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Rock and roll may have been born in America, but when it comes to songs about royalty, the British have had the most to say. That should come as no surprise—after all, the United Kingdom has lived under a monarchy for centuries, and its influence has seeped into nearly every part of British culture, including its music. Whether paying tribute, offering satire, or outright challenging the establishment, British rock artists have used royalty as a recurring theme, sometimes with reverence and sometimes with razor-sharp wit. From grand ballads to fiery anthems, this list highlights how rock and roll has explored the idea of kings and queens in ways that are as varied as the artists themselves.
Elton John reimagined “Candle in the Wind” as a heartfelt farewell to Princess Diana, crafting one of the most poignant tributes to modern royalty ever recorded. Aerosmith, one of the few American bands on this list, took a medieval, battle-scarred approach with “Kings and Queens,” evoking a world of knights, rulers, and bloodshed. The Beatles, never ones to take things too seriously, left their mark with the brief yet unforgettable “Her Majesty,” proving that even a throwaway track could become legendary. Steely Dan, in their usual cryptic fashion, blurred history and metaphor with “Kings,” weaving a tale that feels both ancient and eerily relevant. Rush, though Canadian, brought their progressive rock grandeur to “A Farewell to Kings,” a song that examined the failure of leadership and the illusions of power.
The Kinks leaned into their British heritage with “Victoria,” a wry, half-celebratory, half-satirical nod to Queen Victoria and the empire she ruled. The Rolling Stones stepped into Tudor-era courtship with “Lady Jane,” blending Renaissance-inspired instrumentation with poetic lyricism. Herman’s Hermits, in stark contrast, took a comedic route with “I’m Henry the VIII, I Am,” proving that not all royal songs need to be serious. The Sex Pistols obliterated tradition with “God Save the Queen,” turning the national anthem on its head in one of punk’s most scathing anti-establishment statements. And in a fitting finale, Queen’s “Killer Queen” dripped with aristocratic elegance and seductive power, capturing the essence of wealth, decadence, and danger.
It’s no coincidence that the majority of these songs were crafted by British artists. For those who grew up under the monarchy, the concept of royalty has been both an institution and a source of endless fascination—sometimes embraced, sometimes ridiculed, but never ignored. Rock and roll, with its rebellious spirit and flair for storytelling, has provided the perfect medium to explore it all, from regal tributes to blistering critiques.
# 10 – Candle In The Wind (Princess Diana Version) – Elton John
Few musical tributes have resonated across the globe with the emotional weight of Elton John’s “Candle in the Wind 1997.” Rewritten in honor of Diana, Princess of Wales, following her tragic death, the song became an international symbol of mourning and remembrance. Originally penned in 1973 by John and lyricist Bernie Taupin as an ode to Marilyn Monroe, the reworked version retained the theme of a life cut short but transformed its focus to honor the beloved royal figure. Performed at Diana’s funeral on September 6, 1997, at Westminster Abbey, the song captured the grief of a nation and an audience of billions worldwide.
The new lyrics replaced the original references to Monroe with imagery tied to Diana’s life, depicting her as “England’s rose” and highlighting her compassion and impact. The line “Your candle’s burned out long before / Your legend ever will” encapsulated the public’s sorrow and admiration for the princess’s humanitarian work. The single was produced by George Martin, adding a lush orchestral arrangement that deepened its emotional resonance. Upon release, “Candle in the Wind 1997” became the best-selling physical single of all time, topping charts worldwide and selling over 33 million copies. Despite its immense success, John has never performed the song again in public, keeping it reserved for that singular, historic moment.
As a song about royalty, “Candle in the Wind 1997” is unparalleled in both significance and cultural impact. It transcended music, serving as an elegy not just for Diana but for the ideals she embodied—kindness, resilience, and grace. The song’s enduring legacy ensures that her memory remains as vivid as the words that immortalized her, forever echoing the sense of loss felt around the world.
Read More: 20 Best Elton John Songs To Turn Up To Eleven
# 9 – Kings And Queens – Aerosmith
Aerosmith’s Kings and Queens explored a medieval world of bloodshed, deception, and power, a departure from the band’s typical blues-infused rock. Released on their 1977 album Draw the Line, the song showcased a more progressive and theatrical side of the group. Steven Tyler, who co-wrote the track with Brad Whitford, Tom Hamilton, Joey Kramer, and producer Jack Douglas, delivered lyrics steeped in historical imagery, painting scenes of knights, battles, and betrayal. The song’s haunting melody and dramatic composition stood apart from the band’s more straightforward rock anthems, proving Aerosmith was capable of grander storytelling.
