roger miller trip in the country

A Trip in the Country

Roger miller.

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Best known as a country singer-songwriter, Roger Miller’s songs and talents reached far beyond the borders of Nashville.

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Ranking Roger Miller songs is a challenge. Not only does he have plenty of great ones to choose from, both as a writer and performer, but stylistically they span such a wide swath of American popular music that it can feel like comparing apples and oranges. Is the two-step-ready honky tonk tune better or worse than the improbably successful and still-compelling novelty song, or are his trendsetting almost-outlaw tracks better than all of them?

Luckily, there’s no real need to choose. Miller, born in Fort Worth, Texas in 1936 and raised just over the Oklahoma border, produced songs and records at a consistent clip almost from the time he reached Nashville in the late 1950s to his death in 1992. His skill, both as a songwriter and one of the most dextrous and diverse singers country music has ever seen, brought him a few years of enormous commercial success during the mid-1960s. But even once that popular success faded, he was still deeply respected by country music aficionados.

Listen to Roger Miller’s best songs on Apple Music or Spotify .

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‘they’ll never take her love from me’: hank williams flips b-side to hit, 20. “engine, engine #9,” the 3rd time around (1965).

Released during Roger Miller’s commercial peak in the mid-1960s, the upbeat heartbreak tune found the singer tapping his more mainstream pop sensibilities to continued success. His deep, expressive voice is sometimes at odds with the forcefully cheery instrumentals behind him, but the lyrics are as distinctive and compelling as ever – iconic enough to earn a pivotal spot in rap duo Black Sheep ’s “The Choice Is Yours,” bringing a whole new generation (and meaning) to “engine, engine #9.”

19. “The Last Word in Lonesome Is Me,” The 3rd Time Around (1965)

You hardly need much else when the title is that good, but Roger Miller pours it on with one of his most evocative vocal performances – cementing the song’s status as a pitch-perfect country tune. Eddy Arnold made it a hit, but Miller’s version is all heart, as is the Dolly Parton and Alison Krauss rendition from a recent Miller tribute album .

18. “When Two Worlds Collide,” 1961

Even if it failed to instantly propel him to country superstardom, Roger Miller’s first top 10 single became a standard of the genre, earning covers by everyone from Jerry Lee Lewis to John Prine and Trisha Yearwood. Miller co-wrote the matter-of-fact waltz with Bill Anderson, while Chet Atkins produced the understated recording, in which even the background chorus never interferes with the song’s melancholy message.

17. “Chug-A-Lug,” Roger And Out (1964)

The goofy song about being young and getting drunk became Roger Miller’s second consecutive quasi-novelty track to become a massive hit, following “Dang Me” up Billboard’s country and pop charts before peaking on the Hot 100 at No. 9. “Chug-A-Lug” flaunted Miller’s skill at contorting his voice to humorous and evocative effect in a relatively stripped-down setting. His vivid depiction of kids drinking “grape wine in a Mason jar” on field trips evidently resonated with listeners as much as considerably more generic country drinking songs still do today.

16. “Kansas City Star,” The 3rd Time Around (1965)

For all his storytelling, very few Roger Miller singles carried a nonautobiographical narrative from beginning to end. “Kansas City Star” is the punny exception to that rule, taking the tale of a local newscaster who would rather be a big fish in a small pond than advance their career; Miller’s comic skills are centered in the recording, but the meat of the song is enjoyable as well – and plants the seeds for plenty of later tunes by one of Miller’s foremost acolytes, John Prine.

15. “Old Friends,” Old Friends (1982)

Roger Miller partnered with Willie Nelson for this 1982 album, and Ray Price joined the party for its title track, a lilting tribute to the Texan ensemble’s long history together as well as friendship in general. Miller was long past having something to prove, and though age is evident in his voice (he passed a decade later), his singing is just as expressive as ever. The song became one of Miller’s final radio hits, reaching No. 19 on Billboard’s country chart.

