10 Best Songs About Greed

Songs About Greed

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Greed has fueled some of the most compelling narratives in rock and roll, serving as both a cautionary tale and an unapologetic anthem. Whether it’s a biting critique of wealth and corruption, an indictment of personal excess, or a tongue-in-cheek embrace of material desires, the theme has been explored in every era and genre. From blistering hard rock to soulful blues and theatrical prog, these songs dissect ambition, avarice, and the consequences of wanting too much. Some artists sneer at the greed-driven elite, while others step into the role of the guilty party, reveling in their hunger for more. The result is a collection of tracks that expose the many faces of greed—its allure, its destruction, and its undeniable presence in human nature.

Sarah McLachlan’s “Black” took an introspective approach, portraying greed as an internal struggle between indulgence and regret, while Styx’s “Half Penny Two Penny” cast a wider net, condemning societal corruption with anthemic grandeur. Godsmack’s “Greed” channeled raw aggression, attacking selfishness with a modern metal edge, whereas George Thorogood & The Destroyers’ “Greedy Man” leaned into bluesy bravado, portraying greed with a wry sense of humor. The Tedeschi Trucks Band’s “I Want More” blurred the line between ambition and excess, illustrating how insatiable desire can be both a driving force and a curse.

The Stooges, never ones to mince words, delivered a scathing takedown of entitled elites in “Greedy Awful People,” while Ann Wilson’s “Greed” took a more poetic and introspective turn, acknowledging the seductive emptiness of endless craving. Pink Floyd’s “Money” set the gold standard for greed anthems, pairing biting sarcasm with one of rock’s most iconic basslines, and Queen’s “I Want It All” turned unchecked ambition into a fist-pumping rallying cry. The Beatles, always masters of economy, stripped the subject down to its essence in “Money (That’s What I Want),” offering a blunt and infectious declaration of desire.

# 10 – Black – Sarah McLachlan

Recorded for Solace, Sarah McLachlan’s 1991 sophomore album, “Black” is an unflinching meditation on greed and its moral consequences. Produced by Pierre Marchand and recorded at Morin Heights Studio in Quebec, the song presents a darker, more atmospheric side of McLachlan’s early work. The lineup for the album featured McLachlan on vocals and guitar, while Marchand contributed keyboards, bass, and programming, crafting an eerie, textured backdrop for the song’s haunting melody. While Solace helped McLachlan gain recognition in Canada, “Black” was never released as a single, instead remaining an album deep cut that resonated for its thematic depth and stark emotionality.

The lyrics present a narrator consumed by selfish desires, justifying their actions through the illusion of entitlement. “’Cause I want what is pleasing / All I take should be free” exemplifies the central theme of greed, as the speaker takes without remorse, unable—or unwilling—to confront the ethical implications of their choices. The imagery of walls closing in and colors fading to black suggests the inevitable collapse brought on by unchecked avarice, mirroring the self-destruction often associated with greed. Unlike other songs on this list that explore materialism or corporate excess, “Black” approaches the subject from a deeply personal and introspective angle, depicting greed as a moral and spiritual corrosion.

Read More: Top 10 Sarah McLachlan Songs

# 9 – Half Penny Two Penny – Styx

Released as part of Paradise Theatre in 1981, “Half Penny Two Penny” offered a searing critique of greed, corruption, and the American obsession with wealth. Written by guitarist James “J.Y.” Young, the track was recorded at Pumpkin Studios in Oak Lawn, Illinois, with production handled by Styx and engineer Gary Loizzo. The lineup featured Dennis DeYoung on keyboards and vocals, Tommy Shaw and Young on guitars, Chuck Panozzo on bass, and John Panozzo on drums. The album became the band’s only No. 1 record on the Billboard 200, cementing Styx’s dominance in early ’80s rock.

Lyrically, “Half Penny Two Penny” embodies the theme of excess and financial inequality. Lines like “Justice for money, what can you say? / We all know it’s the American way” reflect a cynical view of a society where wealth dictates morality. The song’s protagonist, disillusioned with greed-fueled corruption, dreams of escaping across the sea to reclaim his freedom. Compared to other songs on this list, which explore personal greed, “Half Penny Two Penny” broadens the scope, taking aim at systemic avarice and its impact on the working class. The song climaxes with a spoken-word section mourning the demolition of a childhood theater, symbolizing the loss of culture to commercial interests—a fitting metaphor for how greed erodes tradition and values.

