Girls! Girls! Girls!-Emilie Autumn, a tongue in cheek mock of "look at that silly hysterical girl" thing.
Clawfinger's "I Need You" is a subversion: The protagonist has this perspective, but it's quite clear that the singer isn't on his own persona's side. The band uses this kind of "Villain Protagonist" structure in many other songs as well.
Parodied by Jon Lajoie in his "Show Me Your Genitals" songs. MC Vagina claims women are only good for three things: Cooking, Cleaning, and Vaginas. He later amends this by adding Their Sisters' Vaginas.
Weezer's "No One Else" was described by Rivers Cuomo as "the jealous obsessive asshole in me freaking out over my girlfriend". However, they don't condone this behaviour since on The Blue Album it's followed by "The World Has Turned And Left Me Here", which is "the same asshole wondering why she left". Weezer have also recorded other songs that on the surface are Misogyny Songs but criticise these attitudes with varying degrees of subtlety instead of condoning them, such as "Devotion", "Hot Tub" and "Why Bother?".
Straight examples below per genre of both Misogyny Songs and Misandry Songs
Swedish Blues/Reggae singer Peps Persson has a song named "Bom Bom - Sen blir det svart" (Boom Boom - Then it goes black) about how his woman has been missing since last night, and when he finds her... Well, that's the title.
The song "Blues in the Night" popularized by Cab Calloway, depending on the gender of the person singing. The protagonist's mother warns him/her not to trust women/men because they are "two faced" and will him/her with a broken heart.
The Mentors have dedicated nearly their entire music career to promoting misogyny, sexism and rape. Examples include "All Women are Insane," "Sex Slave," and "My Erection is Over." The band calls their genre of music "Rape Rock," and the singer appeared on many television shows including Jerry Springer to promote social acceptance of rape.
Very, very, very common in slam death metal, almost exclusively to trulyridiculouslevels. Paradoxically, slam is also one of the most gender-neutral genres of metal for both performers and fans. There are a surprising amount of female musicians in that genre, ironically enough.
Orjatar ("slave girl") by TeräBetoni, a group that's all about days of glory and brotherhood (preferably pre-Medeival, which in Finland, its home country, would be Iron Age) — much like Manowar. In Orjatar, the male narrator returns from the hunt successful, and reminds the female of her place, and expects sex in direct words. Her reward will be "divine pleasure". Yeah suuure.
"Playing Games" by Loudness. Lyrics here (it's a lyrics site so have adblock activated and don't use an insecure computer). Old Shame.
Was a common trope for Hair Metal bands' music in general, under the mistaken idea that expressing troglodyte attitudes toward women was somehow "shocking" or "offensive" in and of itself.
"Terror" by My Ruin is a rare example of a Misandry Song in metal where Tairrie B clearly says that NO MAN will ever hinder her from being who she is.
"Menocide" by Otep, a female metalhead, is another example of a misandry song.
Common among deathcore bands. See the trope page for more examples.
Many songs in the so-called "synthcore" genre. The likes of Asking Alexandria have in fact been regularly criticized for this in the mainstream media.
Hip Hop and Rap
A vast majority of rap and hip-hop.
"Crank Dat" by Soulja Boy is a borderline example, because it's pretty obvious the woman in the song is simply a tool for the narrator's own pleasure.
"She Swallowed It" and "Bitches Ain't Shit", by Dr. Dre, are one of the forefathers of the 'bitches and hos' tendency in rap.
"Superman" by Eminem is about Eminem apparently having loving sex with someone - only for his subconscious to cut in things like "bitch, you make me hurl".
There tends to be a significant amount of misogyny in Hip-Hop as a part of male posturing. This is typically in gangsta rap where rape and/or the subjugation of women - particularly either treating women as whores or actually using the pimp persona to talk about how they dominate women - is nearly as common as murder and drug running as a major theme. Typically women are characterized as sluts who like it when they are treated violently - sex slave iconography being prominent. Even moving away into mainstream Hip-Hop, a lot of songs revolve around money, fame, and objectifying women and using women just for sex. However, because a lot of this background misogyny is not only institutionalized but is used as macho posturing to convince the audience of the rapper's masculinity or sexual prowess, a lot of the time this doesn't reflect the artist's values or what they think of women in RL, often being a boast statement that is superficial in its meaning etc. Unlike a lot of other examples on this page, the misogyny is often generalized and used as a lyrical tool - although not a particularly clever one - and only has meaning within the context of the song and the rapper's persona... supposedly. There are times, though, when the imagery and tone of a song is specific and personalized enough that it does speak to the artist's underlying morals, e.g. "Love Me" by Lil' Wayne (which is worth a listen just for the novelty value of the lyrics).
"Just The Way You Are (Drunk at the Bar)" by Brian McFadden is a pro-rape song.
Fluffy's song "Black Eye" is a misandry song about getting revenge on a Domestic Abuser.
The song "Adam And Eve" by The Bleechers, which was notably covered by Bob Marley And The Wailers, describes the bible story in detail, noting that "Women are the root of all evil." It is unlikely it was meant to be misogynistic but it certainly comes off as being such.
Peter Tosh's "Maga Dog," "Soon Come," and "Brand New Second Hand" are all attacks on certain women.
Beyoncé has many songs where she complains about men in general, but If I Was a Boy is the Misandry version of this trope taken up to the peak.
By Robin Thicke's own admission, "Blurred Lines" is about degradation of women - as he puts it, "what a pleasure to degrade a woman". Feminists were not thrilled. Robin was quite upset by the negative reaction - he insisted that although it was sexist it was all good, clean fun because they're all happily-married Nice Guys in real life, and even at one point attempted to explain the song was actually a new form of feminism that he had invented.
Rock (Includes Alternative Rock, Hard Rock, Progressive Rock, Goth Rock, Glam Rock, etcetera
Guns N' Roses "I used to Love Her" is a lovely song about how how a man "had" to kill his girlfriend and bury her in his backyard because, well, she "bitched" so much. Slash did say it was actually about Axl's dog, and Izzy Stradlin claimed the song was written as a joke to mock a song he was annoyed by on the radio about "some guy whining about a broad who was treating him bad".
"You Can't Do That" (from the A Hard Day's Night soundtrack) is from the POV of a jealous, possessive boyfriend who does not like his woman talking to any other men at all...
If I catch you talking to that boy again,
I'm gonna let you down,
And leave you flat
Because I told you before, OH,
You can't do that.
...though, it's pretty tame in comparison to "Run for Your Life" (from Rubber Soul). At its heart, the message of this song is that if you decide to end a relationship with the singer, he will brutally murder you if you don't escape him first.
In fact, it can be quite common with newer Post-Grunge bands (Nickelback, Hinder, etc). Possibly explained by how these bands are influenced by Hair Metal.
Grindcore act Intestinal Disgorge banked heavily on this trope, to the point where every other song with comprehensible lyrics is about this.
Glassjaw has a lot of them, with lyrics about past experiences and heartbreaks, and Daryl's tremendous use of the word "whore." See "Lovebites and Razorlines", "Hurting and Shoving (She Should Have Let Me Sleep)", "Pretty Lush", etc.
The Knack received a lot of their Hype Backlash partly as much of their lyrics resembled (or seemed to resemble) this trope.
Anal Cunt pretty much built their career on taking this trope up to 11, along with anything else they thought would offend people. Arguably a case of parody.
Anti-Feminism as a band is an odd case. They sound like, from their name, the ultimate misogynist band. However the band members claimed they didn't understandtheir name when they chose it.
"Sadistic Desire" and "Vanishing Love" by X Japan. As well as the album covers for Vanishing Vision (which is not safe for sanity, much less work) and for Jade (which is simply NSFW and far less bloodily violent but still a bit objectifying of a woman... and makes even less sense since it has absolutely nothing to do with the song)
"Fuctrack #6" by Zilch may fall under this due to having the female vocal singing the lines she does and being the "submissive." On the other hand, though, it may not because the male lyrics seem almost self-loathing and craving punishment as the song ends.
Other/doesn't fit elsewhere/needs categorization
"Why Can't a Woman Be More Like a Man" from My Fair Lady, where Henry Higgins wishes that his relationship with Eliza were as simple as his friendship with Pickering. Arguably even worse is "I'm an Ordinary Man," which is just about how all women are obnoxious wastes of time who encourage the men around them to be cruel.
The Clement Peerens Explosition has "Foorwijf" and "t is altijd iets met die wijven".
Kiss Me Kate has both the misandrous song "I Hate Men" (sung by a woman) and the misogynous song "(I Am Ashamed That) Women Are So Simple" (also sung by a woman). Whether the latter is meant to be sarcastic is up to Alternate Character Interpretation.
"If You Want to Be Happy for the Rest of Your Life" by Jimmy Soul. Heavy stereotyping, suggesting that an ugly girl is easier to tame than a pretty one, and that her place is in the kitchen. Although this may be less a case of Misogyny, and more a case of straight up Values Dissonance.
Dean Martin and Nat King Cole recorded a duet called "Open Up the Doghouse (Two Cats Are Comin' In)", in which they lament their troubles with their respective wives and conclude that "we gotta slap 'em" and "show 'em who wears the pants". It's clearly Played for Laughs, though.
Russian singer Vladimir Vysotsky's song "Your eyes are like knifes" tells us a story about a man who's girlfriend continuously escapes their home to go clubbing. He threatens to shave her hair the next time she does it.
Most of the songs of the Mexican bolero singer Paquita La Del Barrio seems to always bash male misogyny, but despite the fact that her songs are NOTPlayed for Laughs, due to her exaggerated way of how she sings many people listen her songs mostly for the kitsch value of her lyrics.
This one is at least a hundred years old, played on many a Victrola back in the day:
Oh when I was single, oh then
Oh when I was single, oh then
Oh when I was single
My pockets did jingle
And I wish I was single again
The narrator goes on to describe in the first verse how he regrets marrying, in the second how his wife died, "and I laughed till I cried," but then strangely in the third verse he hadn't learned his lesson: