I have over the years bought a number of Steppenwolf "Best of/Greatest Hits" compilations in a variety of formats (LP, Tape and CD) and been consistently disappointed due to bad audio quality; poor choice of tracks often omitting some key items; lack of notes and overall pretty crap presentation. This compliation finally saves the day and is the item to own before you start investigating individual releases by the Group.

The quality of the digital remix (with key frontman and writer John Kay participating) is outstanding and the choice of 18 tracks logging in at pretty close to chronolgical order leaves no obvious items out and with very good liner notes by Scott Schinder round out a great value package.

Steppenwolf were a Canadian group (The Sparrows) that relocated to LA and while never seen at the time as a top flight act with the passing of time are shown based on this compilation to be a unique and memorable mix of pop instinctive tunes played in late 1960s hard rock style ("Born to be Wild" being the prime example)and also having a social commentary approach that while not always in sync at the time with prevailing views have stood the tests of time better than say Jefferson Airplane's comparable offerings ("The Pusher" and the "Monster" trilogy included being good examples).

A real pleasurable find!

This ensamble, whose name is taken from the famous work of Hermann Hesse, (one of my youth's writers), was emblematic all along his presence from 1967 to 1975. In just only eight years Steppenwolf could (like a very few to be honest) establish a rapport with a generation wishful of anxiety but also of answers and ideas.
The famous french May, Vietnam's war, Robert Kennedy's murder, Cassius Clay's affair, Woodstock Festival, Easy rider were - among other facts - important events that from one or another way , demanded bands with power but with imagination .
And Steppenwolf , just reached the peak with the album Monster (that in my opinion is the most perfect theme ever composed by them).
So however, many people just think that Steppenwolf was only the authors of Born to be wild , Sookie sookie and Magic carpet ride. And that's only a stage in his grow up.
Power play is the only theme which doesn't appear among their best, but the point is that the combination of the wildful voice of John Kay, and the perfect balance between the guitars , drums and organ, gave to Steppenwolf a special place in these innovative years which produced so many legends like Cream, Vanilla Fudge, Doors. Traffic, Blind faith, Deep purple, Black Sabbath, Uriah Heep, The who , Can, Amon Dull, Captain beyond,King Crimsom, Pink Floyd and a huge list of names who belong to the satus of legends.
In these years, (it's necessary srepeat it over and over) that there weren't video clips. The comentary is not superflous, because a band to be recognized, had to win the race just by your ears, and not thanks to a magnificent video.
The trouble with that is that you can buy a record just because the video is superb. So my question is: Are you spending your money by the music or by the video? This reflection comes to me very often when I try to explain to the young generations about the conceptual difference of enjoying and even make a statement about a musical work, no matter the genre you listen in that moment.
Steppenwolf printed a very important style in the music, and for those who had the huge privilege of being in one of their appearances, I envy them (in a bad sense but enthusiastic way).
For those people who are still teenagers, don't be afraid of risking your money. You'll be rewaarded. And if you can ask to your parents or some friend or teacher, may be you find a long speech that I can not make it in this brief review.

I too saw Steppenwolf perform in 1970 in support of the Monster LP. It was at Winterland in San Francisco. Anyway, the sound on this CD collection is tops!!

Steppenwolf at Carnegie Hall was the first "rock" concert I attended. OK, Johnny Cash at a Trenton bowling alley in 1962 WAS actually the first live show I saw, nursing a dollar coke at my parents request (I was 11). John Kay et al were powerful in 1969 and this collection captures that power. Only "Power Play" is missing from this perfect selection of their songs. Their playing was always tight in a way the live shows of Creedence Clearwater Revival were. Other examples, The Band, Talking Heads, Frank Zappa and, of course, Captain Beefheart and the Magic Band. Live shows by The Plastic People of the Universe make a person re-judge the "rock" influences of any particular individual in today's world, and likes/dislikes of any particular person in today's "rock" music world.

With all due respect to my fellow lovers of Steppenwolf, reviewers like Labrodorman focus too much on John Kay. Don't get me wrong, Joaquim Krauledat was an absolutely incredible interpreter of song (and masterful songwriter in his own right), but he was not the only songwriter, nor was he the driving force that made the band's music so deep AND dancable. To begin with, Hoyt Axton wrote "Snowblind" and "The Pusher," not John Kay. Mars Bonfire wrote "Born to Be Wild," "Ride with Me," and "Tenderness." John Kay had CO-writing credits on a number of songs, including "It's Never Too Late," "Hey Lawdy Mama," "Move Over," "Who Needs Ya," "Magic Carpet Ride," "Jupiter's Child," "For Ladies Only," and "Monster." The few songs Kay wrote solo include "Rock Me," and "Screeming Night Hog." (All of the above info is right there on the CD's label for all to read.) My point is not to disagree with anyone about the how great Steppenwolf was, but rather that it was a BAND, not a man. In fact, two words come immediately to mind: Jerry Edmonton. He was an exceptional drummer (born Jerry McCrohan, brother of Dennis "Mars Bonfire" McCrohan, he died in a 1993 car accident -- RIP), who, in addition to co-writing "Hey Lawdy Mama" and "Monster," provided one of the best dance beats of any rock drummer around. In fact, I've recently come to believe that Steppenwolf, with all its "hard rock" credentials (including the coining of "heavy metal" as a music term), might best be described a "rockin' soul" band. And a lot of that soul comes from John Kay's vocal style, but also from Goldie McJohn (John Goadsby)'s keyboards (aside from all his well-noted organ work throughout, his electric piano on "The Pusher" is truly sublime, and you can't help but twist your torso on listening). The band had a lot of bass players and guitarists (with Klaus Karl "Nick St. Nicholas" Kassbaum and Larry Byrom being their most notable, respectively), but they managed to retain a consistent, solid sound throughout their important years (68-72). Steppenwolf was my favorite band in 6th grade in 1971, and through the years I have returned to them over and over again, repeatedly blown-away by just how deep-down good they were. I am so glad to read all these glowing reviews by others of my ilk, but don't forget that it was John Kay who joined Jerry Edmonton's band, The Sparrows, and together they co-founded Steppenwolf (using the name suggested by their producer, Gabriel Mekler). My recommendations: the "Greatest Hits" CD, and "Live," which together showcase the band's tight studio work with their scorching live performances.