Musically, the track’s aggressive guitar riffs and thunderous rhythm section reinforce its themes of frustration and rebellion. The song’s hard-hitting approach sets it apart from the more theatrical elements of Paradise Theatre, aligning it more with the band’s earlier progressive rock roots. While not released as a single, “Half Penny Two Penny” became a staple of Styx’s live performances, known for its fiery energy and uncompromising message. The track serves as a sharp contrast to other greed-focused songs in this article, as it presents a broader societal critique rather than an individual’s struggle with avarice.

Read More: 10 Most Rocking Styx Songs

# 8 – Greed – Godsmack

Godsmack’s “Greed” delivered a seething condemnation of selfishness and manipulation, fitting seamlessly into the thematic framework of Awake, the band’s 2000 sophomore album. Recorded at River’s Edge Productions in Haverhill, Massachusetts, and produced by frontman Sully Erna and Andrew Murdock, the track channeled the band’s signature mix of hard-hitting riffs and primal aggression. Featuring Erna on vocals and rhythm guitar, Tony Rombola on lead guitar, Robbie Merrill on bass, and Tommy Stewart on drums, “Greed” captured the band’s relentless energy and confrontational attitude. Released as the third single from Awake, it peaked at No. 3 on the Billboard Mainstream Rock Tracks chart, reinforcing Godsmack’s presence in the early 2000s metal landscape.

Lyrically, “Greed” stands as a direct assault on an opportunistic figure, with lines like “Oh, you greedy little baby” and “Controlling me every step of the way” painting a picture of exploitation and resentment. Unlike “Black” by Sarah McLachlan, which internalized greed as a personal struggle with self-justification, or “Half Penny Two Penny” by Styx, which examined greed’s societal consequences, Godsmack’s approach was far more confrontational. The lyrics bristled with rage, portraying greed not as an abstract flaw but as an immediate and personal betrayal. The song’s chorus—”Hard to find how I feel, especially when you’re smothering me”—emphasized the claustrophobic nature of unchecked selfishness, positioning the narrator as someone breaking free from a toxic, consuming force.

Musically, “Greed” embodied the nu-metal aesthetic of its time, driven by grinding guitar work and Erna’s venomous vocal delivery. The track’s stop-start riffing and tribal drumming provided a relentless, pounding backdrop for its lyrical fury, contrasting sharply with the progressive rock sophistication of Styx’s “Half Penny Two Penny” and the atmospheric introspection of McLachlan’s “Black.” While Styx and McLachlan approached greed from thematic and narrative perspectives, Godsmack’s “Greed” was a blunt-force weapon—unapologetic, raw, and designed to be as visceral as its subject matter.

Read More: 10 Best Godsmack Songs

# 7 – Greedy Man – George Thorogood & the Destroyers

Recorded for Ride ‘Til I Die, released in 2003, “Greedy Man” was a blues-rock anthem steeped in swagger and excess. Produced by Jim Gaines and recorded at Rumbo Recorders in Los Angeles, the track embodied Thorogood’s signature style—raw, riff-driven, and unapologetically brash. The album featured Thorogood on vocals and guitar, along with long-time Destroyers Jeff Simon on drums, Billy Blough on bass, and Jim Suhler on rhythm guitar. While Ride ‘Til I Die didn’t chart as high as some of the band’s earlier releases, it continued Thorogood’s legacy of hard-hitting, blues-infused rock.

Lyrically, “Greedy Man” presented a different take on avarice compared to other songs in this article. Unlike the bitter condemnation of wealth in Styx’s “Half Penny Two Penny” or the personal anguish in Sarah McLachlan’s “Black,” Thorogood’s song embraced greed with a knowing grin. The narrator lists off extravagant desires—Cadillacs, women, and even a ship filled with money—delivering the lines with a mix of bravado and humor. The exaggerated materialism in “Greedy Man” placed it closer in spirit to the confrontational anger of Godsmack’s “Greed,” though where Sully Erna raged against greed’s corrupting force, Thorogood leaned into it with tongue firmly in cheek.

Musically, the track built on classic blues traditions, with a driving rhythm and slide guitar flourishes that recalled the Chicago blues greats Thorogood often paid homage to. Unlike the more polished, arena-ready sound of Styx or the nu-metal aggression of Godsmack, “Greedy Man” thrived in its simplicity—a stomping groove, a raspy vocal delivery, and a riff that felt tailor-made for a barroom jukebox. While greed in other songs on this list served as a source of societal decay or personal torment, Thorogood’s interpretation was more playful, making “Greedy Man” a unique and fitting addition to the discussion.

