The Obsession Song is like a love song written by a Stalker with a Crush or a Yandere. Most examples simply involve obsessive love with heavy overtones of stalking and possessiveness, but some take it to such extreme lengths that it sounds like the singer is planning on raping you, killing you, and keeping your corpse under their bed.
The Obsession Song falls into two basic varieties, although many have elements of both:
- Passive - "I belong to you. My entire life revolves around you even if you don't know that I exist and I would do absolutely anything to make you happy even if you treat me like dirt. Please notice me, or I'll probably kill myself."
- Aggressive - "You belong to me. You will be mine, whether you like it or not. I'll kill anyone else who looks at you, or you if you so much as look at anyone else."
Many Obsession Songs are mistaken for love songs, especially when they have Lyrical Dissonance, and sometimes even end up being played at weddings. Conversely, some love songs with nothing but innocent intentions can unintentionally end up as Obsession Songs.
Needless to say, this trope can be a potent source of Paranoia Fuel.
- Spike's solo, "Rest In Peace", from the Buffy the Vampire Slayer Musical Episode, qualifies. Although certain (pre-ensouling) Spike/Buffy shippers seem to not quite get this.
- The Statler Brothers - "The Official Historian of Shirley Jean Berrell" from 1979. A young man simply lists everything he knows about the object of his presumed Unrequited Love, such as her relatives, what she got for Christmas (in 1952), her song, her number at work and so forth ... and states no intentions of actually pursuing her. In fact, he readily admits "The only thing I don't know about her / is where she is right now." (Which the reason may well be hinted at in the lyrics.)
- Massive Attack - "Angel" from Mezzanine. The song was originally done by constant collaborator/quasi-band member Horace Andy as a Reggae love song, but the harsh, Alternative Rock riffing and pounding drums just illustrate how the instrumental backing can drastically change a song's context.
- Mono - "Madhouse".
- "No One Else" is a passive version of this — not that the singer has anyone in particular in mind, but pretty much wants a girl to be focused on him to the point that "When I'm away, she never leaves the house."
- Also, their song "Haunt You Everyday" has elements of this.
- "Obsession" by Army of Lovers.
- A lot of Lana Del Rey's songs from Born to Die are this, usually depicting young girls following after older men and feeling bad whenever they reject her.
- "Shiver" by Coldplay, with lyrics like "From the moment I wake to the moment I sleep / I'll be there by your side, just you try and stop me", which seems to almost be a threat.
- "You're Beautiful" by James Blunt applies as well. "She smiled at me on the subway. She was with another man. But I won't lose no sleep on that, 'Cause I've got a plan."
- An unintentional-passive example is "Happy Together", by The Turtles. Mostly made so by the very last line, where it becomes apparent that the narrator has never spoken to the object of his desire.
- Emilie Autumn's
- "Be Silent Be Still".
- "Liar", the verses of which are actually from letters written to her by an ex-boyfriend.
I'm hurting you for your own goodI'd die for you — you know I wouldI'd give up all my wealthTo buy you back the soul you never soldI want to mix our bloodAnd put it in the groundSo you can never leave.
- Make Me Wanna Die - The Pretty Reckless
I'd Die for you, my love, my loveI'd lie for you, my love my loveI'd steal for you, my love, my loveI'd die for you, my love, my love...
- Strictly passive hence: Make Me Wanna Die.
- Miss Nothing also applies.
- Meg Myers's "Heart Heart Head"
You're in my heart, in my heart, in my headYou're in my—[ragged, tortured screaming]
- Bruno Mars' "sad" singles are all about this. Both ''Grenade'' and ''Talkin' to the Moon'' depict a man who whines and obsessively laments over a dead relationship to the point where he turns into a stalker, driven crazy in hopes that his former significant other would notice such behavior and take him back. Both songs take the Passive element described at the top of the page.
Darling, I forgive you after allAnything is better than to be alone.
- Taking Over Me, which falls into the Passive category.
- Away From Me also applies to passivity.
- Farther Away is strictly passive.
- Anything For You is passive, where in the song lying to her about loving her is good enough.
- Give Unto Me is extremely passive, yet the lyrics just scream Stalker with a Crush.
- "All I Need".
- "Creep" from Pablo Honey. According to Thom Yorke, it's about a drunk guy following around a woman he's attracted to, lacking the self-confidence to actually approach her. However, many listeners think it's a straightforward unrequited-love song from the perspective of a guy with self-esteem issues... which is perfectly reasonable from the lyrics themselves, except that it provides no explanation for the line "she's running out the door", making it a bit of a Bread, Eggs, Milk, Squick. In fairness, that's the least intelligible part of the song, so a lot of people probably didn't even know that's what he was saying. Going by the "unrequited love song from the POV of a guy with self-esteem issues" interpretation, "she's running out the door" could mean that said guy attempted to admit his feelings but only succeeded in scaring her.
- "You", also off of "Pablo Honey", is another example.
- Franz Ferdinand have "This Fire" from You Could Have It So Much Better.
- Billy Joel tried his hand at this one more than once. "All For Leyna" is a pretty good example of a passive one.
- Guster has one called "Barrel of a Gun", about the "masturbating to their poster on the wall" type of obsession.
- About 50% of every Latin American bolero (as in the musical genre) song ever. If it was sung by Los Panchos, Julio Jaramillo, or La Lupe (among many, many others), chances are that they are singing one of those. Most of them are from the passive type, in the line of "I've shaped my whole life around you and now I don't have anything else, so why don't you love me back? Why? WHY?"
- Muse: Undisclosed Desires.
