10 Best Rock Songs That Mention Movie Stars

10 Best Rock Songs Written About Movie Stars

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Since the 1950s, movie stars have found their way into the heart of rock and roll, with their larger-than-life personas, glamour, and, at times, tragic lives immortalized in song. It’s no surprise that our fascination with cinema, where icons are created and legends are born, has seeped into the world of music. Rock artists, in particular, have long been captivated by the mystique of Hollywood, often paying homage to the stars who have captivated the silver screen. These tributes range from heartfelt and loving dedications to poignant reflections on the darker side of fame, particularly for those who left us far too soon.

Some rock songs celebrate the rebellious and charismatic spirit of Hollywood icons, such as The Eagles’ tribute to James Dean, where the actor’s untamed personality and untimely death are remembered. Meanwhile, Elton John’s Candle in the Wind originally paid homage to Marilyn Monroe, whose tragic life and enduring image still resonate decades after her passing, and was later re-recorded to mourn Princess Diana, another beloved public figure taken too soon.

Other songs, like Fall Out Boy’s Uma Thurman, celebrate the modern screen siren with a playful nod to her iconic roles, while Bruce Springsteen’s Cadillac Ranch weaves the rebellious personas of both James Dean and Burt Reynolds into a metaphor about mortality. Sheryl Crow’s Steve McQueen channels the essence of one of Hollywood’s most iconic tough guys, a figure who defined coolness on and off the screen.

Mojo Nixon and Skid Roper’s wild and irreverent Debbie Gibson Is Pregnant with My Two-Headed Love Child taps into the absurdity of celebrity culture, throwing Joan Collins into the mix for a comical pop-culture explosion. These tributes, whether humorous or heartfelt, highlight how deeply cinema’s greatest stars have intertwined with rock music’s history.

From the alluring gaze of Kim Carnes’ Bette Davis Eyes to Tori Amos’ vulnerable and introspective Putting the Damage On, which evokes the spirit of Angie Dickinson, each of these songs reflects our endless fascination with the stars who have lit up the screen. These musical tributes, full of admiration, nostalgia, and sometimes sorrow, remind us that the influence of movie stars on our culture extends far beyond the silver screen—into the very soul of rock and roll.

# 10 – Steve McQueen – Sheryl Crow

“Steve McQueen” by Sheryl Crow is the opening track on this brand new list of the 10 Best Rock Songs Written About Movie Stars. Released as part of her C’mon, C’mon album in 2002, the song was recorded in various locations including Globe Studios in New York, Ocean Way in Nashville, and Conway Studios in Los Angeles. Produced by Sheryl Crow and Jeff Trott, the track features Crow’s unmistakable vocals and guitar work, with Trott also contributing on guitar. Other musicians on the track include drummer Abe Laboriel Jr. and guitarist Doyle Bramhall II, among others. The song blends rock and pop with a country twist, and it became one of Crow’s signature hits, reaching number 11 on the Billboard Adult Top 40 chart.

The song “Steve McQueen” pays homage to the legendary actor Steve McQueen, a Hollywood icon known for his rugged persona, daredevil spirit, and roles in classic films such as Bullitt, The Great Escape, and The Magnificent Seven. Born on March 24, 1930, and passing away on November 7, 1980, McQueen was beloved for his rebellious charm and his ability to bring complex, charismatic anti-heroes to life on screen. Known as the “King of Cool,” McQueen’s performances combined a tough exterior with emotional depth, making him a quintessential movie star of his time.

Lyrically, Crow taps into McQueen’s fearless attitude and love for speed and adventure. The chorus reflects this sentiment with lines like, “I wanna live the life of Steve McQueen,” alluding to the actor’s passion for fast cars, motorcycles, and his rebellious spirit both on and off-screen. Crow sings about living fast and carefree, embodying McQueen’s energy in her vocals and the driving rhythm of the song. The accompanying music video complements the track’s message, with Crow participating in stunts reminiscent of McQueen’s famous chase scenes, giving a nod to his iconic performances.

The choice to open the list with “Steve McQueen” sets the tone perfectly for exploring songs that celebrate larger-than-life movie stars. Crow’s song captures the essence of McQueen’s cool, daring persona, and the upbeat, infectious nature of the track makes it an ideal starting point for this collection of rock tributes to film legends.

Read More: Top 10 Sheryl Crow Songs

# 9 – Werewolves Of London – Warren Zevon

“Werewolves of London” by Warren Zevon is one of the most iconic rock songs that nods to classic Hollywood, specifically referencing two legendary movie stars—Lon Chaney and his son, Lon Chaney Jr. Released in 1978 as part of Zevon’s Excitable Boy album, the song was recorded at Sunset Sound and Elektra Sound Recorders in Los Angeles. Produced by Jackson Browne and Waddy Wachtel, the track features a memorable piano riff performed by Mick Fleetwood of Fleetwood Mac fame on drums and John McVie on bass. Zevon’s humorous lyrics and deadpan vocal delivery make this song a cult classic, and it reached number 21 on the Billboard Hot 100 chart.

The song playfully weaves in references to Lon Chaney (born April 1, 1883, and died August 26, 1930) and his son Lon Chaney Jr. (born February 10, 1906, and died July 12, 1973), both beloved for their contributions to the world of horror films. Lon Chaney Sr., famously known as “The Man of a Thousand Faces,” was an early pioneer of transformative makeup and special effects, starring in films like The Phantom of the Opera and The Hunchback of Notre Dame. His son, Lon Chaney Jr., is best remembered for his role as the Wolf Man in The Wolf Man (1941), which forever cemented his place in horror cinema history. Their influence in the genre of monster movies made them perfect for Zevon’s song, which playfully taps into classic horror film imagery.

Lyrically, Zevon doesn’t just drop names for the sake of it—he intertwines them with the song’s surreal and bizarre narrative. The line “I saw Lon Chaney walking with the Queen” is a surreal image that plays on Chaney’s iconic role as the Phantom, evoking a dreamlike, eerie quality that is echoed throughout the track. The werewolf in the song is a metaphorical figure, lurking in the shadows of London, engaging in both absurd and menacing behavior. The humorous tone, set against the backdrop of werewolf mythology, mirrors the larger-than-life personas of the Chaneys and their unforgettable roles in classic horror.

“Werewolves of London” stands out on this list not just for its references to iconic movie stars, but for its blend of rock, humor, and horror. It’s a fantastic follow-up to the earlier tracks discussed, and like “Steve McQueen” by Sheryl Crow, it brings a cinematic dimension to rock music. While Crow’s song is a celebration of action and rebellion, Zevon’s track invites listeners into a world where Hollywood’s monsters walk among us, blending fact and fiction with a sense of fun.

Read More: Top 10 Warren Zevon Songs

# 8 – Putting The Damage On – Tori Amos

“Putting the Damage On” by Tori Amos, from her 1996 album Boys for Pele, is a deeply emotional and reflective track that taps into themes of loss, vulnerability, and self-reinvention. Recorded at the Delgany Church in County Wicklow, Ireland, and produced by Amos herself, the song is part of an album where she explores her internal struggles with relationships, religion, and identity. In this track, Amos mentions iconic movie star Angie Dickinson, a subtle yet poignant reference that ties into the broader themes of strength, femininity, and resilience that are explored throughout the song.

Angie Dickinson, born September 30, 1931, is a beloved American actress known for her striking beauty and strong on-screen presence. She rose to fame in the 1960s and ’70s, starring in major films such as Rio Bravo (1959) alongside John Wayne, and Dressed to Kill (1980), directed by Brian De Palma. However, Dickinson is perhaps best remembered for her role as Sgt. Suzanne “Pepper” Anderson in the groundbreaking television series Police Woman (1974-1978). Her ability to portray powerful, independent women while maintaining a glamorous appeal made her a beloved figure in Hollywood. Amos’ reference to her in “Putting the Damage On” draws a connection to this balance of toughness and beauty, as Amos reflects on her own emotional vulnerability.

The lyrics of “Putting the Damage On” paint a picture of a woman grappling with the remnants of a fractured relationship. The line “For my best impression of my best Angie Dickinson” underscores the protagonist’s desire to project strength and control, much like the cool and composed characters Dickinson often portrayed. Throughout the song, Amos juxtaposes beauty with pain, singing “Cause boy you still look pretty when you’re putting the damage on,” which highlights the paradox of admiring someone even while they are causing emotional harm. This internal conflict of wanting to remain strong while experiencing deep pain is at the core of the song’s emotional weight.

Musically, the song’s minimalist arrangement of Amos’ haunting piano and subdued orchestration emphasizes the raw vulnerability of the lyrics. In comparison to other songs on this list, “Putting the Damage On” stands out for its quiet intensity and introspective nature. While tracks like Warren Zevon’s “Werewolves of London” employ humor and more upbeat rhythms, Amos’ song takes a more contemplative approach, exploring the deeper emotional layers beneath her allusions to movie stars. The combination of lyrical poignancy and the symbolic reference to Angie Dickinson makes this song an unforgettable addition to the list, blending personal narrative with cultural iconography.

