50 Songs for 50 U.S. States — Part 1
50 Songs for 50 States of America Part 1
Welcome to WatchMojo, and today we’re jamming to songs that best represent each state in the U.S., in alphabetical order, up to Missouri.
“Sweet Home Alabama” (1974) by Lynyrd Skynyrd
Alabama
Though they hail from Florida, Lynyrd Skynyrd is so quintessentially Southern rock that they delivered an anthem for the quintessential Southern state. “Sweet Home Alabama” was a response to Neil Young’s “Alabama” and “Southern Man,” which leaned on stereotypes to condemn contemporary social issues in the region. The post-Watergate diss track points out the hypocrisy in vilifying the entire South for the corruption and bigotry of politicians. Mostly, though, it's a celebration of Alabama’s signature charm and hospitality, backed by an unshakably catchy riff. The permanent global hit “Sweet Home Alabama” is naturally a staple of classic rock culture in the Deep South. And it's a motto for the homey spirit of the Yellowhammer State.
“North to Alaska” (1960) by Johnny Horton
Alaska
Not two years after Alaska was declared the 49th American state, the Northern-set Western “North to Alaska” delighted moviegoers. The theme song was a more solemn hit in the country genre, as singer Johnny Horton had died in a car accident just days before the film’s release. Over time, it’s become a lesser-known John Wayne vehicle, but Alaskans still love that song. The cozy tones enhance Tillman Franks and Mike Phillips’s vivid Gold Rush saga to capture the land’s folksy adventurousness. As that has only evolved through the years, “North to Alaska” feels more like a commemoration of Horton and the theme song to the whole of the Last Frontier.
“Arizona” (1981) by Rex Allen, Jr.
Arizona
The son of the famed “Arizona Cowboy” grew up knowing all of America as his home. But his father’s home held such a special place in his heart that he wrote a tribute in the style of a proper love song. “Arizona” is also the most definitive example of Rex Allen Jr.’s style of authentic traditional country in modern music. While the Copper State has diversified since its founding, the frontiersman spirit has never faded. Thus, Allen’s “Arizona” was selected as an “alternate” state song just one year after its release. It may actually be more of a local hit, but it says everything about the beauty of and passion for a community.
“Arkansas” (2020) by Chris Stapleton
Arkansas
Who says that Arkansas is boring? The state’s vibe and sprawl have been well-represented in a distinct musical identity, but it was Kentucky country star Chris Stapleton who perfectly consolidated it. The energetic Southern rock jam “Arkansas” recounts how he and bassist J. T. Cure had to pick up a car in Oklahoma and drive it to his home in Nashville, Tennessee. Along the way, they found a wild, welcoming culture from the Ozark mountains to the massive Little Rock. The locals quickly embraced “Arkansas” as an anthemic and authentic representation of their defining personality. Of course, they and Stapleton would agree that there’s a rich musical tradition behind this modern regional classic.
“Hotel California” (1977) by Eagles
California
How can you narrow down a music culture as vast and diverse as California’s? The Eagles naturally accomplished this so singularly that they named their magnum opus “Hotel California.” The eclectic epic of a shady desert utopia alludes to the very mythology of this fabled world. Of course, the folksy, psychedelic homage to 1960s counterculture leaves a lot up for interpretation. It certainly paints a colorful portrait of the romance and excesses of modern America, as do an eerie groove, a cool chorus, and one of the all-time great guitar duos. “Hotel California” is altogether a rock masterpiece that encompasses the enigmatic essence of the Golden State. If it really is this enchanting, why would you ever leave?
“Rocky Mountain High” (1972) by John Denver
Colorado
John Deutschendorf’s stage name was just the start of the folk singer linking his career to his adopted home state. That came to a peak with “Rocky Mountain High,” an account of how he moved to and fell in love with Colorado. It also reflects on how the region’s splendor has been violated by industrialization. The deceptively profound ballad was so popular that John Denver was named the state’s poet laureate two years after its release. And in 2007, it was named alongside “Where the Columbines Grow” as Colorado’s official state anthem. Of all the tributes Denver wrote for the Centennial State, “Rocky Mountain High” is the purest love letter a place could hope for.
“Connecticut” (1945) by Bing Crosby and Judy Garland
Connecticut
The fantasy of one of America's most romantic states was perfected by two of the country's brightest golden era stars. Songwriters Hugh Martin and Ralph Blane, who worked on “Meet Me in St. Louis,” reunited with Judy Garland to write “Connecticut” as a duet with Bing Crosby. The upbeat ballad alleges that there may be no more pleasant place to be than the Nutmeg State. And with how it presents the community, education and nature, it's hard to argue. The Land of Steady Habits still represents an old-fashioned idyllic myth, making this 1940s hidden gem feel even more evergreen. If nothing else, Crosby and Garland have the charm to sell Connecticut as the place for anyone.
“Delaware Slide” (1977) by George Thorogood and the Destroyers
Delaware
The modest reputation of the First State has always been challenged by their biggest rock star. Clearly, not enough people are familiar with George Thorogood and the Destroyers’ “Delaware Slide.” The raspy bluesman tells the usual story of hitting the iconic Highway 95 in the wake of heartbreak. Mostly, though, the eight-minute opus is an endlessly catchy jam led by a slide guitar. It's massive yet minimalistic, a mix of traditional and modern that's very urban blues. Never mind, very Delaware. Thorogood has obviously had bigger hits since the closing track on his debut album helped make him a local legend. Still, “Delaware Slide” is the kind of All-American epic that screams, “Liberty and Independence.”
“Seminole Wind” (1992) by John Anderson
Florida
About the only thing that unifies the many distinct identities of Florida is the sunshine. But true Floridians can hear a little bit of everything in Apopka local John Anderson’s “Seminole Wind.” The up-tempo country ballad recognizes the beauty of the Everglades, references Indigenous history, and laments the destructive force of development. It's not exactly the sunniest anthem for a popular tourist destination. Nonetheless, it was a commercial and critical hit that secured Anderson's ‘90s comeback, despite the label’s concern that it would be too regionally esoteric. With its folksy romance and complicated themes particularly resonating with locals, “Seminole Wind” arguably says more about Florida than any travel guide.
“Georgia on My Mind” (1960) by Ray Charles
Georgia
Composer Hoagy Carmichael collaborated with Stuart Gorrell to write “Georgia on My Mind” as a tribute to his sister in 1930. The pop piece was deceptively marketed as Southern nostalgia for 30 years before Ray Charles gave it new life. The Albany native mixed soul and country to aggrandize the loving ballad into a passion for his home. This unique interpretation distinguished “Georgia on My Mind” as a true American classic, as well as the preferred style for countless covers. It was also adopted as Georgia’s official state song in 1979. While Hoagy Carmichael definitely deserves some recognition, only one thing comes to mind when Brother Ray takes us away.
“Blue Hawaii” (1961) by Elvis Presley
Hawaii
Ralph Rainger and Leo Robin wrote “Blue Hawaii” for the 1937 film “Waikiki Wedding.” It became a pop standard until, two years after Hawaii attained statehood, another movie made it synonymous with Elvis Presley. His more emotive interpretation not only elevated the longing in a love song composed for Bing Crosby. It more succinctly mingled Polynesian arrangements with orchestral pop, helping to solidify Hawai’i folk music as part of the American mainstream. The film “Blue Hawaii” may have created a romantic image of the new state by exoticizing its native culture. But Presley’s even more popular soundtrack exemplified a rich identity that continues to resonate in local and global pop culture.
“Private Idaho” (1980) by The B52’s
Idaho
Georgia new wave pioneers The B52’s actually didn't play Idaho until three decades after the release of “Private Idaho.” The state was named alongside a pool to represent a place of isolation and mystery. Fred Schneider claimed to also be alluding to the paranoia of a private eye – pardon the pun. It turns out the eerily danceable jam isn't far off from the eccentric essence of its namesake. Idahoans unexpectedly embraced it as an anthem for their values of nature and individualism. Its maverick brand was bolstered in 1992, when filmmaker Gus Van Sant named his cult breakout “My Own Private Idaho.” Whether The B52’s meant to nail the spirit of the Gem State, they arrived in 2011 as local legends.
“Chicago” (2005) by Sufjan Stevens
Illinois
The culture of Illinois is so diverse that Sufjan Stevens of Michigan had to explore it with a concept album. Unsurprisingly, the track named for the state’s biggest city was the biggest hit. But “Chicago” goes beyond representing metropolitan ideals that can be heard in the indie folk piece’s towering orchestration. It encompasses the adventurous spirit of an entire state that Stevens fell in love with growing up. Only a local could readily pick up on the references to history, local legends and the poet Carl Sandburg. This sophisticated anthem remains Stevens’s most popular song and a particularly rich tribute to Prairie State’s cultural epicenter. Of course, the whole album “Illinois” is an ethnographic triumph.
“Small Town” (1985) by John Cougar Mellencamp
Indiana
Measuring just over 10 square miles, Seymour, Indiana is definitely no metropolis. But John Mellencamp’s heartland rock never sounded bigger than it does on “Small Town.” This particularly personal anthem commemorates his childhood and the spirit of community under the pressures of the modern world. Mellencamp wanted to subvert the old musical underdog mentality of wanting to make it in the big city. Even without being released as a single, “Small Town” was so revered for its hook and authentic sentiments that it settled the singer’s image as a Middle American idol. The song has since been embraced by the greater Heartland, as well as a few political campaigns. It's just particularly big in the humble communities of Indiana.
“Iowa Stubborn” (1957) by Meredith Willson
Iowa
As huge as “The Music Man” was on Broadway, it's even bigger in the small state of Iowa. Mason City’s own Meredith Willson captures the charm of his home in every musical number, especially “Iowa Stubborn.” This title proves ironic as the residents of River City descend on traveling salesman Charlie Cowell with word of their mild manners. While it wouldn't be nice for outsiders to test that patience, the lively number represents the unique humility that Iowans take pride in. “The Music Man” and its film adaptation broadly popularized the mythical Midwestern ideal as distilled in one region. Hawkeyes just particularly hold onto the term of endearment that is “Iowa Stubborn.”
“Witchita Lineman” (1968) by Glen Campbell
Kansas
The spirit of Kansas burdened Oklahoma songwriter Jimmy Webb and Arkansas country star Glen Campbell in a studio in Hollywood. This couldn't have been done without the likes of the “Wichita Lineman,” whose story is told with a frontiersman’s conviction and an emphasis on the beautifully harsh elements. It's all enhanced by the emotive hooks of the legendary session band the Wrecking Crew. But the lyric’s mix of Western grit and modern ideas really spoke to the vague identity of Kansans. Webb’s ballad was not only turned into one of Campbell's most successful songs, but is widely considered a modern American masterpiece. And if its complex identity communicates with anyone, it's the people of Kansas.
“Blue Moon of Kentucky” (1945) by Bill Monroe
Kentucky
The Bluegrass State is a well-earned nickname for the birthplace of a music genre. It was precisely developed by Bill Monroe with the romantic folk music of British immigrants and the budding Appalachian Americana. With a sound and storytelling that pretty, “Blue Moon of Kentucky” even makes heartbreak sound romantic. Monroe’s masterpiece so vividly conveys the land’s natural beauty and humble soul that it became one of the defining American standards of the 20th century. More honorific than the countless covers was it being named the official bluegrass song of Kentucky in 1988. While “Blue Moon of Kentucky” is the obvious choice, take that to mean that there are many songs of many genres to tell this state’s story.
“Jambalaya (On the Bayou)” (1952) by Hank Williams
Louisiana
The Alabama country icon Hank Williams had Louisiana to thank for his broadcast breakout and his wife Billie Jean Horton. Then there was the kinship with Cajun culture that produced a bona fide anthem. Sure, “Jambalaya (On the Bayou)” is on the stereotypical side with its plays on Creole mannerisms and cuisine. Above all, it's a celebration of a unique subculture that speaks to all of Louisiana with its zydeco-infused honky-tonk. The very fun “Jambalaya” is believed to be the most covered song in Williams’s hugely influential catalog. It's particularly hot in Cajun Country, where it can always be trusted to boil a melting pot culture down the good times.
“Ballad of the 20th Maine” (2015) by The Ghost of Paul Revere
Maine
Carrying on the spirit of New England’s true favorite Patriot, The Ghost of Paul Revere brought a modern twist to American folk. “Ballad of the 20th Maine” is particularly personal to the Portlanders in its account of a regiment that was key to the Union’s victory in the Battle of Gettysburg. The battle hymn commemorates these men’s sacrifice with underscores of Irish folk, making it a bit obscure for mainstream listeners. That is, until it was designated the official ballad of Maine in 2019 for the state’s bicentennial. “Ballad of the 20th Maine” has since gained a cult following on acclaim alone, though it’s always resonated with the cultural and historical heritage of Mainers.
