The 5th string would not sound right tuned up or down to E. Jackhammer111 (talk) 06:39, 13 July 2016 (UTC)I believe you are correct about it being in EBEEBE. I'm interested because I spent probably 6 months learning the song in the early 70's and was very frustrated when I recently tried to brush it up again and couldn't remember the tuning. I'll see what I can do to make it more than probably. Doubling the fifth makes way more sense than chord with 5 roots and a fifth. It's been dabated endlessly but it's probably EBEEBE.

what's stated can not be relied up as being accurate, especially if you are a player trying figure the song out. so what they say the tuning is is most likely the tuning a beginning player could use and in no way represents how stills tuned his guitar in that session. I've owned many that were totally worthless efforts to make something for people that just picked a guitar up yesterday play something that remotely sounds like the song. The footnote for the tuning uses the same source twice, then using a link to a page that mentions bruce palmer's tuning, which is not proof that's the tuning on the recording. The deviations in Steven Still's first and fourth lines are not just Gulf Spanish, they are crazy grammar mistakes, altho Still's accent is OK. A lot of songs have expressed such things. The rhyme scheme (in Spanish) this way is quite elegant, A B B A, putting 'la mar Caribe' against 'visitarme allí', which is nice, and 'pa' Cuba' against 'no pueda', which is poignant.Īs can be seen, it's actually a lament over Cuba being closed to travel for so long. Louis singer/songwriter, managed to curb the impatience of the audience with a nice, seven-song set that featured clever lyrics and strong guitar work.Subject: Lyr Add: Suite Judy Blue Eyes: strange last partĬoncerning Crosby Stills & Nash's 'Suite Judy Blue Eyes' and the raucous singing at the end: After some considerable listening and thinking, and conferring with a girl from Puerto Rico, I think this is what he sang into the can: The encore highlighted that long-lost love relationship between the two old friends: Stills' 'Houses,' 'Someday Soon,' the Ian Tyson cover, and, of course, 'Suite: Judy Blue Eyes.' As good as these songs all were, it was at least as heartening to see two old friends having so much fun.

Collins' versions of Joni Mitchell's 'Both Sides Now,' as well as Mitchell's 'Chelsea Morning' were both terrific.īut Stills rocked the stage with two more Buffalo Springfield songs: 'Bluebird' and the great 'What It Takes,' featuring a signature guitar solo. It was hard to decide who did their own songs better. Collins killed with a story about meeting one of Leonard Cohen's self-important girlfriends.īut back to the music. You had to be there to hear Stills' dead-on impression of Neil Young talking about one of his songs. Both performers were also very good storytellers.

Suite judy blue eyes judy collins