# 6 – I Want More – Tedeschi Trucks Band

Released on Let Me Get By in 2016, “I Want More” showcased the Tedeschi Trucks Band’s signature fusion of blues, rock, and soul while lyrically capturing the insatiable nature of human desire. The album was recorded at Swamp Raga Studios in Jacksonville, Florida, with Derek Trucks handling production alongside Bobby Tis. The track featured Susan Tedeschi on vocals and guitar, Derek Trucks on lead guitar, and a full ten-piece ensemble, including Kofi Burbridge on keyboards, Tim Lefebvre on bass, and dual drummers Tyler Greenwell and J.J. Johnson. As part of an album that marked the band’s first fully independent effort, “I Want More” embodied both their technical prowess and their ability to craft songs with layered, evocative meaning.

The lyrics explored a theme of relentless craving, whether for love, experience, or power, aligning with the broader concept of greed seen throughout this list. Unlike the aggressive condemnation found in Godsmack’s “Greed” or the satirical indulgence of George Thorogood’s “Greedy Man,” Tedeschi Trucks Band approached the subject with a subtler, more soulful delivery. The chorus, “Can’t get enough, I want more,” reflected an emotional rather than purely material hunger, blurring the lines between ambition and excess. In contrast to the societal critique of Styx’s “Half Penny Two Penny” or the self-destructive indulgence in Sarah McLachlan’s “Black,” “I Want More” suggested that greed is not always about financial gain but an intrinsic human drive that can be both empowering and destructive.

Read More: Top 10 Tedeschi Trucks Band Songs

# 5 – Greedy Awful People – The Stooges

Released in 2007 on The Weirdness, “Greedy Awful People” delivered a raw, sneering critique of materialism and cultural decay. Recorded at Electrical Audio Studios in Chicago and produced by Steve Albini, the album marked The Stooges’ first full-length studio release in 34 years. The track featured Iggy Pop on vocals, Ron Asheton on guitar, Scott Asheton on drums, and Mike Watt on bass. Despite anticipation surrounding the band’s return, The Weirdness received mixed reviews, though its aggressive, no-frills approach reflected the band’s classic punk ethos.

Lyrically, “Greedy Awful People” offered a scathing takedown of wealth-driven social elites. The song’s verses mocked privileged individuals who ruin neighborhoods, flaunt status, and fail to appreciate art or music. Iggy Pop’s snarling delivery, particularly on lines like “They always clap on the wrong beat,” reinforced his disdain for those whose affluence insulates them from cultural depth. Unlike Sarah McLachlan’s “Black,” which explored personal moral conflict, or Styx’s “Half Penny Two Penny,” which addressed institutional greed, The Stooges’ track attacked greed from a street-level perspective, portraying it as an invasive, destructive force.

Musically, “Greedy Awful People” thrived on gritty, stripped-down instrumentation. Ron Asheton’s jagged guitar riffs and Scott Asheton’s pounding rhythms underscored the track’s confrontational energy. While Godsmack’s “Greed” harnessed a modern, heavy rock sound to express frustration, The Stooges relied on punk’s primal aggression to convey their disgust. The track served as a blunt, unapologetic reminder of the band’s origins, reinforcing their legacy as anti-establishment provocateurs.

Read More: Top 10 Stooges Songs

# 4 – Greed – Ann Wilson

Released on Fierce Bliss in 2022, “Greed” was a searing reflection on excess, desire, and the insatiable hunger that drives human ambition. Recorded at Muscle Shoals Sound Studios in Alabama, the song featured Wilson’s commanding vocals alongside an impressive lineup of musicians, including Warren Haynes and Kenny Wayne Shepherd on guitar. The album, produced with a focus on raw, organic rock textures, captured Wilson’s enduring vocal power and ability to bring weight to emotionally charged themes. With its blues-inflected instrumentation and haunting atmosphere, “Greed” stood as a striking moment on Fierce Bliss, offering both a critique and a confession about the nature of wanting too much.

Lyrically, the song wove together contradictions, positioning the narrator as both an angel and a lush—someone who desires nothing yet still craves everything. The line “I am feasting, I am fasting / Satisfaction, never, never lasting” captured the paradox at the heart of greed: the endless cycle of indulgence and emptiness. Compared to other songs in this article, such as Styx’s “Half Penny Two Penny,” which lambasted systemic greed, or Godsmack’s “Greed,” which channeled personal anger toward a manipulative individual, Wilson’s approach was far more introspective. She did not simply condemn greed but examined its seduction, portraying it as both intoxicating and isolating. The chorus—”Greed is empty, greed is lonely / Constant craving for one thing, only”—echoed this duality, illustrating how the pursuit of more can leave one hollow.

Musically, “Greed” carried a slow-burning intensity, its bluesy riffs and deliberate pacing reinforcing the weight of the lyrics. Wilson’s voice soared over the track, balancing defiance with vulnerability. While songs like The Stooges’ “Greedy Awful People” took a sneering, punk-infused approach to the subject, Wilson’s rendition of greed was more meditative, examining its emotional toll rather than simply railing against it. In this way, “Greed” stood out among the tracks in this article, offering a deeply personal exploration of the theme rather than an outwardly aggressive denunciation.

Read More: Top 10 Ann Wilson Songs

# 3 – Money – Pink Floyd

Released in 1973 on The Dark Side of the Moon, “Money” offered a cynical and biting critique of wealth, capitalism, and materialism. The song was recorded at Abbey Road Studios in London between June 1972 and January 1973, with production handled by the band alongside engineer Alan Parsons. The lineup featured Roger Waters on bass and lead vocals, David Gilmour on guitars and backing vocals, Richard Wright on keyboards, and Nick Mason on drums. Known for its distinctive 7/4 time signature in the verses and the innovative use of tape loops to create the sound of cash registers and clinking coins, “Money” became one of Pink Floyd’s most commercially successful tracks, reaching No. 13 on the Billboard Hot 100 and helping The Dark Side of the Moon become one of the best-selling albums of all time.

Lyrically, “Money” dissected greed with a blend of sarcasm and scorn, painting a portrait of a world where financial gain superseded all else. The opening lines—”Money, get away / Get a good job with more pay and you’re okay”—introduced the song’s tongue-in-cheek perspective, highlighting society’s relentless pursuit of wealth. The narrator’s unapologetic indulgence, seen in lines like “New car, caviar, four-star daydream / Think I’ll buy me a football team,” captured the absurdity of excess. Unlike Ann Wilson’s “Greed,” which explored the emotional emptiness of insatiable desire, or The Stooges’ “Greedy Awful People,” which sneered at the privileged elite, “Money” adopted a detached, observational stance, allowing listeners to either revel in or recoil from its message. The later verses, particularly “Money, it’s a crime / Share it fairly but don’t take a slice of my pie,” revealed the selfish hypocrisy inherent in greed, making it one of the most pointed indictments of financial obsession in rock history.

Musically, the song stood apart from others in this article due to its fusion of blues-based rock with progressive elements. The transition from the rigid 7/4 groove into a more traditional 4/4 time during Gilmour’s guitar solo mirrored the song’s descent from detached satire into full-blown indulgence. Compared to the raw aggression of Godsmack’s “Greed” or the boisterous swagger of George Thorogood’s “Greedy Man,” “Money” exuded a slick, polished confidence, making its critique of excess even more potent. By the time the song’s final lines dismissed the notion that wealth should be shared, it had cemented itself as one of rock’s most definitive statements on greed.

Read More: Top 10 Pink Floyd Deep Tracks

# 2 – I Want It All – Queen

# 1 – Money (That’s What I Want) – The Beatles

Originally recorded by Barrett Strong in 1959, “Money (That’s What I Want)” became one of the most recognizable songs about greed when The Beatles recorded their own version for With the Beatles in 1963. Their rendition was recorded at EMI Studios in London on July 18 and 30, 1963, with George Martin handling production. The lineup featured John Lennon on lead vocals and rhythm guitar, Paul McCartney on bass and backing vocals, George Harrison on lead guitar and backing vocals, and Ringo Starr on drums. Unlike some of their later, more polished recordings, this track leaned into raw energy, with Lennon’s urgent vocal delivery reinforcing the song’s unapologetic craving for wealth.

Lyrically, “Money (That’s What I Want)” expressed greed in its simplest and most direct form. The opening line, “The best things in life are free, but you can give them to the birds and bees,” dismissed sentimental notions of love and happiness in favor of cold, hard cash. Unlike Pink Floyd’s “Money,” which analyzed the corrupting nature of financial obsession, or Queen’s “I Want It All,” which framed greed as an ambitious pursuit, The Beatles’ take on materialism was more primal and immediate. The repeated chant of “That’s what I want” left no room for nuance—the narrator desired money above all else, a sentiment that aligned closely with the brash, self-indulgent spirit of George Thorogood’s “Greedy Man.”

Musically, The Beatles’ version of “Money (That’s What I Want)” leaned heavily on the pounding piano riff played by George Martin, adding to the track’s driving momentum. Compared to the sneering cynicism of The Stooges’ “Greedy Awful People,” The Beatles delivered their greed-driven anthem with a more celebratory tone, making it sound less like a critique and more like an anthem for unapologetic indulgence. While the song lacked the social commentary of other tracks in this article, its straightforwardness made it one of the most enduring declarations of material desire in rock history.

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