Swamp Fox Entertainment Complex Presents
Swamp Fox Love Fest Music & Arts Festival
The Garcia Project, Flatland Tourists, Graham Whorley, Steppenwolf Revisited, Dan Lawson Band, Bakkwoodz, Mike Freund
Fri · August 16, 2019 - Sun · August 18, 2019
Doors: 10:00 am / Show: 11:00 amSwamp Fox Entertainment Complex
This event is all ages
The Swamp Fox Entertainment Complex in Marion, SC is proud to present the first annual Swamp Fox Love Fest. We would like to commemorate the original love fest from 1969, the Woodstock Music Festival by celebrating the 50th anniversary. Music, art, peace, and love will fill all 3 days of this amazing festival that you will not want to miss! Gather up your tribe and camp with us so you won’t miss a single second of making memories. August 16th to August 18th, 2019.
We will be adding many more bands to the lineup very soon! Be sure to subscribe to our newsletter to be informed of Swamp Fox Love Fest updates!
Tent & RV Camping Available
The Garcia Project’s performances are based on actual set lists performed by The Jerry Garcia Band. All of their shows are classic recreations of a Jerry Garcia Band set list from the 1976 to 1995. For anyone that never had a chance to experience the Jerry Garcia Band or for fans that want to relive a classic show, The Garcia Project delivers.
The Garcia Project has received rave reviews from the press and from fans. Touring nationally, The Garcia Project has made many Jerry Garcia fans extremely happy.
With precise arrangements and the proper instrumentation and feel for any and all given eras, The Garcia Project faithfully channels and projects the feelings, emotions and music that propelled the Jerry Garcia Band and the fans through many years of musical bliss. It’s about family, soul searching, rejoicing, contemplating, celebrating, seeking truth and loving one another.
Flatland Tourists - Real, Honest, Red Clay Roots Music. They were raised on it, lived it, believe in it. They all grew up in the rural south and now are based out of Waxhaw, NC.
They’ve played Americana festivals, venues, and performance centers throughout the Southeast. They’ve played opening support for national Americana act, Shovels and Rope. Their first EP spent almost two months in the Top Ten on the Roots Music Report charts. Their shows are filled with happy, smiling, dancing people. They have red clay roots and it shows in their music. Flatland Tourists started their musical journey together in 2013, and for them, every day and every gig since feels like a vacation.
One evening in 2013, a local cover band was playing an outdoor show at the water tower in the small town of Waxhaw, NC. It may have been serendipity, blind luck, or just a coincidence that guided Billy Bost, Rachel Garcia, Frank Sutton, Joe Williams, and Kevin Winchester to that show. But that evening, all five of them eventually found themselves standing near the water tower, listening to the other band. Something brought them to that specific time and moment in space. They’d all known of each other for years from playing in other area projects, but had never worked together. A week later, that changed when the first Flatland Tourists rehearsal took place. It didn’t take long before they all knew they’d found something special. They focused on writing songs, building harmonies, tightening the band.
Within a few months, they were playing gigs at Americana venues in the Charlotte area. More shows followed, the fan base grew. Mark Williams, Grammy winning producer and engineer (REM, Southern Culture on the Skids, Hootie & the Blowfish) heard them at a show in Charlotte and they soon agreed on his involvement as producer of their first EP. Little King Records released their self-titled debut in 2014. The EP spent 12 weeks in the Roots Music Report Americana Chart Top Ten with the single “No Work, No Pay” rising as high as #2 and staying in the Top Ten Singles chart for 16 weeks, and the single “Cold Water River” rising as high as #3 and staying in the Top Ten Singles chart for 10 weeks. Since then, the band has expanded their venues beyond the Charlotte area; they’ve played opening support for national acts such as Shovels and Rope, and have appeared at festivals throughout the region like Tennessee’s Summer Solstice Festival and the National Whitewater Center’s River Jam. Affirming their rise in the genre and popularity in the area, they were nominated and chosen as the winners in the Americana Category for a 2015 Carolinas Music Award.
Their songs are honest and real. Their live shows are just that—lively, and everybody leaves happy and smiling. Yes, their music reflects a wide range of influences: country, blues, bluegrass, jam, early rock, even jazz elements. One common thread is evident through all their influences, though, and that’s the band’s connection to American roots music. It’s the music their parents and grandparents sang to them, played for them, and later, with them. It’s evident in their musicianship, the way they blend their harmonies, and even in their song-writing. This band is not a collective of musicians playing Americana music—they’ve lived it. It’s a sound born in their blood and bone, you know that as soon as you hear their first notes, the minute you see them on stage.
