Steppenwolf, the Los Angeles-born rock band, carved a significant place in music history during the late 1960s and early 70s. Boasting over 25 million records sold, eight gold albums, and iconic singles recognized globally, their catalog is a treasure trove for rock enthusiasts. This exploration delves into 20 essential Steppenwolf Songs, primarily drawn from their prolific period with ABC-Dunhill Records between 1968 and 1971, a mere three years that cemented their legendary status. Join us as we journey through their hard-rocking anthems and discover the depth and breadth of Steppenwolf’s musical legacy.
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Steppenwolf – Photo: Gems/Redferns](Steppenwolf – Photo: Gems/Redferns)
Image: Classic band photo of Steppenwolf featuring John Kay with his signature sunglasses and the band’s raw energy, highlighting their late 60s, early 70s rock era.
20. Screaming Night Hog (Steppenwolf Gold, 1971)
“Screaming Night Hog” holds a unique position in Steppenwolf’s discography as the sole single from their compilation album, Gold: Their Greatest Hits. Released in 1971, this guitar-driven track, penned by frontman John Kay, entered the Billboard Hot 100 charts in the summer of 1970, peaking in the mid-range. It served as a potent preview of the Gold album released the following March. This compilation became a definitive introduction to Steppenwolf’s celebrated years, quickly achieving gold status and solidifying the band’s enduring appeal.
19. Sookie Sookie (Steppenwolf Live, 1970)
Steppenwolf’s rendition of “Sookie Sookie” exemplifies their connection to their musical roots and their ability to reinterpret songs with their signature hard rock edge. Originally a soul composition by Don Covay and Steve Cropper from Covay’s 1966 album See-Saw, “Sookie Sookie” had seen several covers before Steppenwolf put their stamp on it for their self-titled debut album. Its popularity was such that it reappeared on multiple Steppenwolf albums, including the Steppenwolf Live album, the Gold compilation, and 16 Greatest Hits. This track demonstrates the band’s versatility and their knack for selecting and transforming songs into steppenwolf songs that resonated with their audience.
Sookie Sookie (Live / 1970)
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18. Ride With Me (For Ladies Only, 1971)
“Ride With Me” reached No. 52 on the US charts in 1971, a single drawn from the album For Ladies Only. Penned by Dennis McCrohan, known professionally as Mars Bonfire – and brother to Steppenwolf drummer Jerry Edmonton – the song had earlier origins on Bonfire’s 1968 self-titled album. Steppenwolf infused “Ride With Me” with their characteristic sound, making it a noteworthy track within their catalog and further highlighting Bonfire’s songwriting contributions to steppenwolf songs.
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17. It’s Never Too Late (At Your Birthday Party, 1969)
A collaboration between John Kay and bassist Nick St. Nicholas (Klaus Karl Kassbaum), “It’s Never Too Late” showcases the strong creative synergy within Steppenwolf. Featured on the At Your Birthday Party album (1969), this track exemplifies the band’s cohesive musicality, both in studio recordings and live performances. Jerry Edmonton’s dynamic drumming is particularly prominent, driving the energy of this standout track amongst steppenwolf songs.
It’s Never Too Late
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16. Who Needs Ya (Steppenwolf 7, 1970)
“Who Needs Ya” served as the lead single from Steppenwolf 7 and achieved mid-chart success. Co-written by John Kay and then-new guitarist Larry Byrom (replacing Michael Monarch), the song captures a good-time vibe, reminiscent of bands like The Faces. Byrom’s guitar work and the song’s catchy sound made it a fan favorite, demonstrating Steppenwolf’s ability to evolve their sound while maintaining the core elements of steppenwolf songs.
15. Berry Rides Again (Steppenwolf, 1968)
“Berry Rides Again” is an overt and affectionate tribute to Chuck Berry, a foundational influence for Steppenwolf and their generation. John Kay’s lyrics directly reference numerous Chuck Berry classics like “Maybellene,” “Johnny B. Goode,” and “Nadine.” Guitarist Michael Monarch’s playing echoes Berry’s iconic style, complemented by Goldy McJohn’s piano work, channeling Johnnie Johnson’s signature sound. This track is a clear homage within steppenwolf songs, acknowledging their rock and roll lineage.
14. Hootchie Coochie Man (Steppenwolf, 1968)
From Chuck Berry to Muddy Waters, Steppenwolf’s self-titled debut album also featured a cover of Willie Dixon’s blues standard, “Hootchie Coochie Man.” By the time Steppenwolf recorded it, the song had already been covered extensively by artists like Muddy Waters himself, Hoyt Axton, Long John Baldry, and even British Invasion bands. Steppenwolf’s rendition brought a hard rock edge to the blues classic, showcasing their diverse influences within their early steppenwolf songs.
13. The Pusher (Steppenwolf, 1968)
Hoyt Axton, who also wrote “Snow Blind Friend” for Steppenwolf, penned “The Pusher” which became a signature track for the band. Featured on their debut album, the song draws a stark contrast between “soft” and “hard” drugs. “The Pusher” gained iconic status through its inclusion in the opening scene of the 1969 film Easy Rider. This film association became deeply intertwined with Steppenwolf’s rise to fame, making “The Pusher” one of the most recognizable steppenwolf songs.