- Die Ärzte's "Bitte, Bitte".
I have a gift for you. I love you, I give you me. Don't ask me, you know why. From now on I'm your property. You hurt me, what more do I want? I am the servant, you are the master. From now on I belong only to you. Please, please, let me be your slave.
- Perfect-Vanessa Amorosi
I pray with the sounding of you faithMy colours bleed to oneNothing grows when your love is gone.
- The Veronicas: Could've Been, Let Me Out.
- Matchbox Twenty has this little song called: "Disease".
"I can't live without you, tell me what I'm supposed to do about it""You drove me to the fire and left me there to burn""Every little thing you do is magic, oh, but all my life it was tragic / beautiful girl, I can't breathe."
- Adorable has a song called "Obsessively Yours" which seems to be about obsessive love from a distance.
I haven't got you, or dishonourable intentionsAll I hold is a photograph of my magnificent obsession.
- Florence + the Machine's "Drumming Song".
- Eric Clapton's "Layla". Bonus points for being about Clapton's real obsession with a real woman, Pattie Boyd, who later left George Harrison for him.
Layla! You got me on my knees!Layla! I'm beggin', darlin', please,Layla! Darlin', won't you ease my worried mind?
- Neil Sedaka's song "Betty Grable", about the actress, although it is very innocent and benign.
- Bleu's song "Watching You Sleep."
- Mutemath's "You Are Mine", which is arguably also a God Is Love Song.
Everyone has their obsessionConsuming thoughts, consuming timeThey hold high their prized possessionThat defines the meaning of their livesYou are mine. You are mine...
- Jon Gomm's song "Everything" as he says about it.
"It's a twisted love song. It's about obsession. It's the song I had the most comments about from the album, which really surprised me, just because it's so prog — nearly ten minutes long, two time signatures, shreddy guitar solo, even cameo appearances from other songs..."
- 10CC's I'm not in Love is the classic example of passive stalking; an obsessed but unlucky lover who can't stop thinking about the object of love but denies he's in love.
- A Perfect Circle's "Magdalena" is most likely about an obsessed fan of a stripper who continually pisses his money away on tips in the vain hope that she will actually notice him.
- Bastille's "Poet" is a downplayed one; while it mentions that obsession "eats me whole", the singer is content to merely write about their love and devotion rather than act on their feelings in any way.
- The lyrics to Kraftwerk's "The Telephone Call" are:
I give you my affection and I give you my time.Trying to get a connection on the telephone line.You're so close but far away. I call you up all night and day.
The number you have reached has been disconnected.
- This is kind of creepy in and of itself but then the song is also interspersed with sounds of someone's incessant dialing and a pre-taped operator's voice stating:
- Nephew's "Movie Klip," which is about a man who stalks his ex-girlfriend, going so far as following her to Paris and (it's implied) filming her with her new boyfriend.
- R.E.M.'s "Losing My Religion" is this, according to Michael Stipe.
- "Laid" by James is about sexual obsession and someone's life spiraling out of control due to it. The last verse dives headlong into the Paranoia Fuel aspects of this trope, when the singer talks about someone cutting a hole through the wall to get around door locks, and how that person is found sleeping next to him when he was supposedly alone. The last line implies that the singer is becoming too attached to the obsession as well.
- "Habit" by Stabilo:
I want your clothing when you sweat
I want the rain that makes you wet
I want the drink that made you sick
I want to choke on it
- "Hurt Me Harder" is about an obsessive type of Destructive Romance (or maybe even an outright abusive relationship).
- "Kill For You" outright begins with the lyrics "I belong to you". Its lyrics eventually turn from "I'd kill for you" to "I've killed for you, baby. Who else could say that?".
- "Drug Me Now" compares her obsessive love to a drug addiction.
- In Crysania's song "Playing with Fire", from the Russian musical The Last Trial, she expresses her desire to prove her faith by redeeming the soul of a dark mage, even if she dies in the attempt.
- Éponine's song from Les Misérables, "On My Own", is all about how she clings to daydreams of Marius loving her, but knows he never will. A more passive example than most — she doesn't do much in the way of stalking in the musical; her book counterpart fits the trope better, but obviously doesn't sing the song.
- "Hellfire" from the Disney version of The Hunchback of Notre Dame about Frollo's obsession with Esmeralda qualifies. It's also his Villain Song with a nice Bilingual Bonus.
Protect me, Maria! Don't let this siren cast her spell!Don't let her fire sear my flesh and bone!Destroy Esmeralda, and let her taste the fires of hell,Or else let her be mine and mine alone!Hellfire, dark fireNow gypsy, it's your turn!Choose me or your pyreBe mine or you will burn!
- "GoldenEye" by Tina Turner, for the eponymous James Bond movie.
Got a license to kill, and you know I'm going straight for your heart. (Got a license to kill...)Got a license to kill anyone who tries to tear us apart... (Got a license to kill....)
- Another example from the James Bond franchise is Gladys Night's "License To Kill".
- "I Wanna Marry My Stalker" by Goldfinger. Although sung from the person who's being stalked point of view, the stalker certainly is... Persistent.
- Indeed, and it seems that her efforts are actually paying off, if the title is any indication.
- Simon & Garfunkel's "Why Don't You Write Me", perhaps the whiniest and co-dependent of all, even threatening suicide at the end. Reality Subtext here as Simon was tired of waiting for Garfunkel to return (shortly before the break-up of the band.)
