Obsession Song

""Loveyouloveyouloveyouloveyouloveyou...""

- Massive Attack, "Angel"

""This is one of those love songs that crosses that narrow divide between 'romantic' and 'deeply disturbing.' You know, the difference between 'I always want to be with you' and 'I want to wear your skin like a sweater.""

- Kingdom of Loathing

The Obsession Song is like a love song written by a Stalker with a Crush or a Yandere. Most examples simply involve obsessive love with heavy overtones of stalking and possessiveness, but some take it to such extreme lengths that it sounds like the singer is planning on raping you, killing you, and keeping your corpse under their bed.

The Obsession Song falls into two basic varieties, although many have elements of both:
 * Passive - "I belong to you. My entire life revolves around you even if you don't know that I exist and I would do absolutely anything to make you happy even if you treat me like dirt. Please notice me, or I'll probably kill myself."
 * Aggressive - "You belong to me. You will be mine whether you like it or not. I'll kill anyone else who looks at you, or you if you so much as look at anyone else."

Particularly pathetic Unrequited Love songs often fall into the passive category, while the aggressive variety sometimes overlaps with the Murder Ballad or Villain Love Song.

Many Obsession Songs are mistaken for love songs, especially when they have Lyrical Dissonance, and sometimes even end up being played at weddings. Conversely, some love songs with nothing but innocent intentions can unintentionally end up as Obsession Songs.

Needless to say, this trope can be a potent source of Paranoia Fuel.

Passive Type
"I'm hurting you for your own good I'd die for you - you know I would I'd give up all my wealth To buy you back the soul you never sold I want to mix our blood And put it in the ground So you can never leave"
 * Massive Attack - "Angel". The song was originally done by constant collaborator/quasi-band member Horace Andy as a Reggae love song, but the harsh, Alternative Rock riffing and pounding drums just illustrate how the instrumental backing can drastically change a song's context.
 * Mono - "Madhouse"
 * Weezer's "No One Else" is a passive version of this - not that the singer has anyone in particular in mind, but pretty much wants a girl to be focused on him to the point that "When I'm away, she never leaves the house."
 * Also, their song "Haunt You Everyday" has elements of this.
 * "Obsession" by Army of Lovers.
 * "Yellow", by Coldplay. First type. Classic obsessed unrequited love song (nine years old but classic dammit). "For you I'd bleed myself dry..."
 * "Shiver" from the same album is a better example, with lyrics like "From the moment I wake to the moment I sleep/I'll be there by your side, just you try and stop me", which seems to almost be threat.
 * An unintentional-passive example is "Happy Together", by The Turtles. Mostly made so by the very last line, where it becomes apparent that the narrator has never spoken to the object of his desire.
 * Emilie Autumn's "Be Silent Be Still"
 * Also, "Liar", the verses of which are actually from letters written to her by an ex-boyfriend

"I'd Die for you, my love, my love I'd lie for you, my love my love I'd steal for you, my love, my love I'd die for you, My love, My love..."
 * Make Me Wanna Die-The Pretty Reckless

