| | Steppenwolf CD Steppenwolf Discography of CDs
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Steppenwolf: John Kay (vocals, guitar); Michael Monarch (guitar); Goldy McJohn (keyboards); Rushton Moreve (bass); Jerry Edmonton (drums).
Includes liner notes by John Kay.
Originally released on MCA (31020).
All tracks have been digitally remastered.
Personnel: John Kay (vocals, electric guitar); Michael Monarch (electric guitar, background vocals); Goldy McJohn (keyboards); Jerry Edmounton (drums).
Recording information: American Recording.
Photographer: Tom Gundelfinger.
Steppenwolf entered the studio for their recording debut in mid-1968 with a lot of confidence -- based on a heavy rehearsal schedule before they ever got signed -- and it shows on this album, a surprisingly strong debut album from a tight hard rock outfit who was obviously searching for a hook to hang their sound on. The playing is about as loud and powerful as anything being put out by a major record label in 1968, though John Kay's songwriting needed some development before their in-house repertory would catch up with their sound and musicianship. On this album, the best material came from outside the ranks of the active bandmembers: "Born to Be Wild" by ex-member Mars Bonfire, which became not only a chart-topping high-energy anthem for the counterculture (a status solidified by its use in Dennis Hopper's movie Easy Rider the following year), but coined the phrase heavy metal, thus giving a genre-specific name to the brand of music that the band played (and which was already manifesting itself in the work of bands like Vanilla Fudge and the just-emerging Led Zeppelin); the Don Covay soul cover "Sookie, Sookie," which, as a single by the new group, actually got played on some soul stations until they found out that Steppenwolf was white; two superb homages to Chess Records, in the guise of "Berry Rides Again," written (though "adapted" might be a better word) by Kay based on the work of Chuck Berry, and the Willie Dixon cover "Hoochie Coochie Man"; and Hoyt Axton's "The Pusher," an anti-drug song turned into a pounding six-minute tour de force by the band. The rest, apart from the surprisingly lyrical rock ballad "A Girl I Knew," is by-the-numbers hard rock that lacked much except a framework for their playing; only "The Ostrich" ever comes fully to life among the other originals, but the songs would catch up with the musicianship the next time out. ~ Bruce Eder
The beginnings of heavy metal can be pinpointed to a single song, Steppenwolf's biker classic "Born to Be Wild," featured on this classic self-titled 1968 debut. Originally from Canada, Steppenwolf exploded out of the West Coast, led by singer/guitarist John Kay. The band took the blues rock of Cream and cranking the volume a few notches higher to create its own style.
There's more to Steppenwolf's great debut than just the aforementioned "Wild" rock standard. There's a fun tribute to Chuck Berry in "Berry Rides Again," the sexually-charged "Sookie Sookie," and the anti-drug statement "The Pusher" (later covered by Blind Melon in the '90s). Steppenwolf Music Review Average Rating: (5 out of 5 stars)  More Than Just "Born To Be Wild"
If like me the only Steppenwolf song you had ever heard was "Born To Be Wild" you may be thinking why should I buy this, the rest can't be as good.
But yes they can, thouroughly enjoyed this slice of late 60's rock with not a duff track on it. Bugit you won't be disappointed.
Submitted by moosehunter1969 (Chesterfield United Kingdom.) 
Was This Review Helpful? Yes No 1 of 1 found this helpful. just what i exspected
all the steppenwolf cds are cool
Submitted by raremuss (orlando fl)
Was This Review Helpful? Yes No How Can You Go Wrong; It's A Classic
When this album came out, it was so fresh and original, it was an instant smash!
The recording quality is excellent even by today's standards. When I hear it now I realize that John Kay and Steppenwolf influenced a lot of singers and songwriter's yet to come; like Jim Dandy Of Black Oak Arkansas and, whether he knows it or not, Axil Rose.
The Grinding sound of the leslies Pushed to distortion, the guitar and bass playing and the sounds they got then, most band only wish they could achieve today; and what a smoking drummer! This was by far one of my favorite bands as a young musician growing up. Besides wanting to be in The Beatles, I think I wanted to be John Kay! The Ostrich Speaks to me more today, with what's going on in America, than it did during the Viet Nam era. You won't want to skip over any of the songs on this album. Buy this Record!
Submitted by rumbarecords (Billings, MT. USA)
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Purchase Steppenwolf CD To buy, Click on price to add to cart | Steppenwolf Seven CD (1970)
Steppenwolf
 $4.99   
Steppenwolf: Goldie McJohn (keyboards); George Biondo (bass guitar); Jerry Edmunton (drums, background vocals); John Kay, Larry Byrom.
