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“In the past, we have written about many songs centered around driving, the open road, and numerous other releases of driving song articles. Many of us only really get the chance to listen to our favorite albums and songs in the car, as life at home or at work is often not really conducive to listening to music. This one focuses squarely on highways. There have been hundreds, maybe even thousands, of songs that mention highways in the lyrics or even in the song titles. Here are ten of our favorites. What are yours?”
# 10 – (It’s a) Long Lonely Highway – Elvis Presley
Elvis Presley’s “(It’s a) Long Lonely Highway,” recorded during the prolific sessions at RCA Studio B in Nashville in May 1963, is a poignant exploration of life on the road and the isolation that comes with it. Released in 1965 as a single, and also included in the soundtrack for the film Tickle Me, the song carries the signature Presley mix of rock, blues, and country, while delving into themes of loneliness, heartache, and resilience. The song was written by Doc Pomus and Mort Shuman, two legendary songwriters who had previously worked with Presley on hits like “Viva Las Vegas” and “Little Sister.” Their lyrical prowess is evident in “(It’s a) Long Lonely Highway,” as they weave together a narrative about the emotional toll of a never-ending journey on a man who’s been left behind by love.
Lyrically, the song paints a vivid picture of desolation and endurance. The first verse, “It’s a long, lonely highway when you’re traveling all alone / And it’s a mean, old world when you got no one to call your own,” perfectly captures the sense of solitude that comes with being on the road for too long. The lyrics explore the weight of carrying on through life’s challenges with no one to share the burden—“You gotta keep on going on that road to nowhere / Gotta keep on going, though there’s no one to care.” As Presley sings, his voice effortlessly transitions from tender vulnerability to a defiant determination, underscoring the emotional depth of the song. It’s a performance that feels both deeply personal and universally relatable, reflecting Presley’s own experiences with the pressures of fame, isolation, and longing.
Musically, “(It’s a) Long Lonely Highway” is driven by a steady rhythm and an infectious guitar line that captures the restless energy of constant travel. Guitarist Scotty Moore’s crisp playing and bassist Bob Moore’s steady, rolling lines give the song a rockabilly flair, while drummer D.J. Fontana’s tight drumming adds momentum. The Nashville session musicians, who had become the backbone of Presley’s recording efforts in the early 1960s, lend the track a polished yet authentic sound. The production, helmed by Steve Sholes, is sharp and focused, allowing Presley’s voice to remain front and center. Though the song didn’t achieve the chart-topping success of some of Presley’s other hits from the era, it reached number 44 on the Billboard Hot 100, reflecting its enduring appeal to fans.
In the context of an article focused on rock songs with “highway” in the title, “(It’s a) Long Lonely Highway” fits perfectly alongside the classics, offering a more introspective take on the freedom and loneliness that come with life on the road. Unlike the romanticized version of the open road often depicted in other songs, Presley’s track emphasizes the emotional cost of constant travel and the heartache of being separated from loved ones
Read More: Elvis Presley, Censorship, And The Power Of The People
# 9 -Two Lane Highway – Pure Prairie League
Continuing with our 10 Best Classic Rock Songs About Highways list we take a listen to one of our favorite songs ever released by Pure Prairie League. “Two Lane Highway,” is the title track from their 1975 album. Two Lane Highway showcases their smooth blend of country, folk, and rock that became synonymous with the ’70s country rock movement. It was Recorded at Jack Clement Studios in Nashville and produced by John Boylan and Michael Stewart. The lineup for the album featured Craig Fuller on vocals and guitar, George Ed Powell on guitar, Mike Reilly on bass, and Billy Hinds on drums, with guest appearances from musicians like Chet Atkins and Emmylou Harris.
Lyrically, “Two Lane Highway” is about the tension between the freedom of the road and the pull of home. The narrator wrestles with the lifestyle of constant travel, singing, “Maybe something new will come up / And I can come home for just a few more days.” The lyrics capture a feeling of restlessness and uncertainty, common themes in road songs, as the two-lane highway becomes both a symbol of escape and a path back to familiar comforts. The chorus, “Two lane highway / Is going my way, moving fast / Two lane highway / Is taking me home, home at last,” embodies that duality. It’s a highway that represents movement—moving toward something but also away from something else. The lyrics convey a universal longing for stability while embracing the unpredictability of the road, a theme that resonates with anyone who has experienced life on the move. Critically, Two Lane Highway marked a pivotal moment for Pure Prairie League. The album reached number 24 on the Billboard 200.
