'Suite: Judy Blue Eyes', 'Marrakesh Express', 'Guinnevere', 'Wooden Ships' and 'Long Time Gone'.

The trio had first harmonised together on Stephen Stills' 'You Don't Have to Cry' during a party at the home of either Mama Cass Elliot (according to an adamant Stills) or Joni Mitchell (according to both Crosby and Nash) the previous June. Encouraged by Doors producer Paul Rothchild, they had then recorded a five‑song demo in New York that, despite being rejected by the Beatles' Apple label, had earned the brand new group a contract with Atlantic.

In the meantime, Crosby and Stills had joined Nash in London to write some fresh material, and after rehearsal sessions at the Long Island home of the Lovin' Spoonful's John Sebastian in January 1969, they were ready to roll. Albumsessions commenced at Wally Heider's Studio 3 in Los Angeles the following month, with the three group members sharing the production chores while Bill Halverson engineered and Stills played virtually all of the instruments. That was, aside from the drums, behind which sat former Clear Light member Dallas Taylor; Dave Crosby's rhythm guitar; and the acoustic guitar and percussion played by Graham Nash.

"Nobody sounded quite like those guys back then,” says Halverson, whose methods of recording CS&N's vocals and guitars proved to be not only successful, but highly influential. "Stephen was an unbelievable musician, and the way they blended their voices was just incredible.”

Halverson first met Wally Heider back in 1960, when the former was playing bass trombone in an all‑star jazz band at LA's Dominguez Hills Junior