Courtney Devores writes in Sound Bites: “Singer Rachel Garcia’s soulful, bluesy voice reminds me of Rosanne Cash with a touch of Janis Joplin, but she's really got her own unique emotive sound and phrasing” and that their songs “place the band in the company of Ryan Adams and the Carolina Chocolate Drops' Rhiannon Giddens.”
In CD Review, Nancy Pfingstag writes: “Flatland Tourists’ debut EP offers the best of Americana—a big tent collection of country, rock, and folk, with a little bit of gospel thrown in for good Southern measure. The band’s sound ranges from melancholic and evocative (The Only Thread) to wonderfully, respectfully irreverent (Elvis at the Fast Fare) to foot-stomping blue grass joyfulness (Cold Water River.) The clear vocals and tight harmonies bring to mind Emmylou Harris, Alabama, even CSNY (think Southern Cross), only different. The Flatland Tourists band has its own distinct sound that pays homage to the North Carolina red clay roots of its members. Gorgeous vocals, haunting lyrics, and spartan accompaniment—music to the bare bone."
So, no, the band doesn’t think blind luck or coincidence brought them together that evening by the water tower. Not at all. Instead, they know that some form of musical karma, some force in the musical universe brought them together. You can see it when they play live, you can hear it in their music. More than that, you can feel it. They play the music of their southern, roots heritage, the music that courses through their blood and bones. They play it with peace and love in their hearts and nothing makes them happier than sharing it with their fans because, after all, we’re all Tourists on this journey, aren’t we?
So, get on the Tourists bus. Download the EP, go see a show. You'll be glad you did.
MEET THE TOURIST FAMILY
Billy Bost: banjo / guitar / vocals
“Syncopation” is too sophisticated a word for FT, so we say Billy provides the “bonka-bonka-bonka” for the band. Billy is originally from Charlotte, NC. He started playing guitar quite a few years ago and picked up the banjo somewhere along the way. He’s also our “international celebrity,” having served all over the world and parts of Arkansas in the N.C. Air National Guard. While keeping the 145th in the air, he played in a band called Willie and the Poor Boys, made up of six airmen who performed throughout the U.S, Belgium, and Germany. When he’s not grooving with the Tourists rhythm section, you might see him tooling the hills and highways on his Harley Davidson dresser. If he’s not on the road or the stage, he’s probably at home throwing the rock for Deacon, one of his fur babies.
Rachel Garcia: vocals/ percussion / songwriting
Born in Kentucky, Rachel finally made it to the red clay of North Carolina a few years ago and she is the map that guides the Tourists on this musical journey. She grew up singing the songs of Emmy Lou, Dolly Parton, and the Carter Family to her mother’s radio. From there, her talents led her to choirs, choruses, and then to rock and roll and jazz styles. She first met Joe at the historic Double Door Inn in Charlotte, NC, one of the Southeast’s premier blues / roots music venues since 1973, a fitting encounter since it eventually led her back to her true calling – singing red clay roots music with the Tourists. She has a style all of her own, and a unique voice to match. And she does her best to keep the “boys in the band” from acting like a bunch of fourteen-year-olds all the time. Most days, she’s successful at it.
Frank Sutton: drums/ percussion
Frank is the engine that keeps the Tourists running, the anchor of the rhythm section. If people still carried watches, you could set them to Frank’s beat. Frank is the Tourists’ “Hippie in Residence,” having played for years in the hippy jam band, Nth Degree. Maybe that’s why he always reminds us to “play it with love in our hearts.” He’s originally from Monroe, NC. He spent a couple of years on Georgia’s red clay, but soon found his way back home where he settled down in the teeming metropolis of Wingate, NC. In addition to his impeccable drum talents, Frank is also the keeper of Elvis and guardian of the safety sandwiches. And most importantly, his hair always looks fabulous.
