The late 1960s and early 70s were a period of intense social and political upheaval, particularly in the United States. Against the backdrop of the Vietnam War and the Civil Rights movement, music became a powerful voice for a generation seeking change and questioning the status quo. John Kay, the frontman of Steppenwolf, emerged as a defining voice of this counterculture, capturing the angst, idealism, and rebellious spirit of the era. His distinctive vocals and the band’s hard-rocking sound provided the soundtrack to a generation grappling with war, injustice, and the search for identity.
Steppenwolf’s music resonated deeply with young people who felt disillusioned and yearned for a better future. As John Kay recounts, during a visit to Newport, the news of the murder of three young civil rights volunteers deeply impacted the artistic community. This atmosphere of social consciousness fueled the creation of what they called “topical songs,” reflecting the issues of the day. Kay remembers performing a brand-new song about the Mississippi murders, a powerful piece that embodied the anger and frustration prevalent among young people. The chorus, with its poignant lines about tearing the heart out of Mississippi, encapsulated the raw emotions of the time. Despite the anger, there was also a strong undercurrent of idealism. John Kay and his generation believed in their power to effect change, fueled by youthful energy and a vision of a better future where humanity would learn from its past mistakes. This potent mix of anger and hope became the driving force behind much of the music of that era, including Steppenwolf’s iconic tracks.
One of Steppenwolf’s most enduring hits, “Magic Carpet Ride,” has a surprisingly unplanned origin, as John Kay explains. It wasn’t a meticulously crafted song conceived in solitude, but rather a spontaneous creation born out of a band jamming in the studio. Their bass player, during rehearsals and sound checks, would often noodle around with a particular bass riff. This riff, initially just a casual musical exploration, became the seed for a global hit. When Mars Bonfire, drummer Jerry Edmonton’s brother and the writer of “Born to be Wild,” visited the studio to present a new song, serendipity struck. While Mars was there, Steppenwolf’s guitarist, Dennis, joined the bassist in playing the riff, and soon the entire band, including organist Goldie McJohn, locked into the groove.
From the control room, the engineers and producer recognized the magic unfolding. They encouraged the band to continue, sensing that something special was emerging. After developing the initial jam, the band members felt it needed further embellishment. John Kay and the guitarist added overdubs, creating a jam section filled with guitar feedback and otherworldly sounds, injecting character and mood into the track. The song still lacked a captivating opening. Bill, one of the engineers, provided the crucial spark of inspiration. He identified a section of their jam that sounded like a “Wilderbeast in pain,” a strange and intriguing sound. He suggested splicing this unusual sound at the beginning of the groove track. This unconventional opening became the signature introduction to “Magic Carpet Ride,” instantly grabbing the listener’s attention before launching into the song’s infectious rhythm. John Kay recalls that “Magic Carpet Ride” soared up the charts, only kept from the number one spot by The Beatles’ “Let It Be,” highlighting its immense popularity and cultural impact.
Steppenwolf’s music transcended generations and continues to resonate today, a testament to its enduring quality and the timeless themes it explored. John Kay reflects on the remarkable longevity of these songs, noting how they still connect with new audiences decades later. Beyond their musical prowess, Steppenwolf earned the moniker “the thinking man’s rock band,” suggesting a depth and intellectual substance that set them apart. Interestingly, they also cultivated a massive following among bikers, a connection that wasn’t initially planned but organically developed.
The link with the biker community solidified through the iconic film “Easy Rider.” Dennis Hopper and Peter Fonda, the creators of “Easy Rider,” contacted Steppenwolf’s management seeking to use their music in the movie. John Kay and the band attended a private screening alongside representatives for Bob Dylan and Robbie Robertson, among others whose music was considered for the soundtrack. They were deeply moved by the film, particularly its powerful ending. Despite the film’s low budget, Steppenwolf, recognizing its potential, agreed to license their music. “Easy Rider” became a global phenomenon, achieving international success and profoundly impacting popular culture. Crucially, the biker community embraced the film wholeheartedly, adopting Steppenwolf and their music, particularly “Born to be Wild,” as their own anthems. This association expanded beyond “Born to be Wild,” as bikers connected with deeper album tracks as well.
Steppenwolf’s unique position in the music landscape further contributed to their broad appeal. John Kay points out that they enjoyed success on both AM and FM radio. While AM radio played their hit singles like “Magic Carpet Ride,” attracting a mainstream audience, FM underground radio stations embraced their albums in their entirety, showcasing the band’s artistic depth and complexity. This dual presence allowed them to reach diverse audiences, from teenage girls captivated by catchy singles to more discerning listeners drawn to their album tracks like “Don’t Step on the Grass.” This multifaceted appeal cemented Steppenwolf’s legacy as a band that could simultaneously top the charts and resonate with countercultural movements, all while being fronted by the unmistakable voice and vision of John Kay.