12. Snow Blind Friend (Steppenwolf 7, 1970)
Hoyt Axton offered another song to Steppenwolf, “Snow Blind Friend,” for their Steppenwolf 7 album, which also became a single. Unlike “The Pusher,” which Axton hadn’t recorded himself when Steppenwolf adopted it, “Snow Blind Friend” appeared on Axton’s 1969 album My Griffin Is Gone in a folk style. Steppenwolf adapted the song, retaining its acoustic feel and delivering a powerful anti-drug message, marking a stylistic variation among steppenwolf songs.
Snowblind Friend
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11. Jupiter’s Child (At Your Birthday Party, 1969)
“Jupiter’s Child,” from At Your Birthday Party, credits songwriting to Kay, Edmonton, and Monarch. This track ventures into psychedelic territory with lyrics exploring cosmic themes. Michael Monarch’s guitar work displays a clear Hendrix influence, contributing to the song’s otherworldly feel. “Jupiter’s Child” demonstrates the band’s willingness to experiment and explore different sonic landscapes within steppenwolf songs.
10. A Girl I Knew (Steppenwolf, 1968)
“A Girl I Knew” holds the distinction of being Steppenwolf’s very first single release in 1967. Co-written by John Kay and Morgan Cavett, the song begins with a baroque-pop introduction before transitioning into rockier sections, reflecting the flower-power era’s musical diversity. While it didn’t achieve significant chart success initially, its inclusion on their debut album in 1968 helped establish Steppenwolf’s sound and marked the beginning of their journey creating memorable steppenwolf songs.
9. Hey Lawdy Mama (Steppenwolf Live, 1970)
“Hey Lawdy Mama” represents a later success in Steppenwolf’s singles journey, becoming their last Top 40 hit during their ABC Dunhill years. It was a new studio recording featured on Side 4 of their Steppenwolf Live double album. Billboard’s review at the time predicted its success, praising its powerful performance and material. The single indeed climbed higher on the charts than its predecessor “Monster,” reaching No. 35 and proving the band’s continued relevance with steppenwolf songs.
Hey Lawdy Mama
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8. Don’t Step on the Grass, Sam (The Second, 1968)
John Kay’s drug-themed song, “Don’t Step on the Grass, Sam,” appeared on The Second album, released just nine months after their debut. The track features notable organ work by Goldy McJohn and guitar from Michael Monarch. It was also included on their Live album, recorded mainly at the Santa Monica Civic Auditorium, highlighting its popularity in live performances and solidifying its place among key steppenwolf songs.
7. For Ladies Only (For Ladies Only, 1971)
The title track of the For Ladies Only album also served as the second single. This album marked a personnel change, with Kent Henry (from Blues Image) replacing Larry Byrom on lead guitar. Henry’s guitar work, along with Goldy McJohn’s Hammond organ, defines the sound of “For Ladies Only.” Henry’s contributions extended to John Kay’s first solo album, further demonstrating his impact on the evolution of steppenwolf songs.
For Ladies Only
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6. Monster/Suicide/America (Monster, 1969)
“Monster/Suicide/America” is an ambitious, politically charged track from the Monster album. While edited down to approximately four minutes and titled “Monster” for radio play, the full nine-minute episodic song opens the album. It embodies the album’s politically conscious lyrics, reflecting themes of social justice and freedom, which Rolling Stone noted as a central element of steppenwolf songs during this period.
5. Straight Shootin’ Woman (Slow Flux, 1974)
“Straight Shootin’ Woman” marked Steppenwolf’s final Top 40 hit and represented a band reunion and lineup change. This Top 30 US hit came after a brief hiatus, with Bobby Cochran on lead guitar and George Biondo on bass, alongside returning members Kay, McJohn, and Edmonton. John Kay explained their “temporary retirement” was a conscious decision to avoid internal band conflicts, allowing them to return with renewed energy and create further successful steppenwolf songs.
4. Move Over (Monster, 1969)
“Move Over,” another single from Monster, was co-written by Kay and producer Gabriel Mekler. The lyrics express Kay’s commentary on societal shifts, criticizing the dismissal of older generations’ experience in a rapidly changing America. “Yesterday’s glory won’t help us today,” Kay wrote, urging a forward-looking approach, a sentiment resonating within the context of steppenwolf songs that addressed contemporary issues.
3. Rock Me (At Your Birthday Party, 1969)
Entering Steppenwolf’s top tier of hits, “Rock Me” reached the US Top 10. This infectious and rhythmically driven song features a notable percussion section. Prior to its release, “Rock Me” gained exposure through its inclusion in the 1968 film Candy, adding to its appeal and solidifying its status as one of the most popular steppenwolf songs.
2. Magic Carpet Ride (The Second, 1968)
“Magic Carpet Ride,” from The Second album, is another of Steppenwolf’s US Top 10 hits and a quintessential drug-referencing anthem. John Kay described the surprisingly rapid creation of the song, stating he wrote the lyrics and melody in just 20 minutes. Its catchy melody and evocative lyrics made it an instant classic and a defining example of steppenwolf songs.
Magic Carpet Ride
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1. Born To Be Wild (Steppenwolf, 1968)
Unsurprisingly, “Born To Be Wild” tops our list of steppenwolf songs. This iconic track is not only Steppenwolf’s biggest hit but also a generational anthem and a proto-heavy metal landmark from 1968. Written by Mars Bonfire, it became the centerpiece of their debut album and gained further fame as a key song in the Easy Rider movie. John Kay himself noted the immediate impact of their first album, describing it as “loud, overpowering, and very catchy.” “Born To Be Wild” embodies these qualities, serving as Steppenwolf’s ultimate calling card and a testament to their enduring legacy.
Born To Be Wild
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