Musically, Kings and Queens featured a sweeping arrangement with layered guitars, orchestral flourishes, and a darker, more ominous tone than most of the band’s catalog. Tyler’s vocals conveyed an almost prophetic urgency, reinforcing the themes of corruption and downfall in aristocratic rule. The song’s dynamic shifts, from eerie acoustic passages to soaring crescendos, reflected its cinematic qualities. Though it never reached the commercial heights of Toys in the Attic or Rocks-era singles, it became a fan favorite and a live staple during the late ‘70s.
Lyrically, the song fits perfectly within the theme of royalty, albeit through a lens of turmoil and bloodshed. The references to “kings and queens and guillotines” and “raising swords for maidens fair” evoke images of a ruthless ruling class and the violent struggles of history. Rather than glorifying monarchy, Kings and Queens examined the darker realities of power, making it a unique entry in Aerosmith’s discography. While many of their hits focused on love, rebellion, and excess, this song stood as a reminder of their ability to weave history and fantasy into a rock epic.
Read More: Joe Perry of Aerosmith Interview: 13 Albums That Changed My Life
# 8 – Her Majesty – The Beatles
The Beatles had a long history of playful experimentation, and Her Majesty was one of the most unexpected moments in their catalog. Tucked away as a hidden track at the end of Abbey Road, this brief acoustic ditty was originally intended to be part of the album’s famous medley but was instead removed and placed after a long silence at the record’s conclusion. Paul McCartney, the song’s sole performer, delivered a tongue-in-cheek ode to the British monarch, blending humor with a sly sense of admiration. Clocking in at just 23 seconds, Her Majesty became one of the earliest examples of a hidden track in rock history.
McCartney recorded the song on July 2, 1969, at EMI Studios in London. Originally slotted between Mean Mr. Mustard and Polythene Pam, the piece was cut from the medley, but an engineer, following standard practice, spliced it onto the end of the tape rather than discarding it. The band decided to leave it there, and the song ultimately made it onto the final album. Its abrupt opening resulted from the removal of its intended connecting chord, giving it an unpolished, almost accidental feel. The minimalist arrangement featured only McCartney on acoustic guitar and vocals, emphasizing its whimsical nature.
Lyrically, Her Majesty played with the idea of royalty in a lighthearted and satirical way. McCartney’s narrator finds the Queen “a pretty nice girl” but acknowledges that she “doesn’t have a lot to say.” The humor is further underscored by his declaration that he will “make her mine”—a cheeky, unrealistic aspiration that adds to the song’s playful charm. In contrast to the grandeur typically associated with monarchy, Her Majesty reduced the subject to a casual, almost pub-like conversation, making it one of the most unique songs about royalty ever recorded. Though brief, the song’s legacy endured, influencing future artists and leaving an indelible mark as one of the Beatles’ most unconventional moments.
Read More: A Heartfelt Retrospective Of The Beatles Solo Albums Of 1970
# 7 – Kings – Steely Dan
Steely Dan approached the theme of royalty with a characteristic blend of irony and intrigue in “Kings,” a track from their debut album, Can’t Buy a Thrill, released on November 1, 1972. Written by Walter Becker and Donald Fagen, the song presented a cryptic narrative, seemingly about the downfall of monarchs, yet layered with subtext that left room for interpretation. Fagen delivered the lead vocals while the band’s early lineup—Jeff Baxter on guitar, Denny Dias on guitar, Jim Hodder on drums, and David Palmer on backing vocals—contributed to the song’s distinctive sound, which combined rock with jazz-inflected progressions. Recorded at The Village Recorder in Los Angeles and produced by Gary Katz, Can’t Buy a Thrill introduced the world to Steely Dan’s meticulous musicianship and lyrical complexity.
Lyrically, “Kings” referenced “good King Richard” and “good King John,” evoking the imagery of medieval rulers, but many listeners and critics speculated that it alluded to modern political figures rather than literal royalty. Lines such as “We’ve seen the last of good King Richard” suggested a connection to President Richard Nixon, whose presidency was already mired in controversy. At the same time, the song’s ambiguous tone hinted at broader themes of leadership, corruption, and the cyclical nature of power. While “Kings” adopted a historical framework, its message of disillusionment paralleled the sentiment found in “Kings and Queens” by Aerosmith, another song in this article that depicted the brutality of ruling classes and their impact on the people they governed.
Musically, “Kings” incorporated Steely Dan’s signature smoothness, setting it apart from more bombastic tributes to royalty found elsewhere on this list. Unlike Elton John’s “Candle in the Wind 1997,” which expressed reverence for Princess Diana, Steely Dan’s composition maintained an air of detachment, analyzing rather than mourning its fallen ruler. The song’s interplay between celebratory and cynical tones reflected the band’s broader songwriting approach, where lyrical depth met sophisticated arrangements. As one of the more understated entries in this collection of songs about royalty, “Kings” underscored Steely Dan’s ability to weave historical allegory with contemporary relevance.
Read More: Complete List Of Steely Dan Songs From A to Z
# 6 – A Farewell To Kings – Rush
Rush framed the downfall of leadership in grand, progressive fashion with “A Farewell to Kings,” the title track from their 1977 album A Farewell to Kings. Recorded at Rockfield Studios in Wales and produced by Terry Brown, the song captured the band’s growing mastery of intricate arrangements and thought-provoking lyricism. Geddy Lee, Alex Lifeson, and Neil Peart worked in perfect cohesion, with Peart’s lyrics painting a scathing indictment of rulers who have abandoned wisdom and integrity in favor of corruption and deceit. The song’s dynamic structure featured an acoustic introduction from Lifeson before launching into a sweeping, electric crescendo, a hallmark of the band’s evolving sound.
Lyrically, “A Farewell to Kings” explored the decay of leadership through vivid imagery of hypocrisy, oppression, and societal decline. The lines “Scheming demons dressed in kingly guise / Beating down the multitude and scoffing at the wise” presented a stark contrast between noble ideals and the reality of power. The song’s thematic weight made it a fitting companion to Steely Dan’s “Kings,” another song in this article that dissected leadership failures through a more cryptic, jazz-inflected approach. However, where Steely Dan favored irony, Rush took a more direct, philosophical stance, urging listeners to seek a return to wisdom and virtue.
In the context of this list, “A Farewell to Kings” stood apart with its progressive complexity and grandiose composition. While Elton John’s “Candle in the Wind 1997” mourned a beloved figure lost too soon, Rush focused on the betrayal of ideals and the collapse of just rule. The song’s plea for renewed integrity in leadership remained as relevant as ever, cementing its place among the great rock explorations of royalty and power.
Read More: Alex Lifeson of Rush: The ClassicRockHistory.com Interview
# 5 – Victoria – The Kinks
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# 4 – Lady Jane – The Rolling Stones
The Rolling Stones took a departure from their signature blues and rock sound with “Lady Jane,” a baroque-influenced ballad featured on their 1966 album Aftermath. Recorded at RCA Studios in Los Angeles and produced by Andrew Loog Oldham, the song showcased a delicate arrangement that included Brian Jones on the Appalachian dulcimer, Keith Richards on acoustic guitar, Bill Wyman on bass, and Charlie Watts providing subtle percussion. The song’s Renaissance-style instrumentation and courtly lyrical themes set it apart from much of the band’s earlier work.
Mick Jagger’s lyrics painted a picture of shifting romantic allegiances in a setting that evoked the nobility of a bygone era. With lines like: “My sweet Lady Jane / When I see you again / Your servant am I / And will humbly remain” the song adopted the tone of a man bound by duty and formal tradition, pledging himself to a woman of status. However, as the verses progress, it becomes clear that his affections are fleeting, moving from Lady Jane to Lady Anne and finally to Marie, hinting at the constraints of arranged marriages and shifting alliances in aristocratic society. In contrast to The Kinks’ “Victoria,” which examined British rule from a broader, more satirical perspective, “Lady Jane” focused on personal obligation and devotion under rigid social customs.
Within the context of this article, “Lady Jane” stands apart from the more grandiose or rebellious takes on royalty seen in songs like Aerosmith’s “Kings and Queens” or Rush’s “A Farewell to Kings.” While those tracks explored power struggles and monarchy from a broader, often critical perspective, The Rolling Stones crafted an intimate portrayal of courtly love, using intricate instrumentation and poetic storytelling to capture a bygone world of duty and decorum.
Read More: Complete List Of Rolling Stones Songs From A to Z
# 3 – I’m Henry The VIII, I Am – Herman’s Hermits
Herman’s Hermits brought an old British music hall song into the rock and roll era with their 1965 rendition of “I’m Henry the VIII, I Am.” Originally written in 1910 by Fred Murray and R.P. Weston, the song had long been a novelty tune, but the band’s high-energy adaptation gave it a new lease on life. Produced by Mickie Most and recorded in the UK, the track featured Peter Noone on vocals with the rest of the band delivering a straightforward, up-tempo arrangement. The song quickly became a major hit, reaching No. 1 on the Billboard Hot 100 in the United States, making it one of the band’s signature songs.
Lyrically, “I’m Henry the VIII, I Am” played with its historical reference in a humorous and irreverent way. Instead of being about the infamous King Henry VIII, the lyrics describe a man who is the eighth Henry to marry a particular widow. With its simple, repetitive structure, including the oft-repeated line “Second verse, same as the first”, the song took on an almost call-and-response energy that made it an instant crowd-pleaser. While other tracks in this article, such as The Kinks’ “Victoria” or The Rolling Stones’ “Lady Jane,” approached royalty with historical or poetic nuance, Herman’s Hermits took a lighthearted route, using humor and rapid-fire delivery to create an earworm.
Among the many songs in this list that reference royalty, “I’m Henry the VIII, I Am” is the most unabashedly fun. Unlike the dramatic storytelling of Aerosmith’s “Kings and Queens” or the introspective themes of Rush’s “A Farewell to Kings,” this track was designed for pure entertainment. Its simplicity and charm turned it into a cultural phenomenon, proving that even a song about royalty could be as playful as it was enduring.
Read More: Top 10 Herman’s Hermits Songs
# 2 – God Save The Queen – The Sex Pistols
Released in 1977 during the height of Britain’s punk explosion, “God Save the Queen” by the Sex Pistols became one of the most controversial and politically charged songs in rock history. The track was recorded at Wessex Sound Studios in London and produced by Chris Thomas, featuring Johnny Rotten on vocals, Steve Jones on guitar, Paul Cook on drums, and Sid Vicious, who had recently replaced Glen Matlock on bass, though Jones played bass on the recording. The song was released as a single on May 27, 1977, just ahead of Queen Elizabeth II’s Silver Jubilee, and was immediately banned by the BBC and several major retailers. Despite this—or perhaps because of it—it climbed the UK Singles Chart, where it was controversially kept from reaching No. 1, peaking instead at No. 2 on the Official UK Singles Chart, behind Rod Stewart’s “I Don’t Want to Talk About It” / “The First Cut Is the Deepest.”
Lyrically, “God Save the Queen” took direct aim at the British monarchy, portraying it as outdated and oppressive. The opening line, “God save the Queen / The fascist regime”, set the tone for the song’s anti-establishment message, while Rotten’s sneering delivery turned the lyrics into an outright rebellion against authority. The song painted a bleak picture of England’s working-class youth, declaring “There’s no future / No future for you”, a sentiment that resonated with many disillusioned listeners in the economic and political turmoil of the late 1970s. The provocative nature of the lyrics drew both praise and outrage, positioning the track as a defining anthem of the punk movement. In contrast to other songs in this list, such as The Kinks’ “Victoria” or The Rolling Stones’ “Lady Jane,” which either celebrate or romanticize royalty, the Sex Pistols’ track actively sought to dismantle the reverence surrounding the monarchy.
Among the songs in this article, “God Save the Queen” is the most openly defiant. While Rush’s “A Farewell to Kings” questions leadership through poetic lyricism and Steely Dan’s “Kings” offers a sardonic reflection on power, the Sex Pistols left nothing to interpretation, delivering a blunt and unapologetic rejection of royal authority. The song remains one of the most infamous moments in rock history, proving that music could be a weapon of cultural rebellion.
Read More: Top 10 Sex Pistols Songs
# 1 – Killer Queen – Queen
Closing this list of the 10 best songs about royalty is “Killer Queen,” a track that showcased Queen’s sharp songwriting, theatricality, and precision musicianship. Released as the lead single from Sheer Heart Attack in 1974, the song marked a turning point in the band’s career, becoming their first major international hit. Recorded at Trident Studios and Wessex Sound Studios in London, the track was produced by Roy Thomas Baker and the band, featuring Freddie Mercury on vocals and piano, Brian May on guitar, John Deacon on bass, and Roger Taylor on drums. The song climbed to No. 2 on the UK Singles Chart and reached No. 12 on the Billboard Hot 100 in the United States, cementing Queen’s status as one of the most innovative rock bands of the decade.
Lyrically, “Killer Queen” painted the portrait of an elegant but dangerous woman, effortlessly blending sophistication with an undercurrent of menace. The song’s references to “Moët et Chandon,” “Marie Antoinette,” and “perfume that came naturally from Paris” evoked images of aristocracy, while the phrase “dynamite with a laser beam” hinted at the character’s explosive nature. Unlike the overt political defiance of the Sex Pistols’ “God Save the Queen” or the historical reflections in The Kinks’ “Victoria,” Queen took a more playful and enigmatic approach to the theme of royalty. The song’s vaudevillian piano, layered harmonies, and Brian May’s impeccably precise guitar work gave it a refined, cabaret-like feel, distinguishing it from the heavier rock sound the band had been known for.
Ending this article with “Killer Queen” is fitting, as it encapsulates the grandeur, mystique, and flamboyance that Queen brought to rock music. While other songs in this list approached royalty with reverence, satire, or rebellion, “Killer Queen” crafted a character that was both alluring and untouchable. It was the song that proved Queen’s ability to combine sophistication with rock energy, and it remains one of the most definitive tracks of their early career.
Read More: Brian May of Queen: The ClassicRockHistory.com Interview
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