Joe Williams: guitar/mandolin/ harmonica/ vocals/ songwriting
Joe’s family is originally from the mountains of North Carolina, near Cold Water River—hence the song on the first EP—but he grew up in Monroe, NC. His first semi-professional gig was when he was 12 years old. During that gig, the band blew speakers in all but one amp during sound check, so they all played through the one remaining amp. Rumor has it that it “went to eleven.” The rest, as they say, is history. He went on to play in many bands in many styles: rock, country, jazz, while touring throughout the Southeast before returning to his roots in the Tourists. He is accomplished on a variety of instruments and uses his top-notch arranging and song-writing skills to navigate the Tourists on their way. In addition to being the band musical maestro, Joe is also in charge of managing and maintaining the band’s healthy list of superstitions, quirks, tics, and rituals.
Kevin Winchester: bass/vocals/ songwriting
Kevin supplies the groove in the rhythm section. He’s originally from Monroe, NC where his grandmother taught him his first chords when he was barely out of diapers. He grew out of the diapers and into a bass guitar many years ago. He’s played all styles of music—country, bluegrass, punk, rock-n-roll—but is as happy as a hog in mud to be back playing the same kind of music as when he started. He’s also an award winning fiction writer and has a book and several stories published. He keeps the band on their toes by using odd words and phrases like “play it a scosh slower” or “put a wide spot right cheer” and he says the word “shaw” a lot. When the band’s not working, you can usually find him riding his Harley with Billy or planting beans and ‘maters.
Tom Eure: Fiddle
Tom’s the sixth Tourist, the honorary member, the fiddler not on the roof but on our records and on stage at most of our larger shows. He’s an accomplished musician and has several solo albums out. You can also find him playing in his Irish / Celtic roots project, Thistledown Tinkers, when he’s not out with the Tourists. He always brings a bucketful of excitement to the live shows and knows his way around a veggie burrito. More importantly, his hair is second only to Frank’s. When he’s not playing music, he’s usually running. We don’t know why, we don’t know where, but he does…
Buster Friendly: Guru
Buster Friendly has never been photographed and is rarely seen in public. He was born somewhere, abandoned by his human parents in a barn, and for the first few years of his life, he was raised by barn rats. When he was a toddler, a roving band of hippies took shelter in the barn and then adopted Buster, taking them along on their rolling carnival, teaching him the ways of peace, love, music, and cosmic justice. Buster communicates with dogs and barn rats (obviously), and has the unique and rare talent of being able to hypnotize chickens. He provides us counsel, encouragement, and guidance in all our travels.
Yep, only one name because he only needs one name. He has worn, and continues to wear, many hats for us in the figurative sense, although, he could literally wear a hat better than any of us because he’s by far the most dapper and culturally poised member of the Tourist family. He handles or has handled management, booking, press and publicity, running interference, acting as stage/road manager, website development, marketing, merchandising, advising, cajoling, and encouraging. He’s always making the scene behind the scenes and we wouldn’t be Flatland Tourists without his input. And, he makes a fantastic beard oil, too.
The Girls: Everything Else
The girls are Ann, Leslie (Flossie), and Terri. They do everything: keep the books, keep us fed, take gig pictures, work the merch tables, clap the loudest, dance the happiest, know all the words to all the songs, and most of all, they love and support us in all things Tourist.
National Public Radio recognized his art and featured Graham in an episode of “Your Day”. The interview profiles his songwriting and featured songs from his CD, “Permission To Think” (nominated for best album of the year by Homegrown Music Network).
Now, an international audience is being exposed to the virtuosity of Graham Whorley, via his TEDTalk, in which he performed by himself for technology and business luminaries around the globe.
In today’s world of disposable, vapid lyrics and forgettable music, Graham’s songwriting stands out. His experience of life and loss is unique and engaging. He is also a master of interpreting the great songs of other writers, bringing new meaning and light to the familiar. His album, Cover Your Head Volume II (released in 2016), shows this.
Graham has released six insightful and thought-provoking albums, three of which are available on iTunes and CDBaby.
Graham performed as a featured artist on stage for Warren Haynes Annual Christmas Jam in Asheville, NC. He has shared the stage over the last several years with Tim Reynolds of Dave Matthews Band, Michael Glabicki of Rusted Root, New Riders of The Purple Sage, Lee Oskar of WAR, Members of The Dirty Dozen Brass Band, Colonel Bruce Hampton, and Brock Butler, Delbert McClinton, Keller Williams, and Dumpstaphunk to name a few.
“If you follow the music scene, then it is almost impossible not to have heard of Graham Whorley at some point. The Virginia transplant performs more than 250 shows a year, either with a band or as a solo acoustic artist, and his guitar virtuosity is well-known even outside the confines of the Lowcountry.” ~ The Post & Courier
“A master with a loop pedal, he's able to blend percussive acoustic rhythms with building, exploratory leads, creating a fusion that's difficult to sit still to.” ~ The Charleston City Paper
“Whorley creates an impressive range of string, percussion, and vocal affects. At his most ambitious, his layering guitar and vocal parts sound like a full trio at work.” ~ Metronome’s, T. Ballard Lesemann
“Whorley seems to effortlessly connect with his listeners and leaves a deep and lasting impression, leaving fans waiting for more. Wherever he goes, he has a following.” ~ The Georgetown Times.
Goldy McJohn Founding Father of the original Steppenwolf·Friday, November 18, 2016
OUR STORY ~ Steppenwolf is a Canadian-American rock band was prominent from 1968 to 1972. We formed the band in late 1961 in Toronto that included: vocalist #JohnKay, myself and keyboardist #GoldyMcJohn, and drummer #JerryEdmonton. Guitarist #MichaelMonarch and bassist #RushtonMoreve were recruited by notices placed in Los Angeles-area record and musical instrument stores. The essential core of Steppenwolf was John Kay, Jerry Edmonton, and yours truly ~ Goldy McJohn from #TheSparrows (originally Jack London & the Sparrows from Oshawa, Ontario, Canada).
Steppenwolf sold over 25 million records worldwide, releasing eight #goldalbums and 12 Billboard Hot 100 singles, of which six were top 40 hits, including three top 10 successes: #BorntoBeWild, written by #DennisEdmonton (using the stage name Mars Bonfire), #MagicCarpetRide, and #RockMe. #Steppenwolf enjoyed worldwide success from 1968 to 1972.
Steppenwolf: (1967–1972) The name change from The Sparrows (The Sparrow) to Steppenwolf was suggested to John Kay by Gabriel Mekler, being inspired by Hermann Hesse’s novel of the same name. Steppenwolf’s first two singles were “A Girl I Knew” and “Sookie Sookie”. The band finally rocketed to worldwide fame after their third single, “Born to Be Wild”, was released in 1968, as well as their version of Hoyt Axton’s “The Pusher”. Both of these tunes were used prominently in the 1969 counterculture cult film Easy Rider (both titles originally had been released on the band’s debut album). In the movie, “The Pusher” accompanies a drug deal, and Peter Fonda stuffing dollar bills into his Stars and Stripes-clad fuel tank, after which “Born to Be Wild” is heard in the opening credits, with Fonda and Dennis Hopper riding their #HarleyChoppers through the #America of the late 1960s. The song, which has been closely associated with #motorcycles ever since, introduced to rock lyrics the signature term #heavymetal (though not about a kind of music, but about a motorcycle: “I like smoke and lightning, #heavymetalthunder, racin’ with the wind…”). Written by Sparrow guitarist Dennis Edmonton, who had begun using the pen name #MarsBonfire and inspired by a billboard roadside advertisement Bonfire liked which depicted a motorcycle tearing through the billboard artwork, the song had already reached number two on the Billboard Hot 100 in August 1968. It sold over one million copies, and was awarded a gold disc.
In 1968, Steppenwolf played one of their biggest shows up to that time at the #FilmoreEast to rave reviews, sharing the bill with #BuddyRich and Children of God.
The group’s following albums had several more hit singles, including “Magic Carpet Ride” (which reached number three) from Steppenwolf The Second and “Rock Me” (with its bridge lasting 1:06, which reached number 10) from At Your Birthday Party. It also sold in excess of a million units. Monster, which questioned US policy of the Nixon era, was the band’s most political album. Following the Monster album from 1969, the following year, the band released what some who consider their strongest album, Steppenwolf 7, which included the song “Snowblind Friend”, another Hoyt Axton-penned song about the era and attitudes of drugs and associated problems. The band lineup reached its peak in the opinion of most fans with this album and their live performances in the middle of 1970 with John Kay, Jerry Edmonton, Goldy McJohn, Larry Byrom, and George Biondo. Unfortunately, this lineup was also unable to remain together, as Byrom became upset with McJohn over personal issues and quit the band in the early part of 1971.
