
Life is a Highway (Rascal Flatts)
Written after Cochrane's famine-relief trip to Africa, and reborn as a Pixar road anthem by Rascal Flatts.

Written after Cochrane's famine-relief trip to Africa, and reborn as a Pixar road anthem by Rascal Flatts.

A Red Rider demo called "Love Is a Highway", revived after Cochrane's World Vision trip to eastern Africa.

Never a single, it became the duo's live staple: two Los Angeles crate-diggers immortalizing a 1996 visit to the Bay.

Dylan left the chorus unfinished in 1973, Secor added verses as a schoolboy, and Rucker made it a country number one.

A rare B-52's lyric from an outsider, Robert Waldrop, and Pierson and Wilson make wanderlust sound weightless.

Frusciante back in the band and playing deliberately spare, while Flea's bass run opens Californication at a sprint.

Koenig named it for a Columbia classmate from his Buddhism class, and the final minute cracks wide open.
Cut live at Merriweather Post Pavilion, 1977, David Lindley's lap steel riding a song Browne wrote on his commute.

Greg Ham played the flute hook as a joke; it carried Hay's tale to number one in seven countries.

A Boston fan's poem, reworked by Parsons, Emmylou Harris on harmony, and an album out four months after his death.

One minute fifty-eight seconds, Dan Penn's jet engine borrowed from a library sound-effects record, and Chilton growling at sixteen.
Betts wrote and sang it, borrowing Hank Williams' title; Oakley's bass line was among his last recordings.
Cut live at Winterland in March 1968, Robert Johnson's blues sped up under two of Clapton's most copied solos.

Hudson ran a clavinet through a wah-wah pedal, Helm sang lead, and the single reached number twenty-five.

Simon wrote it on an English railway platform missing Kathy Chitty; a plaque at Widnes station now claims the spot.

Slayer's Kerry King plays the solo, the title bends Motorhead's, and Rubin welds rap to metal without apology.
Cut in two New York studios in June 1969, with Mordor and Gollum folded into a restless road song.

Taylor wrote it driving through the Carolinas to meet his newborn nephew, a cowboy lullaby in waltz time.

Sleigh bells, trumpets and a choir stacked into one crescendo, and Stevens cut five different versions of it.

Cahn and Van Heusen wrote it to order, and Billy May's first Sinatra arrangement made travel sound like swagger.