- Zero 7 - "If I Can't Have You" - stalker lady sounds like she's going to kill her crush for not noticing her:
Now I watch you bleedYou had all I needHow I love you soNow we'll never knowIf I can't have you
- "I Put a Spell on You" by Screamin' Jay Hawkins is a classic example. Originally supposed to be a passive example, but then one of the recording crew brought in booze, turning it into one of the most famous aggressive examples ever.
- The Police's "Every Breath You Take" from Synchronicity is one of the most famous Obsession Songs, if not the most famous. Probably the most famous one you'll ever dance to at homecoming.
- "Can't Stand Losing You" from Outlandos d'Amour is another. A classic case of Lyrical Dissonance.
- Nick Cave & The Bad Seeds - "From Her to Eternity", "Hard On for Love", and several others. Nick Cave really likes this trope, specifically the aggressive Murder Ballad variety.
- Don't forget No Pussy Blues, complete with its own kind of Madness Mantra ("she just didn't want to")
- Portishead - "All Mine" from Dummy
- Lisa Germano's "...a psychopath" is a very aggressive Obsession Song sung from the perspective of the stalkee.
- Which features an actual 911 call.
- Pretty much any line from Animotion's "Obsession" could work as a page quote for this trope.
- Shellac's "Prayer to God" is a particularly nasty aggressive example.
- PJ Harvey's "Legs" from Rid of Me is another very aggressive example. Nothing says "I love you" like sawing someone's legs off to keep them from leaving you.
- She also did Rid of Me, which is...passive-aggressive?
- Blondie- "One Way Or Another", "Accidents Never Happen", "Hangin' On the Telephone". Debbie Harry wrote the former because of a quite insane stalker. She stated that adding a bubble gum pop added some lightness and was therapeutic for her.
- Opeth - "The Leper Affinity."
- Ludo - "Go-Getter Greg."
- As well as "The Horror Of Our Love" for the 'wearing your skin like a sweater' variety.
- "Play With Fire" from Out of Our Heads by The Rolling Stones is an aggressive Obsession Song.
- Death Cab for Cutie's "I Will Possess Your Heart." It lasts 8 minutes (on the album).
- Even The Beatles did one, and it's pretty aggressive, too. "Run For Your Life" - Rubber Soul, 1965. John Lennon came to hate this song.
I'd rather see you dead, little girl,Than to be with another man.
- "Stan". The lyrics are Stan's increasingly deranged letters to Eminem. The last verse is Eminem's reply, but it's cut short when Eminem realizes that Stan killed himself, his girlfriend and his unborn child during the second-to-last verse.
- There's also "Kim", which tells the story of Eminem going Ax-Crazy on his titular wife.
- Eminem's sexiest song, "Love You More", contains lyrics such as "I know it's sad but it's making me happy," "From junior high, until we both die" and "it's an addiction and it can't be fixed."
- "Goodnight & Go" by Imogen Heap (lead singer of Frou Frou). Some serious Lyrical Dissonance, too.
Follow you homeYou've got your headphones on and you're dancingGot lucky, beautiful shotYou're taking everything offWatch the curtains, wide openAnd you fall in the same routineFlicking through the TVRelaxed and recliningAnd you think you're alone ...
You will surrender to meThere's no escaping from me
- Snow White Queen which falls into the Aggressive category when told from the POV of the stalker (the stalkee's POV makes up the rest of the song)
- Then there's 'Surrender', which sounds really soft and pretends to be a type one, is most definitely a type two.
- And from the same song we get: Darling, there's no sense in running, you know I will find you.
- Haunted, which seems to be a ghost doing this.
- The Other Side and Even In Death is this to a dead person. Extremely aggressive musically.
- As the name implies, Assemblage 23's "Let Me Be Your Armor"'s protagonist is very chivalrous, but it's lampshaded that his love is a bit more possessive than most. That or its about an eerily overprotective parent. Either way its obsessive, controlling, and downright creepy.
If I can't have you, then nobody canI hope you understand, I hope you understand
- Also by Assemblage 23, "The Last Mistake" falls squarely into this trope, with a more deranged, possibly murderous aspect.
- The Toadies' "Tyler": It starts out seeming like an ordinary romantic song about a man who's looking forward to being with his beloved again after a long time apart. Then in the last verse the narrator breaks into her house, and it becomes readily apparent that something else is going on...
''I stumble in the hallwayOutside her bedroom doorI hear her call out to meI hear the fear in her voiceShe pulls the covers tighterI press against the doorI will be with her tonight...''
- "The Virus Of Life." Definitely the aggressive, rapetastic Murder Ballad type.
- From the same album, "Vermilion" and "Vermilion Pt. 2" are more passive Obsession Songs.
- Going back a bit, Prosthetics.
- "The Nameless" which is very aggressive type and screams "You're mine" a lot at the end.
- Nellie McKay did one called "Baby Watch Your Back" in her cutest voice.
- Barenaked Ladies, "Straw Hat and Old Dirty Hank" is sung from the position of a guy who's obsessed with Anne Murray, and is supposedly based on a true story.
You say you love me, is that the truth?Although they've heard the songs, my friends need living proofI know your address, I ring the bellI bring you flowers and a .22 with shells
- Some people think that their song "The Old Apartment" counts, and I guess it does, but Word of God has it that the guy in the song is still with the same girl, it's the apartment itself that he's obsessed with.
- t.A.T.u.'s "Fly on the Wall" which focuses on a woman stalking someone who is already in a relationship.
When you think you're all alone, I'll be down the hallI could see it, if I was a fly on the wall.What you do in you're room, I could see it allYou undress, I wish I was a fly on the wall.