Read More: Top 10 Tori Amos Songs

# 7 – Bette Davis Eyes – Kim Carnes

“Bette Davis Eyes,” performed by Kim Carnes, became an iconic hit upon its release in 1981, catapulting Carnes to international stardom. The song was recorded at Studio 55 in Los Angeles, produced by Val Garay, and features a distinctive synth-heavy arrangement that defined much of the early ’80s pop sound. Written by Donna Weiss and Jackie DeShannon, the track reached number one on the Billboard Hot 100, where it stayed for nine weeks, becoming the best-selling single of 1981 in the United States. Musicians involved in the recording included Bill Cuomo on keyboards, Craig Krampf on drums, and Josh Leo on guitar, all contributing to the song’s minimalist yet infectious sound. Carnes’ raspy vocal delivery added a raw edge to the track, setting it apart from other pop hits of the time.

The song pays homage to the legendary actress Bette Davis, who was known for her captivating screen presence and expressive, large eyes. Bette Davis, born on April 5, 1908, and passing away on October 6, 1989, was one of Hollywood’s greatest stars, with a career spanning over five decades. She earned two Academy Awards and starred in classic films like All About Eve (1950), Jezebel (1938), and Whatever Happened to Baby Jane? (1962). Davis’ fierce personality, unflinching performances, and her bold, unconventional beauty made her one of the most admired actresses in the Golden Age of Hollywood. Her eyes, which seemed to convey every possible emotion, were often considered her most striking feature, which is why they became the focal point of the song.

Lyrically, “Bette Davis Eyes” describes a woman with charm, allure, and manipulative power, possessing a captivating mystique much like Davis herself. The lyrics, “She’ll expose you when she snows you, off your feet with the crumbs she throws you,” paint a vivid picture of someone who uses her charm to get what she wants. This portrayal of the femme fatale archetype ties into the roles that Bette Davis often embodied in her films—characters who were strong, independent, and often controlling. The song’s chorus, “She’s got Bette Davis eyes,” serves as a metaphor for a woman whose allure is undeniable, referencing Davis’ own intensity on screen and off.

Compared to other songs on this list, such as Tori Amos’ “Putting the Damage On,” which subtly references Angie Dickinson, “Bette Davis Eyes” is more direct in its tribute to a Hollywood star. Where Amos uses nuanced references, Carnes’ song is centered entirely around the persona of Bette Davis. Its blend of pop appeal with a nod to Hollywood history makes it a standout example of how rock music can intersect with cinematic iconography. The song not only cemented Kim Carnes’ place in music history but also reintroduced Bette Davis to a new generation, sparking renewed interest in her films and career.

Read More: Top 10 Kim Carnes Songs

# 6 – China Girl – David Bowie

David Bowie’s “China Girl” is one of his most memorable tracks from his 1983 album Let’s Dance. Originally co-written with Iggy Pop and first recorded for Pop’s The Idiot in 1977, Bowie later re-recorded the track for his own album, infusing it with a more polished, commercially accessible sound. The recording sessions for Let’s Dance took place at Power Station Studios in New York City, with Nile Rodgers of Chic fame producing the album. Bowie’s version of “China Girl” was a critical and commercial success, reaching number 2 on the UK Singles Chart and number 10 on the Billboard Hot 100 in the U.S. Musicians on the track include the iconic Stevie Ray Vaughan on guitar, giving the song its distinctively sharp edge.

While the title “China Girl” might suggest the song is about a woman, the underlying themes are far more complex. Lyrically, Bowie explores themes of love, control, and cultural tension. His reworking of the song is seen as a commentary on Western imperialism, with the “China Girl” representing the exoticized and objectified Asian culture. The line “I’ll give you television, I’ll give you eyes of blue” is often interpreted as a metaphor for Western influence imposing itself on the East. Despite the song’s glossy, upbeat production, it carries dark undertones beneath the surface, typical of Bowie’s songwriting style.

A notable reference in the song is the mention of Marlon Brando. Brando, born on April 3, 1924, and passing away on July 1, 2004, was a legendary actor whose brooding, raw performances redefined the art of film acting. Brando was known for his roles in films like A Streetcar Named Desire (1951), On the Waterfront (1954), and The Godfather (1972), where he showcased his intense emotional range and unconventional acting style. Considered one of the greatest actors of all time, Brando’s influence on Hollywood was profound, and his rebel persona became iconic in both film and popular culture. The connection in the song can be seen as a nod to Brando’s status as a cultural figure who challenged societal norms, much like Bowie himself.

In comparing “China Girl” to other songs on this list, like Kim Carnes’ “Bette Davis Eyes,” Bowie’s track is less about celebrating the persona of a Hollywood star and more about weaving a famous name like Marlon Brando into a broader narrative about cultural identity and control. Bowie’s use of Brando in the lyrics adds a layer of Western masculine dominance to the song’s critique of imperialism, reinforcing the power dynamics at play. Both songs pay homage to movie stars, but “China Girl” uses the reference in a more abstract and symbolic manner.

# 5 – Cadillac Ranch – Bruce Springsteen

“Cadillac Ranch,” one of the standout tracks from Bruce Springsteen’s 1980 double album The River, is a lively, rock-driven tribute to American car culture with subtle nods to film icons such as James Dean and Burt Reynolds. The song was recorded between March and August 1980 at The Power Station in New York City, with Springsteen and his trusted E Street Band. The track captures the spirit of freedom, rebellion, and nostalgia, with Springsteen’s storytelling and the band’s energetic instrumentation. Produced by Jon Landau, Bruce Springsteen, and Steven Van Zandt, The River explores a variety of themes, and “Cadillac Ranch” fits comfortably in its exploration of American life.

In the lyrics, Springsteen evokes the names of two film legends: James Dean and Burt Reynolds. James Dean, born on February 8, 1931, and tragically dying in a car crash on September 30, 1955, was the epitome of youthful rebellion and vulnerability. Dean’s iconic roles in films like Rebel Without a Cause (1955), East of Eden (1955), and Giant (1956) immortalized him as a symbol of the misunderstood and emotionally intense youth. His death in a Porsche Spyder solidified his connection with fast cars and dangerous living, making his mention in “Cadillac Ranch” especially poignant.

Burt Reynolds, born on February 11, 1936, and passing on September 6, 2018, was known for his charm, wit, and rugged masculinity. His portrayal of the wisecracking, fearless driver in Smokey and the Bandit (1977) made him an enduring figure in American pop culture, particularly associated with the Trans-Am car that he famously drove in the film. In “Cadillac Ranch,” Springsteen mentions Reynolds and his black Trans-Am, drawing a connection between American muscle cars and the larger-than-life personalities that made them famous.

The song itself features powerful imagery of cars, freedom, and mortality. Springsteen likens the Cadillac to a symbol of both life’s joys and its inevitable end. “When I die, throw my body in the back and drive me to the junkyard in my Cadillac” is a reflection on how the car represents an American dream that may end in a junkyard but remains glorious while on the road. Musically, the song is filled with roaring guitars, rollicking piano by Roy Bittan, and a driving rhythm from Max Weinberg’s drums, all contributing to the track’s vibrant energy. Its rockabilly-influenced sound amplifies the song’s themes of excitement and rebellion, reminiscent of both Dean’s reckless abandon and Reynolds’ confident swagger.

Unlike other songs on this list that might delve deeper into personal or intimate tributes to movie stars, “Cadillac Ranch” uses Dean and Reynolds as cultural touchpoints within the broader context of Americana, cars, and the fleeting nature of fame and life. This tribute blends seamlessly into Springsteen’s larger narrative, tying the fast-paced, risk-taking lives of these stars to the open highways they sped down and the larger-than-life personas they embodied.

Read More: Top 10 Bruce Springsteen Albums

# 4 – Debbie Gibson Is Pregnant with My Two-Headed Love Child – Mojo Nixon and Skid Roper

“Debbie Gibson Is Pregnant with My Two-Headed Love Child,” a standout track from Mojo Nixon and Skid Roper’s final studio album Root Hog or Die (1989), is an outrageous blend of satire, rockabilly energy, and Nixon’s unfiltered humor. Recorded in 1989 and released under the Restless Records label, the album was produced by Nixon himself and marked the duo’s signature style of frenetic music and biting, comedic commentary on pop culture. The song imagines a wild and absurd scenario involving 80s pop sensation Debbie Gibson, but equally notable is the humorous reference to movie star Joan Collins, adding a layer of bizarre celebrity intrigue to the track.

Joan Collins, born on May 23, 1933, in London, is an English actress and author, most famous for her role as the iconic Alexis Carrington on the hit television show Dynasty. Collins became a household name during the 1980s for portraying the glamorous, scheming socialite, gaining legions of fans with her sharp wit and style. However, her Hollywood career spanned decades before Dynasty, with notable roles in films such as The Girl in the Red Velvet Swing (1955), Rally Round the Flag, Boys! (1958), and The Stud (1978). Known for her beauty and screen presence, Collins became a symbol of high glamour, making her an interesting inclusion in the irreverent lyrics of Nixon’s song. The line, “We were secretly married out in Las Vegas, at a little bitty chapel, Joan Collins married us,” weaves Collins into a strange fantasy, adding to the song’s offbeat appeal.

Musically, “Debbie Gibson Is Pregnant with My Two-Headed Love Child” captures the chaotic, humorous essence of Mojo Nixon’s style. The fast-paced rockabilly rhythm, paired with Nixon’s playful and growling vocal delivery, drives home the satire in the song. Lyrically, the song revels in its absurdity, making off-the-wall references to cultural figures of the time, from pop stars like Rick Astley to unlikely scenarios involving Joan Collins officiating a fictional wedding. Nixon’s use of shocking and ridiculous imagery reflects his disdain for mainstream pop culture, with the song offering a comedic contrast to the sanitized image of pop idols like Debbie Gibson.

As part of Root Hog or Die, this track embodies Nixon’s penchant for poking fun at celebrity culture and conventions, and its commentary on the absurdity of fame stands in contrast to other, more straightforward tributes to movie stars on this list. Joan Collins, a glamorous icon of the 80s, becomes a quirky footnote in this wild and outrageous narrative, reflecting the unpredictable and rebellious nature of Mojo Nixon’s music.

# 3 – Uma Thurman – Fall Out Boy

“Uma Thurman” by Fall Out Boy is an energetic, genre-blending tribute to the iconic actress Uma Thurman, known for her powerful roles in films like Pulp Fiction and Kill Bill. Released as part of the band’s 2015 album American Beauty/American Psycho, the song cleverly incorporates a surf-rock sample of the Munsters TV show theme, reflecting Thurman’s iconic dance scene in Pulp Fiction, where she performs a memorable twist with John Travolta. Produced by Jake Sinclair and recorded in Los Angeles, the track highlights Fall Out Boy’s ability to fuse modern rock with quirky pop culture references, much like Warren Zevon’s “Werewolves of London,” which also weaves in playful references to classic film figures like Lon Chaney.

Uma Thurman, born on April 29, 1970, in Boston, Massachusetts, rose to stardom in the early 1990s with a series of breakout roles in films like Dangerous Liaisons (1988) and Pulp Fiction (1994), for which she earned an Academy Award nomination. She further solidified her place as a movie star in Quentin Tarantino’s Kill Bill series, where she portrayed The Bride, an assassin seeking revenge. Thurman became known for her captivating performances and physicality in action-packed roles, making her a natural inspiration for a high-energy track like “Uma Thurman.” In comparison, the themes in “Cadillac Ranch” by Bruce Springsteen, which mentions James Dean and Burt Reynolds, also draw from admiration for movie stars who represented rebellion and iconic imagery in American culture.

Lyrically, Fall Out Boy references Uma Thurman’s cool and captivating presence in their lines “She wants to dance like Uma Thurman / Bury me ’til I confess.” The song juxtaposes admiration with infatuation, capturing the allure of Thurman’s strong on-screen characters. Musically, the playful yet fierce energy of the song mirrors the confidence and boldness of her film roles. The infectious beat, combined with the famous Munsters riff, gives the song a nostalgic yet modern feel, making it one of the standout tracks of the album. Uma Thurman charted well, peaking at number 22 on the Billboard Hot 100 and earning positive critical reviews for its originality and wit. In a way, this parallels the success of Kim Carnes’ “Bette Davis Eyes,” where a similarly iconic movie star is celebrated for her unmistakable presence, both on and off-screen.

By incorporating elements of pop culture while celebrating one of Hollywood’s modern stars, “Uma Thurman” fits well into this list of best rock songs about movie stars. Like other tracks on the list, such as “Bette Davis Eyes” and “Werewolves of London,” it stands out for combining clever lyricism with a clear homage to the enduring power of its cinematic subject.

Read More: Top 10 Fall Out Boy Songs

# 2 – James Dean – The Eagles

“James Dean” by The Eagles is a spirited rock song from the band’s 1974 album On the Border. The track serves as a tribute to the legendary 1950s actor James Dean, whose rebellious persona and untimely death cemented his status as a cultural icon. Recorded at Record Plant Studios in Los Angeles and produced by Bill Szymczyk, On the Border marked a turning point for The Eagles, blending rock with their signature country-rock sound. The song “James Dean,” co-written by Don Henley, Glenn Frey, Jackson Browne, and J.D. Souther, is a fast-paced anthem that reflects the wild and short-lived life of Dean, both in its lyrics and music.

James Dean, born on February 8, 1931, was an American actor who starred in only three major films: East of Eden (1955), Rebel Without a Cause (1955), and Giant (1956), all of which were released before his tragic death in a car accident on September 30, 1955. Despite his brief career, Dean became an enduring symbol of youthful rebellion and angst, epitomizing the cool, reckless attitude of his generation. His iconic status is immortalized in this song, with the band singing, “James Dean, you said it all so clean, and I know my life would look all right if I could see it on the silver screen.” Much like how Bruce Springsteen referenced James Dean in “Cadillac Ranch,” The Eagles explore Dean’s mystique as an emblem of defiance and the struggle between fame and destruction.

The lyrics of “James Dean” highlight the actor’s defiant nature, with lines such as “too fast to live, too young to die” echoing his rebellious lifestyle and premature death. Musically, the song’s upbeat tempo and straightforward rock instrumentation mirror Dean’s fast-paced life and career, blending swagger and sadness. Critics have praised the track for its energetic delivery and fitting homage to one of Hollywood’s greatest legends. While not as commercially successful as some of The Eagles’ other hits, “James Dean” remains a fan favorite and has secured its place as a quintessential tribute to the 1950s cultural icon. Its comparison to songs like “Uma Thurman” by Fall Out Boy, which also uses a movie star as a symbol of attitude and allure, further highlights the lasting impact of stars like Dean on rock music.

# 1 – Candle In The Wind – Elton John

“Candle in the Wind” by Elton John is a deeply emotional and iconic song, originally written as a tribute to Marilyn Monroe. Released in 1973 on the Goodbye Yellow Brick Road album, the song was written by Elton John and his longtime collaborator Bernie Taupin. The original version reflected on the life and tragic death of Monroe, the Hollywood icon who captivated the world with her beauty, talent, and vulnerability. Monroe, born Norma Jeane Mortenson on June 1, 1926, starred in numerous hit films, including Some Like It Hot and The Seven Year Itch. She passed away at the young age of 36, leaving behind an indelible legacy that made her a symbol of both glamor and fragility.

The song opens with the poignant line “Goodbye, Norma Jeane,” referencing Monroe’s birth name. Taupin’s lyrics emphasize the transient nature of fame and how Monroe was chewed up and spit out by Hollywood, with her life snuffed out too soon. The metaphor of a candle being blown out too early is both beautiful and haunting, making it a fitting tribute to a star who shone brightly but briefly. The recording took place at Château d’Hérouville in France, with Elton John on piano and vocals, supported by the core members of his band, including Davey Johnstone on guitar, Dee Murray on bass, and Nigel Olsson on drums. Produced by Gus Dudgeon, this original version of “Candle in the Wind” reached number 11 on the UK Singles Chart and has since become one of Elton John’s most beloved tracks.

However, the song took on new life in 1997 when Elton John re-recorded it as a tribute to Princess Diana following her tragic death. The new version, performed at Diana’s funeral and retitled “Candle in the Wind 1997,” became one of the best-selling singles of all time. With slightly altered lyrics, it now mourned “England’s Rose” and reflected the deep sorrow felt by the world upon Diana’s passing. This version was recorded at Townhouse Studios in London and produced by George Martin, featuring a more subdued arrangement to match the solemnity of the occasion. Unlike the upbeat rock style of the original, the 1997 rendition was more somber, with a stripped-down arrangement focusing on Elton’s piano and vocals.

The two versions of “Candle in the Wind” serve as bookends to lives that were cut short by tragedy. The original pays homage to the fragility of Monroe’s life and the pressures of stardom, while the 1997 version highlights the public’s grief over the loss of another beloved icon, Princess Diana. As the final song on this list, “Candle in the Wind” encapsulates the themes of fame, loss, and the impact of cultural icons, drawing connections to other songs like “James Dean” by The Eagles, where premature death similarly elevated the star to legendary status.