Read More: Top 10 Pure Prairie League Songs
# 8 – Kings Highway – Tom Petty and the Heartbreakers
Tom Petty and the Heartbreakers’ “Kings Highway” is an uplifting anthem of hope and escape, brimming with the sense of freedom and optimism that defined much of Petty’s work. Released in 1991 as part of the band’s album Into the Great Wide Open, “Kings Highway” showcases Petty’s ability to blend heartfelt lyricism with powerful, straightforward rock. Produced by Petty himself alongside Jeff Lynne, the track was recorded at Rumbo Recorders in Los Angeles and reflects the lush, polished production that Lynne brought to the album. With its driving rhythm, jangly guitars, and soaring melodies, the song is a standout in the band’s catalog and remains a fan favorite despite never being released as a single.
Lyrically, “Kings Highway” speaks to a yearning for escape and the pursuit of a better life. Petty paints a picture of a romantic journey, one that promises to take the narrator and his lover away from their troubles and toward a brighter future. The lines, “Oh, I await the day / Good fortune comes our way / And we ride down the Kings Highway,” convey a deep sense of longing for a new beginning. Petty’s voice, both earnest and hopeful, carries the weight of these words, making the highway not just a road but a symbol of possibility and redemption. In this way, “Kings Highway” connects with the rich tradition of highway-themed rock songs, where the open road becomes a metaphor for freedom and self-discovery.
Musically, the track exemplifies the sound that defined Into the Great Wide Open. The band—featuring Mike Campbell on lead guitar, Howie Epstein on bass, Benmont Tench on keyboards, and Stan Lynch on drums—delivers a tight, cohesive performance. Campbell’s guitar work is especially notable, with his crisp, melodic leads adding depth to the song’s hopeful message. Lynne’s production gives the track a bright, polished sheen without sacrificing the Heartbreakers’ raw rock essence. The chorus is infectious, propelled by a rhythm that mirrors the steady forward motion of a road trip, perfectly capturing the feeling of driving toward an unknown yet promising destination.
Into the Great Wide Open was a commercial success, reaching number 13 on the Billboard 200 and going platinum. While “Kings Highway” didn’t chart as a single, it became a beloved track among Petty’s fanbase and is often cited as one of the highlights of the album. Critics praised the song for its hopeful message and solid rock foundation, with many noting how it captured Petty’s gift for turning simple, everyday imagery into something profound. As part of a broader exploration of rock songs with “highway” in the title, “Kings Highway” stands as a testament to Tom Petty’s enduring ability to craft music that resonates deeply with the themes of freedom, resilience, and the pursuit of something better just beyond the horizon.
The song’s hopeful tone and uplifting message make it more than just another highway song—it’s an anthem of perseverance and belief in the possibility of a brighter future. Whether taken literally or metaphorically, “Kings Highway” speaks to the universal desire to break free from the past and head toward a future full of promise. In this way, Tom Petty and the Heartbreakers’ “Kings Highway” not only fits into the tradition of rock’s great road songs but also elevates it with Petty’s signature blend of poetic insight and rock ‘n’ roll simplicity.
Read More: Top 10 Tom Petty And The Heartbreakers Songs
# 7 – Highway to Hell – AC/DC
AC/DC’s “Highway to Hell” was released in 1979 as the title track of their sixth studio album, Highway to Hell, the song represents a turning point for the band, both musically and culturally. Written by Bon Scott, Angus Young, and Malcolm Young, and produced by Mutt Lange, the track captures the gritty spirit of rock ‘n’ roll, with its rebellious energy and no-holds-barred attitude. Recorded at Roundhouse Studios in London, the song solidified AC/DC’s place as one of the premier hard rock bands of the late ’70s, setting the stage for their global success in the years to come.