- Cobra Starship:
You can't escape now
- "It's Warmer In The Basement," in which the stalker has already kidnapped the object of their affections. In the words of the lead singer, "This is a song about when you love someone so much you have to tie them up in your basement."
I've got you locked inside this room
You know I tip good
And soon, you will love me too
Don't be upset now
You know, I get angry too
Don't make me hurt you
It's true, no one hears you in this room...
- Cobra Starship also has "You Belong To Me".
- Voltaire has the incredibly catchy "Ex-Lover's Lover"
I wait for the day when I'll finally defile
The bodies of my ex-lover's lovers
I'll pile high to the sky
The bodies of my ex-lover's lovers.I saw you with him, you looked so happy.
That will never change because I know myself
too well. I don't have the courage
to carry out my dreams
And only there will I see them die.
- "True Love" by ThouShaltNot is of the "If I Can't Have You..., no one will" variety.
- Cher Lloyd's "Want U Back" is basically the Stalker with a Crush anthem.
- Guster's "The Airport Song" is about someone who wants to kidnap someone else and turn them into a cultist/lover. Really creepy.
- The Arrogant Worms have "Celine Dion," about a guy who's obsessed with her - "And I can see your house / From my van" and "Stalker Girl," which, despite being by a fairly obscure band, would make a good auxiliary page quote.
She's my creepy stalker girlI'm the center of her whacked-out, crazy, and delusional worldShe follows me everywhereShe's even got a bag with some bits of my hairJust go away, you creepy stalker girl
- Britney Spears' "Radar." Especially these parts:
Hey baby whether it's now or later (I've got you)You cant shake me (no)Cause I got you on my radarWhether you like it or not, it ain't gonna stopCause I got you on my radar (I've got you)Cause I got you on my radar
- "What'll You Do About Me," originally recorded by Steve Earle, later Covered Up by The Forester Sisters, Doug Supernaw and Randy Travis.
And what in the world are you gonna doWhen a man comes over to visit with youAnd I'm on the porch with a two-by-twoBaby, what'll you do about me
- A-Ha's "Take On Me" can certainly be read this way.
Oh, the things that you sayIs it life or just to play my worries away?You're all the things I've got to rememberYou're shying away, I'll be coming for you anyway!
- Michael Kooman and Christopher Dimond's "To Excess."
"If it's a crime to hold a girl's grandmother hostageUntil she agrees to say yesThen I guess I am guilty.I confess I am guilty.Like sentenced to life guiltyOf loving you to excess."
- Sufjan Stevens' "All for Myself":
I'll set it right between your eyes
Your shoulder blades, your running knife
I want it all, I want it all for myself.
- Lou Reed's "Satellite of Love" from Transformer, also recorded with the Velvet Underground.
I've been told that you've been boldWith Harry, Mark and John.Monday, Tuesday, Wednesday, ThursdayWith Harry, Mark and John.
- The Velvet Underground's "The Gift" from White Light/White Heat could also be considered an example, although it's debatable whether it falls into the passive or the aggressive category. And Berlin could pretty much be considered an entire obsession album. In case it wasn't obvious, Reed considers jealousy "a destructive, horrible emotion".
- "Macaulay McCulkin" by The Fall of Troy. The narrarator gets progressively more Ax-Crazy as the song goes on.
- Meg Myers' "Desire" is an extremely aggressive example. It contains the lines "Baby, I wanna fuck you" and "Boy, I wanna taste you, I wanna skin you with my tongue"
- Marianas Trench's "Toy Soldiers." Ends with If I Can't Have You....
- "Jayn's Smoke And Mirrors, aptly nicknamed "The Yandere Song", mixes this with a Murder Ballad.
I'm not asking muchjust give me your heartand put no one else above meGo on, say you love meTake my hand in yours and say I'll always be the oneWithout you my life means nothingSo just say you love me tonightAnd if you lie, this poor girl will have to die
- Sister Sin's Switchblade Serenade goes beyond If I Can't Have You...: the singer has apparently already stabbed the object of her affection and is singing about how much she loves him as she watches him bleed to death.
- "Senpai Love Me", a Christmas parody of "Santa Baby" for Yandere Simulator, is all about Yandere-chan's obsession with Senpai, and all the horrendous things she wants to do to her rivals to win his love.
- Zolita's "Explosions" turns into this near the end. It's mainly a song about painful unrequited love (and possible Incompatible Orientation) towards her best friend, but then she begs for her friend to return her feelings. It ends with "You're mine" being repeated in a possessive manner.
- Sweeney Todd: The Demon Barber of Fleet Street has "Johanna", which in the film version of the play comes off as quite stalkerish — the guy singing it has just taken one hell of a beating at the Beadle, and the look on his bloody face as he sings is quite creepy:
"I'll steal you, Johanna, I'll steal you. Do they think that walls could hide you? Even now, I'm at your window. I am in the dark beside you, buried sweetly in your yellow hair! I feel you, Johanna, and one day I'll steal you!"
- But it's nothing compared to the "Johanna" sung by Judge Turpin, which makes the above guy look positively heroic by comparison. Which may be the intention.
- Speaking of Sondheim, there's also "Unworthy of Your Love" from Assassins, sung by John Hinckley Jr. and Squeaky Fromme to Jodie Foster and Charles Manson, respectively. Though that one almost sounds sweet out of context.
- John Jasper's half of "The Name of Love" from The Mystery of Edwin Drood. Bonus points that it's a duet sung with his terrified victim/love interest, Rosa. "I see you scowl; you see me smile. Tis you I'll break! I've no denial. My words are mad: I speak them in the name of love..."
- The Dark Reprise of "All I Ask of You" at the end of the first act of The Phantom of the Opera ends with: "You will curse the day you did not do/All that the Phantom asked of you!" The Phantom proves as good as his word when he causes the chandelier to fall immediately afterward.
- "It's a Dangerous Game" from Jekyll and Hyde: The Musical almost sounds like a romantic duet, except that it's about a psychotic killer stalking a prostitute who's too terrified of/fascinated by him to make a run for it.
- Death from Elisabeth has three songs of this type.
- Act one has the short version of "Die Schatten werden länger", in which he tells Sisi that she needs him and warns her against dragging Franz Joseph into her tragedies.
- He actually gets physically aggressive with Sisi during "Der letzte Tanz" and "Wenn ich tanzen will": dancing violently, throwing her around, kneeling between her legs and leaning in very close to her face, grabbing her by the wrists, hands, and then the back of the head... All of this is done while he reiterates that no one loves/understands her as he does, she is free only through him, and she will want him/be his eventually.
- As if there wasn't already enough Foe Yay in Disney's The Great Mouse Detective, Ratigan designs his Death Trap with a Musical Trigger with "a sprightly tune I recorded especially for" Basil, with lyrics such as "You followed me, I followed you — we were like each other's shadows for awhile."
- Does it count as an Obsession Song if it's not about a person? In any case...
In these little bric-a-brac,A secret's waiting to be cracked!These dolls and toys confuse me so!Confound it all, I love it, though...Simple objects, nothing more,But something's hidden through a door,Though I do not have the key.Something's here I cannot see!What does it mean?!What does it mean?!... What does it mean?
- Messed around with in the movie Say Anything..., where the character Corey has written 65 songs about her ex-boyfriend.
- Elvis Costello's "I Want You" from Blood and Chocolate, which contains heavy doses of both passive and aggressive.
- Morrissey also likes this trope, with quite a few of his songs (both solo and with The Smiths) falling into the passive category, although he has some more aggressive ones as well, most notably "The More You Ignore Me, The Closer I Get."
- "Jack The Ripper"— the original version is significantly creepy, too.
- Garbage's "#1 Crush" is a perfect example of the passive variety.
- Only at first. It becomes increasingly aggressive over the course of the song.
- "Vow" went beyond this, mixing obsession with seething rage and threats of extreme violence.
- The Killers - "Andy, You're A Star" and "Mr. Brightside."
- Almost the whole of that album...
- Clay Aiken's "Invisible" is an infamous unintentional example.
- Parodied by "Weird Al" Yankovic in "Do I Creep You Out?"
- Another Weird Al example - "Melanie," which includes lines "I had to go through your garbage just to learn more about you, Melanie!"
- Queens of the Stone Age have "You Can't Quit Me Baby", which could be either extreme passive or aggressive depending on how one interprets the ambiguous ending; the protagonist is either Spurned into Suicide or murders the woman he is stalking, if not both.
- "The Stalker Song."
- They Might Be Giants - "I'm Your Boyfriend Now."
- "Betty's Body" by The Residents.
- Sarah McLachlan's "Possession" sounds rather romantic...until you learn that she put the lyrics together from passages from letters that several stalkers sent to her. Brrrrr...
- It gets progressively creepier, too. From "My body aches to breathe your breath/Your words keep me alive" to "And nothing stands between us here/and I won't be denied". Yeesh.
- One of the stalkers later sued her for plagiarizing his letters, but killed himself before the lawsuit came to trial.
- And he only wanted to sue her so he could get closer to her when they inevitably met in court. I'll see your Brrrrr and raise you a GAH.
- "Sweet Surrender" might be an example of the passive type.
- The Stooges - "I Wanna Be Your Dog" from The Stooges (Album).
- "Your Pretty Face Is Going To Hell" from Raw Power
- Played for laughs in "Not About You" by Jonathan Coulton, which is about a man who insists he's not obsessed with (or possibly stalking) his ex.
Every time I ride past your house I forget it's you who's living thereAnyway I never see your face cause your window's up too high
- Charlotte Martin's "I'm Normal, Please Date Me" is a similarly comedic take on it, with a girl insisting that she's not stalking a guy, all the while making it increasingly clear that she is.
- The Smashing Pumpkins' "Ava Adore" from Ava Adore might count.
Oh Lily, I know you love me'Cause as they're draggin' me awayI swear I saw her raise her hand and wave goodbye
- "Ava Adore" is, according to Billy Corgan, about his mother's death. Which may be even creepier...
- "Zero" sounds a lot like the passive variety, although it's hard to tell between the rather dense lyrics.
- "Lily (My One And Only)" is a delusional stalker's narrative paired with a cutesy little singsong tune:
- Space love this trope. 'Drop Dead' (aggressive), 'Diary Of A Wimp' (both), 'There's No You' (passive), 'Bastard Me Bastard You' (aggressive), 'Turn Me On To Spiders' (aggressive)...and there's probably more.
- Lady Gaga's "Paparazzi".
- My Dying Bride - "Black God" and "Sear Me."
- Cradle of Filth - "Nymphetamine."
- "My Obsession" by Icehouse.
- Mono Puff's remake of Gary Glitter's "Hello Hello" comes out along these lines.