Personnel: John Kay (vocals, guitar, harmonica); Larry Byrom (guitar, background vocals); George Biondo (background vocals).
Photographer: Tom Gundelfinger.
Steppenwolf only recorded seven discs for Dunhill Records in the short span between 1968 and 1971, six of them studio albums, and one allegedly "live" -- though there was early Sparrow material recorded in May of 1967 not released by the label until 1972. Throw in a greatest-hits package along with Columbia's reissue of yet more Sparrow recordings, and how they came up with Steppenwolf 7 for the title of this, their fifth studio recording for Dunhill, is a question for hardcore fans of the band to debate (don't even bring the movie soundtracks into this equation). Richard Podolor has taken the production reins from Gabriel Mekler, as he did with Three Dog Night, but where the producer was able to take Hoyt Axton's "Joy to the World" to number one in a notable six weeks in 1971 with the vocal trio and labelmates of this group, the author of "The Pusher," Axton, is represented here by his "Snowblind Friend," a topic not likely to get Steppenwolf chart action. And that's the dilemma with Steppenwolf 7. This is a very worthwhile Steppenwolf recording, chock-full of their trademark sound, but nothing that was going to penetrate the Top 40. John Kay and guitarist Larry Byron (listed ...
| | Live Steppenwolf CD (1971)
Steppenwolf
$6.39
Steppenwolf: John Kay, Larry Byron, Goldy McJohn, Jerry Edmonton, Nick St. Nicholas.
Recording information: 1970.
Photographer: Tom Gundelfinger.
Unknown Contributor Roles: Nick St. Nicholas; Steppenwolf.
Supposedly recorded live at various concerts in 1970, this double LP (single CD) was actually a studio-created "live" album, with overdubbed crowd noise on top of what are some surprisingly lean and effective live-in-the-studio performances. It isn't half-bad musically, roughly on a par with Happening Live by the Outsiders (another fake live release) for musical value, and it is one of the choicer pop-culture documents of its era, featuring such topical songs as "Don't Step on the Grass, Sam" (which opens with an offhanded spoken critique of Operation Intercept, the crackdown on marijuana smuggling instituted by the Nixon administration) and "Draft Resister," and longtime parts of their repertory such as "Tighten up Your Wig," "Corina, Corina," "Power Play," and "The Pusher." The obligatory hits, "Magic Carpet Ride" and "Born to Be Wild," are also present, and it is fun listening, featuring essentially the same lineup that recorded the Monster album that preceded it. The guitars of John Kay and Larry Byrom interweave beautifully, and there isn't much excess, even allowing for the presence of a ten-minute version of "Monster." And assuming that the repertory is appealing, listeners ...
| | Jimi Hendrix Electric Ladyland CD (1968)
Steppenwolf
$9.89 
The Jimi Hendrix Experience: Jimi Hendrix (vocals, guitar, bass); Noel Redding (vocals, bass); Mitch Mitchell (vocals, drums).
Additional personnel: Chris Wood (flute); Freddie Smith (tenor saxophone); Al Kooper (piano); Mike Finnigan, Steve Winwood (organ); Jack Casady (bass); Buddy Miles (drums); Larry Faucette (congas).
Principally recorded at the Record Plant, New York, New York in April and May 1968.
Personnel: Jimi Hendrix (vocals, guitar, piano, harpsichord); Noel Redding (vocals, bass guitar); Jeanette Jacobs (vocals); Dave Mason (guitar, acoustic guitar, background vocals); Chris Wood (flute); Fred Smith (saxophone, tenor saxophone, horns); Al Kooper (piano, keyboards); Mike Mandel (piano); Mike Finnigan, Steve Winwood (organ); Mitch Mitchell, Buddy Miles (drums); Larry Faucette (congas); The Sweet Inspirations (background vocals).
Audio Mixer: Jimi Hendrix.
Audio Remasterers: Eddie Kramer; George Marino; Joe Gastwirt.
Liner Note Authors: Derek Taylor; Michael Fairchild; Jimi Hendrix.
Recording information: Mayfair Studios, New York, NY; Olympic Studios, London, England; Record Plant Studios, New York, NY; Record Plant, New ...
| | Steppenwolf The Second CD (1968)
Steppenwolf
$6.49
Unknown Contributor Role: Steppenwolf.