"I have a gift for you. I love you, I give you me. Don't ask me, you know why. From now on I'm your property. You hurt me, what more do I want? I am the servant, you are the master. From now on I belong only to you. Please, please, let me be your slave."
 * Strictly passive hence: Make Me Wanna Die
 * Miss Nothing also applies.
 * Bruno Mars' "sad" singles are all about this. Both Grenade and Talkin' to the Moon depict a man who whines and obsessively laments over a dead relationship to the point where he turns into a stalker, driven crazy in hopes that his former significant other would notice such behavior and take him back. Both songs take the Passive element described at the top of the page.
 * Evanescence has Taking Over Me which falls into the Passive category.
 * Away From Me also applies to passivity.
 * Farther Away is strictly passive
 * "Lithium" (Darling come to bed, anything is better then to be alone)
 * Radiohead's "All I Need."
 * Also "Creep". According to Thom Yorke, it's about a drunk guy following around a woman he's attracted to, lacking the self-confidence to actually approach her. However, many listeners think it's a straightforward unrequited-love song from the perspective of a guy with self-esteem issues... which is perfectly reasonable from the lyrics themselves, except that it provides no explanation for the line "she's running out the door", making it a bit of a Bread, Eggs, Milk, Squick. In fairness, that's the least intelligible part of the song, so a lot of people probably didn't even know that's what he was saying.
 * Going by the "unrequited love song from the POV of a guy with self-esteem issues" interpretation, "she's running out the door" could mean that said guy attempted to admit his feelings but only succeeded in scaring her.
 * "You", also off of Pablo Honey, is another example.
 * Billy Joel tried his hand at this one more than once. "All For Leyna" is a pretty good example of a passive one.
 * About 50% of every Latin American bolero (as in the musical genre) song ever. If it was sung by Los Panchos, Julio Jaramillo, or La Lupe (among many, many others), chances are that they are singing one of those. Most of them are from the passive type, in the line of "I've shaped my whole life around you and now I don't have anything else, so why don't you love me back? Why? WHY?"
 * Muse: Undisclosed Desires.
 * Children of the Monkey Machine and Dani took the Final Fantasy VIII love song Eyes On Me and remixed it into Obsession.
 * Die Ärzte's "Bitte, Bitte".

"I pray with the sounding of you faith My colours bleed to one Nothing grows when your love is gone"
 * Perfect-Vanessa Amorosi

""I can't live without you, tell me what I'm supposed to do about it" "You drove me to the fire and left me there to burn" "Every little thing you do is magic, oh, but all my life it was tragic/beautiful girl, I can't breathe""
 * The Veronicas: Could've Been, Let Me Out.
 * Matchbox Twenty has this little song called:"Disease"

"I haven't got you, or dishonourable intentions All I hold is a photograph of my magnificent obsession"
 * Adorable has a song called "Obsessively Yours" which seems to be about obsessive love from a distance

Aggressive Type
"I'd rather see you dead, little girl, Than to be with another man."
 * "I Put A Spell On You" by Screamin' Jay Hawkins is classic example. Originally supposed to be a passive example, but then one of the recording crew brought in booze, turning it into one of the most famous aggressive examples ever.
 * Made strangely sexy by Nina Simone (then again, it is Nina Simone...).
 * And then made predictably terrifying by Marilyn Manson.
 * Arguably kicked up a creepy notch by "Diamanda Galas
 * The Police's "Every Breath You Take" is one of the most famous Obsession Songs, if not the most famous.
 * Probably the most famous one you'll ever dance to at homecoming.
 * "Can't Stand Losing You" is another. A classic case of Lyrical Dissonance.
 * Nick Cave & The Bad Seeds - "From Her To Eternity", "Hard On For Love", and several others. Nick Cave really likes this trope, specifically the aggressive Murder Ballad variety.
 * Don't forget No Pussy Blues, complete with it's own kind of Madness Mantra ("she just didn't want to")
 * Portishead - "All Mine"
 * Lisa Germano's "...a psychopath" is a very aggressive Obsession Song sung from the perspective of the stalkee.
 * Which features an actual 911 call.
 * Pretty much any line from Animotion's "Obsession" could work as a page quote for this trope.
 * Shellac's "Prayer To God" is a particularly nasty aggressive example.
 * PJ Harvey's "Legs" is another very aggressive example. Nothing says "I love you" like sawing someone's legs off to keep them from leaving you.
 * She also did Rid of Me, which is...passive-aggressive?
 * Blondie- "One Way Or Another", "Accidents Never Happen", "Hangin' On the Telephone"
 * Opeth - "The Leper Affinity."
 * Ludo - "Go-Getter Greg."
 * As well as "The Horror Of Our Love" for the 'wearing your skin like a sweater' variety.
 * "Play With Fire" by The Rolling Stones is an aggressive Obsession Song.
 * Death Cab For Cutie's "I Will Possess Your Heart." It lasts 8 minutes (on the album).
 * Even The Beatles did one, and it's pretty aggressive, too. "Run For Your Life" - Rubber Soul, 1965. John Lennon came to hate this song.

