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theabhainnhotel · 6 months ago

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Every Hazbin Hotel Season 1 Song Ranked

Because why not. I'm going to go from worst to best and explain why I put them there. This will include songs from the pilot + Addict. I don't believe any song is bad per say, but some are definitely better than others. They're all better than Wish's music if that means anything.

There's going to be some very controversial picks here, please put the pitchforks down.

20. It Starts with Sorry - The best way I can describe this song is "aw that was cute . . . wait what were the lyrics again?" It sounds like a mid-tier MLP song and doesn't fit the rest of the soundtrack. Very forgettable and I also felt the introduction to the song in the episode had no build up. Animation was pretty here though.

19. Whatever it Takes - I was mixed between putting this one or It Starts with Sorry at the bottom, but I like Vaggie's part enough. There's something missing here and I can't put my finger on it. I feel like it could have been stronger because the lyrics are good, but the instrumentals are so bland. I listened to a review once that said that Carmilla is a new character the show treats like you should already know and I agree. Maybe that's the reason why I don't care for this song. Mostly carried by Zestial and Vaggie's vocals and some nice lyrics.

18. Welcome to Heaven - I don't think this song is as bad as everyone says, it's just less good than the others. It sounds like something you would hear at a public pool and like It Starts with Sorry, doesn't feel like it fits the track. Emily's part was the best part and it does do it's job of establishing the difference between Heaven and Hell. (also, I don't know if this is 100% true or not, but it's really funny to me that they had to redo this song because St. Peter moaned too much and Amazon was like "oh hell no we're not airing that")

17. More than Anything (Reprise) - Wow is Vaggie's voice pretty. Charlie's voice to. It's short and sweet and romantic. I wish they had a full song together. Would've been higher if it was longer, but that's the point of a reprise. It was more impactful when it was a father daughter song.

16. Alastor's Reprise - I forgot about this one until I relistened to the pilot songs for this ranking. My favorite thing about this song is how cynical it is. Alastor's basically saying "this hotel is a ridiculous idea that's going to crash and burn but I'm going to have fun with it". The swing remix of IOEDIAR is also very catchy. But just like the More than Anything reprise, it's too short to be put high up, especially with the abrupt ending.

15. Loser Baby - I like the message a lot: "Hey, the world might suck and we're both in horrible situations, but we're not alone". Keith David does a great job singing. Like with Whatever it Takes, I can't pinpoint what it is I don't like about this song, it just doesn't get me excited like a lot of the other songs do. "I got an appetite for samplin' every drug and sex toy I can FIIIIIIIND" makes me wince every time, that's a bad voice crack. The strong jazz in the back is my favorite part of the song. I'd listen to that lyricless. Not bad, I just don't care for it.

It does include Keith David singing "You're a power bottom at rock bottom" so that must count for something.

14. Inside of Every Demon is a Rainbow - I have a soft spot for this song, even if it's jarring listening to Elsie Lovelock as Charlie after the series. It has a nice upbeat energy to it and the animation helps sells it. I like both bits where's she's naming off all of the people she wants to join in her hotel. It actually reminds me of Vox in Stayed Gone, trying to talk and move fast because they know they need to get the attention of the demons watching. However, the ending vocals are a bit annoying since they sound almost screeching. Also, the Amalee cover of this song is extremely underrated. Charlie's villain arc.

13. Happy Day in Hell - I feel bad for putting this song so low because I really do love it. It's a great introduction to who Charlie is as a character and what she sets out to do. It's her Disney "I want" song. And while I don't care about the other demons' parts that much, I like how their pessimism and acceptance of Hell contrasts with Charlie, but she doesn't let that stop her. It's also a very musically interesting song with different sections and instrumentals. A trend you're going to see in this ranking is that I really, really love Erika Henningsen's voice.

