Follow TV Tropes

Following

Villain Song / Music

Go To

  • "Dirty Deeds Done Dirt Cheap" by AC/DC is about a Professional Killer bragging about his job and the kinds of people he's "dealt with" (a high school principal trying to pressure one of his students into sex, a philandering ex-boyfriend, and a nagging wife).
  • Ayreon's The Human Equation has "Day 16: Loser", which is basically the protagonist imagining his father (named Father, for simplicity's sake) showing up to gloat about how much of a failure the protagonist is, throwing various insults at him and claiming that even though he's constantly sued by his exes and half his kids are in jail, he still always comes out on top. It doesn't fit the formula perfectly, but it certainly gets the over-the-top gloating tone perfectly.
  • The Beatles:
  • Many of former Dead Kennedys frontman Jello Biafra's songs across his various projects count as this, but the clearest example is "Bruce's Diary" off his collaborative album with Nomeansno, The Sky is Falling and I Want My Mommy; it's written from the point of view of Biafra's villainous character from the movie Terminal City Ricochet, Bruce Coddle.
  • Advertisement:
  • Almost every song from Big Bad Bosses counts, but what else would you expect from a Boy Band featuring Bowser, Ganon, Eggman, and Sephiroth? The only exceptions in the album are "Bears and Birds", an "I Am Great!" Song about game composer Grant Kirkhope, and "Another Villain", a Massive Multiplayer Ensemble Number featuring various video game heroes (though the latter arguably contains enough Nice Job Breaking It, Hero! moments to count as a Villain Song).
  • "Cold As Ice" by Blacklite District can be seen as the singer saying that they already have made their choice, know they are evil, and don't care whatsoever.
  • "Iron Man" by Black Sabbath is about a man who becomes unable to speak and then revenges mankind because of this, killing everyone. In fact, Black Sabbath only used the name "Iron Man" because the song is about a villain; otherwise they would have been sued by Marvel Comics. Of course, Marvel then licensed the song and repurposed it as a Hero Song for the movie of the same title... but made sure that the lyrics weren't there. The original title was even going to be "Iron Bloke", except that "bloke" is a UK slang term that wouldn't be known in America, and as such they were told to change it to something more international, hence "Iron Man".
  • Blind Guardian:
      Advertisement:
    • "Under the Ice" is from the POV of Queen Klymnestra.
    • "Ride Into Obsession" is an introduction to the two opposing main characters of the Wheel of Time series... from the viewpoint of the villain of course! Keep in mind, the quoted section is merely the opening:
      Come, I'll show you the end
      You're damned, 'cause no-one can defy me
      Just watch these maddened creatures
      Like you they all once reached out
      A war to win
      But I'm gonna burn their vision down
    • Not to mention all of their songs from the POV of Morgoth and Sauron.
  • "Goodbye, Mr. Bond" by the band Blotto is sung by a James Bond villain ranting about how weary he is of 007 always defeating him and gloating that he is done messing around and dead set on ensuring that James Bond is finished.
  • "The Dismemberment Song" by Blue Kid, which is a perky, energetic song about a woman planning on dismembering her ex-boyfriend.
    I know the sensation you're probably dreading
    But cutting you up will be so refreshing to me
  • "Career of Evil" by Blue Öyster Cult has it right there in the title.
  • David Bowie examples:
    • "Please Mr. Gravedigger" (1967 self-titled debut album) starts with the singer sarcastically addressing the gravedigger, who's also a grave robber... but then he reveals that the reason he's been able to witness these crimes is because he keeps visiting the grave of a little girl he murdered, and he's got a grave ready for the gravedigger to go into.
    • "Running Gun Blues" (The Man Who Sold the World) is sung by a Sociopathic Soldier who no longer has a war to fight, but (being Ax-Crazy) decides to just keep killing people. As the song begins, he's "cut twenty-three down since Friday".
    • "Sweet Thing/The Candidate/Sweet Thing (Reprise)" (Diamond Dogs) starts out as a come-on from the faux-innocent "sweet thing" before opening up into the internal gloat of the "candidate" and briefly returning to the former.
  • Janeen Brady's Standing Tall series — 12 tapes highlighting 12 virtues — includes the tape Gratitude, in which the most enjoyable song is the Rabbit's Villain Song close to the beginning. Of course, the song itself is Anvilicious, and the guy learns his lesson by the end and pulls a Heel–Face Turn, but hey:
    I never say thank you, I never intend
    Nobody likes me — but who needs a friend?
    I never say thank you, don't even know how
    And it's too late to change that now
  • Breaking Benjamin's "Home" is from the POV of the Wicked Witch of the West from The Wizard of Oz.
  • "Hey There Cthulhu" by Eben Brooks is a song sung by a Cthulhu cultist who's being driven insane and wants to bring about the end of the world.
  • Brown Bird has the song "Blood of Angels", with the chorus:
    You could be right, they might come for me at night
    In angry mobs with torches bright outside my door
    For all my spite, I might never win the fight
    but I will rage against the light forever more
  • "Welcome to the Internet", from Bo Burnham's Inside, is one sung from the perspective of both the people who created Web 2.0 and the Internet itself as one singular, monstrous entity: first drawing in newcomers like a ringmaster with its massive influx of content ("anything and everything, all of the time"), then warping them so badly that they can't function without it and barely function with it. As it goes on to gloat, Generation Z — the first to be born into an online world — never stood a chance.
    We set our sights, and spent our nights
    Waiting
    For you, you
    Insatiable you
    Mommy let you use her iPad, you were barely two
    And it did all the things we designed it to do
    Now look at you
  • Many, many songs by Nick Cave, both from The Birthday Party and as a solo artist. Murder Ballads is an album of songs about murders, some of which are from the killers' perspectives, and sometimes as a duet with their accomplices or victims. Particularly notable examples are:
    • "Deep in the Woods", in which a serial killer gloats about his most recent murder before boasting about his general misanthropy.
    • "O'Malley's Bar", in which the protagonist describes a brutal and motiveless mass murder in detail before revealing himself as a Dirty Coward when the cops arrive.
  • CG5 has written numerous songs for villains from video games and other media:
    • "Let Me Through" is song from the perspective of various incarnations of Foxy, and how they desperately want the night guard to let them into his room, presumably so they can to kill him.
    • "Duolingo" is based on the Memetic Psychopath take on the Duolingo owl, singing to a user about how he forces people to do his lessons by kidnapping and threatening their families.
    • "I Wanna Waa" is sung by Waluigi, and it's basically a Badass Boast while showing how irritable and mean he is.
    • Downplayed with "Every Door". About a third of it is Baldi singing about how he'll stop at nothing to hunt down the child protagonist, but the other two thirds is the protagonist singing about how terrified he is in his situation.
  • "It Just Works" by The Chalkeaters is essentially a Disney villain song for Todd Howard, president of Bethesda Studios.
  • The title track of Gilby Clarke's Pawnshop Guitars:
    Your Momma says I'm evil, and I cut like a knife
    You cut a little deep, find the devil inside
    Now burn little honey, I hypnotize
    I'm so mean, so mean, so mean
    I'm so mean, so mean, so mean

    I'm a motorcycle cowboy, a honky tonk junkie
    Fallen shooting star
    Broken desperado on the wrong side of the barrel
    My best friend's a pawnshop guitar
  • "The Watchmaker's Apprentice" by the Clockwork Quartet is from the POV of a disgruntled ex-employee framing his boss for murder. As the song progresses, he gradually gets more and more unhinged:
    I rigged up a watch to do more than just chime
    And I didn't balk once at the depth of my crime
    The most perfect invention, that still kept impeccable time
  • Coheed and Cambria's contribution to the Batman: Arkham City soundtrack is "Deranged", sung from The Joker's point of view about Batman.
  • Alice Cooper has a lot of songs like this. For example:
    • "The Black Widow" is about some kind of demonic creature who demands that humanity worships him, even as he Mind Rapes, eats, and literal-rapes his "subjects".
    • "Devil's Food" praises the black widow spider for its deadly venom and for the female's tendency to eat her mate, calling it an "inborn need to dominate [and] possess" and "power and dignity unhampered by sentiment".
    • "Nothing's Free" serves as the villain song for The Showman of Cooper's concept album The Last Temptation and the Neil Gaiman-penned comic of the same name. It's about The Showman tempting the protagonist into making a Deal with the Devil with him.
  • Jonathan Coulton loves this trope:
    • "Skullcrusher Mountain" is a Villain Love Song by a mad scientist who's trying to woo his object of affections with a half-pony, half-monkey monster, casually pointing out that the mountain they're on is covered with wolves, so the person might as well stay and have a drink.
    • "Re: Your Brains" is about Zombie Apocalypse.
    • "The Future Soon" is about somebody who hopes to grow up to be a cyborg supervillain. This one is debatable though — the singer announces his intentions to end world hunger, but then soon starts talking about how his robots are probably going to start a war on Earth and he'll end up kidnapping the girl he has a crush on when she rejects him. It's possible that the latter parts are just the painful reality that he'll always be a loser intruding on his otherwise nice fantasy.
    • "Still Alive" is about the evil AI GLaDOS from Portal.
    • While "I'm a Mason Now" isn't inherently villainous, it's certainly vengeful and gloating.
  • Many of DA Games' songs are styled like this. They include:
    • "I'm the Purple Guy" is sung from the point of view from the Purple Guy about his various murders.
    • "Follow, Greet, Wait, Repeat!" is based on the monsters from 123 Slaughter Me Street as they sing about how they will punish Denson for what he did.
    • Both "Left Behind" and "Unfixable" are sung from the point of view of the Funtime Animatronics. In the former, they sing about how they were left to rot in the underground facility and how they're taking it out on the night guard. In the latter, they sing about how they are not the night guard's friends, nothing is going to change that, and the guard is going to die.
    • "Get Out" is sung by the Neighbor, who demands that the kid get out of his house or he won't like what comes next.
    • "Ambush" has an imposter singing about how it's going to murder or deceive all of the crew and they are powerless to stop it.
    • "Build Our Machine" is a Bendy and the Ink Machine song about Bendy's rage against his creators.
  • Heather Dale:
    • "Mordred's Lullaby" is about Morgause singing a prophecy to her son about how he is going to be used to bring about King Arthur's destruction — and die in the process.
    • The song "Medusa" may also qualify as this. It is mostly about being yourself in the face of others, through the Point of View of Medusa.
      My garden's full of pretty men who couldn't stay away
    • "Joan" can qualify depending on how you look at it. "I kill without consequence", after all.
    • "Crashing Down" is officially about Mordred convincing his men to rebel against King Arthur.
    • "Golgotha" is a borderline example, since it's about someone in a dystopian world who thinks it isn't their place to do anything.
    • "Trail of Tears" is more an Anti-Villain Song, since it's about a soldier who's Just Following Orders, though he doesn't like them.
  • "Police Truck" by the Dead Kennedys, about a group of Dirty Cops that take the title vehicle out for a night of drinking, beating up drunks, and gang-raping a prostitute.
  • "The Rake's Song" from The Decemberists' Rock Opera The Hazards of Love is sung by an unrepentant murderer who killed his three children. The jealous forest queen's song "The Queen's Rebuke / The Crossing" as well as the Rake's lines in "Margaret in Captivity" may also count, though it's his solo song that really stands out.
