| Rola: | Love |
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| Traducción: | Amor | |
| Intérprete: | Country Joe & the Fish | |
| Compositor: | Joe McDonald | |
| Disco: | Electric Music for the Mind and Body | |
| Productor: | Samuel Charters | |
| Orden al bat: | 054 | |
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| Duración: | 02:24 |
| Año: | 1967 |
| Formato: | L.P. |
| A la venta: | 01/04/1967 |
| Disquera: | Vanguard |
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Barry Melton - voz y guitarra David Cohen - guitarra y órgano Bruce Barthol - bajo y armónica Gary "Chicken" Hirsh - batería |
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Love
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Amor
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Oh, c'mon! Well, now deep in my heart baby I know that you care, Deep in my heart, babe, the feeling is there, 'Cause I got something money can't buy, I got something that you oughta try, I got love, love, I said love, sweet love, I got love, baby, yeah! Well, I can tell by your smile what you wanna do, See in your eyes you got the feeling, too. Come on, baby, it's time to move, 'Cause I've got something that's a stone groove, I got love, love, I said love, sweet love, I got love, baby. Well, now deep in my heart baby I know that you care, Deep in my heart, babe, the feeling is there, 'Cause I got something money can't buy, I got something that you oughta try, I got love, love, I said love, sweet love, I got love, baby, yeah! |
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LADO A 1. "Flying High" 2. "Not So Sweet Martha Lorraine" 3. "Death Sound Blues" 4. "Happiness Is a Porpoise Mouth" 5. "Section 43" |
LADO B 1. "Superbird" 2. "Sad and Lonely Times" 3. "Love" 4. "Bass Strings" 5. "The Masked Marauder" 6. "Grace" |
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Electric Music For The Mind And Body, Country Joe and the Fish's debut album, was one of the first psychedelic albums to come out of San Francisco. Tracks from the LP, especially "Section 43", "Grace", and "Not So Sweet Martha Lorraine" were played on progressive FM rock stations like KSAN and KMPX in San Francisco, often back-to-back. A famous version of the song "Love" was performed at the 1969 Woodstock Festival. "Grace" is a tribute to Jefferson Airplane's lead singer, Grace Slick. |
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Country Joe & the Fish: Washington
Country Joe and the Fish was a rock band most widely known for musical protests against the Vietnam War, from 1966 to 1971, and also regarded as a seminal influence to psychedelic rock. The group's name is derived from communist politics; "Country Joe" was a popular name for Joseph Stalin in the 1940s, while "the fish" refers to Mao Zedong's statement that the true revolutionary "moves through the peasantry as the fish does through water." The group began with the nucleus of "Country Joe" McDonald (lead vocals) and Barry "The Fish" Melton (lead guitar), recording and performing for the "Teach-in" protests against the Vietnam War in 1965. Co-founders McDonald and Melton added musicians as needed over the life of the band. By 1967, the group included Gary "Chicken" Hirsh (drums) (born March 9, 1940, in Chicago, Illinois); David Cohen (keyboards) (born August 4, 1942, in Brooklyn, New York) and Bruce Barthol (bass) (born November 11, 1947 in Berkeley, California). The 1967 lineup lasted only two years, and by the 1969 Woodstock Festival, the lineup included Greg 'Duke' Dewey (drums), Mark Kapner (keyboards) and Doug Metzler (bass). The band came to perform an early example of psychedelic rock. The LP Electric Music for the Mind and Body was very influential on early FM Radio in 1967. Long sets of psychedelic tunes like "Section 43", "Bass Strings", "Not So Sweet Martha Lorraine", "Janis" (for and about Janis Joplin) and "Grace" (for singer Grace Slick) (all released on Vanguard Records) were often played back to back on KSAN and KMPX in San Francisco and progressive rock stations around the country. Their first album charted at #39 on September 23, 1967, their 2nd album at #67 on February 3, 1968, and their third at #23 on August 31, 1968. Country Joe and The Fish were regulars at the original Fillmore auditorium, the Fillmore West, Fillmore,East, and Chet Helms' Avalon Ballroom. They were billed with such groups as Jefferson Airplane, Grateful Dead, Quicksilver Messenger Service, Led Zeppelin, and Iron Butterfly. They played at the Monterey Pop Festival in 1967 and at the Woodstock Festival in 1969. In 1971 the band appeared in a Western film starring Don Johnson as an outlaw gang called the Crackers. The film, titled Zachariah, was written by the Firesign Theatre and was billed as "The First Electric Western". They also appeared in the George Lucas film More American Graffiti and in the 1971 Roger Corman film Gas-s-s-s. Their biggest hit was the anti-war "I-Feel-Like-I'm-Fixin'-to-Die Rag", which debuted the same year as the band, but became best known after Country Joe's solo acoustic performance of it at Woodstock. Country Joe was sued in 2001 by Kid Ory's daughter, Babette Ory, who claimed Joe's "Fixin" Rag infringed her copyright to Kid Ory's Dixieland jazz standard "Muskrat Ramble". In August 2003, the court case was decided in Joe's favor, since Kid Ory, Babette Ory, and the Muskat Ramble publisher had all known of Joe's song in the late 1960s but no complaint was made for decades. Finding the complaint objectively unreasonable, the court awarded McDonald some of his attorney's fees and costs. Due to the long delay and prejudice, including death of key witnesses, the court did not even reach the lack of substantial similarity issue. Babette Ory and her attorney appealed, and the appellate court affirmed the decision in favor of Joe McDonald. Country Joe's anti-war activity led to his being called as a witness at the Chicago Seven conspiracy trial in 1969, where he recited the lyrics to "I-Feel-Like-I'm-Fixin'-to-Die Rag". Ed Denson: "Late in 1965, the community of activists, hippies, drop-outs and artists, which is affectionately called the Underground, its time come at last, was throbbing with excitement. A year of increasingly successful demonstrations, marches, petitions and sit-ins had shown us that it was possible to do something to express ourselves. The nucleus of Country Joe and the Fish was going through changes with supersonic evolution. One week we were a protest-songwriter's workshop, another we were a magazine, then picketing and marching, playing as a jug band, and for one brief moment during the year, we were a folk-rock band with electric guitar and washtub bass called Country Joe and the Fish. How it happened was simplicity itself. At a rally for a radical candidate for Congress, we saw the Fugs put on what was then a really mind-blowing show — the audience was stunned, and we were overjoyed. Contacting them, we arranged for a concert on the Berkeley Campus presented by the Pretentious Folk Front." These were the days before the San Francisco dance halls and everyone was glad of a chance to play anywhere, so we had our concert. That day we spent day-gloing our tee-shirts with peace symbols, and altering Barry's Beethoven sweatshirt to read Marx. The washtub was day-gloed psychedelic. That concert was a roaring success, halfway between a happening and a performance. We led off with anti-war songs, mingled with the lyric pieces Joe was writing. We were not only the only anti-war band in the area, we were the only band in the area, and our daring was spectacular. We half expected to be arrested for singing our songs. Allen sat crosslegged on the chemistry workbench we were using for a stage, chanting and reading his poems, and then the Fugs came on and finished off the evening, Not enough that their material with its vigorous vulgar outrageousness was literally making people jump from their seats, but their appearance was defiantly hippy, and to climax the evening smashing their instruments, their lead guitarist passed out and fell backwards off the stage while they threw shredded IBM cards at the audience. Inevitably, as the fall went on, we became involved in the San Francisco scene. There was little work in Berkeley, the Avalon and Fillmore were beginning to be exciting across the bay, political protest had died down and the Haight was blossoming. Our hair grew longer, clothes got shaggier, and we moved toward the hippie ethic as a way of expression, without anyone really noticing that we were changing. All the while the music became more conservative, with some experimental improvisation, beginning with a piece for the Sunrise, and finally emerging as Grace. A friend suggested that we let her arrange a concert in Big Sur, which we would play for donations and use the money to spend a week down there with the trees and water. Big Sur is special to people in the San Francisco scene. Some magic adheres to the name, for legendarily a line of folk heroes, — Joan Baez, Henry Miller, Jack Kerouac — live there and with it is a center for creativity. Its rugged and inhospitable landscape with roaring cliffs, where the mountains reach the sea, damp chilling morning fogs and parching waterless days, seem to insure that whoever lives there is real. It's not easy. |
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