12. Addict - I've always liked the lyrics to this song, both in Angel's and especially Cherri's. The last verse of "I'm addicted to the sorrow, when the buzz ends, by tomorrow" is my favorite part. Angel's high of the day slows down just like the tempo and he finally takes the mask off. The one thing here is that, no hate to Michael Kovach I respect him greatly, Angel's voice sounds extremely auto-tuned. Once you hear it, you can't unhear it and it's a bit grating. I have to give it credit though for being the song that made me learn what Hazbin Hotel was, I found a version of it where Lust Sans and Dust Sans sang it and then searched it up.

11. Ready for This - This song and everything after is where the ranking gets difficult because ugh, all of these are so good. This one is another very theatre sounding song and I like how Charlie gets more confidence as the song goes on. Even if she's uncomfortable with how bloodthirsty the cannibals are, she wants to gather everyone together. I love Rosie and Alastor's singing, both together and apart, and it's funny that none of the cannibals gave a shit until he said "oh and you can eat the angels". That last verse is the best part, no wonder it was the song teased in the trailer. My gripe with this one is I feel the part where all the cannibals sing overstays it's welcome. Other than that, great song.

10. Hell is Forever - This song does a great job at establishing who Adam is: An admittedly funny douche who thinks he's the greatest thing since sliced bread. The electric guitar fits his character and not just because he has the "guitar solo fuck yeah" part. He poses a decent threat, especially at the ending and doesn't care about any of Charlie's arguments or the sinners' lives. He literally says it's entertaining. Alex Brightman gives him so much character through his voice and the animation helps express that.

9. Out for Love - More than makes up for Whatever it Takes. Catchy, great singing, great beat, great chorography, sets up their future dynamic, and foreshadows the final battle. The reason Alastor failed while everyone else succeeded is because he fought for himself while everyone else fought for someone they cared about. Vaggie's love for Charlie saved her. Carmilla's voice is lovely. I just wish this one was a little longer, this song feels like there's a verse or two missing since it goes immediately to a bridge after the second chorus. I have a theory something may have been cut for time.

8. I'm Always Chasing Rainbows - This . . . this is not what I expected to be my favorite pilot song. And yes, I know technically it's not a Hazbin song but rather a cover of an old song, but I've seen it on other rankings and it's on the wiki, so it counts. There's just this haunting, defeated aura to this song that makes it beautiful. The context of it being Charlie feeling like a failure after watching her people die again gives it more impact. It sets up the bitter tone of the extermination. She's trying so hard to stay positive and it would be interesting to see an AU where she sings this as a result to the hotel failing. Very underrated, I love this song.

7. Hell's Greatest Dad - I'm a sucker for electro swing so this one was great. Alastor canonically pulled the "your daughter calls me daddy too" card on the king of Hell and that will never not be funny. This whole song is hilarious in the concept alone: Lucifer and Alastor have a music battle over child custody of Charlie but Alastor doesn't actually care about her and just wants to piss off Lucifer. Something about the way Lucifer sings "champagne fountains, caviar mountains" scratches my brain just right. The one thing that puts this song lower is Mimzy's part and the final verse after the instrumental battle being much weaker than the rest.

6. Finale/The Show Must Go On - I don't care what people say, I think it's a great final number and it feels like a musical finale before the audience claps. I know this song is always praised for the Vees part and yeah obviously that was the best part, but Charlie really stood out to me. Especially in the "We can do this (we can do this!), we'll be better (we'll be better!), though redemption may take a while (though it may take a while!). Alastor's part is haunting and is such a shift from the hotel resident's and really shows how high he prides himself, along with how much this "deal" affects him. Valentino and Vox's duet is super memorable and sets up intrigue for season 2. But seriously, why are the Vees like this (lovingly).

5. Respectless - I love Velvette's character here. She acts as this spoiled brat that thinks she's better than she is, but once she gets the reaction she wants out of Carmilla, she proves she actually is quite smart, even if she does nothing with the information she gained. Anyways, about the song now, it's a good length and does it's job of establishing Velvette and how the other overlords feel about her. It's good she has this since this is her biggest moment in season 1. Zestial has to have the patience of a saint. Her voice fits the hip hop parts and Carmilla's classical bits make good contrast and characterization to show the differences between the two.

I like to think sudden song battles are a common thing among overlords and it's almost expected at every meeting.

4. Stayed Gone - No, I didn't just put it near the top because it's my two favorite characters having a rap battle. This song has great banter and insults, along with establishing Vox and Alastor's dynamic. My favorite wordplay is "now his medium is getting bloody rare". I like how Vox is so frantic and jumping around to show he's insecure while Alastor is calm and collected. Vox is attracted terrified of Alastor and he doesn't want to admit it. It's also unique on how it's two villains having a song battle. The only thing I wish is that there were one or two more singing parts since those were the best part.

3. More Than Anything - It took me a while to warm up to this song and I had it at number 9 originally, but wow is it beautiful. Both Charlie and Lucifer's VA's do a great job here. It explains more about their past and concludes the arc set up in the episode. Charlie wants Lucifer to support her and Lucifer wants Charlie to be safe. It's the most emotional song and the lyrics are so beautifully written.

2. You Didn't Know? - This one and Stayed Gone were close, but I like this one a little more. It may have issues with the story (ex. the emotional impact would have been better if we knew Emily and Sera more), but on it's own, it's a great song. My favorite part is Adam and Lute's "There's no question to be posed, he's unholy, case closed! Did you forget that Hell is forever?" This feels the most like a musical song with everyone singing together and how the instrumentals are used. I read some lines sound clunky and while I agree for Charlie's "that's what the fuck I've been saying", I think Adam's "did you ever think your girlfriend might be a liar" works better than "might be lying" because "liar" sounds more accusatory. And obviously there's the part where Charlie and Emily sing together and that's amazing.

Poison - I adore every bit of this song, it's basically everything good in Addict cranked up to a 10. The storytelling, the lyrics, the vocals, this is one of those songs I can have on loop for hours and not get bored of it. The lyric progression from "addicted" to "choking" to "sick of" is so good and I love how it shows that he's breaking. It makes sense why Angel would have this song in his circumstances because that's his whole character: He's a deeply troubled and traumatized guy who hides under drugs, jokes, and sex. He wants to get away, but he can't because Valentino keeps feeding him his "poison". I had plans to do a mini essay on the dressing room scene in Masquarde and I'm going to include Poison in it too. I understand why people wouldn't like it, but I think it's a 10/10 and best song in the show.

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corn-egg · 10 months ago

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NPMD song tier list

Controversial

As cool as I think I am: I never really vibed with this song. I mean it's good but compared to every other song it just doesn't excite me as much. Although it does always make me laugh and cry.

If I loved you: I just started warming up to this song, but it's also like as cool as I think I am. And then also to sing this right after Ruth dies? If this was placed after they honored her a little more that'd be fine. The emotional whiplash from just for once to this song

The best of you: definitely an earworm. I love all the highschool characters we got from this one song (like brooke and rudolph) and also how this is like their up-town funk, that idea is absolutely adorable. But then, 3 kids died from murders (soon to be 4) in the course of one month and they just forget about it? I can't help but feel a little sour about that. But other than that I love it.

Cool as I think I am (reprise) this song brings me to tears every time I watch NPMD. LIKE joeys performance in this? Breathtaking. It's very sad but also very short

The summoning: I really want to put this song up higher but I do get second hand embarrassment for some parts. Other than that I love the LIB and was absolutely ecstatic we had something for them all together. I really love pokey after yellow jacket so I wish they evened out the lines throughout the song

Dirty Dudes must die: I love how batshit insane Grace became at the end. She is a true icon. And the vocals? CHEFS KISS! Her ending pose is everything. She is THE GIRLBOSS

Dirty girl: I'm going to be honest, I skipped this the first time I watched NPMD. But rewatching and relistening to it really made me appreciate the amazing harmonies in this song. I love them so much in this, although its extremely embarrassing watching with your friends

Literal monster: again, I would love to put this higher but it's hard to rate this. I love love love how max sings a verse in this. But also how the nerds sing too, god the choreography is just sjrjrntjng

Go Go Nighthawks! THE FUCK YOU CLIVESDALE VERSE HAS ME ROLLING ON THE FLOOR LAUGHING. And Richie dancing in the mascot costume is so funny to me too. Especially cause Jon was battling to keep that on his head when he was in the play. Plus this song is the last time we'll see everyone happy together.

Bury the bully: this song is so funny. But also how everyones voices go together? Changing from bully the bully to bury the bully is GENIUS. the end when "I just cut off his nips" and grace screams "GIVE ME THOSE" is definitely an underrated line

Bully the bully: I know I keep on saying that these songs are hilarious, and that's because they are. Like, the chemistry all the nerds had in this scene? The spins? You can see how much more sure of this they are then in the 'reprise' and how they think this is going to solve all of their problems (it does for like two weeks)

Hatchettown: all the cameos in this made the hours of going through NMT so worth it. (I do recommend watching it. At least season two) even kn tje cast recording boy jerry is in it calls Jeri a dirty girl and I don't think many people know about that. And the bridge in this song? Heavenly. Actually a 10/10 song.

Nerdy prudes must die: this scene is heartbreaking but it was necessary for us to hear Jon's amazing voice. The little details where max uses his powers on him and he like flops to the floor? To good. And he thinks saying "I'm not a loser" will help his case like in all of his animes LMAO. This just really shows how far everyone in starkid has come.

Highschool is killing me: best opening number ever (totally not biased) the opening lines always give me chills how it always smoothly transitions. I think everything in this is perfect.

Just for once is one of the best songs of the hatchet field trilogy and here's why: it uses clever word play and shows how Ruth isn't just a throwaway character.

Jeff blim isn't really known outside of the fandom from having the best lyrics (I obviously love them but this is just some beliefs other people have) he really outshined with this. It just looks so dumb but when you really feel dive on what the double meaning for every lyric is you really start to appreciate it.(someone pointed this out once and I'm just obsessed:the joke of her brushing her hair with the grill brush is also funny because she doesn't have any hair from her chemo treatment)It's heartbreaking to see how Ruth longs for something people wouldn't consider a big deal; she wants to be a middle aged mom. That goal just to be found is so sad to see how much she wants it and then you see that she's never ever going to reach that goal because of Max jagerman. Ruth definitely makes people uncomfortable when watching the musical, but for her character saying the most out of pocket things is her way of getting attention, and then also to have such a pathetic death? It really rubs salt in the wound.

In many ways I can relate to Ruth. Her want to be something when she's older. Ruth's need of attention and affection is also kind of how I do it: with theater and saying weird shit. Although when I say weird shit I think it's hilarious to see their reaction. But she also wants to perform and I love to perform so much and being someone you aren't for just an hour seems so fun.

They couldn't have chosen anyone better but Lauren for this role. You can see how much thought she put into her acting: her little facial expressions, the slightest change in tone of voice and her posture. I love the way she acts in the beginning of the song with the eye batting and the over animated movements are so satisfying but also serve a purpose. It shows how Ruth is mocking the play, but once the movements become less and less animated you see that she longs for that life she is talking about. I just absolutely adore the song and character although she is seen as weird. ENDING NOTES: THIS SONG IS SO GOOD!! LISTEN TO IT RIGHT NOW

If you actually read the whole thing thank you :))

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jezfletcher · 6 years ago

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1000 Albums, 2018: The Top Ten

10. Skerryvore - Evo

(Celtic rock) Right in my wheelhouse is the confluence of Celtic folk, pop and rock, and Evo from Skerryvore really delivers exactly that. It’s has a kind of rousing stadium sound to it, but performed with some trad twists that always makes it sound fresher than your average kind of pop rock. Much like my #1 album of 2016, The Space Between from Jamie Smith’s Mabon, this is the kind of album which was always going to vault up the ratings. My pick of the tracks it Hold On.

9. Orbital - Monsters Exist

(techno) A pretty monumental album from Orbital, 90s beatmakers extrordinaire, which manages to wrangle all of their dark, thumping electronica, and their humour into one tight little package. My pick of the tracks is the sprawling Monsters Exist, but you could just as easily fall in love with tracks like Hoo Hoo Ha Ha or P.H.U.K.. This sounds a little bit like their 2001 album The Altogether, which is one of my favourite albums of all time. This won the week easily the week it came out; so easily that I didn’t necessarily think about it much. But when it came time to relisten, I appreciated anew just what a fine album this is.

8. Dudley Benson - Zealandia

(contemporary chamber music) This was something of a revelation to me. This was one of Sam’s picks, and something that I’d failed to find in my screening. But this is really quite wonderful music, akin to the Mercury-winning Benjamin Clementine we listened to last year. It’s music with a real sense of novelty to it—music that sounds like music will sound in the future. It’s based around chamber music ideals and baroque instrumentation (harpsichord features prominently), but it maintains a kind of pop structure that adds an accessibility to it. That might make it less academically complex as Clementine, for instance, but it also makes it the kind of music you can devour wholeheartedly. I have two particular picks: Birth of a Nation and It’s Otepoti’s Fault.

7. The Fratellis - In Your Own Sweet Time

(indie rock) I’ve actually never listened to the Fratellis before, although they’ve had a somewhat illustrious career before now. Coming into this album fresh though is quite an experience though. You feel a little bit as though they’ve completed everything they wanted to complete, and now, with an album like In Your Own Sweet Time (their fifth), they can just let rip and have fun. And this absolutely comes through in the music—it’s riproaring stuff, just full-throated and unapologetic about what a good time they’re having. It’s also daggy, but it’s done with such abandon and sincerity that I was dragged along with it, grinning every step of the way. There’s lots of pick on an album like this, but even amongst all the goodness, there’s a big standout in Starcrossed Losers.

6. Cosmo Sheldrake - The Much Much How How And I

(baroque pop, art pop) A wonderfully quirky album from a very talented musician, The Much Much How How And I is the debut album from Sheldrake, after a teaser of his style in his EP Pelicans We, which we also listened to this year. A multi-instrumentalist, Sheldrake must play around 100 instruments on this thing, ranging from plinky strings to oddly tuned percussion, to clarinet, all backed up by his affected vocals. It’s chamber pop in some sense, but it’s also mixed with the music you’d find in a turn-of-the-century circus, or the soundtrack to the inevitable approach of the clockwork army. It’s utterly unlike anything else we listened to this year, and that’s enough to propel it this high in my list. My top pick is Wriggle, but I also rate Birth a Basket, Hocking and Egg and Soldiers.

5. Jeremy Messersmith - Late Stage Capitalism

(orchestral pop) From the first moments I started this album, I could tell it was going to be a yearly standout. It’s a kind of effortless throwback pop rock, which both manages to sound evocative of 60s pop, while having the clean, crisp edge that makes it feel fresh and modern. On top of that, there’s just some really classic songwriting in here—tracks like Purple Hearts feel like the kind of track which could have been a hit in any era since the 1950s. While Purple Hearts is a big standout for me, I’m also very fond of the melancholy ambivalence of Monday (“Monday, you’re not so bad”, he croons), and the swooning All The Cool Girls. It’s a really quite wonderful album.

