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“Stephen was writing it when we started joining forces. He had some pieces of it. Then he met Judy Collins, and that’s when it became Suite: Judy Blue Eyes. I’m sure you’ve seen Judy Collins’ eyes, which are rather spectacular. It was several pieces of different songs, and Stephen hooked them together in an extremely powerful way.
“We have a sort of built-in arrangement sense – it’s a chemistry between the three of us. We’ll try things, but we usually know right away what is the right way for a song to go. When we started doing harmonies on the song, we’d start on the same note and then slowly split apart as we went up. [Sings] ‘It’s getting to the point’ – we’d all start on the same note and spread out. Stuff like that became our modus operandi.
“We recorded it at Wally Heider’s old studio in Hollywood, a funky little room. We did this one all in the space of a few days. There’s a funny story about it, though: When we got to the end of the record, we were listening back to everything and Stephen said, ‘The song’s really good, but I think we can beat it.’ We said, ‘You’re crazy.’ But he was serious – ‘No, I think we can do it even better.’
“And so, over the course of two days, we recorded the entire seven minutes and twenty-two seconds of it over again. The entire thing, from scratch, another version. After we were done, we played them back, and we had to say, ‘Nope. We did not beat the first version.’ The first one had the mojo.”