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.
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.
"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".
"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.
"Please Mr. Gravedigger" (1967 self-titleddebut 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.
"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 HeelFace 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
"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.
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.
"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.
"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.
"The Future Soon" is about somebody who hopes to grow up to be a cyborgsupervillain. 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.
"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.
Doctor Steel is the embodiment of this trope. Almost every song he produces is from the viewpoint of Well-Intentioned ExtremistMad 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.
"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
Many Finntroll songs are villain songs, given that they're mostly about trolls eating people, sung from the point of view of the trolls.
"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
"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.
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?
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.
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.
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.
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.
"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.
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.
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.
"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.
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.
"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).
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.
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).
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.
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.
"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.
Hatsune Miku's "Splatter Party" is told from the perspective of a Serial Killer who kidnaps people and holds them in a blood-soaked chamber before killing them by mutilating their bodies and gouging out their eyes.
Every headlining song in the Seven Deadly Sins series is this, with the main character being a villain acting out a respective sin. Special mention goes to "The Lunacy of Duke Venomania", where the titular Duke gloats freely about his conquest of multiple women using supernatural means, and "Judgement of Corruption", where Judge Gallerian Marlon revels in the money he's taking from people with the biggest Slasher Smile on his face, though the song also highlights his motivation (to heal his disabled daughter). However, there is the notable exception of "Daughter of Evil", which strangely enough, despite using Rin's voice (Princess Riliane's actor), is told as if the audience is listening to a story about Riliane instead of Riliane herself gloating. In fact, it comes off kind of like a "The Villain Sucks" Song. And weirdly enough, it's ambiguous as to whether "Evil Food Eater Conchita" and "The Tailor Shop of Enbizaka" are meant to be in first person.
Allen Avadonia's "Servant of Evil" tells the story of "Daughter of Evil" from Allen's perspective, reflecting on all of the horrible things he had to do in service to his sister and the eventual regret and final fate he destined for himself.
"Master of the Graveyard" is the Villain Song of the titular master, though it's sung mostly by her servants about how she eats everything.
"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.
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.
"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.
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