4. Moon Taxi - Let The Record Play

(indie pop) I’m pretty surprised to see this so high—it’s the highest album on this list which didn’t end up taking out an Album of the Week award the week it was released—but on relistening I was shocked at how bloody good it is. This is, absolutely, the kind of album which I have just devoured in the past. It’s pop rock with jazz and funk influences. It’s got a prominent horn section. I mean, even just look at that cover art. You know it’s going to be fun. But the even better part is the density of top tracks. Even many months after hearing it, I not only get my top track stuck in my head (Two High, which is awesome and you should go listen to it), but I find myself humming along to Let the Record Play, Good As Gold, Nothing Can Keep Us Apart and Trouble. This is the sort of thing that’s going to get me in just about any week of the music project. And yet it didn’t win the week when we listened to it. Funny about that.

3. Kyle Craft - Full Circle Nightmare

(glam folk) Kyle Craft had my #2 album of the year in 2016, with his debut Dolls of Highland, which was a revelation, and just a bloody good album. He’d released a couple of respectable, but somewhat underwhelming filler singles in 2017, so I was approaching his sophomore effort with some trepidation. But boy oh boy was I wrong to worry. This is every bit as good as his first effort, recapturing all of the energy and glam swagger, and putting it forward with his brassy bombast. Here we have tracks like Fever Dream Girl and Heartbreak Junky which run the gamut from melancholy introspection to punchy full-throated sass. This was absolutely the album I wanted from Craft to follow up on his exceptional debut: it’s more of the same, to show that he can pull out the same style and verve that made the first album so good. If there’s one reason that this is #3 of the year when the previous album was #2, it’s that it does lack that delineation from the first album. But that, as I said, is a strength as well. I feel like I’m expecting something new from album number three though, and given Craft’s talent, I can imagine a bunch of ways it could go where he really ratchets it up to the next level. I’ll be waiting.

2. Jukebox The Ghost - Off to the Races

(power pop) This is an amazing collection of music, and has a density of quality songs that beats just about anything on this list apart from my #1 album. Unsurprisingly, that’s why it’s in my #2 position of the year. You know you’re in safe hands from the very beginning, with the Queen-channelling, raucously complex opening track Jumpstarted (which will also be featuring prominently in my Top Tracks of the Year list). But the hits keep coming, with the power pop Fred Astaire, almost chamber-work like Time And I and plaintive Diane. There are more I could mention. This is just exactly the kind of music I’m here for—and for them to give me so many different flavours of it across the album is a real treat. A very worthy #2 of the year from me.

1. The Go! Team - Semicircle

(vaguely alterna-J-hip-poptronica) In the end though, I can’t go past this pretty awesome album from stylistic provocateurs The Go! Team. I’ve thoroughly enjoyed some of their previous work (although I’ve not done a proper deep dive into it), but even this album is pushing them somewhere different. Recorded with a youth choir and what sounds like a high school marching band, it manages to capture their same style but package it up in a different way and the results are fascinating. But beyond being academically interesting, it’s just great fun. We have tracks like the steel-drum infused If There’s One Thing You Should Know, the plunderphonic Mayday, which incorporates a Morse code beeping into its main driving rhythm, the tight jazz-rock stylings of All The Way Live, or title track The Semicircle Song, which climaxes with a bunch of the singers introducing themselves with their name and star sign (because why. the hell. not). This was a strong winner of Album of the Week the week it was release (and the reason why Moon Taxi didn’t get a look-in that week), and I think I’ve always been quietly considering it my Album of the Year from when it was first released. But there’s nothing like making it official, and it feels good to finally make an honest album out of Semicircle. There we have it for another year. There were genuinely some amazing albums this year, and I find it very, very satisfying to look over the best of them. It absolutely makes the effort and the time we spend on this project worth it. Tomorrow, I'm going to post my top tracks of the year, without commentary, and also post a public playlist of all of my top tracks, in case you want to give it a whirl. Believe me that 2018 (like 2017 and 2016 before it, and maybe even years before we did our 1000 Albums project) was an excellent year for music.

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