- "Ingrata", from Café Tacuba, can be interpreted as either a man berating a woman who just used him and get away by claiming to love him until he got fed up, or a creepy obsssed stalker towards a girl who tried to live her life and in and attempt to calm him she said that she loved him with no sucess. Either way, at the end of the song the singer announces that he's going to shot the woman "so you can get hurt too", and ends "Even if I'm sad for not having you anymore / I'm going to stay with you in your funeral"
- "I Know You're Out There Somewhere", The Moody Blues.
- Stabbing Westward has a few of these: "What Do I Have to Do?", "Shame", "You Complete Me" and "Waking Up Beside You", among others.
- Darkest Days was practically an obsession Concept Album.
- Several comedy bands have variations on this including "Stalker Song" by Tripod and the reversed trope "Stalker Girl" by The Arrogant Worms.
- The appropriately titled "Obsesión", by bachata group Aventura, is a kind of verbal confrontation between a Stalker with a Crush (male singer) and the object of his affection (female voice, chorus), where the boy believes that his increasingly invasive, controlling ways are acceptable forms of showing love, and isn't clued by the fact that the girl has been avoiding him as he becoming creepier, and that she's saying quite directly in the chorus that whatever he feels, isn't truly related with love...
- "You Can't Change That", Ray Parker Jr.
- Depeche Mode - "It's No Good".
- Also (arguably) "See You", which straddles the border of this and Break Up Song.
- Devo's "I Desire" comes off as one (if you don't miss it due to Lyrical Dissonance) even without the knowledge that it's based on a poem written by real life Stalker with a Crush John Hinckley Jr.
- Although possibly not intended as one, Alison Krauss' "Baby, Now That I've Found You" does come off as an Obsession Song if you pay attention to the lyrics.
- Siouxsie and the Banshees have a song entitled, what else, Obsession
- Buddy Holly's classic and much-covered "Not Fade Away" is pretty creepy in the right light.
- Enrique Iglesias's Escape, in which he sings about, and I quote
If you feel like leaving, I'm not going to make you stayBut soon you'll be finding, you can run, you can hide, but you can't escape my love!
- The accompanying music video in which he follows her into the BATHROOM and proceeds to make out with her. Obsession INDEED!!!
- Much Fromage, a yearly awards comparable to the Raspberrys for music videos, awarded the music video for Escape as "Creepiest Music Video of the Year".
- Hero, while not really an Obsession Song, has a very humorous parody of it called Stalkerbook.
- The accompanying music video in which he follows her into the BATHROOM and proceeds to make out with her. Obsession INDEED!!!
- Sonata Arctica has a few. "The End of This Chapter" and "Don't Say a Word" are possibly the most obvious of them.
- Tech N9ne's "Psycho Bitch" features an actual answering message from the titular stalker.
- Steely Dan's "Rikki Don't Lose That Number"
- Smiling Karen by Tito & Tarantula is about an extremally psychopathic case of this.
- "Hot", "Contagious", "Girlfriend" by Avril Lavigne.
- "R.D.C. (Opie's Lament)" by Dead Baby Comedian Stephen Lynch is sung from the perspective of someone obsessed with Rae Dawn Chong.
- "I'm Gonna Getcha Good" by Shania Twain.
- Skillet's My Obsession is technically a passive song ("Come down to me/Don't ever say that it's over/I kiss your feet/Worship the air you breathe"), but it's certainly a resentful one ("I spend my days/Tangled in thoughts of you/Stuck in this place/Resigned to be your fool"). At one point the singer actually wonders if he's going crazy.
- Considering it's a Christian band it may be talking about his relation to God, which doesn't change anything.
- Don't forget about Whispers in the Dark.
- Snake River Conspiracy covers Lovesong in a way that invokes this trope.
- Kate Nash's "We Get On" starts off sort of innocent, until the singer's crush is seen with someone else:
I don't ever dream about you and meI don't ever make up stuff about us, that would be classed as insanityI don't ever drive by your house to see if you're inI don't even have an opinion on that tramp you're still seeingI don't know your timetable, I don't know your face off by heartBut I must admit there is a part of me that thinks we should get on.
- Depending on interpretation, Lou Christie's freakishly catchy "Lightning Strikes" is either a mild but smarmy type 2 or a combination of both — it probably wasn't intended that way, but there's a clear subtext of a Casanova Wannabe pursuing an utterly uninterested woman.
- Jack's Mannequin gives us "What Gets You Off" and "Miss California".
- 'I Touch Myself' by Divinyls. Not only is it about some, uhh, "quality time with oneself", it's also about being incredibly obsessed/devoted to them.
- Parachute's "Ghost". It seems passive at first, then it sounds more like the thoughts of an erotomanaical stalker who is trying to tell the victim that they are always together, whether they realize it or not. I honestly have no idea whether or not this was meant to be taken in that context.
Look behind youAvoid the shadowsWatch your back nowMake your breathing shallowKeep your room lockedAnd leave the blinds closedI'm right there staring at your windowAnd all I need is you, all I need is youI'm in the background on the radioI'm in your car, in your house, waiting at your doorUnder your footsteps, I'm everything you know...
- The Orion Experience has Obsessed With You
- Jace Everett (of "Bad Things"/True Blood fame) has at least two: 'Posession' ("you don't even notice me, it makes me want you more [...] I'll be your possession...") and 'Damned If I Do' especially:
Late at night, all I can do is walk these streets and think of you [...]I'm damned if I do, and damned if I don't want you.To taste your lips, to touch your skin, to pull you close and drink you in. I should let you go, but I don't know how.I see your face through that windowpane. My lips don't move as I scream your name (etc.)
- Several Muse songs, such as "Sing for Absolution", "Endlessly", and "Hysteria".
- "Don't Leave Home," by Dido.
- The Legendary Pink Dots love this trope, with "Obsession" and "Thursday Night Fever" (see also Yandere) being crowning examples of the passive and aggressive types respectively.
- Their song "True Love" is also a good (if still rather frightening) example of the passive variety, with the lyrical speaker telling the object of his affection that he'll do all kinds of dangerous or harmful things for her (including plucking out his eyes "because love is blind"). It's made even worse when the last lyrics of the song abstractly suggest she's abusive or apathetic towards him.
- Taylor Swift's "You Belong With Me" could be interpreted as this.
Think I know where you belongThink I know it's here with me...Can't you see that I'm the one who understands you?Been here all along, so why can't you seeYou belong with me?
- Also her song "Speak Now" is a good example of stalker songs.
- The Hush Sound's "Sweet Tangerine," although upbeat and catchy, has the lead singer admit that he is trying to sneak into his ex-girlfriend's home, convinced that he can reconcile their love.
Let me in, please it's cold I'm freezing out here, I miss you my dearYou're all his and I'm all yours, like it or not, I'm all you've got...Crept through the curtains, as quick as the cold windSlowly exploring the room where you sleepThe stare of your portrait, the passing of your scentLeft me no choice but to stay
Passive: Why do you sing to everybody but me? Why do I let it go on? You've got such a music box song in my head all day long....Aggressive: But one day soon, I'm gonna grab you by the collar and kiss you all I want!Passive: I can love you much better, if you can't see it you're blind.Aggressive: I can love you much better, and you know some day, I'm gonna make you mine! La-la-lalalala...
- Also, Love You Much Better has the female lead singer switching back and forth between passive and aggressive, albeit somewhat mildly.
- London After Midnight's "Love You To Death"
You're my possession, a sweet obsession of mineIt's just a matter of time; I'll wear you down, one day you will be mine
- Johnny Dowd's gentle country ballad "Hope You Don't Mind" combines this with paedophilia to very disturbing effect.
- Tegan & Sara's song "Knife Going In" contains the line "On the night I die I swear I'll sleep outside your window." Also "Living Room" seems to be about stalkerish behavior.
- The Offspring's "Special Delivery" is pretty blatant with the stalker theme.
- "Jævel av en tango" by Kaizers Orchestra. The lyrics, translated, go like this:
But, for Señor FlamingoThe situation was a win-win situationEither, Clementine would be his wife and his allOr he'd have her five years in an institution
- Dream Theater's 1994 album Awake closes with "Space Dye Vest", a song about a deranged man who, rejected by numerous women, becomes obsessed with fashion catalog models to the exclusion of actual human relationshipsnote :
Now that she's gone I'm trying to take it, learning to swallow the rageFound a new girl I think we can make it, as long as she stays on a pageThere's no one to take my blame, if they wanted toThere's no one to keep me sane, and it's all the same to youThere's nowhere to set my aim, so I'm everywhereNever come near me again! Do you really think I need you?
- Queensrÿche has "Walk in the Shadows" and "Gonna Get Close to You", surprisingly from the same album.
- Torn Apart gets bonus points for being about desperate lust towards two women at the same time.
- Maroon Five's "Cant stop" , in which he obsesses over a girl so much he "wakes up making love to a pillow".
- Keroleen by the Scottish indie pop band Bis
- She is my heroine (Wanna! See Her! Wanna! BE HER! Don't go! NEAR HER!)
- It doesn't help that the singer sounds like a he's in shock or that the backing vocals at the chorus sound like a berserk priest with a terrible itch.
- Da Vincis Notebook's One-Woman Song to "Heather Graham":
I have made it my sworn dutyTo sing the praises of her bootyWhat I would not give to rock herBut I can't, so I'll just stalk her
- The Veronicas "Everything" and "I Can't Stay Away", both have shades of both.
- "Until You're Mine" by Demi Lovato is rather passive.
Wanted something out of reachIt's killing me, you're all I see, yeah
Forget about fate and just hold me
- and rather aggressive
- Evanescence: Surrender, Farther Away and Anything For You fall into both categories.
- Emilie Autumn: Opheliac has shades of both types...The water rises up again ...AND diva/metal screaming!
- 'Love the Way You Lie' by Eminem and Rihanna has shades of both.
Passive: Just gonna stand there and watch me burn/ well that's alright because I like the way it hurts/ Just gonna stand there and see me cry/ well that's alright because I love the way you lieAgressive: If she ever tries to fuckin' leave again/ Imma tie her to the bed and set this house on fire
- Hurt's "Got Jealous" flips from one to the other over the course of the song.
Aggressive: If you don't get outta here / I'm gonna kill someone /I think he's been in your room / For way too damn longPassive: How will you let me know, when you let me go / My love, my love / Hey you, you're everything to me
- Vermilion by Slipknot could be either. Part 1 is a standard, if slower, Slipknot song (aggressive). Part 2 is an acoustic ballad, that's, blatantly from a stalker's POV( passive).
- "Imagine You Were Mine" by Mitch Benn is about the creepiest stalker imaginable. He's not quite aggressive because he doesn't make any direct overtures to the object of his obsession, but he's not exactly passive about it either. (And the last line definitely seems like a threat.)
- "Catherine" by PJ Harvey from Is This Desire is a mix of the two types. The singer never outright threatens Catherine, but it's still extremely disturbing. The singer appears to hate Catherine for not loving them back, but they also seem to hate themselves.