The group's second album was virtually a re-creation of its predecessor, only slightly more sophisticated in its range of songs and the manner of playing them, and the in-house writing had improved, though the latter also became highly derivative. Steppenwolf the Second embraces everything from hard rock to psychedelia to blues, and the band is in excellent form, playing very hard and edgy, except on the deliberately lyrical, reflective "Spiritual Fantasy," a rare acoustic number for the group. Much more to the point of the group was the single "Magic Carpet Ride," the ultimate psychedelic pop dance number of the decade, and the marijuana anthem "Don't Step on the Grass, Sam," the pounding "28," and the album-opener "Faster Than the Speed of Life." Side two of the original LP was a great achievement in its own right, opening with "Magic Carpet Ride," which leads into a nonstop extended array of hard-rocking numbers, mostly in a blues idiom: "Disappointment Number (Unknown)," "Lost and Found by Trial and Error," "Hodge Podge, Strained Through a Leslie," and "Resurrection." The playing was as good as the first album, and though there's nothing quite comparable to "Born to Be Wild" here in terms of cultural impact, the level of the surrounding numbers is higher. ~ Bruce Eder
Steppenwolf's sophomore effort, simply titled THE ...
| | Steppenwolf Monster CD (1969)
Steppenwolf
$6.59
Recording information: American Recording Company, Calabasas, CA.
Unknown Contributor Role: Steppenwolf.
The group's most political album, tackling then-current issues such as the Vietnam War, draft resisters, and the decay of justice in America. These were (and are) important topics, but these lumbering hard rock tunes were not an effective means to address them, politically or musically. It's hard to make agitprop and pop mix, but even judged simply within the context of Steppenwolf's records, it lacks memorable compositions, the unexceptional tunes burdened by lyrics that are too heavy-handed. ~ Richie Unterberger
Monster shows Steppenwolf trying to conquer the FM market the same way they had dominated the AM market, only instead of short rockin' hits, they began here to lengthen the tracks and inject social and political content into the music. Thus we have such tunes as "Draft Resister," "America," and "Fag." The title track was a hit in an edited version while "Power Play" became a staple of their concerts. This was the last studio album put together by the original five members. Better than average. ~ James ...
| | Steppenwolf At Your Birthday Party CD (1969)
Steppenwolf
$5.45 
Rocking out a little more, Steppenwolf hit gold again with this release. The hit, "Rock Me" sat well alongside such other hits as "Jupiter Child" and "Don't Cry." Even so, it has a rather unsettling feel to it. It was almost as if all their success was beginning to turn sour. Okay, but a bit flawed. ~ James Chrispell
Though only Steppewolf's third release in two years, 1969's AT YOUR BIRTHDAY PARTY isn't as flawless and inspired as the band's two previous recordings. But the album still packed quite a wallop and spawned yet another rock-radio standard, "Rock ...
| | Freakbeat Scene CD (1998) (Import) United Kingdom
Steppenwolf
$9.39
The Freakbeat Scene (1998) is another entry in Decca Records' lauded archival "Scene" series. Each respective title has proven to be as much a treat for the hardcore fan as for the curious neophyte. The focus of this 25-track anthology is the mid- to late-'60s mod, soul, rock, garage, and psychedelia-influenced British bands that created a distinctive synthesis of sounds that have become collectively referred to as freakbeat. However, as explained in the liner booklet blurb, that exact phrase wasn't turned until the subgenre resurfaced as retro-chic during the 1980s. The vast majority of these platters may not be familiar to all but the most academic of freakbeat enthusiasts, which is partially due to their relative unavailability for over two decades. In some cases, for example the Score's aggressive and attitude-laden cover of the Beatles' "Please Please Me," is practically all that exists. The same can be said of the edgy proto-punk reading of "(I'm Not Your) Stepping Stone" from the Flies, which deflates the Monkees' sugary farfisa organ with stinging electric guitar leads and a heavily pulsating backbeat. While Keith Shield's echoplex-soaked revision of Donovan's "Hey Gyp (Dig the Slowness)" lies closer to the Animals' frenzied reworking of the tune, it likewise boasts a rhythmic agitation notably absent from either of the higher profile takes. Among the better-known acts are the Small Faces, whose "Understanding" exemplifies the soulful nature of freakbeat, highlighted by Marriott's blistering fretwork and vocals. There is also an early original from future T. Rex figurehead, Marc Bolan. "The Third Degree" ...
