Their vocal harmonies shine on the Carole King/Gerry Goffin sprightly “Wasn’t Born To Follow”. The gospel vocals and soulful piano work are effective, but no one has ever duplicated the unique essence that was The Band. Consequently Smith covers “The Weight” with faithful reverence. The album notes reference a dispute over “licensing”, but there are several theories. The Band had two songs in the film, but neither made in onto the record. And now some of the anecdotal mysteries of Easy Rider surface. Some have credited the origin of the expression “heavy metal” to these lyrics. Another Steppenwolf gem, “Born To Be Wild” follows as the ultimate road tune. This type of music represents the edgier counterculture. Anyone who has ever seen this flick can visualize the two protagonists sliding rolled up currency into the gas tanks. The bluesy groove progression is matched by singer John Kay’s gritty vocals. Side A opens with Steppenwolf performing Hoyt Axton’s “The Pusher”. MVD has released a vinyl reissue of this classic album. The various songs represented a visceral connection to the individual scenes and appeared in sequence. The soundtrack for Easy Rider was also trend-setting. The crossover appeal was a boom for independent films and more importantly, rock music in films. It elevated Jack Nicholson (a late replacement for Rip Torn) to stardom. With a meager budget (allegedly around $60,000), the saga of two dope dealers (Fonda and Hopper) cruising across America on motorcycles became a smash hit.
But in 1969, Dennis Hopper and Peter Fonda tackled the complex, idyllic world of sex drugs and rock and roll in Easy Rider. Mike Nichols’ The Graduate was a shrewd glimpse into the angst of suburban disaffection. But it took a long time to shed a light on the peculiar “Hippie” movement.
Movies like Butch Cassidy And The Sundance Kid, Bonnie And Clyde, Hud, and Midnight Cowboy examined the social mores (of the absence) of the counterculture. (Featuring the music of Steppenwolf Smith The Birds The Holy Modal Rounders Fraternity Of Man The Jimi Hendrix Experience The Electric Prunes and Roger McGuinn)Īs the 1960’s cinema evolved, the anti-hero dominated the narratives.
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