Villain Song/Theatre

"But we're gonna smash that bastard! Make him wanna change his name-- Take him to the cleaners and devastate him Wipe him out, humiliate him..."
 * Les Misérables has two, with Thenardier singing "Master of the House" and "Dog Eat Dog." (Three, if you count "Beggars at the Feast", which is the same tune as "Master of the House" but with new lyrics.) The primary (albeit misguided) antagonist, Inspector Javert, has the song "Stars."
 * "Master of the House" is an interesting one because it stands out as a moment of relatively light relief in a musical about rebellion, tragedy and romance. It's probably the most fun song in the entire play.
 * The most villainous of all these possible Villain Songs might well be "Dog Eats Dog", in which Thenardier sings about the joy of robbing dead bodies. Unlike in some cases, this fails to seem like lovable roguery at all -- it finally hits the audience in the face that Thenardier really is scum.
 * And most of those he is robbing are essentially youths and children
 * And "Beggars at the Feast" is sort of a Villain Song in that it further outlines the Thenardiers' ideals and motivations (though by the point in the play when it's sung, their motivations are pretty well established). Singing to the Lord on Sundays, praying for the gifts he'll send, but we're the ones that take it, we're the ones who make it in the end!
 * "When the Night Wind Howls" from Ruddigore.
 * Subverted in the first act, where Sir Despard makes a Dastardly Whiplash quality entrance, but his song is a "The Villain Sucks" Song about himself -- because, of course, his ancestors are forcing him to be a Designated Villain.
 * "Bon Voyage" from Candide.
 * Every Sailor Moon villain gets one in the stage Musical adaptations, the Sera Myu. Some villains who were the baddies of multiple musicals got multiple songs, notably Queen Beryl and Sailor Galaxia. The two even SHARED a song, titled Yamikoso Utsukushii Galaxia no Iradachi (Darkness is Beautiful Galaxia's Irritation) in one musical wherein Galaxia revived Beryl. Villain songs in the Sera Myu generally fell in one of two categories: Songs for individual villains, and songs for the baddie group as a whole. An example of the former is Yami no Hitsugi (Coffin of Darkness), which is all about Queen Beryal, while an example is the original Yamikoso Utsukushii which was for the Dark Kingdom as a whole and their Evil Plans. When a villain shows up in a later (unrelated) musical they sometimes get a new song, sometimes they re-use an old one. Rarely a villain could also share a theme with a Senshi, an example of this rare type is Onna no Ronsou (Dispute between Women) which was sung between Sailor Pluto and Queen Beryl describing how they were similar and their shared unrequited love for Mamoru.
 * Give Me Chaos from Sonic Live.
 * Although Max and Elsa don't have a Villain Song in the film of The Sound of Music, in the original stage production they have two, "How Can Love Survive?" and "No Way To Stop It."
 * "Blood in the Water" from Legally Blonde.
 * "It Ain't Necessarily So" from Porgy And Bess.
 * Assassins has a ton of them, appropriately enough for a play about assassins. "The Ballad of Booth", "How I Saved Roosevelt", "Gun Song", "The Ballad of Czolgosz", and "Another National Anthem" are all unusual variants of the standard Villain Song. Probably the most unusual is "The Ballad of Guiteau", where the villainous Charles Guiteau sings a demented hymn as he tap-dances up to the gallows. What makes it unusual is that the lyrics are taken from a poem that the real Charles Guiteau wrote on the way to his execution; Stephen Sondheim simply set it to music.
 * Well, Guiteau's continual "I am going to the Lordy/I am so glad" refrains are. The Balladeer's lines, obviously, are written by Sondheim.
 * The Villain Protagonist of Sondheim's Sweeney Todd: The Demon Barber of Fleet Street gets "Epiphany".
 * Judge Turpin also has a Villain Song, though it's sometimes cut. Probably because, well, he's whipping himself and praying in between lusting after Johanna (suggesting that he practices self-flagellation or is just a freaky masochist). Programs and cast albums usually list this song as "Johanna", but it has no musical connection with Anthony's love song "Johanna" in the first act (which is the one performed outside the show under that name), or the "Johanna Sequence" in the second act, which includes a portion of the earlier "Johanna" in between new verses which Todd sings to himself as he offs his customers.