"Follow you home You've got your headphones on and you're dancing Got lucky, beautiful shot You're taking everything off Watch the curtains, wide open And you fall in the same routine Flicking through the TV Relaxed and reclining And you think you're alone ..."
 * Some other, less extreme, Beatle examples: "I'll Be Back", "No Reply", "You Like Me Too Much", "You Won't See Me", "I Want You (She's So Heavy)".
 * "Stan" by Eminem. The lyrics are Stan's increasingly deranged letters to Eminem. The last verse is Eminem's reply, but it's cut short when Eminem realizes that Stan
 * There's also "Kim", which tells the story of Eminem going Ax Crazy on his titular wife.
 * Eminem's sexiest song, "Love You More", contains lyrics such as "I know it's sad but it's making me happy," "From junior high, until we both die" and "it's an addiction and it can't be fixed."
 * "Goodnight & Go" by Imogen Heap (lead singer of Frou Frou). Some serious Lyrical Dissonance, too.

"You will surrender to me There's no escaping from me"
 * Evanescence also has Snow White Queen which falls into the Aggressive category when told from the POV of the stalker (the stalkee's POV makes up the rest of the song)
 * Then there's 'Surrender', which sounds really soft and pretends to be a type one, is most definitely a type two.

"I stumble in the hallway Outside her bedroom door I hear her call out to me I hear the fear in her voice She pulls the covers tighter I press against the door I will be with her tonight..."
 * And Haunted which seems to be a ghost doing this.
 * The Other Side and Even In Death is this to a dead person. Extremely aggressive musically.
 * As the name implies, Assemblage 23's "Let Me Be Your Armor"'s protagonist is very chivalrous, but it's lampshaded that his love is a bit more possessive than most. That or its about an eerily overprotective parent. Either way its obsessive, controlling, and downright creepy.
 * The Toadies' "Tyler": It starts out seeming like an ordinary romantic song about a man who's looking forward to being with his beloved again after a long time apart. Then in the last verse the narrator breaks into her house, and it becomes readily apparent that something else is going on...

"You say you love me, is that the truth? Although they've heard the songs, my friends need living proof I know your address, I ring the bell I bring you flowers and a .22 with shells"
 * Slipknot, "The Virus Of Life." Definitely the aggressive, rapetastic Murder Ballad type.
 * From the same album, "Vermilion" and "Vermilion Pt. 2" are more passive Obsession Songs.
 * Going back a bit, Prosthetics.
 * Not to mention "The Nameless" which is very aggressive type and screams "Your mine" a lot at the end. And "Gehenna".
 * Nellie McKay did one called "Baby Watch Your Back" in her cutest voice.
 * Barenaked Ladies, "Straw Hat and Old Dirty Hank" is sung from the position of a guy who's obsessed with Anne Murray, and is supposedly based on a true story.

"When you think you're all alone, I'll be down the hall I could see it, if I was a fly on the wall. What you do in you're room, I could see it all You undress, I wish I was a fly on the wall."
 * Some people think that their song "The Old Apartment" counts, and I guess it does, but Word of God has it that the guy in the song is still with the same girl, it's the apartment itself that he's obsessed with.
 * t.A.T.u's Fly on the Wall which focuses on a woman stalking someone who is already in a relationship.

"Protect me, Maria! Don't let this siren cast her spell! Don't let her fire sear my flesh and bone! Destroy Esmerelda, and let her taste the fires of hell, Or else let her be mine and mine alone! Hellfire, dark fire Now gypsy, it's your turn! Choose me or your pyre Be mine or you will burn!"
 * If we open it up to one fictional character singing it about another, "Hellfire" from the Disney version of The Hunchback of Notre Dame about Frollo's obsession with Esmerelda qualifies. It's also his Villain Song with a nice Bilingual Bonus.

