10 Best Songs About Royalty

Feature Photo: anyamuse / Shutterstock.com

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.

# 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.

# 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.

# 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.

# 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.

# 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.

# 5 – Victoria – The Kinks

The Kinks delivered a biting yet celebratory take on British imperialism with “Victoria,” the opening track from their 1969 album Arthur (Or the Decline and Fall of the British Empire). Written by Ray Davies, the song was recorded at Pye Studios in London and featured the Kinks lineup of: Ray Davies on vocals and rhythm guitar, Dave Davies on lead guitar and backing vocals, John Dalton on bass, and Mick Avory on drums. Marked by its infectious, driving rhythm and anthemic chorus, “Victoria” encapsulated both pride and irony in its depiction of the British Empire during the reign of Queen Victoria.

# 4 – Lady Jane – The Rolling Stones

The Rolling Stones departed 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 featured a delicate arrangement with Brian Jones on the Appalachian dulcimer, Keith Richards on acoustic guitar, Bill Wyman on bass, and Charlie Watts on subtle percussion. The song’s Renaissance-style instrumentation and courtly lyrical themes set it apart from much of the band’s earlier work.

# 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.

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, the song 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.”

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.

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.