I envy the roadThe ground you tread underI envy the windYour hair riding overI envy the pillowYour head rests and slumbersI envy to murderousEnvy your lover'Til the light shines on meI damn to hell every second you breath
- "I'm Gonna Make You Love Me" by The Supremes very easily could turn into a creepy stalker song even though it was trying to be romantic.
- Arctic Monkeys' song "Do I Wanna Know?" is a mixed example. The lyrics are generally on the Passive end, but the way they're sung (and the dark instrumentation) adds some menacing undertones.
Have you no idea that you're in deep?I dreamt about you nearly every night this weekHow many secrets can you keep?'Cause there's this tune I found that makes me think of you somehowAnd I play it on repeat until I fall asleep...
- Meg Myers again, this time with "Monster", a song about a relationship where the narrator's partner isn't as involved as she is and she's not taking it well.
oh, it aches and it achesyou make me wanna dieI gotta kill you, my love
- Steeleye Span's Wintersmith
- "You" has the Wintersmith declare that "Everything I touch turns into you". And as readers of the book know, this is absolutely literal. The actual lyrics appear passive, but there's a dark undercurrent to the tune that foreshadows the more aggressive turn he takes later.
- The Deluxe edition has "To Be Human", which shows it from Tiffany's perspective
Every smile seen as a sign,
That somehow I've made you mine.
Nothing could be more untrue.
I need to escape from you!
- "You're Getting To Be A Habit With Me" by Frank Sinatra from Songs for Swingin' Lovers!:
But now I couldn't do without my supplyI need you for my ownOh, I can't break away I must have you everydayAs regularly as coffee or tea
- "Vampire Smile" by Kyla la Grange switches between:
I'll get so drunk on youAnd kill your friendsAnd you'll need meAnd we can be obsessed
Baby, you're cruel to meBut you know I love it when you make me pleadI want a scar that looks just like you
- Ministry's "WKYJ".
- I got all of your lettersTold me to stay awayYou know me betterI'll pay a visit today
- "Nothing Without Me" by Markus Schulz. It's a case of Real Life Writes the Plot, as Schulz stated that it was written as a "dedication" of sorts to a stalker fangirl he had a couple brushes with.
You know we belong together
And we're only strong together
You are nothing without me
If you run
You'll be on the run forever
I will haunt your mind forever
You are nothing without me
- Poets of the Fall's "Carnival of Rust" has its Love Hungry singer advertising his deeply dysfunctional, passive-aggressive fixation on his listener via an opening verse that takes the form of a Trial Balloon Question lathered in Wishful Projection.
D'you breathe the name of your saviour in your hour of need
N' taste the blame if the flavor should remind you of greed,
Of implication, insinuation and ill will, till' you cannot lie still
In all this turmoil, before red cape and foil come closing in for a kill?
- And this is before the Scare Chord punctuated chorus, which changes to a blatant, direct demand to be loved, or his life will be ruined.
- "Nigun Atik" ("Ancient Melody"), a famous poem by Israeli poet Nathan Alterman, starts passive and ends up aggressive. In the first three verses, the speaker states that he will do anything for his love, including selling his own eyes and giving his life as her birthday gift. The final verse however roughly translates to:
But if you will ever laughat a party without me,my jealousy will silently passand burn your house down.
- "Lonely Room" from Oklahoma!
- Chauvelin gets "Marguerite" in the musical adaptation of The Scarlet Pimpernel, where's he Promoted to Love Interest. Ironically, his obsession in the original novel is even stronger... it's just for the Scarlet Pimpernel.
- "Meant to Be Yours" from Heathers manages to be both aggressive AND passive.
- It starts out with JD explaining how he built a bomb and tricked all the students of Westerberg High into writing a suicide note. It's terrifyingly up-tempo and the way it's delivered is bone-chilling.
"You chucked me out like I was trash""For that you should be dead.""But! But! But!""Then it hit me like a flash!""What if high school went away instead?""Those assholes are the key!""They're keeping you away from me!""They made you blind, messed up your mind""But I can set you free!"
- Then it gets slower and waltz-like, as he explains how he and Veronica were meant to be the only ones for each other.
"I was meant to be yours!""We were meant to be one!""Don't give up on me now!""Finish what we've begun!"
- It switches back and forth a lot, but then gets INCREDIBLY aggressive as he begs her to open the door to the closet where she's hiding.
"VERONICA!""Open the- Open the door please-"
- ...And then threatens to kill her if she doesn't.
"I'M GONNA COUNT TO THREE.""ONE.""TWO-""FUCK IT!"
- And then it returns to passive as he sees Veronica, having faked her own suicide, dangling from a noose.
"Please... don't... leave me alone...""You... were... all I could trust...""I... can't... do this alone..."
- It's basically the Obsession Song to end all Obsession Songs.
- It starts out with JD explaining how he built a bomb and tricked all the students of Westerberg High into writing a suicide note. It's terrifyingly up-tempo and the way it's delivered is bone-chilling.
- A sort of passive/aggressive mix and a disturbing one at that (though considering that the song is from the perspective of The Joker, it's understandable), in Coheed and Cambria's "Deranged" off the Batman: Arkham City album.
Who will be your pretty, little enemy?When I'm gone your world will prove empty.I promise you will always remember me.The joke's on you, poison me.While you clean the streets of misfortune,I pick the innocent from my dirty teeth.We're one and the same...deranged.
- "The Worst Hyena We Know" from The Lion Guard is Janja angrily ranting about how the "friendly and kind" hyena Jasiri, who's "like nothing that you seen" and a "fearless" and unbeatable fighter, "drives me out of my mind!" And her "cute little smile." And how much he hates her friendship with Kion...