 * "A Little Priest" also fits the rules for a villain song: where "Epiphany" describes Todd's violent reaction to an awful world, "Priest" is Mrs. Lovett's refinement of the idea into a practical ("yet appropriate as always") course of action. And also contains justifications for their awful scheme: "save a lot of graves, do a lot of relatives favours" for instance.
 * Parodied in The Mikado with "I've Got a Little List." The scary executioner gets a Villain Song -- and in the next dialogue scene, we learn he's a spineless wimp who is terrified of killing.
 * Except that the executioner is more of an Anti-Hero. The primary villain song is probably "Your revels cease - O Fool, that fleest my hallowed joys", sung by Katisha.
 * Though the pirates in The Pirates of Penzance aren't exactly villains, they do get a show-stopping Villain Song in "With Cat-Like Tread".
 * The Pirate King gets his number "Pirate King" which is all about how awesome it is to be a Pirate King. Naturally he's something of an Anti-Villain.
 * And there's a short one with Pirate!Ruth about how they're going to kill the Major-General and his daughters, called Tonight He Dies.
 * "Progress is the Root of All Evil" from the musical adaptation of Li'l Abner.
 * "The Seven Deadly Virtues" from Camelot. Also, the knights have "Fie On Goodness" after their collective Face Heel Turn, in a number dropped from many productions (the original Broadway production dropped it just after its inclusion on the cast album).
 * The title theme of The Phantom of the Opera ("The Phantom of the opera is there/ Inside your mind!").
 * Since the Phantom is turned into an even bigger Woobie in the Arthur Kopit/Maury Yeston take on the story, he doesn't even get that much (except perhaps his Villainous Breakdown towards the end of "Christine.") Carlotta, however, has the gloating "This Place Is Mine."
 * "You Can Get Away with Anything" from The Woman In White.
 * The motivations of Buffalo Bill were revealed by "Are You About A Size Fourteen?" in Silence! The Musical.
 * Don't forget "I'd Fuck Me"!
 * The Trans-Siberian Orchestra Rock Opera Beethoven's Last Night has two: "Mephistopheles", where the titular demon proclaims himself "god of second chance" while trying to cut a deal with Beethoven, and "Misery", when Mephistopheles gleefully threatens to maim, cripple, torture, and eventually kill a child if Beethoven doesn't give him what he wants. Both get sung way over the top, with much scenery-chewing and Large Hammery.
 * TSO also included an equally hammy Villain Song in their album The Lost Christmas Eve: "What is Christmas?", sung by the Scrooge-like antagonist.
 * "Don't Nobody Bring Me No Bad News" is the mantra of Evilene, the Wicked Witch of the West, in The Wiz.
 * The Cellblock Tango in Chicago. Awesome song, mood lighting, and girls prowling around in leather underwear talking about how their murders were completely justified.
 * He had it comin'!
 * Of course, the innocent Hungarian prisoner's verse states her guiltlessness for real, and of course she's the only one who pays for it. Crapsack World indeed.
 * From the same musical, "All I Care About is Love", sung by Billy Flynn. The entire song is a lie. Although he's sort of an antihero.
 * An even better example for Flynn is "Razzle Dazzle", where he gleefully gives a show-stopping number about getting away with anything by using pure showmanship.
 * Almost every song from Chicago (except for "Mr. Cellophane" and "A Little Bit of Good" (sung by Mary Sunshine in the show)) could be considered a Villain Song, as almost all of the main characters are murderers or corrupt.
 * Notably averted in Wicked. Fiyero's song "Dancing Through Life" is a textbook cackling song about his nihilistic philosophy, but he turns out to be a much better person than he seems. The Wizard's song, "Wonderful", is the very opposite of a standard Villain Song: he's trying to justify his crimes by playing humble and innocent, and (unlike The Sound of Music) is still the Big Bad. Elphaba (the heroine and titular Wicked Witch) even gets one in "No Good Deed", but it's undercut by the fact that she's rocketing through the stages of grief and has some full blown Sanity Slippage/Heroic BSOD going on by the end. Despite her big talk, she never can bring herself to be the villain. Finally, "Wicked Witch of the East" can almost be read as one, except that Nessarose is mourning the fact that she somehow became the villain without noticing.
 * From Hairspray, "(The Legend of) Miss Baltimore Crabs". Front step, cha-cha-cha... There's just something about that one line that screams "you're walking into the serpent's lair". Michelle Pfeiffer even said she signed on for this one song. It's not hard to see why.
 * Her daughter Amber has "Cooties", a mean-spirited Take That song not-so-subtly directed at Tracy.
 * The Corny Collins Show council contribute to both of these.
 * Macavity, the levitating crimelord cat from Cats. His song (though he doesn't sing it himself) is a lengthy paean to his Magnificent Bastardry, and is likely the one song besides "Memory" that is most remembered from the play.
 * Mungojerrie and Rumpelteazer sing a song congratulating themselves on their thievery, but they're more of a Quirky Miniboss Squad.
 * Most songs from The Black Rider: The Casting of the Magic Bullets are pretty creepy, but Pegleg gets in three songs of his own: "Just The Right Bullets", "Flash Pan Hunter", and "Gospel Train".
 * Since Woyzeck has so many villains, each one gets their own song: the Doctor has "God's Away on Business", the Drum Major has "Another Man's Vine" and a creepy duet with Marie called "Everything Goes to Hell", and the Captain gets "Starving in the Belly of a Whale".
 * "The Soviet Machine" from Chess, sung by Molokov and the KGB Agents.
 * "Difficult and Dangerous Times", also titled "US vs. USSR" (formerly a part of "Opening Ceremony"), which is basically a villain song for Cold War politics in general.

""You can't control me! I'll live deep inside you! Each day you'll feel me devour your soul!""
 * "Was I Wazir?" from Kismet.
 * The Engineer's ode to America's love of depravity (and his love for that) in "The American Dream" from Miss Saigon. "If You Want to Die In Bed" also counts as it spells out his goal to save his own skin. Actually, anything the Engineer sings might fall under this trope...
 * Hyde has "Alive" from the Jekyll and Hyde musical.
 * His half of "Confrontation" definitely counts as well:

"Look out world, for the dawn of the day When everyone will do whatever I say And that Potter won't be in my way, and then I'll be the one who is totally awesome!"
 * Giovanni's "It Will All Be Mine" from the Pokémon Live musical. Sung by Darren Dunstan, possibly better known as the American voice of Pegasus.
 * He also twists two other songs into Villain Songs: "You and Me and Pokémon" and "Everything Changes".
 * "Cool, Cool Considerate Men" from the musical 1776
 * "Molasses to Rum" for Edward Rutledge. Might also qualify as an example of Not So Different.
 * "Falcon in the Dive" from the musical adaptation of The Scarlet Pimpernel (which conveniently comes after the main heroic song, "Into The Fire", in the libretto).
 * "It's All About The Green" in the musical adaptation of The Wedding Singer - though Glen is more of a Jerkass than an outright villain, and there are cooler songs in "Casualty of Love", "Today You Are A Man" and others, it's still right up there.
 * "Bolero de Amore" in Barry Manilow's Copacabana.
 * The Musical version of Peter Pan gives one of these to Captain Hook. Given the tone of the play, Hook's Card-Carrying Villain status, and his word choice, however, it's halfway between one of these and a "The Villain Sucks" Song.
 * It's also a serious Ear Worm: "Who's the creepiest creep in the world? Captain Hook! Captain Hook!"
 * In some versions, Hook and Smee have "Never Smile at a Crocodile".
 * "Those Were The Good Old Days" from Damn Yankees which also somewhat parodies the "I Want" Song. Applegate laments how much easier being evil was in the days of Nero, cannibals, and Lady Guillotine.
 * "A Little Brains, A Little Talent" for Lola, as well as "Whatever Lola Wants", although
 * "Tomorrow Belongs to Me", the Nazi anthem from Cabaret. It was so realistic and of the spirit that it got the (Jewish) producers accused of anti-Semitism!
 * The Producers likely invoked this with the title song of "Springtime for Hitler"?
 * In Urinetown, several songs go to the bad guys, including this editor's favorite, "Cop Song" which goes to the henchmen as well as "Don't be the Bunny" and "Mister Cladwell" going to the main villain Mr. Cladwell. The latter of which is an outright song praising his virtues (Mister Cladwell, you're so Godly/oddly perfect and right).