Several changes in the group’s personnel were made after the first few years. Moreve was fired from the group in 1968 for missing gigs after he became afraid to return to Los Angeles, convinced by his girlfriend that it was going to be leveled by an earthquake and fall into the sea. Rob Black briefly filled in for Moreve until former Sparrow bandmate Nick St. Nicholas came aboard in the latter months of 1968. Monarch quit the group in August 1969 as his relationship with Kay deteriorated. Larry Byrom, who had been in TIME with Nick St. Nicholas, ably replaced Monarch. Nick St. Nicholas was let go in mid-1970. He had appeared in nothing but rabbit ears and a jock strap at the Fillmore East in April ’69, and his habit of wearing muumuus and kaftans on stage began to wear on Kay, whose penchant for leather vests and pants was more in line with the image he wanted for the band. George Biondo was then recruited, and guitarist Kent Henry replaced Byrom in early 1971. In November 1971, the band released For Ladies Only, with the lineup consisting of Kay, Henry, Biondo, McJohn, and Edmonton. The album was notable for several reasons, most notably the controversial LP inside cover art, the romantic, political, and social lyrical content, and the fact that it featured several of the group members on lead vocals.
The band broke up after a farewell concert in Los Angeles on Valentine’s Day, 1972. Kay went on to a brief solo career, scoring a minor solo hit in 1972 with “I’m Movin’ On” from his album Forgotten Songs and Unsung Heroes. Although it received generally high marks from most critics, the album sales were disappointing in the US. Kay released a second solo album in 1973 on the Dunhill label titled My Sportin’ Life. This album sold less than his first solo album and was less gritty and more LA studio-polish in sound.
Following the first official breakup of Steppenwolf, and after the release of Kay’s first solo album, a late summer and autumn 1972 tour in the USA and Europe occurred which featured Kay heading both the John Kay Band and Steppenwolf at the top the bill. Dunhill had released an album of a collection of Steppenwolf songs titled Steppenwolf: RIP. Thus, the tour was known as the RIP tour. The John Kay Band included Hugh Sullivan on keyboards and Whitey (Pentti) Glan on drums (both were contributors to John Kay’s first solo album). Kent Henry on lead and slide guitar and George Biondo on bass joined Kay in both lineups. The Steppenwolf band lineup featured Goldy McJohn on keyboards and Jerry Edmonton on drums. This tour proved to be a fairly positive experience for all of the musicians and drew respectable crowd turnouts.
Following this tour, while Kay was recording his second solo album in 1973, McJohn and Edmonton continued to play and formed a band called Manbeast. Some of the material created in the Manbeast days showed up on the 1974 Steppenwolf reunion album, most notably “Gang War Blues”, which was recorded as a demo with Edmonton singing slightly different lyrics.
Steppenwolf reformed in 1974 with its core lineup of Kay, Edmonton, and McJohn, along with longtime bassist Biondo and newcomer Bobby Cochran, Eddie Cochran’s nephew, on lead guitar. The band signed with Mums Records in retaliation for what Kay perceived as a lack of support by Dunhill Records for his solo albums. Their first reunion album was Slow Flux, which included their last top 40 hit, “Straight Shootin’ Woman”. In February 1975, McJohn was dismissed for what Kay described as a decline in the quality of his performances, as well as erratic behavior. McJohn was replaced by Andy Chapin on Hour of the Wolf in 1975, though McJohn appeared in artwork for the single to Caroline. After the album peaked at number 155, Kay attempted to dissolve the band again, but the label, now having been absorbed by Epic Records, insisted Steppenwolf record one more album to satisfy their contractual obligations. The ensuing album, Skullduggery (1976), featuring Wayne Cook on keyboards, was released without a tour to support it, and by the early fall of 1976, Steppenwolf disbanded a second time. Kay appeared in a segment of the popular music TV show The Midnight Special to announce the end of Steppenwolf and also played a solo version of the song “Hey I’m Alright”. This song appeared on Kay’s third solo album All In Good Time, released on Mercury Records in 1978.
New Steppenwolf (1977–1980)
From 1977 until 1980, Steppenwolf had retired and did not exist. However, a variety of bands featuring some previous members of Steppenwolf were put on the road under license agreement named “New Steppenwolf” by concert promoter Steve Green. Another promoter, David Pesnell, reportedly acted as manager for an incarnation featuring former members Nick St. Nicholas, Goldy McJohn, and Kent Henry, and new lead singer, Tom Pagan. Plans for a new album circulated. A new studio album, produced by Phil Spector was attempted in 1978, but abandoned due to Pesnell and Spector’s hateful relationship. The relationship ended with a well-documented fist fight between the two at the Whisky a Go Go in which Pesnell sent Spector to the hospital, where he stayed for three nights. Assault charges were dropped against Pesnell after the Los Angeles Police Department determined Spector had instigated the fight.
