"Green Christmas", a song on YouTube. It is very Anvilcious about its environmental message and has nothing to do with Christmas. The word 'Christmas' was put in there as a form of Wolverine Publicity.
Not to be confused with "Green Chri$tma$", an anvilly-but-funny swipe at Christmas commercialization by humorist and ad man Stan Freberg. Or the Barenaked Ladies' "Green Christmas", which is just about being lonely at Christmas.
Compare the last, joke line of Relient K's I'm Getting Nuttin For Christmas: "Well I'm getting nuttin' for Christmas because I contributed to the green-house effect which melts the Polar Ice Caps which melts the North Pole where Santa Claus lives. He's mad. Pbbthh!"
"Green Blues", an anti pollution song.
If you listen carefully to Beyoncé's "If I Were A Boy", you can hear that she pauses before the words "better man" just so the loud thud sounds from impacting anvils don't drown out the lyrics.
How about Story of the Year's album, "The Black Swan"? Almost every song on it screams anti-war messages in your face. Of course, this doesn't stop the music from being good, so who's complaining?
Political punk rock is by definition Anvilicious. Recent Green Day has been pretty anvilicious, but Anti-Flag is a freaking building, and a big one at that.
Subverted by most of the crossover and grindcore (yes, it counts as subversion, as Crossover and Grindcore are direct descendants of hardcore punk) bands such as Stormtroopers Of Death, Anal Cunt, and Agoraphobic Nosebleed by having songs like "Fuck The Middle East", "Speak English or Die", "Body By Auschwitz", or "White On White Crime". Anal Cunt is a joke band, and to a lesser extent, so is Agoraphobic Nosebleed.
Thrash metal is often guilty of this. Metallica's 1988 album And Justice for All is just the tip of the iceberg, most of which is comprised of Anthrax's '85-1990 material. Although one must give credit to the German bands for, for the most part, averting it. Kreator, especially. And then you have the newer bands like Municipal Waste, who have a 20,000:1 ratio of "let's get wasted and thrash!" lyrics to anvilicious lyrics.
Pretty much anything by Lily Allen falls into this category, the most bare-faced example being Fuck You, a twelve-verse rant about how conservatives are necessarily terrible people, with a chorus consisting entirely of the titular obscenity to drive the point home. Too subtle for ya? While it is anvilicious (and mostly liked for the humour it brings from that), the song isn't about conservatives as such, but about George Bush, according to Lily Allen. Another song that comes under this for some people is Everyone's At It, which is very black and white about drug use (including prescription ones). Of course, it's a pop song. Not known for its nuances.
The latter was motivated by Allen watching her brother wasting his life on drugs, which she then made even clearer with the song Alfie being explicitly about him. Don't worry, he got better.
Anything by the Disposable Heroes of Hiphoprisy. Imagine a political pamphlet produced by an especially humourless extreme left winger being read out over a drum machine beat. That's pretty much what their album sounded like. Consolidated were similar but at least they had a couple of good tracks.
About ninety-nine percent of output of The Specials (especially the stuff written by Jerry Dammers).
In which we learn (again; see "Pigs (Three Different Ones)") that Roger Waters reeeally doesn't like Margaret Thatcher. Okay Rog. We get it.
Pretty much anything by Waters counts - after all The Final Cut is subtitled "A requiem for the post-war dream by Roger Waters, performed by Pink Floyd". He continued to drop the anvil on us in his solo career, and this year's The Wall tour has decorations that send quite unsubtle messages.
Common in modern country music, especially in the wake on 9/11. Toby Keith was a big offender for while.
"Capital G" from Nine Inch Nails' Year Zero album. It's about as subtle as a Texan in a flight suit.
Earth (The Book) parodied this by saying "WAR! Huh! What's it good for...aside from ending slavery... and stopping Hitler."
"War doesn't give life, it can only take it away"... Tell that to all the children conceived over the centuries by soldiers knocking up women in the areas where they were stationed.
If you pay attention to the lyrics in a lot of Marilyn Manson songs, you'll find they're extremely Anvilicious about society, especially when the songs are notably sarcastic.
Ray Stevens' album "We the People" hammers the listener over the head with Stevens' conservative Christian views, to the point that even if one agrees with the overall message, it's still pretty irritating.
Goldfinger. No, not that Goldfinger. They used to be a pretty good punk/pop band. That was until every other song started to be about animal rights, some of them so over the top that you expect them to start hurling anvils off the stage at you. It's so irritating at times that is just makes you wanna punch a puppy.
"Blame Halo 3", a parody of Akon's "Blame it on Me" about the harms of video game addiction.
Most everything done by Otep is basically "Religion, conservatives, greed and rape are wrong and anyone who agrees with any of them must DIE!" Especially in the song Menocide, which is about how women should rise up against men who harm them and kill them.
Flobots are an entirely political band, with every track supporting anarchism or criticising Oligarchy in some way.
The Cha-Ching band songs (from Cartoon Network) are this, combined with Ear Worm songs that is nothing more than three-minute extended messages about spending your money right, donating, and how the world will be a better place if you do it. Enforced, since the intention is to teach little kids how to make financial decisions.
Harry Chapin wasn't one for subtlety. Just listen to "Cat's in The Cradle" or "Flowers are Red" and see if you can't hear what Harry was all about.
The Skillet song Rise is about the horrors of war and terrorism and standing up to it. To hammer it home, the last 40 seconds forgo singing altogether and just drop anvils.
The title track of The Smiths' album Meat is Murder.