it is those tiny bits of movement in a track that keep it from phasing.

"In one part of the song there's the line 'Friday evening, Sunday in the afternoon,' and then Stephen goes, 'Oh, oh, oh.' That's him singing the 'oh' on three different tracks in three different spots, and they thought that was cool because it was kind of syncopated, so we left it. Next, Stephen laid down a bass part — recorded DI or with a Shure 546, the forerunner of the SM57 — and again this was at 15ips for a big, fat sound while going through one of the UA limiters. That evening, we also cut 'You Don't Have To Cry' in the same way. So, on the first night, we recorded two songswith acoustic guitar and vocals.”

While Stills added some percussion, including a conga‑type sound at the end of the song that was attained by beating the back of his Martin guitar, he was also responsible for the various sonic textures that he created with the electrified instruments.

"When it comes to all the electric guitar parts on the early stuff, I'd love to take credit for being the brilliant engineer with Stephen,” Halverson remarks. "However, the reverse is true. All of those different guitar sounds were basically achieved by me sticking a Shure 546 in front of an old brown Fender amp, and the different sounds of the different amps were down to Stephen. Since we hardly had any effects back then aside from the really wonderful stereo echo chamber