14. “Tall, Tall Trees,” A Trip In The Country (1970)

Originally recorded by George Jones and popularized several decades later by Alan Jackson, this Cajun-inspired love song shows Roger Miller’s sweet side. He co-wrote the tune with Jones, another legend still early in his career, to channel the kind of simple subject and melody that makes the song sound much older than it is, like something that might have been passed down for years as part of country’s songbook. Decades on from the Jackson cover, it’s become exactly that.

13. “The Moon Is High and So Am I,” Roger And Out (1964)

This eyebrow-raising tribute to hard living and its consequences is so memorable that it’s hard to believe it hasn’t been more prolifically covered. Its only single release came courtesy of 60s country duo Johnnie & Jack, who did little with it – Roger Miller’s own recording is (unsurprisingly) much more dynamic, fast-paced and almost grungy in the most appealing way. His own struggles with substance abuse aside, this song deserves a full revival by contemporary country artists.

12. “You Can’t Roller Skate in a Buffalo Herd,” Golden Hits (1966)

Allegedly, Roger Miller called this the favorite of his own compositions – a claim that may have been a bit of a joke in itself, given the song’s purposefully absurd lyrics. The refrain, though, isn’t absurd at all: “You can be happy if you’ve a mind to,” he repeats after every improbable verse, weaving a little sincerity into all the silliness. Miller released the song in the middle of a string of hits, and somewhat unsurprisingly it failed to be as radio-friendly as his other singles from the time – a bridge too far, perhaps. But it stands as evidence of Miller’s good humor and classic country approach.

11. “Oo-De-Lally,” Story And Songs From Robin Hood (1973)

As his pop radio hit streak faltered, Roger Miller found new ways to stay in the center of the American zeitgeist – including penning beloved songs for children’s movies. He was not only the narrator (Alan-a-Dale, a rooster) of Disney’s 1973 take on Robin Hood , but the creator of most of its soundtrack, including the mellow near-nursery rhyme “Oo-De-Lally.” Sentimental, smart, and playful, the song is unadorned except by Miller’s voice and finger-picked guitar – a choice that is impossible to imagine today.

10. “Husbands and Wives,” Words and Music (1966)

This simple song still manages to effectively depict how marriages can fracture, and the emptiness of those that are beyond repair. In spite of its grim subject matter and sad tone, though, “Husbands and Wives” still continued Roger Miller’s string of Top 40 hits, and proved to be one of his more lasting and frequently-covered compositions. Ringo Starr , Neil Diamond, and Brooks & Dunn are just a few of the artists who have put their own spin on the song, the latter taking to the top of the country charts over 30 years after Miller’s release.

9. “Invitation To The Blues,” A Trip In The Country (1970)

“In the beginning, I created heavenly, earthly songs,” Roger Miller quipped in the liner notes for A Trip In The Country , a 1970 album on which he reprised many of the songs that helped him find his place in Nashville. “Invitation To The Blues” was one of his first compositions to find its way up the country charts when it was recorded by Miller’s bandmate Ray Price in 1958. By the time Miller recorded his own rendition of the honky tonk classic, he’d already found plenty of success among both pop and country audiences – but rather than chase it much further, he opted to return to his roots.

8. “Do-Wacka-Do,” The Return of Roger Miller (1965)

Importing some of the scatting and guitar licks from his hit “Dang Me,” Roger Miller once again flaunted his vocal dexterity in this ode to jealousy. The track toes the line between humor and seriousness, landing somewhere around matter-of-factness (but with more than a few outlandish flourishes). The single brought country and pop audiences a taste of the kind of back porch humor and blues that still rarely made it into music’s mainstream.

7. “River In The Rain,” Roger Miller (1986)

This song is one of Roger Miller’s Tony Award-winning compositions from the 1985 musical Big River , based on Mark Twain’s The Adventures of Huckleberry Finn . There’s no question it stands alone, though, a sweeping, poetic ballad that stretches far beyond the purview of most of Miller’s country peers into something much broader and more universal. All but ignored as a single, it speaks to Miller’s contributions far beyond what was successful on the radio.

6. “Where Have All the Average People Gone,” Roger Miller (1969)

There’s a distinct hint of the coming outlaw movement in this Roger Miller composition, which he recorded alongside his take on Kris Kristofferson’s “Bobby McGee.” It is candid and plainspoken, depicting a relatable problem: feeling between extremes, and adrift as a result. “The people in the city think I’m country,” Miller sings. “…but the country folks all say I’m citified.” The song was a modest success, reaching No. 14 on Billboard’s country charts. Its message, though, still rings true.

5. “Me and Bobby McGee,” Roger Miller (1969)

Though others have since performed much more famous versions of this legendary Kris Kristofferson composition, it was Roger Miller who picked the tune up first. He recorded it in a style not dissimilar to his peers in the burgeoning outlaw movement, with simple finger-picked guitar and a conversational singing style. Miller’s take on the tune is straightforward, recorded with a songwriter’s respect for the work of his peers, but powerful nevertheless.

4. “Little Green Apples,” A Tender Look At Love (1968)

After Roger Miller’s mid-1960s commercial peak, he briefly recorded albums – marketed as pop – with songs written by other people. One of those, written specifically for him by Bobby Russell, was “Little Green Apples,” a song so understated it barely sounds like a major label recording much less a single. Miller’s voice sounds fuzzy and distant as he sings the gentle ode to domestic bliss, which would eventually be made much more famous by the R&B singer O.C. Smith.

3. “I’ve Been a Long Time Leavin’ (But I’ll Be a Long Time Gone),” Words and Music (1966)

Roger Miller hit fans out of nowhere with this beautifully abstract song, moving between an effortless falsetto and a road dog’s conversational patter to tell the story of leaving some woman who did him wrong. His gifts, both for melody and word play, are front-and-center in this recording, which was initially released as the A-side to the considerably more successful “Husbands and Wives” but never reached the charts. The track offers a glimpse of the folksy eclecticism that would eventually make Miller a cult hero as well as a massively successful pop star.

2. “Dang Me,” Roger and Out (1964)

Roger Miller’s first major hit was an admittedly strange song, squeezing ahead-of-its-time talk-singing, twangy lyrics and scatting into one minute and 47 seconds of country eclecticism. Yet the kooky, self-deprecating little song and its memorable riffs spent six weeks atop Billboard’s country charts in 1964 and reached No. 7 on the Hot 100. The single was something of a coming out party for Miller, who was already well-regarded behind the scenes as one of the industry’s best songwriters. With its light-hearted approach to some pretty serious subject matter (and surprising arrangement), “Dang Me” also set the precedent for Miller’s future success with novelty songs – and displayed his impressive vocal control and gift for melody.

1. “King of the Road,” The Return of Roger Miller (1965)

Not only the most iconic song in Roger Miller’s repertoire, “King of the Road” is one of the most memorable songs in American popular music. The deceptively simple memoir of some unknown vagabond became an international hit, quickly reaching No. 4 on Billboard’s Hot 100 even before it spent five weeks atop the country chart (and eventually won five Grammy awards). The song’s endurance, from Bob Moore’s pitch-perfect bass line to bohemian snaps to its singular “Trailers for sale or rent” opener – apocryphally inspired by a sign Miller saw on the road somewhere outside Chicago – is a testament to its polished, evergreen storytelling and the reach of Jerry Kennedy’s Nashville Sound production, a sound that expanded the possibilities of what country music could be.

There are so many impressive details in the song’s two-and-a-half minutes that it might be easy to overlook Miller’s effortless, conversational singing. But it was instantly covered by dozens of artists and none even caught a whiff of the kind of success Miller had, a testament to the power of his performance. He painted a portrait of a traveling man who is neither hero nor villain, and all the realer for it.

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A Trip In The Country

September 1, 1970 11 Songs, 24 minutes A Mercury Nashville Release; ℗ 1970 UMG Recordings, Inc.

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Roger Miller|A Trip In The Country

A Trip In The Country

Roger Miller

• Released on 9/1/70 by Mercury Nashville
• Main artists: Roger Miller
• Genre: Country

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Roger Miller revisits some of his earliest songs on A Trip in the Country, many of which were hits for artists such as Faron Young ("That's the Way I Feel"), Ernest Tubb ("Half a Mind"), and Ray Price ("Invitation to the Blues"). A couple of these songs were hits for Miller, too, in the early '60s, which makes A Trip in the Country seem less like an interesting concept and more like a dubious re-recording project. Miller's early songs were very different from the ones he wrote after "Dang Me," and exhibit little of the humor and surrealism for which he became known. The album's brush with commercial success came when "Don't We All Have the Right" saw a little chart action when recycled as the B-side of Miller's minor 1970 hit "South." © Greg Adams /TiVo

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Buddy Emmons, Steel Guitar, AssociatedPerformer - Chip Young, Guitar, AssociatedPerformer - Ray Edenton, Guitar, AssociatedPerformer - Roger Miller, Vocals, MainArtist, AssociatedPerformer, ComposerLyricist - GEORGE JONES, ComposerLyricist - Charlie McCoy, Guitar, AssociatedPerformer - Harold Bradley, Guitar, AssociatedPerformer - Bob Moore, Bass, AssociatedPerformer - Jerry Kennedy, Producer - Buddy Spicher, Fiddle, AssociatedPerformer - Tommy Jackson, Fiddle, AssociatedPerformer - Hargus Robbins, Piano, AssociatedPerformer - Murrey "Buddy" Harman, Drums, AssociatedPerformer

℗ 1970 UMG Recordings, Inc.

Buddy Emmons, Steel Guitar, AssociatedPerformer - Chip Young, Guitar, AssociatedPerformer - Ray Edenton, Guitar, AssociatedPerformer - Roger Miller, Vocals, MainArtist, AssociatedPerformer, ComposerLyricist - Charlie McCoy, Guitar, AssociatedPerformer - Harold Bradley, Guitar, AssociatedPerformer - Bob Moore, Bass, AssociatedPerformer - Jerry Kennedy, Producer - Buddy Spicher, Fiddle, AssociatedPerformer - Tommy Jackson, Fiddle, AssociatedPerformer - Hargus Robbins, Piano, AssociatedPerformer - Murrey "Buddy" Harman, Drums, AssociatedPerformer

Bill Anderson, ComposerLyricist - Buddy Emmons, Steel Guitar, AssociatedPerformer - Chip Young, Guitar, AssociatedPerformer - Ray Edenton, Guitar, AssociatedPerformer - Roger Miller, Vocals, MainArtist, AssociatedPerformer, ComposerLyricist - Charlie McCoy, Guitar, AssociatedPerformer - Harold Bradley, Guitar, AssociatedPerformer - Bob Moore, Bass, AssociatedPerformer - Jerry Kennedy, Producer - Buddy Spicher, Fiddle, AssociatedPerformer - Tommy Jackson, Fiddle, AssociatedPerformer - Hargus Robbins, Piano, AssociatedPerformer - Murrey "Buddy" Harman, Drums, AssociatedPerformer

Buddy Emmons, Steel Guitar, AssociatedPerformer - Chip Young, Guitar, AssociatedPerformer - Ray Edenton, Guitar, AssociatedPerformer - Roger Miller, Vocals, MainArtist, AssociatedPerformer, ComposerLyricist - Faron Young, ComposerLyricist - Charlie McCoy, Guitar, AssociatedPerformer - Harold Bradley, Guitar, AssociatedPerformer - Bob Moore, Bass, AssociatedPerformer - Jerry Kennedy, Producer - Buddy Spicher, Fiddle, AssociatedPerformer - Tommy Jackson, Fiddle, AssociatedPerformer - Hargus Robbins, Piano, AssociatedPerformer - Murrey "Buddy" Harman, Drums, AssociatedPerformer

Album review

About the album.

• 1 disc(s) - 11 track(s)
• Total length: 00:24:19
• Composer: Various Composers
• Label: Mercury Nashville

© 1970 UMG Recordings, Inc. ℗ 1970 UMG Recordings, Inc.

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This reissue proves Roger Miller was more than just a novelty act

DAVE DAVIES, HOST:

This is FRESH AIR. Roger Miller is best known for a series of novelty songs that were big country and pop hits in the 1960s and '70s, songs like "King Of The Road," "Chug-A-Lug" and "You Can't Rollerskate In A Buffalo Herd." But Miller, who died in 1992, was also a serious songwriter who wrote beautiful ballads for artists such as George Jones and Ray Price. Over the summer, a series of reissues of out-of-print Roger Miller albums began. Among them is one rock critic Ken Tucker has long searched for - "A Trip In The Country," released in 1970. Here's his review.

(SOUNDBITE OF SONG, "WHEN A HOUSE IS NOT A HOME")

ROGER MILLER: (Singing) I walk up to my door and hate to turn the key. Emptiness is all that waits inside for me. That's how it is when the one you love is gone. That's how it is when your house is not a home.

KEN TUCKER, BYLINE: Many years ago, someone mentioned to me that one of Roger Miller's most underrated albums was 1970s' "A Trip In The Country." When I went to look for it, I found that it was out of print. What few copies I could find for sale were on vinyl and were ridiculously expensive. So over the years, I put together a mixtape of the album as various songs from it would be posted on the internet, but most of the time the songs would be taken down and disappear again. So I was excited to read about this reissue containing some of Miller's most artfully crafted songs.

(SOUNDBITE OF SONG, "HALF A MIND")

MILLER: (Singing) I don't love you like I used to do. But I'm afraid to tell you so. I've got half a mind to leave you but only half the heart to go.

TUCKER: That's "Half A Mind," Miller's version of a top 10 country hit when Ernest Tubb cut it back in 1958. It was one of the first songs to establish Roger Miller as a Nashville songwriter and predates his explosion as a big star in the '60s. Once "King Of The Road" crossed over to the pop charts in 1965, Miller churned out the novelty tunes that remain his best-known work. I'm not putting down those compositions at all. They represent a peak moment in country humor and wit. But I admire equally his articulate songs of heartache and loneliness. And that's what this album, "A Trip In The Country," represents. When it arrived in 1970, it must have puzzled his fans. Where were the jokes? What they got instead was a Roger Miller shattered by romantic disappointment, asserting that he existed in a world he didn't want to live in.

(SOUNDBITE OF SONG, "WORLD I CAN'T LIVE IN")

MILLER: (Singing) Yours is a world I can't live in, but without you, I can't live in mine. You'd rather go places without me.

TUCKER: This album was not a commercial success. Only one song, "Don't We All Have The Right," made the billboard country chart, peaking at No. 15. It certainly deserved better than that.

(SOUNDBITE OF SONG, "DON'T WE ALL HAVE THE RIGHT")

MILLER: (Singing) I laughed it off when she left. I said she'd come back again. Don't we all have the right to be wrong now and then? She won't come home, says her love will never be mine again. Don't we all have the right to be wrong now and then?

TUCKER: Miller filled this collection with his saddest songs, most of them older and originally covered by other artists. They showcased his familiar gift for wordplay but were making more serious points. Although the great honky-tonk singer Ray Price had a huge hit with Miller's glorious shuffle beat ballad "Invitation To The Blues" back in 1958, record buyers turned down that same invitation here in 1970.

(SOUNDBITE OF SONG, "INVITATION TO THE BLUES")

MILLER: (Singing) I couldn't sleep last night, just walked the floor. Don't know how I'll this anymore. Lonely are the times since I lost you. Received your invitation to the blues.

TUCKER: At the height of his popularity, Miller won 11 Grammys in just two years, and legend has it that Elvis Presley stopped him on the street to ask him for his autograph. Today, Roger Miller isn't very well known at all. I don't expect the reissue of "A Trip In The Country" to remedy that situation, but it sure is nice to have all this eloquent unhappiness in one place again.

DAVIES: Ken Tucker reviewed the reissue of Roger Miller's album "A Trip In The Country." The final albums in the digital reissue series will be released Friday.

(SOUNDBITE OF SONG, "MY EARS SHOULD BURN (WHEN FOOLS ARE TALKED ABOUT)")

MILLER: (Singing) Sometimes, my memories let me hold and kiss you, but they're just lending me the things I live without. And it's my fault that I can't really hold you. Yes, my ears should burn when fools are talked about. What made me think I craved another's kisses...

DAVIES: On tomorrow's show, journalist Jesse Eisinger explains how a trove of IRS data acquired by ProPublica shows that many of America's billionaires avoid paying taxes. He'll also look at how the Inflation Reduction Act passed by Congress could affect the tax obligations of the wealthiest Americans. I hope you can join us. Our interviews and reviews are produced and edited by Amy Salit, Phyllis Myers, Sam Briger, Lauren Krenzel, Heidi Saman, Therese Madden, Ann Marie Baldonado, Thea Chaloner, Seth Kelley and Susan Nyakundi. For Terry Gross, I'm Dave Davies.

MILLER: (Singing) At night in dreams, I do her callin' to me. She loves me. She loves me. There's no doubt. But my lips have no right to ask forgiveness. And my ears should burn when fools are talked about. Yes, my ears should burn when fools are talked about. Transcript provided by NPR, Copyright NPR.

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This reissue proves Roger Miller was more than just a novelty act

Best known for novelty songs like "King of the Road," Miller was also a serious songwriter who wrote ballads for artists such as Ray Price. Miller's '70 album A Trip in the Country is newly available.

Copyright © 2022 NPR. All rights reserved. Visit our website terms of use and permissions pages at www.npr.org for further information.

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A Trip in the Country

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Editorial Reviews

1970 VINYL LP RECORD ALBUM.

Product details

• Manufacturer ‏ : ‎ Mercury Records
• Date First Available ‏ : ‎ November 25, 2010
• Label ‏ : ‎ Mercury Records
• ASIN ‏ : ‎ B004DX1LOE

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The essential country music road trip playlist

Posted: December 15, 2023 | Last updated: December 15, 2023

One of the most important parts of planning a road trip — even before you head to the gas station or pack the snacks — is curating the right playlist. If you're a country music fan, you're fortunate in that the genre is positively replete with songs that are perfect to crank loud while you're driving the open road.

Flip through the slideshow below for 20 essential country road trip tunes, from classics like Willie Nelson's "On The Road Again" to Luke Combs's chart-topping cover of "Fast Car." 

"On The Road Again," Willie Nelson

No road trip would be complete without Willie Nelson's 1980 classic "On The Road Again," perfect for when you're traveling with a big group of friends for a weekend getaway. 

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"Amarillo By Morning," George Strait

George Strait's seminal 1973 song "Amarillo By Morning," about a broken-down rodeo cowboy making his way around the country, is a perfect song to blare while you're driving through the vast expanses of the American West. 

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"King of the Road," Roger Miller

If you've ever had to travel on a budget, you can probably relate to the vagabond protagonist in "King of the Road." It's been a country road trip staple since 1965, and is perfect for a group singalong in the car when everyone's starting to get a little sleepy. 

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"80s Mercedes," Maren Morris

Whether or not you're a "'90s baby," anyone can appreciate the breezy, top-down vibes of Maren Morris's "80s Mercedes." Even if you're not driving a convertible, roll the windows down and turn the volume up when this one comes on. 

"Wagon Wheel," Darius Rucker

Originally recorded by Old Crow Medicine Show, with lyrics by Bob Dylan, "Wagon Wheel" is a road trip staple, especially for anyone who's traveling through the Southeastern United States. And even if you're not "headed down south to the land of the pines," this song is perfect for any destination. 

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"Heads Carolina, Tails California," Jo Dee Messina

Even if it isn't possible for most of us do something as spontaneous as choosing your vacation destination with the flip of a coin, it's still fun to daydream about the prospect while listening to Jo Dee Messina sing "Heads Carolina, Tails California" while driving down the highway. 

"East Bound and Down," Jerry Reed

Heading east? This Jerry Reed classic is the perfect way to get in the mood for a long drive, and no one will blame you for (safely) pretending like you're living in that scene from "Smokey and the Bandit" when it starts playing over the speakers. 

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"Traveller," Chris Stapleton

"Traveller," the title track of Chris Stapleton's smash debut album, is a must for anyone who's got a heavy case of wanderlust. 

"Jackson," Johnny Cash & June Carter Cash

Even if you don't quite have the vocal prowess of Johnny & June, grab your significant other and head out on the road while playing "Jackson," a perfect song for even the happiest couples to harmonize to in the car. 

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"Life Is A Highway," Rascal Flatts

Okay, it's a little cheesy, but there's no denying the appeal of blaring "Life Is A Highway" while you're speeding down an actual highway headed toward a killer vacation. 

"Toes," Zac Brown Band

If you're driving toward a beachy destination, make sure that "Toes" is definitely on your road trip playlist. While you're stuck in traffic, it's a good reminder to think about all the relaxing on the sand you'll be doing as soon as you arrive. 

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"Wide Open Spaces," The Chicks

If you've ever driven across the great state of Texas, you quickly get the idea of what "Wide Open Spaces" is talking about. Add it to your playlist, and spend a little time contemplating the gorgeous scenery while the Chicks harmonize. 

"Take Me Home, Country Roads," John Denver

Arguably best saved for your return trip home, "Take Me Home, Country Roads" is ideal for those moments when you're trying to stay motivated to finish those last few hours of driving. 

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"Fast Car," Luke Combs

Luke Combs's take on Tracy Chapman's much-revered "Fast Car" is currently burning up the country charts, and for good reason. It's faithful to the original, perfect for blaring while you contemplate life on your long drive. 

"Before He Cheats," Carrie Underwood

Even if you haven't been through a break-up recently, anyone can enjoy singing about smashing someone's headlights with a baseball bat at the top of their lungs, especially if you've got a car full of folks with that same energy. 

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"Sweet Home Alabama," Lynyrd Skynyrd

Sure, it's technically Southern rock, but Lynyrd Skynyrd's "Sweet Home Alabama" is an absolute must for your road trip playlist. That ridiculously catchy melody aside, it's an instant mood boost for when the trip's dragging on a little too long. 

"Settling Down," Miranda Lambert

Miranda Lambert's 2020 ballad "Settling Down" is essential for anyone who, like Lambert sings in this song, has their "feet on the ground and head up in the clouds." 

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"Red Dirt Road," Brooks & Dunn

Dig deep into your childhood nostalgia with "Red Dirt Road," a song that's all about reliving those memories of driving around on backroads in the past, from legendary '90s duo Brooks & Dunn. 

"I've Been Everywhere," Johnny Cash

Johnny Cash lists off too many American destinations to count in "I've Been Everywhere," making it an obvious addition to the soundtrack for a great American road trip. Even if you're not going to Dayton, Ohio or Tulsa, Oklahoma, the appeal of this song is totally universal. 

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"Let's Go to Vegas," Faith Hill

Even though this song is about running off and eloping in Las Vegas, it's can also be a perfectly acceptable soundtrack for a girls' trip. Put on your rhinestones and feather boas, crank the music, and get ready to "bet on love and let it ride," as Faith Hill sings. 

Did you enjoy this slideshow? Follow us on MSN to see more of our exclusive entertainment content.

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