went crazy. You know, I was smitten. And so from that moment on, until this really, because when we started singing together to practice this album, Stephen said, well, we should have done this right from the beginning.

We should have skipped the romance. But I said, well, but then you wouldn’t have written “Suite: Judy Blue Eyes.” MARTIN: Well, talk to me a little bit about the song, Stephen, if we can still talk a little bit about it. I mean, it went on to be one of the biggest hits of Crosby, Stills & Nash.

Not only that, you know, it’s on the list of – in Rolling Stones’, you know, 500 Greatest Songs of All Time. And, you know, why do you think it is such a great hit? STILLS: That song is awesome and timeless. And it’s a glimpse at all the ups and downs of knowing you’re breaking up with them, actually breaking up and then, I wish we hadn’t.

And it’s sort of inverted because the last part is almost like you’re inviting her back. (SOUNDBITE OF SONG, “SUITE: JUDY BLUE EYES”) CROSBY, STILLS AND NASH: (Singing) Can I tell it like it is? Listen to me, baby. It’s my heart that’s suffering. It’s dying.

And that’s what I have to lose.
COLLINS: And it was very hard to hide from that song.
MARTIN: I was going to ask you that.
I was going to ask you that.
So you knew it was about you.
And like – what – did people, I don’t know, see you in the elevator and start singing? I mean, what the heck? What was that like for you? COLLINS: I think everybody takes it personally in their own way.

And everybody probably has some kind of similar experience emotionally if not actually. So it touches the heartstrings. And it turns the romance into a kind of a yearning for whatever it is that you’re yearning for. (SOUNDBITE OF SONG, “SUITE: JUDY BLUE EYES”) CROSBY, STILLS AND NASH: (Singing) Doo (ph) doo doo doo, doo doo doo doo doo, doo doo doo doo doo.

Doo doo doo doo doo, doo doo doo doo doo doo. MARTIN: Well, let’s turn to the new record. Let’s hear the title track now, “Everybody Knows.” Let’s play a little bit of that and then we’ll talk about it. (SOUNDBITE OF SONG, “EVERTYBODY KNOWS”) STILLS AND COLLINS: (Singing) Everybody knows that the dice are loaded.

Everybody rolls with their fingers crossed. Everybody knows that the war is over. Everybody knows that the good guys lost. MARTIN: So, Judy, this is a cover of the late singer-songwriter Leonard Cohen’s song. This is a 1988 song of his. Would you talk about, you know, talk about your relationship with Leonard Cohen and how the song became the title track of this album? COLLINS: I met him in 1966 when he came to me because of a mutual friend.

And he came to my house, in my apartment. And I always say he knocked on the door, and I opened it. And I thought, well, he’s so good looking. I don’t care if he writes songs or not. But he, of course, did write songs. And he sang me three songs. He sang me “Suzanne” and “Dress Rehearsal Rag,” which is the story of a rehearsal for suicide and a song called “The Stranger Song,” which I’ve never recorded but I recorded the other two.

And it put him on the map. And after his death, I started singing this. And I sent a little tape of it. I was doing it in the concerts that I do. And I sent a little tape of it to Stephen. And I said, what do you think? And he said, I think we should do it.

SOUNDBITE OF SONG, “EVERYBODY KNOWS”) STILLS AND COLLINS: (Singing) Everybody knows.
Everybody knows that’s how it goes.
Everybody knows.
MARTIN: I wanted to ask.
Each of you is married to somebody else now, but what do you think your coming together at this point in your lives represents? I mean, do you think that there’s something – some meaning in it for people who aren’t rock stars like yourselves? I mean, is it that, you know, let the past go? Or what do you think it is? STILLS: Well, for me, I owed her big time.

I owed her this for a long time. And we already knew that we could sing together. And then when we started actually trying and we sang unison together perfectly, I went, you realize how few people can do that? And we’re also of an age where everything is OK.

I mean, I can’t imagine this happening 30 years ago. COLLINS: Yeah. That’s very true. STILLS: We’re both very opinionated. MARTIN: Judy, what about you? What does the mean to you at this stage of your life? What does it mean to have had this opportunity to work with Stephen again? COLLINS: It’s a triumph of art and friendship over time.

