Get Down Lyrics – Six
Get Down Lyrics
Anna of Cleves and CompanySittin' here all alone
On a throne
In a palace that I happen to own
Bring me some pheasant
Keep it on the bone
Fill my goblet up to the brim
Sippin' on mead and I spill it on my dress
With the gold lace trim
Not very prim and proper
Can't make me stop
I wanna go hunting, any takers?
I'm not fake 'cause I've got acres and acres
Paid for with my own riches
Where my hounds at? Release the bitches
(Woof)
Everyday
Head back for a round of croquet, yeah
'Cause I'm a player
And tomorrow, I'll hit replay
You, you said that I tricked ya
'Cause I, I didn't look like my profile picture
Too, too bad I don't agree
So I'm gonna hang it up for everyone to see
And you can't stop me 'cause
I'm the queen of the castle
Get down, you dirty rascal
Get down
Get down
Get down you dirty rascal
Get down
Get down
'Cause I'm the queen of the castle
When I get bored
I go to court
Pull up outside in my carriage
Don't got no marriage
So I have a little flirt with the footman
As he takes my fur
As you were
Making my way to the dance floor
Some boys make an advance
I ignore them
'Cause my jam comes on the lute
Lookin' cute
Das ist gut
All eyes on me
No criticism
I look more rad than Lutheranism
Dance so hard that I'm causin' a sensation
Okay ladies, let's get in reformation
You, you said that I tricked ya
'Cause I, I didn't look like my profile picture
Too, too bad I don't agree
So I'm gonna hang it up for everyone to see
And you can't stop me 'cause
I'm the queen of the castle
Get down, you dirty rascal
Get down
Get down (you dirty rascal)
Get down
Get down
'Cause I'm the queen of the castle
Now I ain't sayin' I'm a gold digger
But check my prenup, and go figure
Got gold chains
Symbolic of my faith to the higher power
In the fast lane
My horses can trot up to twelve miles an hour
Let me explain
I'm a Wienerschnitzel, not an English flower
No one tells me I need a rich man
Doin' my thing in my palace in Richmond
You, you said that I tricked ya (tricked ya)
'Cause I (I), I didn't look like my profile picture (no no)
Too, too bad I don't agree (too bad I don't agree)
So I'm gonna hang it up (hang it up, hang it up) for everyone to see
And you can't stop, you can't stop me 'cause
I'm the queen of the castle
Get down, you dirty rascal
Get down (yeah, c'mon, ha!)
Get down (get down with me)
Get down you dirty rascal
Get down (it's Anna of Cleves)
(Aha-ha-ha, get)
Get down (ow!)
'Cause I'm the queen of the castle
Song Overview

Song Credits
- Featured Vocal: Genesis Lynea (as Anna of Cleves)
- Ensemble Vocals: Aimie Atkinson, Christina Modestou, Izuka Hoyle, Natalie Paris & Renée Lamb
- Writers / Composers: Lucy Moss & Toby Marlow
- Producer: Kenny Wax
- Release Date: September 12 2018
- Album: Six: The Musical – Studio Cast Recording
- Genre: Dance-pop, R&B-infused musical theatre
- Label: 6 Music Ltd.
- Length: 3 min 46 sec
- Language: English
- Instruments: Trap-lite drums, punchy synth brass, octave-jumping bass, baroque-lute samples
- Recording Studio: Angel Studios, London
- Copyright © & ? 2018 6 Music Ltd.
Song Meaning and Annotations

“Get Down” spins the break-up blues into a champagne-fizz celebration. Where other Tudor wives sob over Henry’s fickle heart, Anna of Cleves throws the biggest after-party Richmond ever saw. The groove borrows from club-ready anthems—think Iggy Azalea swagger over Charli XCX synth glitter—yet the text stays resolutely sixteenth-century: mead goblets, croquet lawns, and hounds on parade.
Anna’s storyline is TikTok revenge fantasy meets historical footnote. Married to Henry for barely six months, dumped for not matching her portrait, she walks away loaded with palaces, lands, and the honorary title “King’s sister.” The verses flaunt that glow-up, while the chorus fires off the mantra: royal divorce isn’t ruin—it's upgrade.
I’m the queen of the castle / Get down, you dirty rascal
The rhyme is playground-simple, but it hides a power flip: Henry becomes the rascal; Anna sits on the throne. The track’s stop-start beat mirrors the break-up: abrupt end, fresh start, zero tears.
Creation Notes
Marlow & Moss designed each SIX number to mirror a modern superstar. Anna’s reference palette: Beyoncé’s swagger, Lizzo’s self-love, plus a sprinkle of German electro nodding to her Cleves roots. The production layers harpsichord stabs under 808 claps—history in a hype-mix.
Verse Highlights
Verse 1: “Sittin’ here all alone, on a throne.” Within ten syllables we know she’s rich, bored, and absolutely fine with both.
Verse 2: Lutheran name-drops (“radder than Lutheranism”) poke fun at Henry’s Protestant pivot, while “Das ist gut” waves the Cleves banner.
Bridge: The prenup brag pairs trap triplets with Tudor finance. Twelve-mile-an-hour horses never sounded so flexy.
Symbols
- Pheasant on the bone: unfiltered indulgence—she keeps the luxuries and the mess.
- Gold chains: both hip-hop status and a wink to her Catholic-turned-Protestant tightrope.
- “Release the bitches”: hunting dogs double as female solidarity; Anna’s pack is ready.
Annotations
“Get Down” struts through the palace like a 2010s club banger dropped into a Tudor drawing room. It's swagger borrows from Charli XCX, Iggy Azalea, and a splash of Beyoncé’s "Lemonade", all while shining a spotlight on Anna of Cleves—the queen who took one look at her divorce papers and decided to live her best life.
After Henry annulled their marriage in July 1540, Anna walked away with a settlement fit for royalty: Richmond Palace, Hever Castle, a generous income, and leases on several manor houses. The English court soon dubbed her the King’s Sister. Free from matrimony and flush with property, she leaned into luxury with a grin.
The opening command for roast pheasant signals that opulence. Pheasant was the game of choice for aristocrats, a subtle flex that Anna now hunts, cooks, and consumes the very symbol of elite sport. Some fans read it as a cheeky nod to the “death” of her marriage: the bird is plucked, roasted, and served on her terms.
Henry once called his fourth wife unsophisticated. Part of the gripe came from a botched courtly tradition: he tried to surprise her in disguise, she recoiled from the stranger’s kiss, and the king took it personally. Add German fashions—square necklines, fitted sleeves, fur trims—which Londoners deemed odd, and you have a king sulking that the portrait was prettier than the real woman. Anna flips that insult into a 21st-century catfish joke: “profile picture” becomes Holbein’s painting, and Henry is the guy furious that his online match looks different in person.
When she shouts “release the bitches,” the double meaning lands hard. Yes, she is literally letting the hunting hounds loose. But she also claims the other queens as her crew, much like modern friends calling each other “my bitches.” Their chorus reply—“Woof”—reminds the audience the word can stay playful, not profane.
Her boast about “a round of croquet” plays with time. Croquet did not hit England until the 1800s, yet the line works because Anna’s Renaissance peers loved lawn games, and the pun on “player” sells her flirt-friendly freedom. She follows it up with “hit replay,” winking at Rihanna’s “Pon de Replay” and at the fact that theatergoers will indeed replay the cast recording.
Throughout the hook, Anna taunts Henry with a playground rhyme: “I’m the queen of the castle, get down, you dirty rascal.” In one breath she tells her detractors to back off and invites the whole hall to party hard. The phrase “get down” doubles as a dog command and a dance-floor battle cry.
Mid-song she rolls up to court in a carriage, shrugs off her fur, and throws a nod to Miley Cyrus—“my jam comes on the lute.” The live production underscores the line by having Anna shed her jacket or flirt with a spectator. When she dismisses a footman with “as you were,” she hijacks military diction to reinforce that, settlement or not, she still commands a queen’s respect.
Her gold-chain brag riffs on Kanye’s “Gold Digger”: she did not marry for money, yet the split left her “stacked.” The oversized crucifix in Holbein’s portrait morphs into bling that proclaims both faith and fortune. Calling herself a “Wienerschnitzel, not an English flower” reclaims her German roots and keeps the song’s canine wordplay alive.
The quick rhyme “I look more rad than Lutheranism” layers two jokes: Luther’s followers were branded radical, and “rad” still means cool. Anna, whose brother ruled a Lutheran duchy, reminds listeners that Henry’s advisers originally wanted the match to strengthen Protestant alliances. Her shout-out, “ladies, let’s get in reformation” mashes Beyoncé’s “Formation” with the 16th-century religious upheaval Henry helped spark.
By the final chorus, the message is crystal clear. Anna never remarried, never needed a man to bankroll her, and never shrank from court life. Instead, she hunted, danced, and traded gossip with her royal step-daughters. History often paints her as the plain, lucky queen. “Get Down” argues she was the clever one who took a bad Tinder date, turned it into fiscal security, and lived happily, loudly, on her acreage.
Similar Songs

- “Fancy” – Iggy Azalea ft. Charli XCX
Both flaunt riches with tongue-in-cheek bravado, ride bouncy synth hooks, and revel in being underestimated. - “Truth Hurts” – Lizzo
A post-break-up victory lap. Lizzo grabs the self-care crown the way Anna grabs Richmond Palace—loud, proud, and meme-ready. - “7 Rings” – Ariana Grande
A divorce settlement turned shopping spree? Ariana’s “I want it, I got it” echoes Anna’s acres-and-acres grin.
Questions and Answers

- What’s the core message of “Get Down”?
- Rejection can be rebranded. Anna turns Henry’s dismissal into a freedom anthem and flaunts the spoils.
- Is the “profile picture” lyric historically legit?
- Yes—Henry chose Anna from a Hans Holbein portrait. When reality differed, he cried foul. The song modernises that catfish moment.
- Why the German references?
- Anna was born in the Duchy of Cleves (modern Germany). Phrases like “Das ist gut” and schnitzel jokes infuse her heritage.
- Did Anna really live well after the divorce?
- Absolutely. She received multiple estates, a generous allowance, and outlived every other wife, hosting epic hunts at Richmond.
- How does the music blend eras?
- Trap drums and sub-bass deliver 2010s club energy; harpsichord ticks and lute loops keep one foot in the Tudor court.