10 Best Songs With Planets In The Title

10 Best Songs With The Word 'Planet' In The Title

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Whether evoking a sense of cosmic wonder or using planetary imagery as a metaphor for earthly experiences, these songs offer glimpses into the boundless creativity of their artists. Across genres and decades, these tracks prove that planets can serve as more than celestial markers—they can become poetic vessels for storytelling, existential musings, and even pure sonic experimentation.

The Pixies’ “Planet of Sound” marries their signature raw edge with a surreal journey across the galaxy, blending garage rock intensity with enigmatic lyrics. Tori Amos’ “Hey Jupiter” takes a deeply introspective turn, channeling heartbreak and self-reflection into a haunting piano-driven ballad. Jimi Hendrix’s “Valleys of Neptune” is a kaleidoscope of sound, weaving vivid imagery and exploratory guitar work into a song that feels as vast as the mythical landscapes it describes. The Doors’ “Not to Touch the Earth” delivers an otherworldly sense of foreboding with Jim Morrison’s cryptic poetry and the band’s haunting instrumentation. The Steve Miller Band’s “Mercury Blues” drives forward with a bluesy swagger, mixing automotive metaphors with interplanetary allure.

Stevie Wonder’s “Saturn” offers a soulful exploration of human shortcomings and cosmic idealism, highlighting his lyrical genius and musical ingenuity. The B-52s’ “Planet Claire” revels in their quirky, retro-futuristic aesthetic, with driving beats and an unforgettable narrative about a pink-aired planet. Shocking Blue’s “Venus” redefined the pop-rock landscape with its electrifying chorus and bold personification of the Roman goddess. Paul McCartney & Wings’ “Venus and Mars” seamlessly blends whimsy with optimism, encapsulating the joy and anticipation of a shared cosmic journey. Finally, David Bowie’s “Life on Mars?” closes the list with a theatrical and existential meditation, transcending its time to become one of the most enduring and enigmatic anthems in rock history.

# 10 – Planet of Sound – Pixies (Trompe le Monde)

“Planet of Sound,” a standout track from the Pixies’ 1991 album Trompe le Monde, captures the band’s distinctive blend of raw energy and surreal storytelling. Recorded at Master Control and Studio des Dames in Los Angeles, California, the song features the classic Pixies lineup: Black Francis on vocals and guitar, Joey Santiago on lead guitar, Kim Deal on bass, and David Lovering on drums. The track was produced by Gil Norton, whose collaboration with the band brought a polished edge to their otherwise raw and chaotic sound.

The song’s lyrics delve into a cosmic narrative, with Black Francis depicting an interstellar search that feels both otherworldly and deeply personal. Lines like “I picked me up a transmission” and “They simply told me to leave” suggest themes of alienation and the futility of searching for something meaningful in unfamiliar terrains. The refrain, “This ain’t the planet of sound,” punctuates the track with a sense of disillusionment, while the vivid imagery of “the planet of glass” and “the canals and the color of red” paints a dreamlike picture of interplanetary exploration.

Musically, “Planet of Sound” is driven by a pounding rhythm section and sharp, distorted guitars that reflect the song’s urgent and chaotic tone. Kim Deal’s bass anchors the track with a deep, resonant groove, while Joey Santiago’s piercing guitar work adds layers of tension. Black Francis’s intense vocal delivery further emphasizes the song’s restless energy, perfectly complementing the themes of displacement and existential searching found in the lyrics.

Critics have praised “Planet of Sound” for its visceral energy and imaginative storytelling. While it didn’t achieve significant chart success—reaching only #27 on the UK Singles Chart—it remains a fan favorite and a quintessential example of the Pixies’ ability to push the boundaries of alternative rock.

# 9 – Hey Jupiter – Tori Amos

The haunting composition “Hey Jupiter” emerges as a deeply introspective track from Tori Amos’s Boys for Pele album, released in 1996. Recorded primarily at The Delgany Church in County Wicklow, Ireland, and The Fishhouse in New Orleans, the song encapsulates Amos’s innovative approach to songwriting and production. Produced by Amos herself, the track also features her signature harpsichord and piano, layered with subtle instrumentation that creates a rich, melancholic soundscape. The song underwent additional production for its “Dakota Version,” included on the Hey Jupiter EP, which transformed the original into a stripped-down and more emotionally raw rendition.

