Sing a song, don't be long, thrill me to the marrow. Will you come see me Thursdays and Saturdays? What have you got to lose?Ĭhestnut brown canary, ruby throated sparrow, I'm going to fly away, what have I got to lose? It's my heart that's a suffering, it a-dying and that's what I have to lose. Tuesday morning, please be gone, I'm tired of you what have you got to lose?Ĭan I tell it like it is, listen to me baby. I am yours, you are mine, you are what you areĪnd you make it hard, and you make it hard, and you make it hard, and you make it hard.įriday evening, Sunday in the afternoon, what have you got to lose? Are you still listening?įear is the lock and laughter the key to your heart and I love you. Something inside is telling me that I've got your secret. This does not mean I don't love you, I do, that's forever, yes, and for always. Tearing yourself away from me now, you are free and I am crying. Remember what we've said, and done and felt about each other, oh babe, have mercy.ĭon't let the past, remind us of what we are not now, I am not dreaming. I am yours, you are mine, you are what you are, you make it hard. Sometimes it hurts so badly I must cry out loud, ‘I am lonely.' But out of that breakup, we got an incredible trio and one of pop music’s great long tracks.It's getting to the point where I am no fun anymore, I am sorry. And though Stills played the song personally for Collins, it couldn’t repair the relationship. But it keeps building for close to seven minutes - first to a section of Stills’ vocal solos and finally to the “doo doo doo” coda and tight three-part harmonies that have come to define CSN (and sometimes Y). The roughly three-minute-long first movement could be a self-sufficient pop song in its own right. “Suite: Judy Blue Eyes” opened their first self-titled album in 1969.
As the story goes, the all-star band Crosby, Stills and Nash was founded by Stills (then part of Buffalo Springfield), David Crosby (the Byrds) and Graham Nash (the Hollies) at either the home of Joni Mitchell or Mama Cass Elliot (the answer depends on which band member you’re talking to) when they started harmonizing together, most likely to this very song. Stephen Stills wrote the four-part medley about his impending breakup with Judy Collins, a well-known singer at the time. The title is, of course, a play on words.
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