| | Homer Erotic Homerica The Beautiful CD (1999)
Steppenwolf
$16.49
Homer Erotic is a band that's so original, thye almost need their own section at the music store.All female, all poetic, all the basic musical food groups, yet so tight and fluid you'd think the world of music was made just for them.You think you're hearing jazz, then all of a sudden rock guitar licks jangle through, then the R&B beat goes African, then a violin slices through so bluesy, so beyond, so primal, so sweet and seamless, the corner of your brain that hasn't been hijacked says, how did they do that? And the words, well, they take you on a trip across seven layers of conciousness, like a dream you wish hadn't ended, a dream that left you with an inkling of what really happened.Words that spin trances, tht invade the psyche with stories beautiful, terrible, gritty, fantastic.Homer Erotic sprang to life during a break at a poetry reading in 1991 in New York, the band's home base, when poets Barbara Barg and Maggie Dubris talked it into being.They quickly recruited Suzanne Gallant, Sara Wendt, and Andrea Pierotti, and Homer Erotic took flight.In 1996 the band expanded to include Angela Babin and Heather ...
| | Johnny Maddox Red Hot Ragtime, Vol. 2 CD (2000)
Steppenwolf
$8.79
Johnny Maddox is one of America's leading ragtime pianists. He began his recording career in 1950 in Nashville when his longtime friend Randy Woods began the world famous Dot records. Johnny was the first artist ever recorded on Dot Records. This first record had "Crazy Bone Rag" on one side ...
| | Bruce Springsteen We Shall Overcome: The Seeger Sessions CD (2006) DualDisc
Steppenwolf
$15.85
This Dualdisc features Springsteen in studio performing 29 songs. We don't have information regarding the dualdisc side.
This is a DualDisc, which contains a CD on one side of the disc and a DVD on the other.
Bruce Springsteen is certainly no stranger to acoustic-based, folk-inspired music. He began his career as a post-Dylan troubadour, and he's been making "unplugged" albums as far back as 1982's NEBRASKA. He's already recorded Woody Guthrie material, so it's not a shock that he would release a tribute album to folk icon Pete Seeger. WE SHALL OVERCOME: THE SEEGER SESSIONS celebrates not just Seeger's musical influence, of course, but also the political stands the singer took, which obviously resonate with the famously progressive Springsteen.
Unlike NEBRASKA, though, this is no bare-bones affair. The E Street Band may be absent, but Bruce tackles Seeger's tunes in classic larger-than-life Boss style, with a huge band that includes several string players, a horn section, accordion, and more. Incorporating everything from Dixieland to zydeco into the folk/blues template, Bruce stirs up a rowdy cauldron of Americana teeming with as much pure human passion as social import. WE SHALL OVERCOME is likely to be one of the biggest albums ever made under the "traditional folk" banner, but it's full of small surprises as Springsteen gets to the spiritual and musical heart of the matter.
We Shall Overcome: The Seeger Sessions is an unusual Bruce Springsteen album in a number of ways. First, it's the first covers album Springsteen has recorded in his three-decade career, which is a noteworthy event in itself, but that's not the only thing different about We Shall Overcome. Springsteen, a notorious perfectionist who has been known to tweak and rework albums numerous times before releasing them (or scrapping them, as the case may be), pulled together the album quickly, putting aside a planned second volume of the rarities collection Tracks after discovering a set of recordings he made in 1997 for a Pete Seeger tribute album called Where Have All the Flowers Gone: The Songs of Pete Seeger. Enthralled by this handful of tracks -- one of which, "We Shall Overcome," appeared on the tribute -- Springsteen decided to cut a whole album of folk tunes popularized by Pete Seeger. He rounded up 13 musicians, including some who played on those 1997 sessions, and did two one-day sessions in late 2005 and early 2006, swiftly releasing the resulting album that April. As Bruce stresses in his introductory liner notes, these were live recordings, done with no rehearsals, and We Shall Overcome does indeed have an unmistakably loose feel, and not just because you can hear the Boss call out chord changes in a handful of songs. This music is rowdy and rambling, as the group barrels head-first into songs that they're playing together as a band for the first time, and it's hard not to get swept up along in their excitement. Springsteen has made plenty of great records, but We Shall Overcome is unique in its sheer kinetic energy; he has never made a record that feels as alive as this.
Not only does We Shall Overcome feel different than Bruce's work; it also feels different than Seeger's music. Most of Seeger's recordings were spare and simple, featuring just him and his banjo; his most elaborately produced records were with the Weavers, whose recordings of the '50s did feature orchestration, yet that's a far cry from the big ...
| | Millennium Collection Sampler CDs (2006) (Import) Import
Steppenwolf
$7.19
| | Original Rave Selection CDs (2007) (Import) Import
Steppenwolf
$15.45
| | Soreike Anpanman Best Hit 08 CD (2007) (Import) Import
$46.15 | | Every Day Is Father's Day: Country Songs For Dad CD (2008)
Steppenwolf
$12.39
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