  • "Money Power Glory" by Lana Del Rey is about a cold-blooded woman who takes advantage of people in order to get, well, money, power, and glory.
  • Disturbed has "Inside the Fire", in which the devil tries to convince the grieving David Draiman to give up his soul and be with his girlfriend in hell.
  • Doctor Steel is the embodiment of this trope. Almost every song he produces is from the viewpoint of Well-Intentioned Extremist Mad Scientist Dr. Steel. Especially notable examples are "Back and Forth", which is designed as hypnotic propaganda, and "Ode to Revenge", in which Dr. Steel laments the state of society and calls up his legion of followers (Toy Soldiers) to "burn it all down".
  • "Natural Born Killaz" by Dr. Dre and Ice Cube is about two insane murderers who gleefully shoot people dead, comparing it to "a deadly game of freeze tag".
  • Dream Theater's "Scene Six: Home" from their brilliant album Metropolis Pt. 2: Scenes from a Memory follows this trope. The song contains a section where it is revealed through soliloquy that the character named "the Miracle" is actually in love with his brother's girlfriend and is sleeping with her. He laments that despite the shame he feels, he will find a way to tear them apart so that he can have Victoria. In fact, the whole song is about the two brothers' different sins while the narrator of the whole story remains oblivious to the truth. It's a powerful song.
  • The Electric Prunes' "Dr. Do-Good" from their second album Underground, while featuring the titular hero in the chorus, is mostly the insane ramblings of a villain, possibly the Dastardly Whiplash type.
  • Electric Six:
    • "Naked Pictures (of Your Mother)" is about a government man using blackmail to get sex.
    • "We Were Witchy Witchy White Women" is sung by evil witches.
    • "Watching Evil Empires Fall Apart" and "Steal Your Bones" are both subversions about Anti-Villains, the former being about a heartbroken warlord and the latter being about a person who plans to clone someone whom he loves.
  • "Worship" by Eluveitie is one for Sesroneos, a giant who was said to have conquered and preyed upon the Celts in ancient times. The song is from Sesroneos's own perspective as he declares all the Celtic people to be his chattel, while voices chant "Rīgēi Sesroneūi" ("Praise be to King Sesroneos"). In the music video, this chant is accompanied by images of throngs of robed people groveling on their knees. The narration at the beginning and end of the song drives the point further home, as it quotes the Book of Revelation, comparing Sesroneos to The Beast.
    And on your knees
    You shall remain
    And all shall praise
    And fear my name
  • "Put You On Game" by Lupe Fiasco is one of the most evil rap songs you will ever hear, starting with an evil laugh and ending with a gunshot. When read, the first line doesn't sound too bad.
    Don't you know that I run this place?
    That I've begun this race?
    Must I rerun this pace?
    I'm the reason it's become this way
    And their love for it is the reason I have become this praised
But then the rest plays out:
They love my darkness
I'll make 'em heartless
And in return, they have become my martyrs
  • "A Criminal Mind" by Canadian artist Lawrence Gowannote  is from the perspective of an unrepentant convict.
  • "House Party at Arkham Asylum" by The Great Luke Ski is sung by The Joker.
  • Green Day:
    • "St. Jimmy" from American Idiot. While he's not completely a villain and really Johnny's drug-fueled id, it's his grand entrance and him introducing himself.
    • On the other hand, "Peacemaker" from the following album 21st Century Breakdown is a straight villain song in which the villain sings of his plan to commit mass cleaning of infidels. Not only are the lyrics appropriate for a villain song, but the music fits perfectly for what one would expect of a villain song in a musical. The identity of the villain singing isn't quite clear, but speculation goes from a radical member of society who wants to kill Gloria and Christian, the album's protagonists, for daring to stand against them, to a friend of Christian who wants to get rid of Gloria for being so adamant in changing her beliefs, to Christian himself falling for the 21st Century force of change and becoming the villain, now wanting to get rid of Gloria.
  • Pick a GWAR song. Chances are good that it's probably one of these, either about the band or one of their many enemies.
