According to Young biographer David Downing, while recording the song Young told CSN&Y bassist Greg Reeves that "what we've got to do is listen with an eye to simplicity.
Bielen compares the feel of the production to that of the Buffalo Springfield songs " Expecting to Fly" and " Broken Arrow." The recording was mostly live with the main exception being the backing vocals which were overlaid later. The production uses a " wall of sound" approach reminiscent of Phil Spector. According to Unterberger, "the orchestral density of the arrangement really explodes when it reaches the third and final part.as if sunlight has suddenly emerged over the hill to brighten Young's heart." Bielen describes this as breaking the tension, with Young using a "loud, yearning voice" on his vocal. Unterberger describes the song as "an achingly pretty, brooding minor-key ballad." The "Whiskey Boot Hill" section opens with a prominent piano part which persists throughout the section and which Unterberger describes as "doomy" and "classical-tinged." The "Down Down Down" section is more uplifting and contains the harmonies of David Crosby's, Stephen Stills' and Graham Nash's backing vocals. Unterberger does find the first two parts to contain "evocative images that seem suffused with nostalgic lament and regret." He finds the last part to be a "romantic plea for the girl to let him be her country man." Bielen notes that a common Young theme of "fascination with the culture of celebrity" seems to be reflected in lyrics where "stars sit in bars." Allmusic critic Richie Unterberger also finds the lyrics to be enigmatic and difficult to understand. Music lecturer Ken Bielen finds the lyrics to be rather obscure, but notes that the song seems to be set in a bar and the subject of the song seems to be a waitress. The final section was entitled "Country Girl (I Think You're Pretty)." It was eventually released on the Buffalo Springfield box set in 2001.
The second section, "Down Down Down," was from a song that Young had recorded with Buffalo Springfield which had not yet been released. The first section, "Whisky Boot Hill," was based on a song that Young had originally started working on in 1967 and had released a string quartet arrangement of on his solo debut album Neil Young. "Country Girl" is made up of three distinct song segments. "Country Girl" is a song written by Neil Young that was first released on Crosby, Stills, Nash & Young's 1970 album Déjà Vu. “Helpless,” the album’s desolate, aching ballad, stands out, as do the underrated “Country Girl” suite and “Everybody I Love You.” This edition of Déjà Vu includes demos, outtakes, and other alternate versions.Crosby, Stills, Nash and Young song written by Neil Young "Country Girl" Neil Young, however, makes his presence felt, whether it’s coaxing stronger performances from Stills or contributing his own rough-hewn guitar lines to the bucolic bliss. Stephen Stills’ influence is noticeably passive, contributing the album’s modest opener “Carry On” and the low-key acoustic “4 + 20.” Stills mostly serves the arrangements with tasteful guitar and harmonies. Joni Mitchell’s “Woodstock” is given the definitive treatment, with scraping guitars and carefully constructed harmonies replacing her gentle piano figures. Graham Nash’s “Teach Your Children” and “Our House” express the idealistic and optimistic goals of the late ’60s, while David Crosby’s “Almost Cut My Hair” represents the paranoiac edge from which the drug scene dangled. The second album from the folk-rock era’s most successful supergroup (with Neil Young the added attraction), Déjà Vu reflects the sounds and sentiments of the times with a collective acumen, despite the group’s fragile ego balance.
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