Jump to content

Country Joe and the Fish

From Alfawiki
Country Joe and the Fish
Company typeBand
IndustryMusic
Founded1965 in Berkeley, California, United States
FounderCountry Joe McDonald, Barry "The Fish" Melton
Headquarters
Berkeley, California
,
United States
ProductsPsychedelic rock music

Country Joe and the Fish emerged as an American psychedelic rock group originating from Berkeley, California in 1965. They played a pivotal role in shaping the San Francisco Sound throughout the mid to late 1960s. The band’s core songwriters, Country Joe McDonald and Barry "The Fish" Melton, crafted lyrics that reflected countercultural issues such as anti-war activism, free love, and drug culture. Their musical style fused psychedelic influences with electronic textures, characterized by inventive guitar riffs and distorted organ arrangements that were significant in advancing acid rock.

Following the independent release of two underground EPs, they secured a contract with Vanguard Records in 1966. Their first full-length record, Electric Music for the Mind and Body (1967), featured their sole single to chart nationally, "Not So Sweet Martha Lorraine," and displayed experimental musical structures. Their sophomore album, I-Feel-Like-I'm-Fixin'-to-Die (1967), included the title track known for its satirical and darkly humorous anti-war message, which became emblematic of their protest repertoire. The band’s profile was further elevated by McDonald’s solo projects and their participation at the iconic Woodstock festival.

The group underwent several personnel changes before disbanding in 1970. Since then, members have pursued individual careers while occasionally reuniting. Their collaborations frequently involved artists from Big Brother and the Holding Company.

Formation (1965)

The inception of Country Joe and the Fish occurred in mid-1965 when Country Joe McDonald (vocals, acoustic guitar) partnered with Barry "The Fish" Melton (lead guitar, vocals). Both musicians had roots in folk music inspired by Woody Guthrie and performed regularly at local acoustic venues. Prior to relocating to Berkeley, Melton honed his politically charged performance style in Los Angeles clubs and became a staple at Berkeley’s Jabberwock cafe. McDonald had previously led two folk and jug ensembles—the Berkeley String Quartet and the Instant Jug Band, which included Melton—and was the publisher of the leftist underground magazine Et Tu Brute, later renamed Rag Baby, which featured poetry, artwork, and political commentary. By early 1965, McDonald was deeply involved in Berkeley’s folk community and active in the Free Speech Movement opposing the Vietnam War. He assembled Country Joe and the Fish alongside Melton and musicians Carl Schrager (washboard, kazoo), Bill Steele (bass), and Mike Beardslee (vocals) to independently produce an extended play that served both as a recording project and a political statement.

Ed Denson, co-publisher of Rag Baby, introduced McDonald to Chris Strachwitz at Arhoolie Recording Studios for the EP’s production. Denson took on management duties for the band and selected their name, inspired by revolutionary symbolism associated with Stalin and Mao Zedong. At Arhoolie Studios, they recorded four tracks—two originals penned by McDonald including an acoustic rendition of "I Feel Like I'm Fixin' to Die Rag"—marking their emergence as a politically engaged folk ensemble. The quickly composed "The Fish Cheer" served as a satirical critique of the Vietnam War. In October 1965, 100 copies of Rag Baby Talking Issue No. 1 were released on McDonald’s independent label during a UC Berkeley teach-in and distributed through underground channels.

McDonald and Melton briefly toured as a duo across Northwest college campuses supporting Students for a Democratic Society before returning to regular performances at the Jabberwock. They expanded their lineup by adding jug band members including bassist Bruce Barthol, guitarist Paul Armstrong, blues guitarist David Bennett Cohen, and drummer John Francis-Gunning. Their ongoing residency at the Jabberwock facilitated stronger group dynamics and an expanded setlist. Drawing influence from the Paul Butterfield Blues Band, Bob Dylan’s Highway 61 Revisited, and experiences with LSD, they transitioned to electric instruments while embracing psychedelic sounds. Although Cohen initially had limited keyboard skills, he switched from guitar to organ and adapted rapidly. Melton observed that adopting electric rock considerably boosted their popularity—they moved from playing biweekly folk venues to performing multiple shows nightly.

Significantly, McDonald composed "Who Am I" for Fred Hayden’s theatrical work Change Over, with each verse representing different characters’ viewpoints.

Electric music (1966–1968)

As Country Joe and the Fish's fame increased, the group moved to San Francisco in early 1966, becoming regular performers at venues such as the Avalon and Fillmore Auditorium. On June 6, 1966, they produced a second self-released EP that introduced their evolving psychedelic rock sound. This release realized their goal of integrating electric instruments, laying groundwork for early acid rock. The EP featured McDonald's "(Thing Called) Love" and "Bass Strings" on side A, with the six-minute "Section 43" occupying side B. Music scholar Richie Unterberger commended "Section 43" for its groundbreaking instrumental approach. Within three months, progressive radio stations nationwide began airing their music, positioning the band as a significant national presence.

Leveraging connections with producer Samuel Charters, the band secured a contract with Vanguard Records in December 1966, as the label broadened its roster from folk to include psychedelic rock acts. While preparing their first album, they performed at the Human Be-In event alongside prominent San Francisco groups like Jefferson Airplane and Big Brother and the Holding Company. This gathering helped promote countercultural themes such as environmentalism, free love, and drug experimentation.

In February 1967, Country Joe and the Fish entered the studio to record their debut album, Electric Music for the Mind and Body, with Charters and Denson handling production duties. Before recording commenced, Armstrong departed to fulfill conscientious objector obligations; drummer Gary "Chicken" Hirsh replaced Francis-Gunning following internal dissatisfaction. Hirsh’s precise drumming earned praise as among the finest on any psychedelic record.

Released on May 11, 1967, Electric Music for the Mind and Body broadened their psychedelic palette by fusing folk traditions with blues, raga rock, and hard rock elements. Cohen contributed more prominently through inventive distorted organ arrangements. McDonald's lyrics combined satire with commentary on political protest, drug culture, and love, defining the band's thematic focus. Most complex tracks were captured live in studio sessions with vocals added afterward.

The album reached number 39 on the Billboard 200 charts and remains a landmark psychedelic record from the counterculture period. The single "Not So Sweet Martha Lorraine" climbed to number 98 on the Billboard Hot 100, aided by airplay on FM and college radio stations. A revised version of "The Fish Cheer" was initially excluded from the album to gauge reactions to the provocative "Superbird." Establishing themselves as influential contributors to the San Francisco Sound scene, their polished debut was widely recognized. Their June 1967 performance at the Monterey Pop Festival further enhanced their regional acclaim and preceded an East Coast tour featuring an elaborate psychedelic light presentation.

Between July and September 1967, recording sessions took place at Vanguard Studios in New York City. After "Superbird" avoided radio censorship, they proceeded to record "The Fish Cheer," marking a transition from folk origins to electric psychedelia. This track became the title song of their second album, I-Feel-Like-I'm-Fixin'-to-Die, which was released in November 1967. Although not as commercially successful as its predecessor, it reached number 67 on the charts. The song reflected escalating anti-war sentiment during the Vietnam conflict and is regarded as a quintessential protest anthem known for its biting humor.

"The Fish Cheer" achieved widespread attention following a summer 1968 appearance at New York City's Schaefer Music Festival. At Hirsh’s suggestion, they altered the opening chant to spell "fuck", creating what became known as the "Fuck Cheer." While this provoked enthusiastic responses from younger audiences, it resulted in bans from programs like The Ed Sullivan Show and other venues. This act is interpreted as a deliberate social and political assertion supporting freedom of expression. The recorded version received mainstream radio play, contributing to the commercial success of their third album, Together, released in August 1968. Featuring songwriting contributions from all members, it became their highest-charting release nationally at number 23.

Lineup alterations and Woodstock era (1969–1970)

In September 1968, Barthol exited the group before the release of their fourth studio album, prompted by the band's decision not to engage in the Festival for Life held in Chicago. This event, arranged by the Youth International Party to coincide with the 1968 Democratic National Convention, encountered permit refusals and safety issues, causing most participants to withdraw. Barthol's conviction that the band should have played a more prominent role led him to leave and relocate to England.

During January 9–11, 1969, the ensemble appeared at Fillmore West with Jack Casady filling in on bass. The performances featured collaborations with Jerry Garcia, Jorma Kaukonen, Steve Miller, and Mickey Hart during the extended 38-minute closing piece "Donovan's Reef Jam." These shows were subsequently issued as the live album Live! Fillmore West 1969 in 1996. Following the recording of Here We Are Again, both Hirsh and Cohen departed, resulting in a revised lineup that included Casady and David Getz. Released in July 1969, Here We Are Again climbed to number 48 on the charts and signaled a transition toward a more pop-centric style. Later on, Peter S. Albin took over bass duties from Casady.

For their impromptu performance at Woodstock, McDonald assembled a new version of the group featuring Mark Kapner on keyboards, Doug Metzner on bass, and Greg Dewey on drums. McDonald’s solo set on August 16, 1969, highlighted by "The Fuck Cheer," became one of Woodstock’s memorable highlights. This track gained wider recognition through its inclusion in the Woodstock documentary released in March 1970 and received airplay predominantly on underground radio stations due to its explicit lyrics.

In December 1969, McDonald embarked on a solo career with albums interpreting Woody Guthrie’s repertoire and country classics. Concurrently, capitalizing on their Woodstock fame and film exposure in Zachariah, the band issued their fifth album CJ Fish in May 1970. The record attained moderate chart success, peaking at number 111 nationally. Nevertheless, diminishing enthusiasm for touring and recording contributed to the group's dissolution by mid-1970.

Post-breakup developments and reunions

McDonald pursued an extensive solo recording career with over thirty albums and remained engaged as an anti-war activist. He participated in every Woodstock reunion festival beginning in 1979. Melton also maintained a solo presence under the moniker "The Fish" and joined the Bay Area supergroup Dinosaurs during the 1980s. Starting in 1982, Melton practiced law in California as a Public Defender in Yolo County until his retirement in 2009. Members of Country Joe and the Fish reunited sporadically, notably producing Reunion in 1977 featuring the classic lineup from 1967. In 2004, all but Melton reformed as the Country Joe Band, resumed touring activities, released the Barthol-composed single "Cakewalk to Baghdad," and issued the live album Live in Berkeley. Although this incarnation disbanded in 2006, select members continue to perform together occasionally.

Hirsh passed away on August 17, 2021, aged 81. Barthol died on February 20, 2023, at age 75.

Singles

  • "Not So Sweet Martha Lorraine" b/w "Masked Marauder" (1967) – Reached No. 98 on Billboard Hot 100
  • "Janis" b/w "Janis (instrumental)" (1967)
  • "Who Am I" b/w "Thursday" (1968)
  • "Rock and Soul Music (Part 1)" b/w "Rock and Soul Music (Part 2)" (1968)
  • "Here I Go Again" b/w "Baby You're Driving Me Crazy" (1969)
  • "I Feel Like I'm Fixin' to Die Rag" b/w "Janis" (1969) – Peaked at No. 60 in Australia
  • "Hang On" b/w "Hand of Man" (1971)

EPs

  • Talking Issue No. 1: Songs of Opposition, Rag Baby (1965)
  • Country Joe and the Fish, Rag Baby (1966)

Studio albums

Live albums

  • Live! Fillmore West 1969 (1994)
  • Flyin' Back Home Again (San Francisco '68) (2020)

Compilations

  • Greatest Hits, Vanguard (1969)
  • The Life and Times of Country Joe and the Fish From Haight-Ashbury to Woodstock, Vanguard (1971)
  • The Best of Country Joe & the Fish, Vanguard (1973)
  • Collectors Items: The First Three EPs, Rag Baby (1980)
  • Vietnam Experience (The Vietnam War, Dec 22, 1961–May 7, 1975), Rag Baby (1985)
  • The Collected Country Joe and the Fish (1965 to 1970), Vanguard (1987)
  • Time Flies By, Rag Baby (2012)

External links

Retrieved from "https://www.alfawiki.org/index.php?title=Country_Joe_and_the_Fish&oldid=79051"