And it’s also very important, I think, to hang on to the things that mean something to you. And they transcend time. And it doesn’t – I think when it comes to nearly 50 years that we’ve known each other, you learn a lot about each other. I always say, in a sense, we’re sort of in marriage counseling or couples therapy with this.

Perhaps we should have done that in 1969, but who did that in 1969? STILLS: Writing songs is much more fun. COLLINS: Absolutely. Yeah. MARTIN: Well, let me ask each of you to choose a song to go out on, unless you both agree on which song you want to go out on. And if you can’t – and this is not a test – then you can each pick one.

What do you think we should go out on? COLLINS: Oh, I’ll listen to what Stephen wants to hear because I want to hear it. STILLS: Oh, I knew you were going to do that. (LAUGHTER) COLLINS: That’s why we get along. MARTIN: “So Begins The Task,” “River Of Gold,” “Judy,” “Everybody Knows.” STILLS: “River Of Gold,” yes.

MARTIN: Want to do that? OK.
We’ll go out on “River Of Gold.” That is singer-songwriters Judy Collins and Stephen Stills.
Their album together, “Everybody Knows” is available now.
Thank you both so much for speaking with us.
It was too much fun.
COLLINS: Oh, thank you, Michel, we loved it.
MARTIN: Stephen, goodbye? STILLS: Goodbye.

Just play it all the way through. MARTIN: OK. All right. Bye-bye. (SOUNDBITE OF SONG, “RIVER OF GOLD”) STILLS AND COLLINS: (Singing) There was nothing back here in the old days, nothing but a river of gold. There was nothing blocking out the sight, nothing to be bought or sold.

There were lakes of rainbows and cutthroats. You could walk for miles in the snow, didn’t know a thing about the climate, watched the seasons come and go. Copyright © 2017 NPR. All rights reserved. Visit our website terms of use and permissions pages at www.npr.org for further information. NPR transcripts are created on a rush deadline by an NPR contractor.

This text may not be in its final form and may be updated or revised in the future. Accuracy and availability may vary. The authoritative record of NPR’s programming is the audio record.

What was Judy Collins greatest hit?

The Very Best of Judy Collins

Greatest hits album by Judy Collins

Released

August 21, 2001

Recorded

1964-75

Genre

Folk, Pop, Rock

Length

64 : 54

Label

Rhino, Elektra

Producer

Mark Abramson, David Anderle, Arif Mardin, Jac Holzman, Judy Collins

Judy Collins chronology

Classic Folk (2000)

The Very Best of Judy Collins (2001)

Judy Collins Sings Leonard Cohen: Democracy (2004)

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How long has Judy Collins been sober?

It is a combination of a restricted diet, meditation, and recovery meetings that has helped her with sobriety, one she practices daily with meetings and mindfulness.
Collins passionately insists that she has found the answer to her food addiction, and hopes the book helps others walking the same journey.

That this beautiful woman with the amazing voice and the career is kind of A mess, right? Most people are a mess part of their lives, and the beauty is figuring it out, how you get sober or get through the physical addiction and make it through.
Surviving my son’s suicide? That was big, because that can kill you too.

The secret is to get off sugar, starches, grain, corn, flour, and all that crap.
That’s pretty intense.
It’s hard for the first 10 days to two weeks, and then all the cravings will disappear.
The truth is food is everywhere.
You have to be the gatekeeper.
Society is not going to do that for you.
Now what do you eat? What did you have for dinner last night? I have abundant meals every day, and I have no cravings, and I get to eat all these fabulous things.

When I got sober in 1978, no one really understood what eating disorders were, no one talked about them.
I had one and I didn’t know what it was.
It wasn’t until I started going to anonymous programs about food, and of course they knew what it was.
Now people understand.
They understand why Karen Carpenter died.

And with 11 years of throwing up, I’ve had problems with my teeth the whole time — probably 15 or 16 root canals that could have been prevented, and now I have implants. Did your music provide a safe space from the addictions, or did it fuel it? If I didn’t have the music, I’d be dead. It’s curative and soothing and an inspiration.