  • "Fight the Power" from Heroes & Villains is from Mojo Jojo's viewpoint. It's about how he wants to take over the world and defeat the Powerpuff Girls.
  • "Arsonist's Lullabye" by Hozier tells the story of a guy who simply is driven to set things on fire and how he got to be that way, as described from his own perspective. It may not be right, but he acknowledges that it's just who he is. As the chorus explains:
    All you have is your fire
    And the place you need to reach
    Don't you ever tame your demons
    But always keep them on a leash
  • Iced Earth has The Dark Saga, based on Spawn, with three — "The Last Laugh" by Malebolgia, "Violate" by Violator, and "The Hunter" by Angela pre-Heel–Face Turn. There's also "Vengeance is Mine", which is more like a "The Villain Sucks" Song that Spawn sings to Billy Kincaid, but the measures he takes are gruesome.
  • Heavy metal band Iron Maiden have a lot, helped by songs that take a lot of historical and\or literature roots:
  • Iron Savior has a few songs exemplifying this:
    • "Protect the Law" is sung by the titular starship as it decides to conquer the Earth in order to bring peace.
    • "Protector" is about the now-quite-deranged creator of said titular starship. The villain gets the best lines indeed:
      Outcast in the void, now I'm stronger than before
      Landed to retake the crown, your conqueror comes ashore
  • Jayn's "Smoke and Mirrors" is an eerie little tune from the perspective of an obsessive Yandere who stalks her would-be lover, later resorting to kidnapping and murdering his wife to ensure no one comes between them again.
  • "Ignorance is Bliss" by Jellyfish is sung from the perspective of Bowser.
  • JT Music has had their fair share of villain songs dedicated to the worst of video games and pop culture:
    • Most of the Five Nights at Freddy's songs are sung by the animatronics as they try to claim their newest victim, sometimes singing with said victim in a duet.
    • "Video Game Legends, Vol 2" is probably the best example, as it features several villains across several games.
    • "Say Goodbye to Batman" is an interesting example; while the verses are delivered by Batman, a villain (presumably The Scarecrow) sings the chorus:
      Gotham, say goodbye to Batman; he had a real good ride
      The Caped Crusader sends a message: "Sorry. but I've died!"
      The Arkham Knight's gonna take it from here
      By the end of the night, we'll have you shaking with fear
      Soon, no one will have to ask
      Who's that man behind the mask?
    • Two Villain Songs are Evil vs. Evil rap battles; One between Freddy Fazbear and the Slender Man, and another between Thanos and Darkseid.
    • "Shepherd of this Flock" is sung primarily from Joseph's point of view with his radical preaching.
    • "Would You Kindly" is sung by Frank Fontaine about how he tried to usurp control of Rapture from Andrew Ryan and how he manipulated events as Atlas to finally win.
    • "Ready Or Not" is sung by Mr. X as he brags about his invincibility and how he's coming to kill the protagonists.
    • The third verse of "Don't Put Me In A Corner" is sung by the Blair Witch as she taunts her latest victim.
    • "What You're Scared Of" is Pennywise singing about how much he enjoys the taste of human flesh and fear.
    • "Gun Show" is about the Predator will effortlessly hunt his prey.
  • Judas Priest:
    • "The Ripper", sung from Jack the Ripper's point of view.
    • "Electric Eye", about a spy satellite ensuring that Big Brother Is Watching.
  • Kamelot:
    • Epica has "Descent of the Archangel", in which Ariel, the album's protagonist, is about to kill himself in despair over the fact that his search for the meaning of life went fruitless for years when Mephisto approaches him and offers him the resources to continue his search in exchange for his soul.
    • And then there's "March of Mephisto" from The Black Halo, which is essentially gloating over Helena's death and how this will aid Mephisto's plan to win Ariel's soul and re-enter heaven.
  • Kids Praise: While most of the songs are praising God or have nothing to do with God or religion and are simply plot-related, a couple are sung by the villain, Risky Rat.
  • The album Preservation Act 1 by The Kinks has two:
    • The album starts with a song called "Preservation" about a corrupt leader called Flash who says that he does what he does to help people, but really only does it for himself.
    • The song called "Here Comes Flash" is just a straight-up warning of the man:
      He'll be a friend to you, be so sweet to you
      Then he's going to screw you, just like that

      You'd better run, you'd better fly
      Hide your daughters, hide your wives
      Lock your doors and stay inside, here comes Flash
  • "Villain Song" by Kirby Krackle, despite the title, is actually about a villain announcing retirement after growing tired of the hero constantly beating him. This changes in the final verse, where the villain realizes that his life just isn't the same without the thrill of constantly fighting the hero and committing evil deeds and happily proceeds to get back to active villainy.
  • "I Want to Be Evil" by Eartha Kitt is about a Girl Next Door who is convinced that Evil Is Sexy and wants to set aside her frills and become a Femme Fatale.
  • "Dark Matter" by Les Friction sounds like one of these:
    I am Dark Matter
    Your road to ruin
    I am Dark Matter
    I'm your undoing
  • Living Colour's "Cult of Personality" is about Exactly What It Says on the Tin.
  • Michael Longcor's done several:
    • The epic "Falconsbane":
      For I know life is never pretty — and no fight is ever fair
      And the power and the glory go to those with strength and flair
      Those who cross me never prosper, those who threaten end up dead
      I don't get mad — I don't get even — I make sure I get ahead
    • "Valley Forge", from the point of view of an agitator calling for desertion from the Revolutionary Army in the coldest winter of the war.
    • "Sharks of the Open Sea", an epic pirate song.
    • Arguably, "When Tenskwatawa Sings", which is either this or an Angry Mob Song, depending on how you feel about William Henry Harrison, the 9th President of the United States:
      The French Whites came to the Shawnee tribes bringing furs to take and trade
      And the British gave guns and bought the scalps of Americans we'd raid
      Now Harrison comes by the river-side runs crying "justice" he will bring
      But Tecumseh speaks and the people rise when we hear Tenskwatawa sing
  • Lordi's "Blood Red Sandman" falls under here, being about a monster or a murderer returning to wreak havoc again in his old stomping ground. Considering Lordi's stage act, this is pretty much par for the course for them — a band of monsters, singing about the things that make them monstrous. Examples can be readily found on every album of theirs so far.
  • Ludo:
    • "Skeletons on Parade" counts, being about a gleeful army of the undead and going from lighthearted parody to creepy in the span of about a minute.
    • "The Horror of Our Love" is about a Stalker with a Crush Serial Killer.
  • "Craig" by Stephen Lynch is about Jesus's Jerk Jock brother Craig Christ, who spends his time partying it up unlike his pussy brother and his gay little buddies.
    Jesus was our mother's fave
    All her love to him she gave
    But there's no sibling rivalry
    When he's nailed to that tree
  • Macabre's songs are sometimes song from the perspective of the killer, like "Vampire of Düsseldorf".
  • Madonna has "Back In Business" from her Dick Tracy soundtrack album I'm Breathless, probably reflecting her character in the film "Breathless" Mahoney. The song is about how you're better off being bad than a goody two shoes, and how it's more fun as well. Surprisingly, a different song called "Back In Business" appears in the movie instead of Madonna's version.
  • The song "Un Mauvais Dieu" ("A Bad God") from French hip-hop group Manau tells in its intro the story of an evil deity trapped below the earth by the druids, foretold to return at the dawn of the year 2000. The actual song is the aforementioned evil god bragging about how dark and sinful he is, and how he will bring hatred and suffering to Earth once he is free.
  • MC Frontalot's "Final Boss", which is sung from the perspective of, predictably enough, the final boss.
  • Meat Loaf's "Everything Louder Than Everything Else", a show-stopping "I Am" Song about a boorish motorcycle thug absolutely reveling in what a drunken, violent, ignorant jackass he is.
    A wasted youth is better by far than a wise and productive old age
  • The Megas have crafted many a Villain Song for the various and sundry Robot Masters, as well as a couple for Doctor Wily himself, and even one for Proto Man. A full list would probably require its own subpage. The most villainous of them all may be "Man On Fire", Heatman's theme, although "Walk Away from Light" (Snakeman) and "Annihilation of Monsteropolis" (Airman) are also pretty sinister. That said, several Robot Master songs subvert this, from anti-villains who hate what they've become and are fighting against themselves, like Needleman, Shadowman, and Crashman, to songs where the singers see themselves as the heroes and Mega Man as the villain, like Quickman, Geminiman, and Hardman.
  • Metallica has many songs about soldiers slaughtering others and people losing their minds and doing evil. For more explicit examples:
    • "Jump in the Fire" is sung by the Devil.
    • "Sad But True" could be interpreted as a a demon who possesses our main protagonist and makes him do evil things while trying to convince him that the world hates him. Out of context, it could pass for a Disney villain song.
  • Bigg Milt's rap "What's Going On" is a rather strange version of this trope. Instead of being sung from the point of view of a actual person, it's actually sung from the point of view of the drug dope, claiming that he is the real terror in the world. He says that God Is Evil according to what he wrote about God in the Bible.
  • "Hey Alice" by Rachel Rose Mitchell is a Filk Song of Alice's Adventures in Wonderland. It's about someone in the real world teasing Alice about her stories of Wonderland and the Looking Glass.
  • "Teenagers", by My Chemical Romance. It doesn't sound like one at first, just a punk/emo kid ranting about the world around him, but after the second verse, you realize that this kid is probably about to start a school shooting.
  • Randy Newman has two in Faust:
    • God Himself gets in on the action, singing "How Great Our Lord", with a wonderfully slimy performance by James Taylor.
    • Newman himself sings the Devil's parts; the most straightforward Villain Song from him is probably "Can't Keep A Good Man Down", where he plots to return to Heaven by winning a (heavily stacked) wager with God.
  • "You're Gonna Go Far, Kid" by The Offspring, which seems to be about a Magnificent Bastard mentoring another Magnificent Bastard. By the end of the song, it seems the student became the master...
  • Ookla the Mok:
  • Pain of Salvation's 2004 concept album "BE" features a few of these, most notably "Dea Pecuniae", in which the villainous character sings about how he got rich through cut-throat duplicity, before it becomes a duet between him and the very voice of his dark desires.
  • "Live" by Paul and Storm is all about a mad scientist's desire to create an undead bride. Though it's arguably the villagers who are more villainous, as they burst in and kill him as he and his bride finally get to be together. It's worth noting that Paul and Storm wrote this song as a parody of Jonathan Coulton's songs in the same vein. His response was to write a song parodying their music, called "Big Dick Farts a Polka".
  • Pepe Deluxé, Queen of the Wave, "A Night and a Day". The liner notes describe the subject as "a poetic synopsis" of Mainin's descent into "destroy the world"-tier villainy, and the lyrics don't suggest even a hint of regret.
  • Pink Floyd's The Wall:
    • "The Happiest Days of Our Lives" may count as one for the Schoolmaster, as he sings about how back in his days, the teachers would abuse the children at school, only to be abused by their wives in return once they came home.
    • "In the Flesh", "Run Like Hell", and "Waiting for the Worms" are three of them in a row, representing the character of Pink's fall to fascism as a result of his self-imposed isolation and the drugs in his system.
  • In "Trouble" by Elvis Presley, the P.O.V. character describes himself as "evil as can be" and says that misery is his middle name.
  • The Protomen have given one to their version of Dr. Wily with "The Hounds". He spends half the song gloating about framing Dr. Light for murder. For something that seems to depict just how much of a sociopath Wily is, it sure has a tune that one can dance to. It also explains part one of his totalitarian state, which is "a giant screen in the middle of town everyone can see and hear, constantly barraging the populace with misinformation and propaganda." So basically, your standard dictatorship, but more high tech. And unlike most villain songs, Wily doesn't pull it out while there's still any chance of his plan being stopped. He waits until his victory is essentially secured.
  • Ra's song "Parole" is about the P.O.V. character leaving prison to pursue what is presumably an ex who is the reason he was put away to begin with. The lines include:
    I called your mom and she told me
    That you're afraid of me


    [...]

    I won't be disregarded
    I won't be turned away
    We'll finish up what you started
    You're gonna pay today
  • Riders In The Sky made a song called "Someone's Got to Do It!", in which a pair of b-movie villains sing about how the story needs them to work.
  • "Sympathy for the Devil" by The Rolling Stones. Despite the name, it doesn't give Satan a Sympathetic P.O.V. at all.
  • The metal band Sabaton, which has a lot of songs about historical battles, has done a few that are clearly done from the perspective of the side they wouldn't support:
  • Savatage likes to make use of this trope on their Rock Opera albums.
    • Streets: A Rock Opera has the song "Agony and Ecstasy", which is also part BSoD Song. The villain portion represents the knowledge that drugs destroyed DT once, cannot do anything to help him, but he still longs for them.
    • Dead Winter Dead has two:
      • "I Am" is human selfishness and greed turning people against each other.
      • "Doesn't Matter Anyway" is for the Arms Dealers who get rich off war and don't give a damn about the ideology or politics of their buyers.
    • The Wake of Magellan has "Complaint in the System": Irish mobsters and drug dealers have created a status quo that benefits them and will protect it.
  • Arguably, "I Can't Decide" by the Scissor Sisters, since it is Foe Yay in song form. It's about a guy who is contemplating if they should kill the person they are singing to. Aside from The Master using it as a full-fledged Villain Song, it's also spawned a whole lot of villainous tribute videos (go search "Can't Decide" on YouTube. We'll wait).
  • Paul Shapera:
    • The Dolls of New Albion has "Edgar Builds a Business", where, in order to impress a girl, young Edgar McAlistair uses his Mad Scientist mother's research to make a business out of bringing the souls of people's dead loved ones back from the afterlife and putting them into mechanical dolls. Then, after amassing a huge fortune, he financially destroys the man his would-be love interest is actually interested in, brings back her dead father as a doll, and tells her that the only way she can see or speak to him is if she marries Edgar.
    • Subverted with "Han Mi" from Miss Helen's Weird West Cabaret, which sounds like it was supposed to be a proper villain song about a Dragon Lady crimelord. As it progresses, though, the singer injects her complaints about the role's racist implications, then devolves further when she realizes that she's never interacted with the writer and doesn't even remember her life outside the cabaret show, which makes her question if she's losing her mind.
  • Slayer's "Angel of Death", about Josef Mengele. This is far from their only example, as the band has a habit of making songs sung from the perspective of Serial Killers and other lovely individuals, but it is undoubtedly their most famous.
  • Tom Smith:
    • Smith has had a musical called Skullrose And Tourmaline kicking around the back of his brain for years. He's written three songs so far: "Heat of the Blood", "Ho! For the Death of Time", and "This Ain't Over Yet". They're all Villain Songs.
    • In the concept album The Last Hero on Earth there's both "Mad Scientists United" and "The Sinister Cavortings of Sir Wilfred P. Hufflebaggins III" (there's a reason why of him you never have heard).
  • The Vice Quadrant: A Space Opera by Steam Powered Giraffe brings us "Necrostar", about a sort of Power Rangers/Lovecraft mashup villain. Far more awesome than it sounds.
  • Stone Temple Pilots song "Sex Type Thing" is about a serial rapist singing about how the women he raped asked for it because of how they dressed.
  • "Mirdautas Vras" by Summoning, a villainous fanfare that provides the crowning track of their Oath Bound album, and written in Black Speech no less. Translated excerpt:
    Northwards ride on a thousand orcs
    On wolves with giant bloody fangs
    They take the storm and power
    Of Mordor through the world
    Fire and ice — the Nazgûl fly
    It is a good day to kill
    Painted red is earth and sky
    Even Manwe shall bow down
  • Symphony X has an entire album of these in Paradise Lost. Unsurprising, as most of the songs are from the point of view of Lucifer. Almost every single song is a Villain Song from Lucifer, with the only exception being the opening and "The Sacrifice".
  • Talking Heads' "Psycho Killer", naturally. It's about a psycho who is on the verge of a murder spree.
  • Tally Hall: "Cuckoo", an unreleased song by Rob Cantor, is sung by a character named Mr. Fluglemeyer, a corrupt "cuckoo clock supplier" singing about his ambitions to become rich and famous by selling his clocks... which are assembled by child slaves, a fact that he takes pride in. Also, it's implied that the clocks somehow kill people.
  • "Trauma" by Tech N9ne is about a mass murderer and serial killer. Just to name one example of the singer's craziness, he considers cutting off his victim's nipples "a murderous foreplay".
  • "Beelzeboss (The Final Showdown)" by Tenacious D (featuring Dave Grohl) is about Satan engaging in a rock-off with the duo. If he wins, he gets to take K.G. back to Hell as his Sex Slave (and also probably take over the world). It also doubles as an "I Want" Song for Satan.
  • Theory of a Deadman have a number of songs about how much of a jerk the lead singer is, though the most obvious example is "Villain", where he proclaims that he's the villain of the story and that people are more interested in him than heroes.
  • They Might Be Giants like this trope:
    • "Kiss Me, Son of God" is sung from the perspective of a Corrupt Corporate Executive Villain with Good Publicity:
      I built a little empire out of
      Some crazy garbage called the blood of the
      Exploited working class
      But they've overcome their shyness
      Now they're calling me "Your Highness"
      And the world screams
      "Kiss me, Son of God!"
    • "Hall of Heads" is commonly interpreted to be about Princess Mombi (or Princess Langwidere from the book version) of Return to Oz.
    • "No One Knows My Plan" is about a guy in prison who spends his time planning new crimes, knowing now that he needs to be more careful next time.
    • "Reprehensible" is about a person who hears voices talking about the horrible crimes he committed in past lives, and it's implied that he may not be a great person in this one either.
    • "I'm Your Boyfriend Now", which is named after a Freddy Krueger line.
  • "Mack the Knife", adapted from The Threepenny Opera. Who knew that so many wholesome 1950s singers could get away with singing gleefully about a spree killer and thief? (Not to mention that in the 1980s McDonald's famously adapted it — and some would say briefly covered it up — as "Mac Tonite.")
  • The Toadies' "Possum Kingdom", sung by a serial killer (or vampire, depending on your interpretation) to his victim.
  • Trans-Siberian Orchestra's third Christmas album, The Lost Christmas Eve, features "What Is Christmas?", sung by a Scrooge-like character whom an embittered businessman agrees with.
  • A lot of Vocaloid songs qualify, and many of them can also be viewed as Villain Love Songs. In particular, we have:
  • Voltaire:
    • "When You're Evil", a song from the perspective of a Card-Carrying Villain, fits this rather well while being generic enough to work for most any villain. Here's a video made using various Disney villains.
    • "BRAINS!" is a song about a brain-eating alien.
    • "Almost Human" is a villain song for Lucifer.
    • "Ex Lover's Lover" is about a man who fantasises about murdering his ex and her new boyfriend.
    • "Dead Girls" is about a man who turned to necrophilia because living girls kept rejecting him.
  • "Chainsaw Charlie (Murders in the New Morgue)" by WASP, which is sung from the perspective of a Corrupt Corporate Executive.
  • Pretty much any song written by Wednesday 13, be it with the Murderdolls, Bourbon Crow, Frankenstein Drag Queens from Planet 13, Gunfire 76, or his self-named band. Some gems include:
    • "Love at First Fright", a love song toward Reagan from The Exorcist, sung from the point of view of the demon possessing her.
    • "A Dead Body", an outlaw country song about being too drunk to dig a shallow grave at the roadside.
    • "All American Massacre". Exactly What It Says on the Tin.
  • Kanye West's "Power" is basically about an all-powerful celebrity getting off on how much people hate him. There's a remix version that's meant to be a song of empowerment by being an asshole and bragging about dumping on Taylor Swift.
  • "Behind Blue Eyes" by The Who is a lament from the perspective of an (anti-) villainous character, and was intended to be the theme song for the antagonist in a Rock Opera planned by Pete Townsend.
  • The World/Inferno Friendship Society:
    • "Fiend in Wien" is a raucous villain song from the perspective of Hitler about his awful youth and how he came to see the world as shit. Considering the band's main hero is Peter Lorre and they're a bunch of anarchists, it's more sarcastic than anything else.
    • "Lust for Timing" from The True Story of the Bridgewater Astral League is sung by the League's leader, Jon Gilch, as he gloats over his luck and apparent invincibility while heading a crime syndicate. The previous song, "Incendiarism", is sung by the League as a whole while in the process of joyfully stealing cars with the foolproof alibi of being asleep at the time. However, the musical casts the BWAL members sympathetically rather than as hardened criminals, especially in the second act.
  • "Club Villain" by Your Favorite Martian is about a club whose patrons are all various villains from both pop culture and real life.
  • Finnish proge band YUP has a song called "Kuonamagneetti" ("Drossmagnet") on their 1994 album Toppatakkeja Ja Toledon Terasta. It is a confession song of the album's big bad, Volmar Pätsi.
  • "Mr. Bad Example" by Warren Zevon:
    I'm proud to be a glutton, and I don't have time for sloth
    I'm greedy, and I'm angry, and I don't care who I cross
    I'm Mr. Bad Example, intruder in the dirt
    I like to have a good time, and I don't care who gets hurt
    I'm Mr. Bad Example, take a look at me
    I'll live to be a hundred, and go down in infamy

Top

How well does it match the trope?

Example of:

/

Media sources:

/

Report