"You can't escape now I've got you locked inside this room You know I tip good And soon, you will love me too Don't be upset now You know, I get angry too Don't make me hurt you It's true, no one hears you in this room..."
 * Cobra Starship has "It's Warmer In The Basement," in which the stalker has already kidnapped the object of their affections. In the words of the lead singer, "This is a song about when you love someone so much you have to tie them up in your basement."

"I wait for the day when I'll finally defile The bodies of my ex-lover's lovers I'll pile high to the sky The bodies of my ex-lover's lovers."
 * Cobra Starship also has "You Belong To Me". I don't think an explanation is necessary.
 * Voltaire has the incredibly catchy "Ex-Lover's Lover"

"I saw you with him, you looked so happy. That will never change because I know myself too well. I don't have the courage to carry out my dreams And only there will I see them die."
 * The If I Can't Have You aspect of this particular Obsession Song is subverted by the last verse:

""I'll steal you, Johanna, I'll steal you. Do they think that walls could hide you? Even now, I'm at your window. I am in the dark beside you, buried sweetly in your yellow hair! I feel you, Johanna, and one day I'll steal you!""
 * "True Love" by ThouShaltNot is of the "If I Can't Have You, no one will" variety.
 * Sweeney Todd: The Demon Barber of Fleet Street has "Johanna", which in the film version of the play comes off as quite stalkerish -- the guy singing it has just taken one hell of a beating at the Beadle, and the look on his bloody face as he sings is quite creepy:

"She's my creepy stalker girl I'm the center of her whacked-out, crazy, and delusional world She follows me everywhere She's even got a bag with some bits of my hair Just go away, you creepy stalker girl"
 * But it's nothing compared to the "Johanna" sung by Judge Turpin, which makes the above guy look positively heroic by comparison. Which may be the intention.
 * Speaking of Sondheim, there's also "Unworthy of Your Love" from Assassins, sung by John Hinckley Jr. and Squeaky Fromme to Jodie Foster and Charles Manson, respectively. Though that one almost sounds sweet out of context.
 * Guster's "The Airport Song" is about someone who wants to kidnap someone else and turn them into a cultist/lover. Really creepy.
 * The Arrogant Worms have "Celine Dion," about a guy who's obsessed with her - "And I can see your house / From my van" and "Stalker Girl," which is an inversion. Here are some of the lyrics

"Hey baby whether it's now or later (I've got you) You cant shake me (no) Cause I got you on my radar Whether you like it or not, it ain't gonna stop Cause I got you on my radar (I've got you) Cause I got you on my radar"
 * Britney Spears's "Radar." Especially these parts:

"And what in the world are you gonna do When a man comes over to visit with you And I'm on the porch with a two-by-two Baby, what'll you do about me"
 * "What'll You Do About Me," originally recorded by Steve Earle, later Covered Up by The Forester Sisters and then again by Doug Supernaw.

"Oh, the things that you say Is it life or just to play my worries away? You're all the things I've got to remember You're shying away, I'll be coming for you anyway!"
 * A-Ha's "Take On Me" can certainly be read this way.

Mixed/Uncategorized
"Every time I ride past your house I forget it's you who's living there Anyway I never see your face cause your window's up too high"
 * Elvis Costello's "I Want You", which contains heavy doses of both passive and aggressive.
 * Morrissey also likes this trope, with quite a few of his songs (both solo and with The Smiths) falling into the passive category, although he has some more aggressive ones as well, most notably "The More You Ignore Me, The Closer I Get."
 * "Jack The Ripper"-- the original version is significantly creepy, too.
 * Garbage's "#1 Crush" is a perfect example of the passive variety.
 * Only at first. It becomes increasingly aggressive over the course of the song.
 * "Vow" went beyond this, mixing obsession with seething rage and threats of extreme violence.
 * The Killers - "Andy, You're A Star" and "Mr. Brightside."
 * Almost the whole of that album...
 * Clay Aiken's "Invisible" is an infamous unintentional example.
 * Parodied by Weird Al in "Do I Creep You Out?"
 * Another Weird Al example - "Melanie," which includes lines "I had to go through your garbage just to learn more about you, Melanie!"
 * Queens of the Stone Age have "You Can't Quit Me Baby", which could be either extreme passive or aggressive depending on how one interprets the ambiguous ending; the protagonist is either Spurned Into Suicide or murders the woman he is stalking, if not both.
 * "The Stalker Song."
 * They Might Be Giants - "I'm Your Boyfriend Now."
 * Stephen Colbert did one on his show, "Charlene (I'm Right Behind You)" (also the shortest free downloadable track in Rock Band). He also made a comment that would be a nice quote for this trope. It went something like, "By the way, Charlene, technically this doesn't violate the restraining order."
 * "Betty's Body" by The Residents.
 * Sarah McLachlan's "Possession" sounds rather romantic...until you learn that she put the lyrics together from passages from letters that several stalkers sent to her. Brrrrr...
 * It gets progressively creepier, too. From "My body aches to breathe your breath/Your words keep me alive" to "And nothing stands between us here/and I won't be denied". Yeesh.
 * One of the stalkers later sued her for plagiarizing his letters, but killed himself before the lawsuit came to trial.
 * And he only wanted to sue her so he could get closer to her when they inevitably met in court. I'll see your Brrrrr and raise you a GAH.
 * "Sweet Surrender" might be an example of the passive type.
 * The Stooges - "I Wanna Be Your Dog."
 * "Your Pretty Face Is Going To Hell"
 * Played for laughs in "Not About You" by Jonathan Coulton, which is about a man who insists he's not obsessed with (or possibly stalking) his ex.

"Oh Lily, I know you love me 'Cause as they're draggin' me away I swear I saw her raise her hand and wave goodbye"
 * Charlotte Martin's "I'm Normal, Please Date Me" is a similarly comedic take on it, with a girl insisting that she's not stalking a guy, all the while making it increasingly clear that she is.
 * The Smashing Pumpkins' "Ava Adore" might count.
 * "Ava Adore" is, according to Billy Corgan, about his mother's death. Which may be even creepier...YMMV
 * "Zero" sounds a lot like the passive variety, although it's hard to tell between the rather dense lyrics.
 * "Lily (My One And Only)" is a delusional stalker's narrative paired with a cutesy little singsong tune:

""If you feel like leaving, I'm not going to make you stay But soon you'll be finding, you can run you can hide but you can't escape my love!"
 * Space love this trope. 'Drop Dead' (aggressive), 'Diary Of A Wimp' (both), 'There's No You' (passive), 'Bastard Me Bastard You' (aggressive), 'Turn Me On To Spiders' (aggressive)...and there's probably more.
 * Lady Gaga's "Paparazzi".
 * My Dying Bride - "Black God" and "Sear Me."
 * Cradle of Filth - "Nymphetamine."
 * "My Obsession" by Icehouse.
 * Mono Puff's remake of Gary Glitter's "Hello Hello" comes out along these lines.
 * "Ingrata", from Caf Ã© Tacuba, can be interpreted as either a man berating a woman who just used him and get away by claiming to love him until he got fed up, or a creepy obsssed stalker towards a girl who tried to live her life and in and attempt to calm him she said that she loved him with no sucess. Either way, at the end of the song the singer announces that he's going to shot the woman "so you can get hurt too", and ends "Even if I'm sad for not having you anymore / I'm going to stay with you in your funeral"
 * "I Know You're Out There Somewhere", Moody Blues.
 * Stabbing Westward has a few of these: "What Do I Have to Do?", "Shame", "You Complete Me" and "Waking Up Beside You", among others.
 * Darkest Days was practically an obsession Concept Album.
 * Several comedy bands have variations on this including "Stalker Song" by Tripod and the reversed trope "Stalker Girl" by The Arrogant Worms.
 * The Dark Reprise of "All I Ask of You" at the end of the first act of The Phantom of the Opera ends with: "You will curse the day you did not do/All that the Phantom asked of you!" The Phantom proves as good as his word when he causes the chandelier to fall immediately afterward.
 * About half of everything the Phantom sings gets into this territory--the inevitable result of being both a Mad Artist and a Stalker with a Crush.
 * "Goldeneye" by Tina Turner, for the eponymous James Bond movie.
 * The appropriately titled "Obsesi Ã³n", by bachata group Aventura, is a kind of verbal confrontation between a Stalker with a Crush (male singer) and the object of his affection (female voice, chorus), where the boy believes that his increasingly invasive, controlling ways are acceptable forms of showing love, and isn't clued by the fact that the girl has been avoiding him as he becoming creepier, and that she's saying quite directly in the chorus that whatever he feels, isn't truly related with love...
 * "You Can't Change That", Ray Parker Jr.
 * Depeche Mode - "It's No Good".
 * Devo's "I Desire" comes off as one (if you don't miss it due to Lyrical Dissonance) even without the knowledge that it's based on a poem written by real life Stalker with a Crush John Hinckley Jr.
 * Although possibly not intended as one, Alison Krauss' "Baby, Now That I've Found You" does come off as an Obsession Song if you pay attention to the lyrics.
 * "It's a Dangerous Game" from Jekyll and Hyde: The Musical almost sounds like a romantic duet, except that it's about a psychotic killer stalking a prostitute who's too terrified of/fascinated by him to make a run for it.
 * Siouxsie and the Banshees have a song entitled, what else, Obsession
 * "Lonely Room" from Oklahoma!
 * "I Wanna Marry My Stalker" by Goldfinger. Although sung from the person who's being stalked point of view, the stalker certainly is... Persistent.
 * Indeed, and it seems that her efforts are actually paying off, if the title is any indication.
 * Buddy Holly's classic and much-covered "Not Fade Away" is pretty creepy in the right light.
 * messed around with in the movie Say Anything, where the character Corey has written 65 songs about her ex-boyfriend
 * Enrique Iglesias's Escape, in which he sings about, and I quote

"I don't ever dream about you and me I don't ever make up stuff about us, that would be classed as insanity I don't ever drive by your house to see if you're in I don't even have an opinion on that tramp you're still seeing I don't know your timetable, I don't know your face off by heart But I must admit there is a part of me that thinks we might could should get on."
 * The accompanying music video in which he follows her into the BATHROOM and proceeds to make out with her. Obsession INDEED!!!
 * Much Fromage, a yearly awards comparable to the Rapsberrys for music videos, awarded the music video for Escape as "Creepiest Music Video of the Year".
 * Hero, while not really an Obsession Song, has a very humorous parody of it called Stalkerbook.
 * Sonata Arctica has a few. "The End of This Chapter" and "Don't Say a Word" are possibly the most obvious of them.
 * Tech N9ne's "Psycho Bitch" features an actual answering message from the titular stalker.
 * Steely Dan's "Rikki Don't Lose That Number"
 * Smiling Karen by Tito & Tarantula is about an extremally psychopathic case of this.
 * "Hot", "Contagious", "Girlfriend".by Avril Lavigne,
 * "R.D.C. (Opie's Lament)" by Dead Baby Comedian Stephen Lynch is sung from the perspective of someone obsessed with Rae Dawn Chong.
 * "I'm Gonna Getcha Good" by Shania Twain.
 * "I Want Someone To Love" from Sailor Moon is a more lighthearted example.
 * This one is made a little less lighthearted when you hear how much it sounds like Peek-a-Boo by Siouxsie and the Banshees. Here are links to both: Want Someone To Love and Peek-a-Boo
 * Skillet's My Obsession is technically a passive song ("Come down to me/Don't ever say that it's over/I kiss your feet/Worship the air you breathe"), but it's certainly a resentful one ("I spend my days/Tangled in thoughts of you/Stuck in this place/Resigned to be your fool"). At one point the singer actually wonders if he's going crazy.
 * Considering it's a Christian band it may be talking about his relation to God, which doesn't change anything.
 * Snake River Conspiracy covers Lovesong in a way that invokes this trope
 * Kate Nash's "We Get On" starts off sort of innocent, until the singer's crush is seen with someone else:

"Look behind you Avoid the shadows Watch your back now Make your breathing shallow Keep your room locked And leave the blinds closed I'm right there staring at your window And all I need is you, all I need is you I'm in the background on the radio I'm in your car, in your house, waiting at your door Under your footsteps, I'm everything you know..."
 * Depending on interpretation, Lou Christie's freakishly catchy "Lightning Strikes" is either a mild but smarmy type 2 or a combination of both -- it probably wasn't intended that way, but there's a clear subtext of a Casanova Wannabe pursuing an utterly uninterested woman.
 * Jacks Mannequin gives us "What Gets You Off" and "Miss California".
 * 'I Touch Myself' by Divinyls. Not only is it about some uhh "quality time with oneself", it's also about being incredibly obsessed/devoted to them.
 * Parachute's "Ghost". It seems passive at first, then it sounds more like the thoughts of an erotomanaical stalker who is trying to tell the victim that they are always together, whether they realize it or not. I honestly have no idea whether or not this was meant to be taken in that context.

"Late at night, all I can do is walk these streets and think of you [...] I'm damned if I do, and damned if I don't want you. To taste your lips, to touch your skin, to pull you close and drink you in. I should let you go, but I don't know how. I see your face through that windowpane. My lips don't move as I scream your name (etc.)"
 * The Orion Experience has Obsessed With You
 * Jace Everett (of "Bad Things"/True Blood fame) has at least two: 'Posession' ("you don't even notice me, it makes me want you more [...] I'll be your possession...") and 'Damned If I Do' especially:

"Think I know where you belong Think I know it's here with me... Can't you see that I'm the one who understands you? Been here all along, so why can't you see? You belong with me?"
 * As if there wasn't already enough Foe Yay in Disney's The Great Mouse Detective, Ratigan designs his Death Trap with a Musical Trigger with "a sprightly tune I recorded especially for" Basil, with lyrics such as "You followed me, I followed you -- we were like each other's shadows for awhile."
 * Several Muse songs, such as "Sing for Absolution", "Endlessly", and "Hysteria".
 * "Space Dementia" describes a weird Tsundere version: "You make me sick / But I adore you so..." That is, if it's not just talking about Space Madness. (Although there's always the possibility that it's both.)
 * "Don't Leave Home," by Dido.
 * The Legendary Pink Dots love this trope, with "Obsession" and "Thursday Night Fever" (see also Yandere) being crowning examples of the passive and aggressive types respectively.
 * Their song "True Love" is also a good (if still rather frightening) example of the passive variety, with the lyrical speaker telling the object of his affection that he'll do all kinds of dangerous or harmful things for her (including plucking out his eyes "because love is blind"). It's made even worse when the last lyrics of the song abstractly suggest she's abusive or apathetic towards him.
 * Taylor Swift's "You Belong With Me" could be interpreted as this.

"Let me in, please it's cold I'm freezing out here, I miss you my dear You're all his and I'm all yours, like it or not, I'm all you've got ... Crept through the curtains, as quick as the cold wind Slowly exploring the room where you sleep The stare of your portrait, the passing of your scent Left me no choice but to stay"
 * Also her song "Speak Now" is a good example of stalker songs.
 * The Hush Sound's "Sweet Tangerine," although upbeat and catchy, has the lead singer admit that he is trying to sneak into his ex-girlfriend's home, convinced that he can reconcile their love.

"Passive: Why do you sing to everybody but me? Why do I let it go on? You've got such a music box song in my head all day long. ... Aggressive: But one day soon, I'm gonna grab you by the collar and kiss you all I want! Passive: I can love you much better, if you can't see it you're blind. Aggressive: I can love you much better, and you know some day, I'm gonna make you mine! La-la-lalalala..."
 * Also, Love You Much Better has the female lead singer switching back and forth between passive and aggressive, albeit somewhat mildly.

"You're my possession, a sweet obsession of mine It's just a matter of time; I'll wear you down, one day you will be mine"
 * London After Midnight's "Love You To Death"

"But, for Señor Flamingo The situation was a win-win situation Either, Clementine would be his wife and his all Or he'd have her five years in an institution"
 * Johnny Dowd's gentle country ballad "Hope You Don't Mind" combines this with Lolicon to very disturbing effect.
 * Tegan and Sara's song "Knife Going In" contains the line "On the night I die I swear I'll sleep outside your window." Also "Living Room" seems to be about stalkerish behavior.
 * Offspring's "Special Delivery" is pretty blatant with the stalker theme.
 * "Jævel av en tango" by Kaizers Orchestra. The lyrics, translated, go like this:

"Now that she's gone I'm trying to take it, learning to swallow the rage Found a new girl I think we can make it, as long as she stays on a page There's no one to take my blame, if they wanted to There's no one to keep me sane, and it's all the same to you There's nowhere to set my aim, so I'm everywhere Never come near me again! Do you really think I need you?"
 * Chauvelin gets "Marguerite" in the musical adaptation of The Scarlet Pimpernel, where's he Promoted to Love Interest. Ironically, his obsession in the original novel is even stronger... it's just for the Scarlet Pimpernel.
 * Dream Theater's 1994 album Awake closes with "Space Dye Vest", a song about a deranged man who, rejected by numerous women, becomes obsessed with fashion catalog models to the exclusion of actual human relationships:

"She is my heroine (Wanna! See Her! Wanna! BE HER! Don't go! NEAR HER!)"
 * Queensryche has "Walk in the Shadows" and "Gonna Get Close to You", surprisingly from the same album.
 * Torn Apart gets bonus points for being about desperate lust towards two women at the same time.
 * Maroon 5's "Cant stop", in which he obsesses over a girl so much he "wakes up making love to a pillow".
 * Keroleen by the scottish indie pop band Bis

"I have made it my sworn duty To sing the praises of her booty What I would not give to rock her But I can't, so I'll just stalk her"
 * It doesn't help that the singer sounds like a he's in shock or that the backing vocals at the chorus sound like a berserk priest with a terrible itch.
 * Da Vinci's Notebook's One-Woman Song to "Heather Graham":

"In these little bric-a-brac, A secret's waiting to be cracked! These dolls and toys confuse me so! Confound it all, I love it, though... Simple objects, nothing more, But something's hidden through a door, Though I do not have the key. Something's here I cannot see! What does it mean?! What does it mean?! ... What does it mean?"
 * Does it count as an Obsession Song if it's not about a person? In any case...

"Wanted something out of reach It's killing me, you're all I see, yeah"
 * "Macauley Mc Culkin" by The Fall of Troy. The narrarator gets progressively more Axe Crazy as the song goes on.
 * The Veronicas Everything and I Can't Stay Away, both have shades of both.
 * Until You're Mine by Demi Lovato is rather passive.

"Forget about fate and just hold me"
 * and rather aggressive

"Passive: Just gonna stand there and watch me burn/ well that's alright because I like the way it hurts/ Just gonna stand there and see me cry/ well that's alright because I love the way you lie Agressive: If she ever tries to fuckin' leave again/ Imma tie her to the bed and set this house on fire"
 * Evanescence: Surrender, Farther Away and Anything For You fall into both catagories.
 * Emilie Autumn: Opheliac has shades of both types...The water rises up again ...AND diva/metal screaming!
 * 'Love the Way You Lie' by Eminem and Rihanna has shades of both.

"Aggressive: If you don't get outta here / I'm gonna kill someone /I think he's been in your room / For way too damn long Passive: How will you let me know, when you let me go / My love, my love / Hey you, you're everything to me"
 * Hurt's "Got Jealous" flips from one to the other over the course of the song.

"But if you will ever laugh at a party without me, my jealousy will silently pass and burn your house down."
 * "Nigun Atik" ("Ancient Melody"), a famous poem by Israeli poet Nathan Alterman, starts passive and ends up aggressive. In the first three verses, the speaker states that he will do anything for his love, including selling his own eyes and giving his life as her birthday gift. The final verse however roughly translates to: