A Musical Tour of Tim Walz’s Minnesota


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The Purple One represents his city on this funky, upbeat 1995 B-side: “Even the president flies in to watch the thing called fame,” he sings. “Red, white and blue boy girls, tonight everyone’s the same.”

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One of my favorite moments on the great, sprawling “Rhythm Nation 1814” — recorded entirely at Flyte Tyme Studios in Minnesota — comes on the bridge of this 1990 hit, when an exuberant Janet Jackson calls out of nowhere, “Minneapolis!” It might sound like a non sequitur to the uninitiated, but real ones know that she was shouting out her producers, Jimmy Jam and Terry Lewis, both important architects of the Minneapolis sound.

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Jam and Lewis both got their start in the Minneapolis funk group the Time, led by the charismatic Morris Day. Friendly rivals of Prince’s backing band the Revolution, the Time has two scene-stealing performances in the 1984 film “Purple Rain,” including its rendition of this lively classic.

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Though the anthemic indie-rock band the Hold Steady formed in Brooklyn, its frontman and principal songwriter, Craig Finn, proudly hails from Minneapolis and often nods to his home state in his highly referential lyrics. “These Twin City kisses, they sound like clicks and hisses,” he sings on this standout from the 2006 album “Boys and Girls in America.”

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Formed in Minneapolis in 1984 and still going strong, the long-running alt-country group the Jayhawks is one of the state’s unsung, if-you-know-you-know local heroes. This cracked, twangy tune comes from the band’s 1995 album “Tomorrow the Green Grass.”

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A rare all-female grunge group, Minneapolis’s Babes in Toyland brought a dash of riot grrrl attitude to its muscular, hard-rocking sound. The cowbell-heavy “Sweet ’69” is a snapshot of the band at its commercial peak, a minor 1995 alt-rock hit from the final Babes album “Nemesisters.”



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