Another Steppenwolf band, launched in the summer of 1978, featured lead vocalist Bob Simpson, and original members Goldy McJohn and Rushton Moreve, with Kent Henry. This version recorded new tracks for a proposed album which was never released. A splinter Steppenwolf band (which featured no members from any Steppenwolf band fronted by John Kay) appeared around the same time with lead vocalist Don Coenen. That line-up included keyboardist Geoff Emery and guitarist Tony Flynn. Another album, The Night Of The Wolf, was said to have been recorded and produced by Pesnell in 1979 with lead vocalist Bob Simpson, featuring such songs as “Night of the Wolf”, “I Don’t Want To Lose You”, and “Randy’s Rodeo”.
A concert tour in the U.S., Canada, and Europe was promoted by Pesnell with the opening acts including Iron Butterfly. The St. Nicholas/McJohn grouping eventually disbanded due to exhaustion and heavy drug use by St. Nicholas, Goldy McJohn, and drummer Frankie Banali. St. Nicholas formed yet another version of a band named Steppenwolf and went back out on the road. This grouping included lead singer Tommy Holland, lead guitarist Ruben DeFuentes, Emery, and future Keel/W.A.S.P./L.A. Guns drummer Steve Riley. The retooled band returned to the studio to revamp tracks for the new album, but it was never released. McJohn also eventually headed back out himself with another lineup that first featured Peter Graw on lead vocals, then another line-up that featured lead vocalist Nick Graham and sometimes included Kent Henry, who had just departed a touring Wolf band that featured Tim West on vocals and Glen Bui. The Graham/McJohn/Henry version pitched an entire new Steppenwolf album to record labels, which was actually a project recorded by Graham’s High Intensity band adding McJohn and Henry to the existing tracks. The album was blocked from release. Frankie Banali later went on to join Quiet Riot.
An original agreement among the band members in the early 1970s stated that anyone leaving forfeited any rights on the group’s name, while the last original members standing when the group disbanded (Kay and Jerry Edmonton) would have exclusive claims on the name hereafter. At their lawyers’ advice, Kay and Edmonton agreed to license the name to the others. This licensing agreement stated that McJohn and St. Nicholas would have to give up their Steppenwolf royalties forever to go forward. They both agreed. Eventually, this agreement was terminated after promised fees were not paid to Kay and Edmonton. After the compact optical digital disc (CD) became the new form of presenting old music by 1987, McJohn and St. Nicholas lost large amounts in additional royalties from their time in the original Steppenwolf band. Kay took to the road in 1980 with a new line-up as John Kay and Steppenwolf never to be allowed to call the band STEPPENWOLF.http://www.paradiseartists.com/wp-content/uploads/2015/10/john-kay-rider.pdf
John Kay and Steppenwolf (1980–present)
Kay and Steppenwolf performing in Lillehammer, Norway, May 26, 2007
Kay had a few meetings with David Pesnell (after his release from rehabilitation for his drinking and drug problems), about management, concert promotions, and producing a new album for the band. Pesnell wanted to produce an album featuring new songs on side A, by the reformed band Three Dog Night and with side B of the album featuring songs by Steppenwolf. The album’s working name was “Back to Back”, a play on each band having a side of the album and the fact the bands were back together again. Pesnell’s concept was simple: each band should record four new songs, with a fifth song on each side featuring a medley of the band’s past songs. This would give the Pesnell-produced album a double release of singles to support a concert tour featuring the two bands. Though both bands liked the concept of the album and tour, the arguments included who would be side A and side B and which of the two would headline the upcoming concert tour.
