"America, Where Are You Now...."- Steppenwolf’s The Monster-Take Three

 

 

A YouTube Film Clip Of Steppenwolf Performing Monster. Ah, Those Were The Days

From The Pen Of Frank Jackman

Steppenwolf: 16 Greatest Hits, Steppenwolf, Digital Sound, 1990

America where are you now?

Don't you care about your sons and daughters?

Don't you know we need you now

We can't fight alone against the monster

Chorus Line From The Monster

The heavy rock band Steppenwolf (maybe acid rock is better signifying that the band started in the American dream gone awry 1960s night when the likes of the Jefferson Airplane, The Doors, The Byrds and groups like the transformed from muppet Beatles and Stones held forth, rather than in the ebb-tide 1970s when the harder sounds of groups like Aerosmith and Black Sabbath were  needed to drown out the fact that  we were in decisive retreat),  one of many that was thrown up by the musical counter-culture of the mid to late 1960's was a cut above and apart from some of the others due to their scorching lyrics provided mainly, but not solely, by gravelly-voiced lead singer John Kay. That musical counter-culture not only put a premium on band-written materials, as against the old Tin Pan Alley somebody wrote the lyrics, somebody else sang the song division before Bob Dylan and the Beatles made singer-songwriters fashionable) but also was a serious reaction to the vanilla-ization of rock and popular music in the earlier part of the decade that drove many of us from the AM radio dials and into “exotic” stuff like electric blues (country too, come to think of it) and the various strands of folk music.    

Some bands played, consciously played, to the “drop out” notion popular at the times. “Drop out” of rat-race bourgeois society and its money imperative, its “white picket fence with little white house attached” visions. That is the place where many of the young, the post-World War II baby-boomer young, now sadly older, had grown up and were in the process of repudiating for a grander vision of the world, the “world turned upside down” as an old time British folk tune had it. Drop out and create a niche somewhere (a commune maybe out away from the rat-race places which did spring up in the likes of Taos, Oregon, and the hills of old Vermont which if you care to see what hellish thing happened to that old vision once the seers got older you can go to and witness first hand these days), so some physical somewhere perhaps but certainly some other mental somewhere and the music reflected that disenchantment. That mental somewhere involved liberal use of drugs to induce, well, who knows what it induced but it felt like a new state of consciousness so make of that what you will. The drugs used, in retrospect, to make you less “uptight” not a bad thing then, or today. The whole underlying premise though whether well thought out or not was that music, the music of the shamans of the youth tribe, was the revolution. An idea that for a short while before all hell broke loose with the criminal antics of Lyndon Johnson and one Richard M. Nixon, all hell broke loose with Tet, with May 1968, with Chicago 1968, with the “days of rage,” with Altamont and with a hundred other lesser downers I subscribed to. Before those events and a draft notice made me get “religion” on the need for “in-their-face” political struggle.        

Musically much of that stuff was ephemeral, merely background music, and has not survived (except in lonely YouTube cyberspace). Yeah, Neal Young, the Airplane, the Doors, the Byrds still sound good but a lot of it is wha-wha music now you know Ten Years After, a lot of Rod Stewart, even the acid-etched albums by the Beatles and Stones, it is no wonder that the latter do not have any tunes from Their Satanic Majesties on their playlists).   Others, flash pan “music is the revolution,” period exclamation point, end of conversation bands assumed a few pithy lyrics would carry the day and dirty old bourgeois society would run and hide in horror leaving the field open, open for, uh, us. That music too, except for gems like The Ballad Of Easy Rider, is safely ensconced in vast cyberspace.

Steppenwolf was different, was political from the get-go taking on the deadliness of bourgeois culture, worse the chewing up of their young in unwinnable wars with no apologies or second thoughts, the pusher man, the draft resister and lots of other subjects (and a few traditional songs too about the love that got away, things like that).  Not all the lyrics worked, then or now. (See below for some that do). Not all the words are now some forty plus years later memorable. After all every song is written with some current audience in mind, and notions of immortality as the fate of most songs are displaced. Certainly some of the less political lyrics seem entirely forgettable. As does some of the heavy decibel rock sound that seems to wander at times like, as was the case more often than not, and more often that we, deep in some a then hermetic drug thrall, would have acknowledged, or worried about. But know this- when you think today about trying to escape from the rat-race of daily living then you have an enduring anthem Born To Be Wild that still stirs the young (and not so young). If Bob Dylan's Like A Rolling Stone was one musical pillar of the youth revolt of the 1960's then Born To Be Wild was the other.

And if you needed (or need) a quick history lesson about the nature of American society in the 1960's, what it was doing to its young, where it had been and where it was heading (and seemingly still is as we finish up the Afghan wars and the war signals for deep intervention into the Syria civil war or another war in Iraq get louder, or both are beating the war drums fiercely) then the trilogy under the title "The Monster" (the chorus which I have posted above and lyrics below) said it all.

Then there were songs like The Pusher Man a song that could be usefully used as an argument in favor of decriminalization of drugs today and get our people the hell out of jail and moving on with their lives and others then more topical songs like Draft Resister to fill out their playlist. The group did not have the staying power of others like The Rolling Stones but if you want to know, approximately, what it was like for rock groups to seriously put rock and roll and a hard political edge together give a listen to the group sometime.

Words and music by John Kay, Jerry Edmonton, Nick St. Nicholas and Larry Byrom

(Monster)

Once the religious, the hunted and weary

Chasing the promise of freedom and hope

Came to this country to build a new vision

Far from the reaches of kingdom and pope

Like good Christians, some would burn the witches

Later some got slaves to gather riches

But still from near and far to seek America

They came by thousands to court the wild

And she just patiently smiled and bore a child

To be their spirit and guiding light

And once the ties with the crown had been broken

Westward in saddle and wagon it went

And 'til the railroad linked ocean to ocean

Many the lives which had come to an end

While we bullied, stole and bought our a homeland

We began the slaughter of the red man

But still from near and far to seek America

They came by thousands to court the wild

And she just patiently smiled and bore a child

To be their spirit and guiding light

The blue and grey they stomped it

They kicked it just like a dog

And when the war over

They stuffed it just like a hog

And though the past has it's share of injustice

Kind was the spirit in many a way

But it's protectors and friends have been sleeping

Now it's a monster and will not obey

(Suicide)

The spirit was freedom and justice

And it's keepers seem generous and kind

It's leaders were supposed to serve the country

But now they won't pay it no mind

'Cause the people grew fat and got lazy

And now their vote is a meaningless joke

They babble about law and order

But it's all just an echo of what they've been told

Yeah, there's a monster on the loose

It's got our heads into a noose

And it just sits there watchin'

Our cities have turned into jungles

And corruption is stranglin' the land

The police force is watching the people

And the people just can't understand

We don't know how to mind our own business

'Cause the whole worlds got to be just like us

Now we are fighting a war over there

No matter who's the winner

We can't pay the cost

'Cause there's a monster on the loose

It's got our heads into a noose

And it just sits there watching

(America)

America where are you now?

Don't you care about your sons and daughters?

Don't you know we need you now

We can't fight alone against the monster

© Copyright MCA Music (BMI)
All rights for the USA controlled and administered by
MCA Corporation of America, INC

--Used with permission--

Born To Be Wild

Words and music by Mars Bonfire

Get your motor runnin'

Head out on the highway

Lookin' for adventure

And whatever comes our way

Yeah Darlin' go make it happen

Take the world in a love embrace

Fire all of your guns at once

And explode into space

I like smoke and lightning

Heavy metal thunder

Racin' with the wind

And the feelin' that I'm under

Yeah Darlin' go make it happen

Take the world in a love embrace

Fire all of your guns at once

And explode into space

Like a true nature's child

We were born, born to be wild

We can climb so high

I never wanna die

Born to be wild

Born to be wild

© MCA Music (BMI)
All rights for the USA controlled and administered by
MCA Corporation of America, INC

--Used with permission--

THE PUSHER

From the 1968 release "Steppenwolf"

Words and music by Hoyt Axton

You know I've smoked a lot of grass

O' Lord, I've popped a lot of pills

But I never touched nothin'

That my spirit could kill

You know, I've seen a lot of people walkin' 'round

With tombstones in their eyes

But the pusher don't care

Ah, if you live or if you die

God damn, The Pusher

God damn, I say The Pusher

I said God damn, God damn The Pusher man

You know the dealer, the dealer is a man

With the love grass in his hand

Oh but the pusher is a monster

Good God, he's not a natural man

The dealer for a nickel

Lord, will sell you lots of sweet dreams

Ah, but the pusher ruin your body

Lord, he'll leave your, he'll leave your mind to scream

God damn, The Pusher

God damn, God damn the Pusher

I said God damn, God, God damn The Pusher man

Well, now if I were the president of this land

You know, I'd declare total war on The Pusher man

I'd cut him if he stands, and I'd shoot him if he'd run

Yes I'd kill him with my Bible and my razor and my gun

God damn The Pusher

Gad damn The Pusher

I said God damn, God damn The Pusher man\

© Irving Music Inc. (BMI)

--Used with permission--

Howling At The Moon-When Howlin’ Wolf Held Forth  

 

 

Some music you acquired naturally, you know like kids’ songs learned in school (The Farmer in the Dell, Humpty Dumpty, Jack and Jill and their ill-fated hill adventure, etc. in case you have forgotten) and embedded in the back of your mind even fifty years later. Or as in the case of junior high, with Mr. Dasher, the mad monk music teacher, who wanted his charges to have a well-versed knowledge of the American and world songbook you were forced to remember such songs as The Mexican Hat Dance and Home On The Range under penalty of being sent up to the front of the room songbook in hand and sing the damn things. Yes, you will remember such songs unto death. (We found out later that he was in a desperate rear-guard action to wean us away from rock and roll, a struggle in which he was both woefully overmatched by Elvis, Jerry Lee, Chuck, Bo, and the crowd and wasting his breathe as we lived for rock and roll at Doc’s Drugstore after school where he had a jukebox at his soda fountain.)  

Some reflected the time period when you were growing up but were too young to call the music your own like the music that ran around in the background of your growing up house on the mother housewife radio or evening record player which in my case was the music that got my parents through my father’s slogging on unpronounceable Pacific islands kicking ass and mother anxiously waiting at home for the other shoe to fall or the dreaded military officer coming up to your door telling you the bad news World War II. You know, Frank (Sinatra, the chairman of the board, that all the bobbysoxer girls, the future mothers of my generation swooned over), The Andrew Sisters  and their rums and coca colas, Peggy Lee fronting for Benny Goodman and looking, looking hard for some Johnny to do right, finally do right by her, etc. Other music, the music of my generation, classic rock and rock came more naturally since that is what I wanted to hear when I had my transistor radio to my ear up in my bedroom. This transistor thing for the young was small enough to put in your pocket and put up to your ear like iPod except you couldn’t download or anything like that. Just flip the dial although the only station that mattered was WJDA, the local rock station (which had previously before the rock break-out played the music that got our parents through their war). Oh yeah, and the beauty of the transistor you could take it up to your bedroom and shut out that aforementioned parents’ music without hassles. Nice, right. So yeah, we could hear Elvis sounding all sexy according to one girl I knew even over the radio and who drove all the girls crazy once they got a look at him on television, Chuck telling our parents’ world that Mr. Beethoven and his crowd, Frank’s too, that they all had to roll over, Bo asking a very candid question about who put the rock in rock and roll and offering himself up as a candidate, Buddy crooning against all hope for his Peggy Sue (or was it Betty Lou), Jerry Lee inflaming us with his raucous High School Confidential  from the back of a flatbed truck, etc. again.

The blues though, the rarified country and electric urban blues of the likes of Son House, Robert Johnson, Muddy Waters, James Cotton, and Howlin’ Wolf was an acquired taste. Acquired through listening to folk music programs on that very same transistor radio in the early 1960s after flipping the dial one Sunday night once I got tired of what they claimed was rock music on WJDA and caught a Boston station. The main focus was on other types of roots music but when the show would take a break from down home mountain music, western swing ballads, and urban protest music the DJ would play some cuts of country or electric blues. See all the big folkies, Dylan, Tom Rush, Dave Van Ronk, people like that were wild to cover the blues in the search for serious roots music from the American songbook. So somebody, I don’t know who, figured if everybody who was anybody was covering the blues in that folk minute then it made sense to play the real stuff.

The real stuff having been around for a while, having been produced by the likes of Muddy and Howlin’ Wolf going back to the 1940s big time black migration to the industrial plants of the Midwest during World War II when there were plenty of jobs just waiting. But also having been pushed to the background, way to the background with the rise of rock and roll (although parts of rock make no sense, don’t without kudos to blues chords, check it out). So it took that combination of folk minute and that well-hidden from view electric blues some time to filter through my brain.

What did not take a long time once I got “religion” was going crazy over Howlin’ Wolf when I saw him perform. Once I saw him practically eat that harmonica when he was playing that instrument on How Many More Years. There he was all sweating, running to high form and serious professionalism (just ask the Stones about that when he showed them how to really play Little Red Rooster which they had covered as they had many Chess Records blues numbers) and moving that big body to and fro to beat the band and playing like god’s own angel, if those angels played the harmonica, and if they could play as well as he did. Yes, that blues calling is an acquired taste and a lasting one.    
 

On The 150^th Anniversary Of Lee’s Surrender To Grant Ending The American Civil War-Robert Lowell's "For The Union Dead"  

For the Union Dead

Relinquunt Ommia Servare Rem Publicam.

The old South Boston Aquarium stands
in a Sahara of snow now. Its broken windows are boarded.
The bronze weathervane cod has lost half its scales.
The airy tanks are dry.

Once my nose crawled like a snail on the glass;
my hand tingled to burst the bubbles
drifting from the noses of the crowded, compliant fish.

My hand draws back. I often sign still
for the dark downward and vegetating kingdom
of the fish and reptile. One morning last March,
I pressed against the new barbed and galvanized

fence on the Boston Common. Behind their cage,
yellow dinosaur steamshovels were grunting
as they cropped up tons of mush and grass
to gouge their underworld garage.

Parking spaces luxuriate like civic
sandpiles in the heart of Boston.
a girdle of orange, Puritan-pumpkin colored girders
braces the tingling Statehouse,

shaking over the excavations, as it faces Colonel Shaw
and his bell-cheeked Negro infantry
on St. Gaudens' shaking Civil War relief,
propped by a plank splint against the garage's earthquake.

Two months after marching through Boston,
half of the regiment was dead;
at the dedication,
William James could almost hear the bronze Negroes breathe.

Their monument sticks like a fishbone
in the city's throat.
Its Colonel is a lean
as a compass-needle.

He has an angry wrenlike vigilance,
a greyhound's gentle tautness;
he seems to wince at pleasure,
and suffocate for privacy.

He is out of bounds now. He rejoices in man's lovely,
peculiar power to choose life and die-
when he leads his black soldiers to death,
he cannot bend his back.

On a thousand small town New England greens
the old white churches hold their air
of sparse, sincere rebellion; frayed flags
quilt the graveyards of the Grand Army of the Republic

The stone statutes of the abstract Union Soldier
grow slimmer and younger each year-
wasp-waisted, they doze over muskets
and muse through their sideburns…

Shaw's father wanted no monument
except the ditch,
where his son's body was thrown
and lost with his 'niggers.'

The ditch is nearer.
There are no statutes for the last war here;
on Boylston Street, a commercial photograph
shows Hiroshima boiling

over a Mosler Safe, the 'Rock of Ages'
that survived the blast. Space is nearer.
when I crouch to my television set,
the drained faces of Negro school-children rise like balloons.

Colonel Shaw
is riding on his bubble,
he waits
for the blessed break.

The Aquarium is gone. Everywhere,
giant finned cars nose forward like fish;
a savage servility
slides by on grease.

Robert Lowell

On The 150^th Anniversary Of Lee’s Surrender To Grant Ending The American Civil War- “We Are Coming Father Abraham 200, 000 Strong”-In Honor Of The Massachusetts 54^th (Black Volunteer) Regiment

… “make way, make way, give way, the Massachusetts 54^th Honor Guard is coming through, make way," yelled a grizzled veteran, a grizzled veteran of his generation’s own unloved war, the Vietnam War, who had turned a strange corner for peace as he waited to form up to march on Armistice Day 2012 with the brethren against maddened war news, and talk of war. His mind swirled back not to unloved war fights and streets fights against war but to what meant his automatic call of a moment before at the sight of that honor guard.

Thoughts of long gone snickers and barbs in Richmond town (and not just Richmond town but cotton greedy commercial whigs of Boston, those who spoke only to Cabots and to god) when Andrews declared for a regiment (and Lincoln, hell, old cracker Lincoln to hear it told, called for chain break), snicker thoughts that three-fifth of a man, hah, are you kidding, would not, could not (lacking manly presence, and stinking to high heaven of humid, moist bellum cotton suns) fight to break chains to recover that missing two-fifth, thoughts of rebel snicker that no white johnnie from some desolate Ohio River town or farm for love nor money would move one foot, move one inch, to break those chains, thoughts too of manly courage (nervous, hell, yes, nervous as every man is before bullet fights, jesus, what do you think ) before Wagner front, and tear-eyed thoughts of Captain Brown and his band of brothers before hellish Harpers Ferry fight, no rebel snickers that night.

And thoughts too of still lonely Shiloh graveyards (or you name your hundred graveyards) solid blue bled in a grey land, a foreign grey land, simple gravestones, maybe a hasty wooden cross when the dead piled up too high, names now getting harder to read for ancient eyes, and forgetful minds, thoughts of childhood postage stamps commemorations of such and such Grand Army of the Republic encampment, and then none, as time took its toll, thoughts of sturdy yeoman southern mountain men, kindred, who fought for the union, fought for Mister Lincoln, if not for his nigras, thoughts too of stirring sights at Memorial Hall of scented wood-etched names , some class years decimated, of Harvard union fallen in the hundred battlefield graveyards, but thoughts too, immense thoughts, back to that childhood time desecrated statehouse Saint Gaudens relief and proud men, proud union men marching to hell, or glory.

Yah, some things are worth fighting for, and as his finished his thoughts and readied himself to march one more time against the monsters of war he wished, wished to high heaven, that his war, his unloved war, could have produced anything but cold black marble down in D.C. …