Lyrically, “Hey Jupiter” delves into themes of heartbreak, identity, and existential longing. The song’s protagonist reflects on a fractured relationship, addressing a celestial entity—Jupiter—as a metaphorical confidant. Lines such as “No one’s picking up the phone / Guess it’s me and me” poignantly illustrate the loneliness and introspection at the heart of the song. The repeated refrain of “Hey Jupiter, nothing’s been the same” underscores the profound emotional shift in the narrator’s life, while the cryptic question, “So are you gay, are you blue?” adds layers of ambiguity and exploration of personal and relational identity. This level of lyrical depth aligns the track with others on this list that explore profound emotional landscapes.

Upon its release, “Hey Jupiter” achieved notable commercial and critical success. The Hey Jupiter EP reached number 20 on the Billboard 200, while the single itself charted on the Billboard Modern Rock Tracks chart. Critics praised Amos’s lyrical honesty and the poignant vulnerability of her performance, with some considering it a highlight of Boys for Pele. The song’s introspective narrative and somber tone invite comparisons to “Planet of Sound” by the Pixies, as both tracks navigate themes of searching for meaning and confronting personal truths, albeit in vastly different sonic and lyrical styles.

“Hey Jupiter” also made a mark with its accompanying video, which features Amos in a dimly lit, surreal setting that mirrors the song’s emotional intensity. The imagery of fire and isolation serves as a visual representation of the inner turmoil expressed in the lyrics. This fusion of powerful storytelling and evocative production solidifies “Hey Jupiter” as a deeply impactful piece, cementing its place on this list of songs with ‘planet’ in the title.

# 8 – Valleys Of Neptune – Jimi Hendrix

Recorded during a transitional period in 1969, the song reflects Hendrix’s relentless experimentation as he ventured into new sonic landscapes. Sessions took place at New York’s Record Plant Studios, with the track receiving additional overdubs in 1987 by producer Chas Chandler. Featuring Hendrix on guitar and vocals, Billy Cox on bass, and Mitch Mitchell on drums, the song epitomizes the fluid chemistry of the ensemble, while Eddie Kramer’s production ensures that every note retains Hendrix’s signature electric intensity.

Lyrically, “Valleys of Neptune” delves into metaphysical and mystical themes, weaving imagery of Atlantis, rebirth, and natural phenomena into a tapestry of poetic introspection. The lyrics—“Valleys of Neptune is rising, rising”—speak to a profound awakening or resurgence, mirroring the exploratory nature of the song’s instrumentation. The track’s dreamy narrative aligns with others on this list, such as “Hey Jupiter” by Tori Amos, as both songs evoke celestial imagery and grapple with themes of transformation and self-discovery. Hendrix’s vivid descriptions, such as “emeralds shining” and “bluebird’s mission,” enhance the song’s ethereal quality, offering listeners a journey into an otherworldly realm.

Critically, “Valleys of Neptune” has been hailed for its rich layering and timeless appeal, solidifying its place in Hendrix’s posthumous discography. Released as the title track of the 2010 compilation Valleys of Neptune, the song charted in several countries, peaking at number one on Billboard’s Hot Singles Sales chart. The compilation, which featured unreleased material from 1969, was a commercial success and further cemented Hendrix’s enduring influence. In comparison to “Planet of Sound” by the Pixies, “Valleys of Neptune” exudes a more introspective and spiritual tone, contrasting the Pixies’ raw, alien-themed exploration with Hendrix’s cosmic and poetic musings.

# 7 – Not To Touch The Earth – The Doors

“Not to Touch the Earth” is a haunting and enigmatic track from Waiting for the Sun, The Doors’ third studio album, released in July 1968. The song was part of a larger, unfinished opus known as “Celebration of the Lizard,” written by Jim Morrison, but it emerged as a distinct piece that encapsulates the band’s experimental and poetic approach to rock. Recorded at TTG Studios in Los Angeles with producer Paul A. Rothchild, the song features Morrison’s commanding vocals, Robby Krieger’s sharp guitar riffs, Ray Manzarek’s hypnotic keyboard lines, and John Densmore’s dynamic drumming. The collaboration of these four musicians creates a dark, surreal landscape that aligns perfectly with Morrison’s cryptic lyrics.

Lyrically, “Not to Touch the Earth” draws the listener into a vivid, fragmented narrative filled with mysterious imagery. The opening line, “Not to touch the earth, not to see the sun,” establishes a sense of foreboding that runs throughout the song. As Morrison’s words cascade through surreal visions of mansions, outlaws, and a “dead president’s corpse,” the listener is drawn into a journey that feels mythological and apocalyptic. His proclamation of being the “Lizard King” at the song’s climax solidifies its otherworldly tone. This exploration of existential themes and cryptic symbolism invites comparisons to songs like “Planet of Sound” by the Pixies, which also uses cosmic and abstract imagery to challenge the listener’s perception of reality.

Musically, the track’s structure mirrors its lyrical chaos, building from a brooding introduction to an intense crescendo. Manzarek’s organ work weaves an eerie atmosphere, while Krieger’s guitar adds sharpness and urgency. The interplay between the band members amplifies the song’s unsettling energy, reflecting the tension and spontaneity that were hallmarks of The Doors’ sound. The production, overseen by Rothchild, maintains the raw, theatrical edge that defines much of the band’s catalog. Unlike “Hey Jupiter” by Tori Amos, which leans on introspective vulnerability, “Not to Touch the Earth” revels in its dramatic and surreal storytelling, showcasing the diversity of the songs on this list.

Read More: The Doors Most Underrated Songs

# 6 – Mercury Blues – Steve Miller Band

“Mercury Blues” by the Steve Miller Band is a high-octane track featured on the Fly Like an Eagle album, released in May 1976. This lively rendition of the classic song, originally written by K.C. Douglas and Robert Geddins in 1948, brings a polished rock edge to its blues roots. Recorded at the Record Plant in Sausalito, California, the track exemplifies the band’s ability to reinterpret traditional blues within a modern, rock-oriented framework. Produced by Steve Miller himself, the album was a commercial and critical triumph, further cementing the Steve Miller Band’s place in rock history.

The song’s lyrics revolve around the allure of owning a Mercury car, a symbol of freedom and style. Lines like “Had my money, I tell you what I’d do / I would go downtown, buy a Mercury or two” capture a carefree and aspirational spirit that resonates with listeners. The repetitive chorus, paired with Miller’s dynamic guitar work, creates an infectious energy, perfectly suited for the album’s broader themes of escapism and exploration. In comparison to other songs on this list, like “Planet of Sound” by the Pixies, which employs surreal, abstract imagery, “Mercury Blues” offers a more grounded and relatable narrative centered on material desires and youthful rebellion.

Musically, the track showcases the band’s tight rhythm section and Steve Miller’s signature blend of rock and blues. The inclusion of this track on Fly Like an Eagle, an album that features hits like “Rock’n Me” and the title track, adds a raw, energetic contrast to the more polished sounds of those songs. Unlike “Hey Jupiter” by Tori Amos, which delves into introspective and melancholic themes, “Mercury Blues” thrives on its upbeat tempo and celebratory tone. Its placement on such a legendary album highlights the Steve Miller Band’s versatility and their ability to pay homage to blues traditions while forging a distinct identity in rock music.

While “Mercury Blues” was never released as a standalone single, its enduring popularity lies in its energetic execution and its connection to the rich history of blues music. As a part of Fly Like an Eagle, it contributed to the album’s critical and commercial success, with the album reaching No. 3 on the Billboard 200 chart and earning multi-platinum status.

# 5 – Saturn – Stevie Wonder

“Saturn” by Stevie Wonder is a deeply reflective track from his iconic double album Songs in the Key of Life, released on September 28, 1976. The song, co-written with Michael Sembello, is an imaginative and poignant exploration of humanity’s flaws, contrasted against an idyllic extraterrestrial society on Saturn. Recorded at Crystal Sound Studios in Los Angeles and The Record Plant in Hollywood, the track showcases Wonder’s extraordinary vision as a producer and musician. Songs in the Key of Life, produced entirely by Stevie Wonder, stands as a landmark in music history, celebrated for its bold social commentary and musical innovation.