 * Anyone Can Whistle has several songs for the evil Mayoress Cora Hoover-Hooper. The best of these is the first song of the show, "Me And My Town", in which she laments her 0% Approval Rating.
 * "The Spring Of Next Year" from Dear World.
 * Jim Steinman's unproduced Batman Musical has two villain songs. The corrupt officials controlling Gotham City sing "In the Land of the Pig, the Butcher is King" (which was later covered by Meat Loaf) while The Joker gets the song "Wonderful Toys" which is perhaps the most insane and over the top villain song you could hope for.
 * "Do, a deer, I killed that deer..."
 * The Dragon's performance of "The Seven Seas of Rhye" from the Queen-inspired musical We Will Rock You! is performed with all the usual candor of a Villain Song and has a background choir provided by members of La Résistance during Electric Torture.
 * Not to mention Big Bad's performances of Killer Queen and Another One Bites the Dust.
 * Miles Gloriosus' "Bring Me My Bride" in A Funny Thing Happened on the Way to the Forum.
 * Oliver! has several Villain songs: Big Bad Bill Sykes gets "My Name" and the Affably Evil Fagin actually gets two, "You've Got to Pick a Pocket or Two" and "Reviewing the Situation" (in the reprise especially). That Fagin gets more than the real villain isn't too surprising though, since the role is usually played as a Large Ham.
 * In Annie, Miss Hannigan expresses her hatred for children in "Little Girls"; later, she is joined by her sleazy brother Rooster (played by Tim Curry in the 1982 version of The Movie) and his airhead girlfriend for the song "Easy Street".
 * I Can Get It For You Wholesale has "The Way Things Are", in which the protagonist says There Are Two Kinds of People in the World, and he wants to be the kind that gets to step on the other kind.
 * In Baker Street: A Musical Adventure Of Sherlock Holmes, Moriarty has the Evil Gloating song "I Shall Miss You."
 * "Let Things Be Like They Always Was" from Street Scene is less of a song than a Puccini-like aria, but it certainly sounds dark and menacing. It's Mr. Maurrant's only uninterrupted solo, in which he gives vent to his bitter reactionary attitude.
 * John Howard's dark and menacing march "Power" in Keating!. Which is then hilariously contrasted with "The Mateship".Whether he's a villain in Real Life depends which side of the political spectrum you're on, but he definitely qualifies in the musical.
 * The little-known German musical Hexen has "Gleich", sung by the Magitech witch Clony, whose magic borders on Mad Scientist territory. Clony doesn't consider herself evil and really thinks she's doing humanity a favor by giving everyone armies of clones of themselves to do all the work, but she is nevertheless an unabashed egotist who gets a huge rock number in which she praises her own intellect, style and superiority over everyone else. Not to mention that the plan she's explaining is essentially one for slavery.
 * Tanz der Vampire has Ewigkeit, in which a whole chorus of vampires rises from their graves and plots to make humanity as miserable and insane as they are. It happens to be the most chilling song in the whole musical.
 * Sophie in Elisabeth, as more of a Knight Templar than a really sinister villain, has the rigid "Eine Kaiserin muss glanzen!" ("An Empress Must Sparkle!"), in which she bullies her newly-married daughter-in-law into (temporary) tears and submission. Later on, though, she sends her son to a brothel to weaken his marriage, and the shady madam and prostitutes' song "Nur kein genieren" ("Don't Be Ashamed, Dear") fits into this trope fairly well.
 * There's also the bouncy "Kitsch", which serves as a villain song for the murderous, sarcastic Lucheni and as a kind of "The Villain Sucks" Song for the selfish Elisabeth as well as all of her fawning, devoted subjects- including the audience.
 * "Der letzte Tanz" may count, considering it is a personification of Death showing up to menace Elisabeth at her wedding, gloat about how he'll win her in the end whether she likes it or not, and basically stop the show.
 * The title song from Kiss of the Spider Woman.
 * The Spider Woman isn't so much the villain of that show as a character's nightmare. A better villain song would be "Lucky Molina."
 * "I'd Rather Die on My Feet Than Live On My Knees" for Thomas in The Beautiful Game. The song is short and Thomas isn't exactly a show stopping villain, but it's extremely effective in vilifying the guy. For the majority of the show he was a misguided Jerkass, but not worse than some of the others.