The reformed John Kay and Steppenwolf line-up featured John Kay, Michael Palmer (guitars, backing vocals), Steve Palmer (drums, backing vocals), Danny Ironstone (keyboards, backing vocals), and Kurtis Teel on bass. The Palmer brothers had played in a group called Tall Water and had also been involved with Kay in his solo career playing live gigs in the late 1970s. Teel was replaced by Chad Peery and Ironstone by Brett Tuggle by 1981, and the new grouping released Live in London overseas. Tuggle was then displaced by Michael Wilk and a new studio album, Wolf Tracks, was released in 1982 on the small Attic (Nautilus in the U.S.) record label. Wolf Tracks was one of the earliest digitally recorded albums in the industry. It was recorded live on a two-track Sony digital recording system. Bassist Welton Gite, who appeared on this album, left shortly after its completion and was replaced by Gary Link. Another album, Paradox, followed in 1984.
In December 1984, the band as it was disbanded and Kay and Wilk decided to continue on in early 1985 with a pared-down quartet composed of Kay, Wilk, Wilk’s friend Ron Hurst (drums, backing vocals), and Rocket Ritchotte (guitars, backing vocals). Wilk also handled bass duties from his sequencing computer keyboards from then on. This line-up released Rock N’ Roll Rebels (1987) and Rise & Shine (1990); these were on the Qwil and I.R.S. Records imprints, respectively. Ritchotte had departed temporarily in 1989 to be replaced by Les Dudek and then Steve Fister, but then returned in 1990 for three more years. Fister (ex-Iron Butterfly) came back in late 1993, but turned guitar duties over to Danny Johnson (formerly of Derringer, Rod Stewart, and others) in 1996.
As the band was named after the novel Der Steppenwolf by German author Hermann Hesse, who was born in the Black Forest town of Calw, the city invited them to come over and play in the International Hermann-Hesse-Festival 2002, along with other bands inspired by Hesse, such as Anyone’s Daughter. The concert drew considerable media coverage, with Kay’s fluent German stunning those who did not know beforehand about his growing up in Germany – in fact, he was born Joachim Fritz Krauledat in Tilsit, East Prussia, Germany (now Sovetsk, Kaliningrad Oblast, Russia).
The band performed its ‘farewell concert’ on October 6, 2007 at Ripken Stadium in Aberdeen, Maryland, featuring Kay, keyboardist and programmer Michael Wilk, drummer Ron Hurst, and guitarist Danny Johnson.
A 2007 newsletter from Kay’s Wolfpack fanclub stated some remastering would be done of the band’s albums throughout 2007 and 2008. Since the group’s official retirement, they have continued to play a limited number of shows each year.
Nearly fifty years later, I couldn’t be prouder to be a Rock and Roll Hall of Fame Nominee. Thank you everyone for helping us #RockTheVote to #InductSteppenwolf into the Rock & Roll Hall of Fame .
Founding Father of Steppenwolf
Dan Lawson does not just play the guitar, his guitar tells a story of passion and soul! Dan’s musical roots are a vast mix of Rock and Funk! Our music is an output of the sum!
LEAD VOCALIST, HARMONICA.
ACCOUSTIC / RHYTHM GUITAR
his equipment was stolen after a burglary at the recording studio he played at. But he's gone on to win, and be nominated for, many local music awards in the bustling hub of Charleston, where he's ended up. His first full-length solo album, Toe The Line, was a hit with bloggers, and he's now wrapping up the release of his sophomore record, And Now You Know. So maybe Mike Freund isn't unlucky after all. Maybe the hardworking blues rocker just needed to find his niche: and that he has, hammering out woozy, rollicking anthems that are sure to get you dancing. MIKE FREUND (pronounced “friend”) has performed with, MUNGER N FLORENCE, PIMPHAT. Both bands performed in several local showcases, appearing on local TV 12 Late Night and a small local tour ending at THE HARD ROCK CAFE in Philadelphia. Mike also fronted the Charleston based band NORTH BY SOUTH. Mike is a self employed, sol-proprietor of his own business, separate of music. Mike’s original works where recorded at MANTIS RECORDS, by friend and sound engineer, MITCH WEBB. With the support of his wife, Jenn, and the guidance of Mitch Webb, Mike recorded and released his first full length solo album titled “TOE THE LINE”. The up beat single “ HAIR’S ON FIRE” first aired on Charleston’s 105.5 The Bridge in September of 2016. The albums second track “THE HEAT” continues to gain popularity, thanks to 105.5’s radio show “ THE JAM”. Mike’s second album, titled “...AND NOW YOU KNOW”, was recorded during the summer of 2017 and released in 2018.
Swamp Fox Entertainment Complex
Marion, SC, 29571