Lyrically, “Saturn” weaves a narrative of disillusionment with Earth’s conflicts, wars, and environmental degradation. The speaker envisions Saturn as a utopia where harmony reigns, people live for centuries, and natural beauty flourishes with “rainbow, moonbeams, and orange snow.” This juxtaposition of a celestial paradise with Earth’s shortcomings amplifies the song’s message about the potential for human progress and the dangers of our current path. In comparison to “Mercury Blues” by the Steve Miller Band, which revels in the freedom symbolized by a car, “Saturn” takes a far more introspective and critical approach, addressing global issues rather than personal liberation.

Musically, “Saturn” reflects Wonder’s masterful blend of soul, funk, and jazz elements, driven by synthesizers and layered with complex rhythms. The use of electronic instrumentation, a hallmark of Wonder’s work during this era, creates a futuristic soundscape that complements the song’s theme. The album featured an array of talented musicians, including keyboardist Greg Phillinganes and guitarist Michael Sembello, whose contributions enriched its expansive sonic palette. While Songs in the Key of Life soared to No. 1 on the Billboard 200 and received critical acclaim, “Saturn” serves as one of its more understated gems, offering a contemplative respite amidst the album’s broader themes of love, hope, and justice.

Thematically, “Saturn” shares a conceptual depth with tracks like “Valleys of Neptune” by Jimi Hendrix, as both songs delve into metaphysical and cosmic ideas. However, while Hendrix’s track leans on poetic abstraction, Wonder’s “Saturn” delivers a clear narrative infused with moral critique. The song’s poignant commentary and innovative sound ensure its enduring relevance, making it a powerful addition to this list of planetary-themed tracks.

Read More: Top 25 Stevie Wonder Songs

# 4 – Planet Clare – The B-52’s

“Planet Claire” by The B-52s is a surreal and vibrant track from their self-titled debut album, released in July 1979. The song was recorded at Compass Point Studios in Nassau, Bahamas, under the production of Chris Blackwell, founder of Island Records. Known for their eccentricity, The B-52s—featuring Fred Schneider on vocals, Kate Pierson and Cindy Wilson on backing vocals and keyboards, Ricky Wilson on guitar, and Keith Strickland on drums—crafted a track that encapsulates their playful, avant-garde style while cementing their reputation as pioneers of new wave and post-punk.

Musically, “Planet Claire” is anchored by Keith Strickland’s pulsating drums and Ricky Wilson’s surf-rock-inspired guitar riffs, accompanied by Pierson’s ethereal keyboard lines. The song’s iconic opening is a nod to Henry Mancini’s theme from Peter Gunn, blending retro sensibilities with futuristic sounds. Fred Schneider’s deadpan delivery of absurdist lyrics—describing a pink-aired planet where no one has a head—adds to the song’s campy charm. The B-52s’ ability to blend humor and science fiction creates an aesthetic that stands out among the songs on this list. In contrast to Stevie Wonder’s “Saturn,” which critiques Earth’s social issues through a cosmic lens, “Planet Claire” revels in absurdity, offering a lighthearted escape into an extraterrestrial world.

Lyrically, “Planet Claire” is a playful exercise in surrealism, invoking imagery of a fantastical planet and a mysterious visitor driving a Plymouth Satellite “faster than the speed of light.” The track mirrors the thematic creativity found in “Valleys of Neptune” by Jimi Hendrix, as both songs transport listeners to otherworldly realms, albeit with vastly different tones. While Hendrix explores metaphysical landscapes, The B-52s craft a retro-futuristic narrative that feels more like a quirky sci-fi film. The song’s lyrics highlight the band’s ability to weave humor into their music, making it an enduring favorite among fans.

# 3 – Venus – Shocking Blue

“Venus” by Shocking Blue remains one of the most enduring songs to feature planetary imagery in its title, offering an iconic blend of late-1960s rock and pop psychedelia. Released in 1969 as a single and featured on the album At Home, the track was recorded in the Netherlands and produced by Robbie van Leeuwen, the band’s guitarist and chief songwriter. The song captures the essence of its era with a blend of jangly guitar riffs, a driving rhythm, and a commanding vocal performance by lead singer Mariska Veres.

Musically, “Venus” draws from diverse influences, weaving elements of folk rock with the energy of hard rock. The song’s unforgettable opening riff is inspired by the riff from the Big 3’s “The Banjo Song,” creating a foundation that powers its dynamic progression. Mariska Veres’ sultry, robust voice complements the ethereal yet fiery imagery conveyed in the lyrics, which describe Venus as a goddess of beauty and power. The lyrical depiction of Venus is steeped in mythical allure, contrasting with the existential themes in songs like Stevie Wonder’s “Saturn,” which reflect on humanity’s place in the cosmos. Where “Venus” revels in mysticism and feminine energy, “Saturn” critiques earthly struggles from a celestial perspective.

“Venus” achieved significant commercial success, becoming Shocking Blue’s only major international hit. It topped the Billboard Hot 100 in 1970, making Shocking Blue the first Dutch band to reach this milestone in the United States. The song also charted highly across Europe and remains a hallmark of 1970s rock compilations. Critical acclaim has highlighted its innovative production and Mariska Veres’ powerful vocal delivery, which anchors the song’s universal appeal.

Read More: Top 10 Shocking Blue Songs

# 2 – Venus And Mars – Paul McCartney & Wings

You get two planets for the price of one with this track ! “Venus and Mars,” the title track from Venus and Mars, captures Paul McCartney & Wings’ unique blend of celestial imagery and intimate storytelling, setting the tone for the band’s 1975 album. Recorded during sessions in New Orleans at Sea-Saint Studio and in Los Angeles, the song was produced by McCartney himself, with contributions from Wings members Linda McCartney, Denny Laine, Jimmy McCulloch, and Joe English. The song’s warm acoustic arrangement, layered with McCartney’s heartfelt vocals and subtle harmonies, introduces the album with a dreamlike quality.

The lyrics of “Venus and Mars” reflect a whimsical interplay of personal musings and cosmic references. McCartney’s narration, referencing “a good friend of mine” and the planets Venus and Mars, creates an aura of universality and camaraderie. These celestial motifs echo similar themes found in Stevie Wonder’s “Saturn,” where the focus shifts to a longing for a utopian, interplanetary existence. While Wonder critiques the flaws of earthly society, McCartney weaves a gentler narrative of optimism and connection, using Venus and Mars as metaphors for harmony.

Critically, the song has been praised for its role in establishing the album’s thematic continuity. It transitions seamlessly into the energetic “Rock Show,” creating a duality between introspective musings and the lively energy of performance. The song resonates as a prelude to the broader narrative of the Venus and Mars album, which explores themes of escapism, love, and artistic expression. While “Venus and Mars” serves as a reflective opener, it contrasts with tracks like “Planet Claire” by the B-52s, which adopt a more surreal and whimsical approach to planetary imagery. Together, these songs demonstrate the versatility of celestial themes in rock music, with McCartney grounding his vision in warmth and relatability.

# 1 – Life On Mars – David Bowie

Closing this list of celestial-themed songs is David Bowie’s iconic “Life on Mars?,” a track that encapsulates the enigmatic and theatrical spirit of Hunky Dory. Recorded in August 1971 at Trident Studios in London and produced by Bowie and Ken Scott, the song features a lush orchestral arrangement by Mick Ronson and a sweeping piano performance by Rick Wakeman. The session also included Trevor Bolder on bass and Mick Woodmansey on drums, forming a rich sonic landscape that elevated Bowie’s poetic lyrics into an enduring anthem.

The song’s lyrics weave a surreal tapestry of disillusionment and wonder, painting vivid images of societal contradictions and personal longing. Bowie’s protagonist, a disenchanted girl with “the mousy hair,” serves as a lens for a broader critique of culture, blending mundane struggles with cosmic curiosity. The recurring question, “Is there life on Mars?” becomes a metaphor for existential yearning, much like the introspective themes explored in Stevie Wonder’s “Saturn.” However, where Wonder’s lyrics express a utopian vision, Bowie crafts a more sardonic and questioning narrative.

Critically acclaimed, “Life on Mars?” became one of Bowie’s most celebrated tracks, praised for its cinematic scope and layered composition. Released as a single in 1973, it reached number three on the UK Singles Chart, cementing its status as one of Bowie’s definitive works. The accompanying video, directed by Mick Rock, further emphasized its striking aesthetic with Bowie’s distinctive style and charismatic presence. As the final entry in this list, “Life on Mars?” underscores the enduring allure of planetary metaphors in music, tying together themes of wonder, disconnection, and human curiosity found throughout the article.

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