 * "Big News!" and "Real Big News!" for Britt Craig in Parade, "That's What He Said" for Jim Conley, and "Where Will You Stand When the Flood Comes", as led by Tom Watson.
 * Also played with in "Come Up to My Office," which is sung by Leo Frank, but is actually a fabricated account on the part of the prosecution.
 * Mozart! (from the same creative team as Elisabeth) features a mute villain- Mozart's own genius, portrayed a a demon/CreepyChild in the shape of Mozart himself at age six or so that follows the adult Mozart around, constantly composing and using Mozart's blood as ink. Thusly, the big showstopping Ear Worm villain-song-stand-in goes to Archbishop Colloredo, who's more of a petty annoyance than anything, in the form of "Wo Bleibt Mozart?" It's still pretty grandiose and nasty to the title character.
 * Although it's not in the original operetta, the villain Barnaby of Babes in Toyland gets "We Won't Be Happy 'Til We Get It" in the Francoeur version along with his henchmen in which he's cheerfully villainous, admitted he has no real excuse for it.
 * Notable in that it's the very first song, so as to leave no doubt as to whom the Bad Guy is supposed to be. "We'll forge a check, or cut your neck, if we can make a dime!"
 * Radames' father, though not the main villain of Aida gets two: the standard "Another Pyramid" and "Like Father, Like Son", which Radames tries to turn into a "The Villain Sucks" Song. He fails.
 * The Anti-Love Song "To Keep My Love Alive" from A Connecticut Yankee.
 * "Evil Woman" from Xanadu.
 * "The Madness of King Scar" from The Lion King Broadway musical, in which he demonstrates his growing schizophrenia and essentially attempts to seduce/rape Nala. Note that this is new to the musical.
 * Arguably, Rose's Turn, from Gypsy. It depends on whether or not you view her as the antagonist, and even then it might be a Villainous Breakdown.
 * Another example could be "Everything's Coming Up Roses". Louise and Herbie are certainly horrified.
 * "They Don't Know" from Thoroughly Modern Millie.
 * "Muquin" also. Although that may not be a villain song so much as Meers giving her henchmen some more motivation.
 * Depending on the production, "Shoes Upon the Table" can be played this way in Blood Brothers.
 * In Jesus Christ Superstar, the high priests get "This Jesus Must Die", which is rather self-explanatory. If you ignore the words it's one of the most upbeat and catchy tunes in the whole show.
 * There's also "Herod's Song", another seriously catchy number.
 * Norman Jewison's film version also adds "Then We Are Decided", which figures as both another Villain Song and an "I Want" Song for Caiaphas and Annas.
 * Draco's "Back To Hogwarts" solo from A Very Potter Musical can be quite evil, considering that he's a short woman in a blonde wig playing a delusional pratfaller twelve-year-old boy in a comedy/parody. Needless to say, the delivery is brilliant.

"Our history is nothing more than what the losers settle for."
 * Quirrel & Voldemort sing a duet "Different As Can Be" early on, about what an Odd Couple they are. They get a reprise a few scenes later, but rather than being darker, it's as upbeat as can be, despite including the lyrics "We'll lead 'em to the slaughter/And we'll murder Harry Potter!"
 * Voldemort gets a second song after his resurrection, entitled "Dance Again" which culminates with him and the Death Eaters doing a kickline.
 * Umbridge's showstopping number "Stutter" from A Very Potter Sequel. The Dementor back-up dancers have to be seen to be believed.
 * The first song "Not Over Yet". It is sung by Lucius Malfoy, outlining his plan to prevent Voldemort's defeat by using a Time Turner to kill Harry in his first year of Hogwarts.

"They move in the shadows where no one can see And they're chainin' up people and they're bringin' em to me askin' me, "Kill them NOW, or LATER?" Askin' ME! "Kill them now, or later?" Noon by the clock, and so still by the dock You can hear a foghorn miles away And in that quiet of death, I'll say, "Right now." Then they'll pile up the bodies And I'll say, "That'll learn ya!""
 * In Starship, Pincer has "Kick it Up a Notch." It is later reprised by
 * In the 12th century liturgical drama, the Ludus de Herode, Herod and his son have a duet, Salve, pater inclite, in which they threaten the newborn Messiah.
