over I had no idea what he was doing. Track two became track seven, and he did this backwards guitar thing where he could hear the changes backwards and play this part. He only did it one time, turned it over and the guitar part just blew me away.”

After Halverson recorded a demo in Studio 3, featuring a folk singer named Judy Mayan who was being produced by David Crosby and the Monkees' Peter Tork, he began managing Wally Heider's while the owner was building some new facilities in San Francisco. That was when he received a call from Atlantic requesting time to be blocked for an unknown group that wanted to use Studio 3 in early 1969. Cue the Crosby, Stills & Nash project, which was thetotally overdone the sound, but Stephen was totally into what he was playing, and just when it looked like he was going to stop, he started another section and played some more. By now, my whole life was flashing in front of me, and certain that my career was over, I began to sweat. Meanwhile, Crosby and Nash were standing next to me, dancing — they were having a good time — and it wasn't until seven and a half minutes into the recording that the whole thing ended. Stephen had just played the basic track to 'Suite: Judy Blue Eyes'...

"It still gives me goose bumps when I listen to that recording, aware that he blew through seven‑and‑a‑half minutes with all the time changes, all the pauses, all