I go to meetings, I have people on the phone with me, for food and alcohol meetings every day. You have a lot of energy! And you’re always on the road. In 2008, it was the financial crash and my entire industry changed, and now I have to do three times the amount of work to make the same kind of money.

Before 2008, I was probably doing 50 or 60 shows a year. Now I do 120, 130 shows a year.

Was Judy Collins father blind?

Part II of our Father’s Day Celebration – Charles Collins, Judy’s father. “Here he is, ready to go, early morning on KOA in Denver.” Judy Collins hasn’t written a lot of songs in her career. Mostly she’s sung the great songs of our greatest songwriters, all of whom she championed when they needed it most, including Joni Mitchell, Leonard Cohen and Steve Goodman.

But when she did write songs, she wrote stunning ones, such as the beautiful “Since You Asked,” which Dan Fogelberg and others also recorded.
And she wrote this one, “My Father,” one of the most beautiful songs for a father there is.
Her father, Charles Thomas, was not a miner, as in the song.
He was a singer and radio host.

He was also blind. A romantic man and one who did dream of France, though, as she said, He inspired the song. But sadly he never heard it. “I wrote it in April ’68,” she said to Mojo, “I called (songwriter-folksinger) Tom Glazer and sent it to him, but didn’t call my father.

My father died on May 4th, he never heard it.
He had fallen sick on a trip to Hawaii in March and when he came back he couldn’t shake it.
So this was troubling me as I wrote the song.
But it’s very much about that romantic view of life that he had.
He’d always promised us that will live in France.
France was a big deal to him; the idea of France as the goal.

Literature, Revolution, art, philosophy – France was the place.” Her father had a big musical influence on her, buying Judy her first guitar, as well as teaching her a lot of the Irish songs he sang. “My father and I were very close,” she said in a video she posted online.

I’ve sing this song all around the world.
I always think he hears it.
I hear my father singing to me.” “He sang `Danny Boy,'” she said, “and ‘If You Ever Go Across The Sea To Ireland’ and ‘The Kerry Dancers.’ He had a lot of Irish songs in his repertoire.
He was Irish, and he bragged about it all the time.

My father got me a guitar, he rented it he didn’t want to pay a whole lot of money for something I wasn’t going to use. That was the beginning.” He was only 57 when he died in 1968, just a few days past her 28th birthday. On May 4th, 2016, the 48th anniversary of his death, she posted the photo of him above with these words: “My father, Chuck Collins, singer, performer, radio personality, à la the golden age of Radio in Seattle, Hollywood and Denver, Colorado, died 48 years ago, in 1968, Here he is, ready to go, early morning on KOA in Denver, reading his script (his engineer would have had a typed out version that daddy also wrote up, happy and smiling no matter what.

Sorely missed, deeply loved, always in the hearts of his numerous and grateful family. Love forever, RIP.” Here’s her original studio version of “My Father” from her 1968 album Who Knows Where The Times Goes?, produced by David Anderle, and featuring Van Dyke Parks on piano. Following that is Nina Simone’s rendition of “My Father.” In honor of all fathers on this Father’s Day of 2020.

Judy Collins, “My Father” My Father By Judy Collins My father always promised us That we would live in France We’d go boating on the Seine And I would learn to dance We lived in Ohio then He worked in the mines On his dreams like boats We knew we would sail in time All my sisters soon were gone To Denver and Cheyenne Marrying their grownup dreams The lilacs and the man I stayed behind the youngest still Only danced alone The colors of my father’s dreams Faded without a sound And I live in Paris now My children dance and dream Hearing the ways of a miner’s life In words they’ve never seen I sail my memories of home Like boats across the Seine And watch the Paris sun As it sets in my father’s eyes again My father always promised us That we would live in France We’d go boating on the Seine And I would learn to dance I sail my memories of home Like boats across the Seine And watch the Paris sun As it sets in my father’s eyes again Copyright The Wildflower Company/ASCAP Nina Simone, “My Father”