 * Turnabout Musical, the up-and-coming musical adaptation of Phoenix Wright, has some good ones in the making: Winston Payne's comical "Rookie Killer", Redd White's diabolically catchy "Redd White and You" (a plain-clothes rehearsal can be seen here), and Manfred von Karma's appropriately haunting, though strangely baritone, "Anything to Win" -- Ominous Latin Chanting included. Fortunately, the "hero songs" are very much a match for them.
 * Salieri in Mozart L'Opera Rock has several songs, but perhaps the best example of this trope is "Le bien qui fait mal", which is all about how he's "Envo Ã»tÃ© par des idÃ©es folles/Bewitched by crazy thoughts", and "Je sens de violentes pulsions/I'm feeling violent impulses", oh and "Le dÃ©sir devient ma prison/Desire has become my prison". Salieri's clearly losing it.
 * "One Touch Of Alchemy" in Knickerbocker Holiday, the culmination of Stuyvesant's New Era Speech. Shortly after, he has a duet with one of his henchmen, "The One Indispensable Man."
 * The true antagonist of Next to Normal is mental illness, but a secondary villain is Gabe, who certainly enables Diana in her mental illness (and even ). His song "I'm Alive" and its extremely Dark Reprise could be considered Villain Songs.
 * A brief, out-of-context clip attests that Enron has at least one good villain song with Jeff Skilling's "Primetime for Skilling". ("I'm the boss, here's the gist; I'm the guy who gets to lie to analysts...") Actually, at least half of the twenty-six songs listed sound like contenders.
 * In both the movie and musical versions of Evita, Che (who isn't quite the villain, but he's close enough) has "Oh What a Circus". There's also the short and sinister "The Art of the Possible" with Peron, and the fantastic "Waltz for Eva and Che" with, well, guess.
 * Jud Fry, the villain of Rodgers and Hammerstein's Oklahoma! gets "The Lonely Room." It's almost enough to make you feel sorry for the guy.
 * Groovelily's musical Sleeping Beauty Wakes has some marvelous villain songs by the Evil Fairy: "Uninvited", about not being invited to the celebration of the princess' birthday, and "The Wheel Goes Round", sung when she's in disguise trying to lure the princess to the spinning wheel.
 * "Pirate Jenny" is a Villain Protagonist song about cold-blooded revenge from The Threepenny Opera


 * Even though It's a parody to a Fiddler on the Roof, A Shoggoth on the Roof has some pretty dark tunes. Turning famous songs into a Lovecraftian induced musical. A lot of these can be considered villain songs in their own right, but the one the takes the cake is easily "Do You Fear Me?" which is sung by... ! Even though The Nightmareis a close runner up due a portion of it dedicated to   singing about her plan to have her two sons
 * Audrey II from Little Shop of Horrors got "Feed Me" and "Suppertime". From the same musical, Orin had "Dentist!". In the film version and some productions, there is a song called "Mean Green Mother From Outer Space" for Audrey II. There was also a Cut Song for Audrey II titled, simply, "I'm Bad". Furthermore, a little-known Cut Song from the stage version, a reprise of "The Meek Shall Inherit", would have gone to Patrick Martin, the man that sells the plants across the nation and thus brings about the end of the world.
 * "The Meek Shall Inherit" is already pretty sinister; even if they don't know they're doing it, the singers are encouraging Seymour to kill more peopler so he'll be famous.
 * "Z: The Masked Musical" (which never got past the concept album stage) featured the alcalde's delightful "Glorious, Gluttonous Greed", in which he recounts his love of money, revels in the suffering of the peasants, describes his plan to purchase a noble title, and demonstrates the ability to count and identify coins just by the sound they make hitting the table. The rest of the album is execrable.
 * Seussical (That's right, there's a Dr. Seuss musical) has General Ghengiz Khan Schmitz's "The Military Academy" and Mayzie's "Amazing Mayzie". The Sour Kangaroo doesn't have one, oddly, despite being the main antagonist, although she does have some lines in "Biggest Blame Fool" which could count.
 * The original version of Starlight Express had "C.B." the gleeful confession of a serial killer caboose. It makes sense in context.
 * While the character of Greaseball is not anywhere as villainous as C.B. his introductory number "Rolling Stock" still counts.
 * Electra's introduction song, "AC/DC", is another example.
 * Evil Dead The Musical has Join Us, a bouncy upbeat song extolling the virtues of submitting to the Evil Dead. Look Who's Evil Now, Bit Part Demon, and Do The Necronomicon are also worth mentioning.
 * "Forever Yours" from Once On This Island is a bizarre half-love ballad-half-Villain Song, taking on the latter quality after Papa Ge joins in. "Your life is forever miiiiiiiiiiiiiiiiine!" Actually, each of the Jerkass Gods gets a song, though "Forever Yours" is the only actively villainous one. Rich Bitch Andrea sings for a bit, too.
 * "Hector's Song" from The Golden Apple.
 * The 1980's Broadway musical Drood is notable here in that it has nine possible villain songs: Two which are always in the show ("A Man Could Go Quite Mad" and "Jasper's Confession") and 7 possible murderer confessions decided by audience vote. Some may not count, however, as at least one is a joke about how unlikely that particular character being the murder is.
 * The Toxic Avenger Musical has the song "Jersey Girl" sung by the mayor of New Jersey, Babs Belgoody. Immediately after that song, the mayor gets another one along with the town bullies called "Get The Geek".
 * Spider Man Turn Off the Dark has several.
 * Flash Thompson and his cronies have "Bullying by Numbers" and "Venom".
 * Before the show was revamped, second-act villain Arachne had two as well; "Think Again" lamenting Peter's decision to give up his Spider-Man identity, and "Deeply Furious" an absurd and much mocked song about shoes.
 * The Green Goblin gets three. As Norman Osborn he sings "DIY World", about how designer genes are the way of the future. Not blatantly evil, but we know what happens. As the Goblin, he sings "I'll Take Manhattan", a loungey evil song, and a "A Freak Like Me Needs Company" (derived from a recurring line in "Deeply Furious") about his creation of the Sinister Six.
 * The main antagonist of Queen based Rock Opera We Will Rock You is called Killer Queen. Naturally she's introduced with the song of the same name. "Flash" might be one for Kashoggi.
 * "Special" from Avenue Q might be one since it acts as a Character Establishing Moment for Lucy The Slut who acts as an antagonist towards Kate by trying to steal Princeton from her.
 * Team Rocket got a subversion of the traditional Villain Song in the Pokémon Live musical, called "The Best at Being the Worst", centering around their own incompetence at what they do.
 * Giovanni's song from the same musical "It Will All Be Mine!" most definitely qualifies as a villain song. The only downside is that the actual voice actor hasn't sung something similar as an image song. He also gets a Dark Reprise of "You & Me and Pokémon."
 * The Sera Myu musicals in which not surprisingly lots of villains have songs.
 * Older Than Feudalism: A significant chunk of Aeschylus' Theatre/Eumenides is the villain song of the Erinyes, where they seek to justify the Revenge they enforce and boast of how terrible and powerful they are, while disdaining the injustice of the Cycle of Revenge that is the plot of the story.
 * Though not really an example, Achmed gets one in Jingle Bombs
 * From Sister Act: The Musical, the Big Bad and the Quirky Miniboss Squad both get one. "Lady In The Long Black Dress" is sung by the Miniboss Squad and is about seducing the nuns of the convent. "When I Find My Baby", sung by the Big Bad, is about how he will find Deloris again and "shoot that girl! And then I’ll stab that girl, and then I’ll take her and shake her, and make her meet her maker!"...
 * Lord Farquaad gets two in Shrek: The Musical -- "What's Up, Duloc?" (a crowd song about how great he is and how he's rid Duloc of non-human "freaks") and "The Ballad of Farquaad" (which details his backstory and his (very weak) Freudian Excuse).
 * The closest thing to a Villain Song in Sunset Boulevard is the title song, "Sunset Boulevard," which is about Jerkass Protagonist Joe Gillis describing and rationalizing his manipulation of his (much older, much richer, and very emotionally-unstable) girlfriend Norma's feelings in order to have access to her stuff and money. This gets an even darker reprise at the very end of the show, where Joe emotionally abuses the innocent Betty (the literal Betty to Norma's Veronica), whom he had just told he loved two scenes earlier.