“Highway to Hell” opens with a driving, bluesy guitar riff from Angus Young that is instantly recognizable. The riff is simple yet effective, setting the tone for the entire track with its relentless, forward momentum. Bon Scott’s lyrics are the epitome of rock rebellion—he portrays a life lived without restraint or consequence. Lines like “Livin’ easy, lovin’ free / Season ticket on a one-way ride” reflect a carefree existence, one where the singer is speeding toward an inevitable conclusion but enjoying every minute of it. The chorus, “I’m on the highway to hell,” is both defiant and celebratory, capturing the essence of AC/DC’s ethos: life is short, so live it loud and without apologies.
The song’s production, helmed by the legendary Robert John “Mutt” Lange, brought a new level of polish to AC/DC’s raw sound. Lange’s influence is particularly noticeable in the tightness of the rhythm section, with Phil Rudd’s drumming locked in perfectly with Malcolm Young’s rhythm guitar and Cliff Williams’ bass. The band’s focus on precision and groove, combined with Scott’s raspy, charismatic vocals, made “Highway to Hell” a standout track on the album. It was Lange’s first collaboration with the band, and his production would become instrumental in shaping their sound on future releases.
Highway to Hell was a commercial and critical breakthrough for AC/DC, peaking at number 17 on the Billboard 200 and number 8 on the UK Albums Chart. The title track became an enduring anthem for the band, emblematic of their wild, rebellious image. Tragically, it was the last album Bon Scott would record with AC/DC before his death in February 1980. His untimely passing added a layer of poignancy to the song’s lyrics, particularly lines like “Hey mama, look at me / I’m on the way to the promised land,” which now seem eerily prophetic. Despite this, “Highway to Hell” endures as a celebration of life lived on the edge, with no regrets.
Read More: Chris Slade: The ClassicRockHistory.com Interview
# 6 – Highway Star – Deep Purple
Deep Purple’s “Highway Star,” from their 1972 album Machine Head, is a roaring testament to the band’s ability to deliver high-energy, precision-driven rock music. Often hailed as one of the quintessential driving anthems, “Highway Star” captures the raw excitement of speed and freedom on the open road. The song was recorded in Montreux, Switzerland, during the famous Machine Head sessions at the Montreux Casino, which was later engulfed in flames during a Frank Zappa concert—an event immortalized in another of Deep Purple’s classics, “Smoke on the Water.” Produced by the band alongside Martin Birch, “Highway Star” features each member of Deep Purple firing on all cylinders, creating a track that is equal parts exhilarating and technically brilliant.
Lyrically, “Highway Star” is a celebration of speed, control, and power. Ian Gillan’s vocals powerfully convey the narrator’s obsession with his car, a “killing machine” that no one can take away from him. The lyrics, “Nobody gonna take my car / I’m gonna race it to the ground,” set the tone for a high-speed thrill ride, while the second verse introduces the same level of passion for the narrator’s girl, equating both with the adrenaline of the road. The simplicity and repetition of the lyrics enhance the song’s intensity, giving it a relentless, driving force that mirrors the song’s subject matter.
Musically, “Highway Star” stands out as one of Deep Purple’s most iconic tracks. Ritchie Blackmore’s guitar work is a highlight, delivering a searing solo that is widely regarded as one of the best in rock history. Jon Lord’s organ solo is equally impressive, blending classical influences with the intensity of rock, creating a unique sound that became a hallmark of Deep Purple. Roger Glover on bass and Ian Paice on drums provide a solid, driving rhythm that propels the song forward with unstoppable momentum. The interplay between the guitar and organ solos, combined with Gillan’s soaring vocals, creates a track that feels like a full-throttle race down the highway, capturing the essence of speed and freedom.
“Highway Star” was never released as a single, but it became a fan favorite and a staple of Deep Purple’s live performances. Machine Head was a massive success, reaching number one on the UK Albums Chart and peaking at number seven on the Billboard 200 in the United States.
Read More: Ian Paice of Deep Purple: The ClassicRockHistory.com Interview
# 5 – Carefree Highway – Gordon Lightfoot
Gordon Lightfoot’s “Carefree Highway,” released in 1974 on his Sundown album, is a prime example of the Canadian singer-songwriter’s talent for blending storytelling with melodic folk-rock. The song, written by Lightfoot himself, uses the metaphor of a highway to express the desire for escape, freedom, and the bittersweet reflection on a past love. The title refers to Arizona’s Carefree Highway, a real road that sparked the inspiration for the song during one of Lightfoot’s tours. Recorded at Eastern Sound Studios in Toronto, Sundown was produced by Lenny Waronker, and the album as a whole reflects Lightfoot’s introspective yet accessible style, merging folk, country, and soft rock elements.
The lyrics of “Carefree Highway” center on a narrator who is grappling with the emotional aftermath of a relationship. The opening verse, “Pickin’ up the pieces of my sweet shattered dream / I wonder how the old folks are tonight,” immediately sets the tone of reflection and regret. The narrator, haunted by memories of a lost love named Ann, seeks solace and escape on the open road. The chorus, “Carefree highway, let me slip away on you / Carefree highway, you’ve seen better days,” uses the highway as a symbol of freedom and the possibility of leaving behind emotional baggage. The road represents a path toward emotional healing, yet the melancholic tone of Lightfoot’s voice hints at the lingering heartache that accompanies the journey.
Musically, “Carefree Highway” exemplifies Lightfoot’s ability to craft a song that feels intimate yet expansive. The arrangement is driven by Lightfoot’s gentle acoustic guitar playing, supported by Terry Clements on lead guitar, Rick Haynes on bass, and Barry Keane on drums. The instrumentation is subtle but effective, allowing Lightfoot’s rich baritone and thoughtful lyrics to take center stage. The smooth, folk-rock production helps to create a warm, wistful atmosphere, perfectly complementing the song’s themes of longing and reminiscence.
Carefree Highway performed well commercially, with the Sundown album reaching number one on the Billboard 200, largely buoyed by the success of its title track and “Carefree Highway,” which peaked at number 10 on the Billboard Hot 100. Critically, the song was praised for its lyrical depth and Lightfoot’s ability to connect with listeners through universal emotions like love, loss, and the need for personal freedom. “Carefree Highway” remains one of Lightfoot’s most enduring songs, a testament to his craftsmanship as a songwriter who could blend narrative and melody in a way that resonated across generations.
As part of an exploration of rock songs with “Highway” in the title, “Carefree Highway” deserves a prominent place. It not only embodies the metaphor of the open road as a route to freedom and self-discovery but also serves as a reflection on the emotional journeys that accompany life’s literal and figurative highways. Lightfoot’s poignant lyrics, combined with the song’s gentle yet driving rhythm, make it a standout track in the landscape of ’70s folk-rock.
Read More: Complete List Of Gordon Lightfoot Albums And Discography
# 4 – Highway 61 Revisited – Bob Dylan
Bob Dylan’s “Highway 61 Revisited” is a defining track from his landmark 1965 album of the same name, blending surreal imagery, social critique, and biting humor against the backdrop of one of America’s most iconic highways. Highway 61, running from Dylan’s hometown of Duluth, Minnesota, down to New Orleans, has long been a symbol of freedom, escape, and the complex cultural crossroads of the American South. Dylan reimagines it as a mythical route for characters from history, folklore, and fiction, all of whom seem trapped in absurd, sometimes darkly comical scenarios. Recorded in Columbia Studios in New York City in the summer of 1965 and produced by Tom Wilson, Highway 61 Revisited marked Dylan’s full embrace of electric rock, a transition he had begun on his previous album, Bringing It All Back Home.
The song’s opening verse rewrites the biblical story of Abraham and Isaac with a sardonic twist. God commands Abraham to kill his son, only for Abraham to question the directive as if it were some sort of cosmic joke. God’s response, “Out on Highway 61,” infuses the track with a sense of inevitability, as though this infamous stretch of road is a place where the lines between morality, absurdity, and violence blur. Dylan’s sharp wit and narrative twists permeate every verse, with each character—be it Georgia Sam, Mack the Finger, or the rovin’ gambler—finding their way to Highway 61 in pursuit of their own chaotic endeavors. The lyrics encapsulate the post-modern disillusionment of the 1960s, a time when old values seemed to crumble, replaced by a bizarre, almost anarchic new order.
Musically, “Highway 61 Revisited” is driven by the searing slide guitar of Mike Bloomfield, whose gritty playing matches the song’s rebellious energy. Charlie McCoy’s whistle, signaling the start of the track, mimics the sound of a carnival or sideshow, adding a touch of madness to the proceedings. The track exemplifies Dylan’s shift toward a harder, blues-rock sound, with Al Kooper on organ and Harvey Brooks on bass rounding out the band. Critics hailed the song as one of Dylan’s finest works, cementing his status as a leading voice of the counterculture movement. The album itself became a commercial and critical success, reaching number three on the Billboard 200 and widely regarded as one of the greatest albums of all time.
As part of a broader exploration of rock songs featuring the word “Highway” in the title, “Highway 61 Revisited” stands out not just for its title, but for how Dylan transforms the highway into a metaphor for America’s contradictions—its freedom and its chaos, its history and its future.
Read More: Complete List Of Bob Dylan Albums And Discography
# 3 – Highway Song – Blackfoot
Blackfoot’s “Highway Song,” was released on their 1979 album Strikes. The song was co-written by frontman Rickey Medlocke and guitarist Jakson Spires. The track captures the emotional highs and lows of being constantly on the move, with its themes of longing, solitude, and the relentless pull of the highway. Recorded at Criteria Studios in Miami and produced by Al Nalli and Henry Weck, Strikes was a turning point for Blackfoot.
The song opens with a reflective tone, as Medlocke sings about the toll that the road takes on relationships: “Another town is drawing near / Oh, baby, I wish you were here / But the only way I can see you, darlin’, is in my dreams.” These lyrics strike a chord with anyone familiar with the isolation of constant travel, a theme echoed in the chorus: “It’s a highway song / You sing it on and on / On and on.” Musically, the track builds slowly, starting with acoustic guitar before soaring into a powerful crescendo, driven by Medlocke’s distinctive vocals and Charlie Hargrett’s electrifying guitar work. The song’s progression mirrors the duality of life on the road, balancing moments of quiet introspection with explosive energy that captures the feeling of performing night after night.
Critically, “Highway Song” helped solidify Blackfoot’s place in the Southern rock pantheon, with Strikes becoming their breakthrough album. The song became a hit on FM radio and remains a staple of classic rock playlists. While Strikes peaked at number 42 on the Billboard 200.
Read More: Top 10 Blackfoot Songs
# 2 – Ventura Highway – America
“Ventura Highway” was released in 1972 on the band’s second studio album Homecoming; the track was written by Dewey Bunnell, one of the group’s founding members. The song conjures up images of endless summer days and the freedom of the open road, set against the backdrop of Southern California’s Ventura Highway. Recorded at The Record Plant in Los Angeles and produced by George Martin—best known for his work with The Beatles—the track showcases America’s signature blend of folk-rock harmonies and breezy acoustic guitars. Alongside Bunnell on lead vocals and guitar are Gerry Beckley on guitar and piano and Dan Peek on bass, all combining to create a sound that would become synonymous with the ’70s California music scene.
Lyrically, “Ventura Highway” plays like a daydream, full of abstract imagery and nostalgic references. Lines like “Alligator lizards in the air” and “Sorry boy, but I’ve been hit by purple rain” give the song a surreal, almost mythical quality. Bunnell has explained that the song was inspired by his childhood memories of the California coast, specifically a trip he took with his family when their car broke down near the highway that runs along the Pacific. The lyrics capture the feeling of being untethered, with the chorus evoking a sense of escape: “Ventura Highway in the sunshine / Where the days are longer / The nights are stronger than moonshine.” The song’s upbeat yet mellow tempo mirrors the laid-back atmosphere it describes, making it the perfect soundtrack for a road trip or a day at the beach.
“Ventura Highway” was a commercial success for America, helping to solidify their place in the soft rock canon of the 1970s. The Homecoming album reached number 9 on the Billboard 200 chart, while the single itself became a top 10 hit on the Billboard Adult Contemporary chart. Critics have praised the song for its intricate harmonies and vivid, almost cinematic, quality, with many noting its ability to transport listeners to a specific time and place. The track has remained a fan favorite over the decades, frequently appearing in film soundtracks and commercials that seek to capture the quintessential Californian vibe.