“Baltimore” (1978) by Nina Simone
Maryland
Randy Newman’s 1977 ode to Maryland’s capital was hardly flattering. One year later, the High Priestess of Soul covered “Baltimore” with more knowledge of and love for the city. Producer Creed Taylor incorporated a jazzy reggae arrangement into her tender readings of humanity behind the urban decay. Nina Simone herself was openly upset about the uncharacteristic style of the song and the album of the same name. But fans embrace “Baltimore” as a hidden gem that movingly taps into the majesty and hardship of Charm City. More broadly, it represents Maryland’s resilience and diversity as a national anchor. Melancholy though it may be, Simone’s “Baltimore” bears a complexity well-suited to Little America.
“Massachusetts” (1976) by Arlo Guthrie
Massachusetts
What Woody Guthrie was to Oklahoma, his son Arlo was to pretty much the whole East Coast. But the New York native fell so deeply in love with Massachusetts after moving there for school that he aimed to write the definitive tribute. The orchestral folk ballad “Massachusetts” describes being enraptured by the seemingly ageless landscapes of the so-called Spirit of America. Just five years after this gem spoke to her citizens, “Massachusetts” was designated the official state folk song of its namesake. This also formalized Arlo Guthrie as an icon of his adopted home. That is, if his passionate ode to the unmistakable aesthetic and character didn't immediately make that official.
“Dancing in the Street” (1964) by Martha and the Vandellas
Michigan
You won't find many Michiganders who disagree with Detroit being their state's cultural epicenter. And you won't find many Detroiters who don't see “Dancing in the Street” as the quintessential Motown classic. Marvin Gaye originally co-wrote and performed the song with a romantic tone, before Martha Reeves of the Vandellas took over with a lively invitation for everyone to party. The seminal R&B hit has indeed been celebrated and covered the world over. It was also recognized as an uplifting civil rights anthem. But on top of drawing on Motor City’s vibrant vibe, “Dancing in the Street” boasts a folksy and geographically diverse energy that feels wholly Michigan.
“Purple Rain” (1984) by Prince and the Revolution
Minnesota
Pioneering the “Minneapolis sound” effectively secured Prince as the king of Minnesota music. The soundtrack of the otherwise polarizing film “Purple Rain” stands out in terms of representing his hometown and its genre-bending vibe. But it's the titular soul-rock power ballad that truly captures the majestic scale of a culture in a heartbreaking love story. Never mind the sweeping guitar solo. Clocking in at almost nine minutes, “Purple Rain” was an unlikely hit that many consider to be Prince’s masterpiece. Minnesota certainly embraced it so firmly as an anthem that it deepened the state’s association with the color purple. Still, it's just the most compelling example of what makes Prince their cultural north star.
“Cross Road Blues” (1937) by Robert Johnson
Mississippi
One name stands out for blues enthusiasts as the model of the genre’s storytelling and guitar virtuosity. Robert Johnson would in turn associate that origin myth with Mississippi folklore. “Cross Roads Blues” merely tells the story of a man praying for spiritual and literal guidance at a road intersection. As such places were thought to be mystical, the idea of making a deal with the Devil for musical powers is synonymous with both Johnson and blues lore. The song itself is considered the defining work in Delta blues, rooted in the rich character of Mississippi. All roads lead to the melting pot of Johnson’s birthplace – or as they like to call it, “The Birthplace of America’s Music.”
“Johnny B. Goode” (1958) by Chuck Berry
Missouri
A surface look at the lyrics would link “Johnny B. Goode” to Louisiana. But Chuck Berry’s chart-topping, genre-defining classic goes deeper than this stereotypically bluesy setting. It’s really based on his own youth as a musical prodigy in St. Louis, where he grew up on Goode Avenue. More importantly, the song enriches the blues with an electric jam and R&B. This mixture was the foundation for rock and roll, though the ingredients were refined in urban Missouri. “Johnny B. Goode” is thus embraced as the epitome of the innovative cultural cross-section that Berry’s home state represents. The nod to Louisiana just confirms these American classics as a gift to the world and, thanks to NASA’s Voyager probes, worlds beyond.
What are your favorite songs for your favorite American states? Join the road trip in the comments.