As part of an article focusing on rock songs with “Highway” in the title, “Ventura Highway” is an essential inclusion. It not only exemplifies the spirit of the open road but also reflects the era’s broader cultural yearning for freedom, both physical and emotional. The song is a testament to America’s ability to blend folk-rock sensibilities with a pop aesthetic that still resonates today. Its imagery and sound encapsulate the idealized West Coast lifestyle, where the “free wind” blows and life seems full of possibility.
Read More: America’s Best Song On Each Of Their Studio Albums
# 1 – Route 66 – The Rolling Stones
The Rolling Stones’ cover of “Route 66,” featured on their 1964 self-titled debut album, is a dynamic reimagining of one of America’s most iconic road songs. Originally written by Bobby Troup in 1946 and first performed by Nat King Cole, “Route 66” has since become a timeless anthem, celebrating the legendary highway that runs from Chicago to Los Angeles. Troup’s lyrics invite listeners to “get your kicks on Route 66,” capturing the post-war ideal of freedom and adventure on the open road. The song quickly became a hit, blending jazz, rhythm and blues, and pop sensibilities while evoking the romance of small-town Americana. Over the years, it was covered by a wide range of artists, but The Rolling Stones’ version injected it with a fresh, youthful energy, perfectly suited to the rebellious spirit of 1960s rock.
Recorded in January 1964 at Regent Sound Studios in London and produced by Andrew Loog Oldham, The Rolling Stones’ rendition of “Route 66” strips down the original’s smooth jazz flavor, opting instead for a raw, blues-rock approach. Mick Jagger’s raspy vocals, Brian Jones and Keith Richards’ dual guitar attack, Bill Wyman’s bass, and Charlie Watts’ tight drumming all bring a gritty, driving energy to the track. Their version emphasizes the relentless pulse of the highway, transforming the song into a rock ‘n’ roll road anthem. The Stones’ love for American blues and R&B shines through in this cover, paying homage to their musical roots while adding their signature edge.
Lyrically, “Route 66” conjures a vivid road map across America, highlighting towns like St. Louis, Oklahoma City, Amarillo, and Flagstaff. Troup’s words paint a picture of the quintessential road trip, offering listeners a sense of both physical movement and the deeper, symbolic freedom of the highway. Lines like “Won’t you get hip to this kindly tip / Jack and take that California trip” have a playful, almost beckoning quality, while the repetitive listing of place names—“Well, it goes from St. Louie, Joplin, Missouri / Oklahoma City looks oh so pretty”—captures the song’s rhythm of endless travel. The chorus, “Get your kicks on Route 66,” has become one of the most memorable in American music, embodying the joy and liberation of a journey westward across the heart of the country.
“Route 66” became a staple of The Rolling Stones’ early live performances, bringing the American mythos of the highway to the British Invasion era. Though it was never released as a single, its inclusion on their debut album helped establish The Rolling Stones as interpreters of classic American music, lending authenticity to their blues and R&B influences. The album itself was a commercial success, reaching number one on the UK Albums Chart and entering the Billboard 200 in the U.S., with the Stones’ rendition of “Route 66” standing out as one of the highlights.
As part of an exploration of rock songs with “highway” in the title, “Route 66” by The Rolling Stones is essential not just for its iconic status, but for how it encapsulates the enduring allure of the open road. Bobby Troup’s original vision of Route 66 as a gateway to freedom and adventure finds new life in The Rolling Stones’ hands, as they inject the song with a rougher, rebellious edge that resonates with the counterculture spirit of the ’60s. Decades later, “Route 66” remains a beloved track, symbolizing the timeless appeal of the highway as a place of possibility, discovery, and self-determination.
Read More: Complete List Of The Rolling Stones Albums And Discography
10 Best Classic Rock Songs About Highways article published on Classic RockHistory.com© 2024
All great selections – if the list were to be expanded, the following two come to mind immediatelly:
“Rockin’ Down The Highway” – Doobie Brothers
“Roll On Down The Highway” – Bachman-Turner Overdrive
Also, Cochrane’s ‘Life Is A Highway’ covered by Rascal Flatts is worthy of the #11 position. good list-well written/researched.
As Howard said, I was surprised that Cochrane’s Life Is A Highway was not included. Not a loser on the list though.
It was just to obvious
Doobie Brothers deserve to be in this top 10.