A number of songs from the Evil Dead Musical could qualify, but "It's Time" takes the cake. With over-the-top lines like "Tonight (Kick you square,) you will die (in the balls) by the saw or the gun!" and "When danger calls, you must the balls of an ox, or a bear, or any large mammal~!" It's a step away from parodying this trope.
When A Funny Thing Happened on the Way to the Forum was struggling with its out-of-town tryouts, Sondheim was called upon to replace the opening number "Love is in the Air" with something that better fit the farcical tone of the show. The result, "Comedy Tonight", helped save the show and is one of the most infectious introductions a musical could ask for.
The entire point of Assassins seems to be to give these to people who really don't deserve them. The Ballads of Booth, Guiteau, and Czolgosz have some SERIOUS Draco in Leather Pants potential.
A lot of Next To Normal, but most of all the "You Don't Know" / "I Am the One" trio.
"I'm Alive". Brilliant, gorgeous, and scary as hell.
"Aftershocks" is one of the creepier songs on Broadway, and one of the most captivating. Actually, anything sung by Gabe deserves a mention, since Gabe is incredibly sexy. Every note he sings is Made of Win.
"Perfect for You", or any song with Henry for that matter is bound to be a Heartwarming Moment.
"I Miss the Mountains" has gotten standing ovations at numerous performances.
The first show to use previously extant music was LOVE — since it's the music of The Beatles, the show serves it, not the other way around. And it was remixed especially for the show. Who knew that "Strawberry Fields", "Penny Lane", "In My Life", and "Hello Goodbye" could be combined into a coherent whole? Or, for that matter, "Drive My Car", "What You're Doing", and "The Word"?
Amaluna has its main theme, "Come Together" (aka "Magic Ceremony"), which gets everyone in the audience clapping, no, pounding their palms along to the beat during its finale reprise, the Chinese pole song ("Creature of Light"), the first straps number ("Tempest"), the waterbowl number ("Hope" and "O Ma Lay"), the uneven bars theme ("Fly Around")... Actually, the whole show. (Again!)
"Defying Gravity" from Wicked never fails to give goosebumps. It's not a showstopper for nothing.
Add "What Is This Feeling" to the list for Les Yay Music.
"For Good" is one of the final songs in the whole musical, the harmonies towards the end of the song are superb.
"As Long As You're Mine". It's dark, sexy, and utterly perfect for the scene.
The Lord of the Rings Musical has the enviable position of having music that is very nearly as (or, in limited cases, more) epic than the film, especially in "Flight to the Ford", "Lothlórien", and "The Battle of Minas Tirith".
"Firelight's Glow" and Smeagol's reprise of the same are... well, they don't have quite the same caliber of "epic" but are indeed very, very good.
The Black Rider ranges from the tragic melancholy of "The Briar and the Rose" to the gleefully diabolical Villain Songs "Just the Right Bullets" and "Flash Pan Hunter". There's also the messed-up instrumental "Oily Night" to go along with a satanic ritual.
Frank's Wild Years. "Way Down in the Hole". So awesome it became the theme music for The Wire.
Woyzeck kicks off with a chromatic scale that morphs into the terrifyingly excellent "Misery is the River of the World". And then there's the ''three' Villain Songs, "Everything Goes to Hell", "God's Away on Business", and "Starving in the Belly of a Whale". And let's not forget the instrumental, "Knife Chase", which is Exactly What It Says on the Tin.
"The Writing on the Wall" from Drood is pure Betty Buckley awesome. Final "the wall", anyone? Belted E, a capella.
"Tomorrow is a Latter Day", the ending of the show. Especially Kevin's reprise of "I believe!" halfway through.
The Phantom of the Opera's signature organ chords (whether lifted from Pink Floyd or not, it is still awesome). Also the five-chord progression that concludes "Music of the Night" and later the show itself.
The huge "BEEE!" and ethereal "soar" also from "Music of the Night" certainly deserve recognition.
"Notes I", "Notes II", "Prima Donna", and the "Point of No Return" are also exceptional standouts.
"You will curse the day you did not doooooooo all that the Phantom asked of youuuuuuuu!!" And using that single line to transition seamlessly from the tune of Christine and Raoul's love theme to a crashing rendition of the Phantom's theme.
In the film's cut edition, Gerard Butlers!Phantom sings a song called "No One Would Listen" to the same tune as "Learn to be Lonely". Say what you may of the film and Butler's singing skills, but that man sold the song like Billy Mays sold Oxiclean.
"One Day More" vindicates all the earlier, simpler songs in the musical by having them play at the same time. Why was the melody of "Master of the House" so simple and straightforward? So that it would work as counterpoint with "I Dreamed a Dream" and "Look Down"!
"Morgen Schon", the German translation of "One Day More" on the Viennese cast recording, may be even more gorgeous than any English recording.
The transition from the end of 'Waltz of Treachery' into 'Look Down'. The shift in tone of the scene is so incredibly effective and spine-chilling.
Same with the very short theme playing when Valjean lifts the cart off Monsieur Fauchelevent in 'The Runaway Cart'.
Man of La Mancha is often erroneously referred to as a one-song show. It's not, really, it's just that "The Impossible Dream" is so damn good.
And once you've heard Joan Diener's cover of "Aldonza" on the French cover, with Jacques Brel, you will be riveted to your seat, goosebumps all over you, and you will never consider Man of La Mancha to be a one-song show again.
"Dulcinea" is a gorgeous ballad that is abruptly turned into a raucous, rollicking chorus number.
Watch "I, Don Quixote" performed by a talented actor, and you will stand up and cheer.
Riff Raff's entrance in the finale, where he kicks in the door. Best part of the film.
So many pieces qualify that you can make a case for including the whole show. "Science Fiction (Double Feature)", "Dammit Janet", "There's A Light", "The Time Warp", "Sweet Transvestite", "The Sword of Damocles", "I Can Make You A Man", "Hot Patootie", "Touch-a Touch-a Touch Me" and "Eddie" are consecutive songs and all very much worthy of being here.
"Find Your Grail" from Spamalot is so incredibly, unbelievably, and intentionally cheesy that it wraps back around to awesome.
Of all the assorted Cut Songs that Little Shop of Horrors produced, "The Worse He Treats Me" is the one with the most understandable reason for cutting; it completely mischaracterizes the female lead, is disturbing, and doesn't really fit in anywhere. It's STILL Awesome Music.
Though it was written for the movie, "Mean Green Mother From Outer Space" is occasionally readded to the show, and it's DEFINITELY this. The best part, though, is the end of the song, which wasn't present in the movie, as Audrey II eats Seymour. The Cut Song that it replaced, "Bad", is also pretty awesome.
"Rent, rent, rent, rent, rent! We're not gonna pay rent! 'Cause everything is RENT!" The movie version is even more epic, because they're able to BURN THEIR EVICTION NOTICES.
Finale B. Not only is it an amazing medley of major themes from the rest of the musical, if you listen close, even to the recording or movie version, you can hear Angel's voice. On the stage version, Angel comes back out onstage. There's something ridiculously awesome about it. In the alternate ending for the film, you also see Angel - the screen cuts back to the opening visual, with all of them singing into microphones onstage, and near the end of the song she walks out and joins them.
The moment when Pilate finally condemns Jesus to death ("Die if you want to, you innocent puppet") and then the orchestra comes in with the beginning of the title song is quite possibly the high point of Andrew Lloyd Webber's career.
Say what you will about the Narm, but Lord of the Dance/Feet of Flames has some freaking awesome music. See: Cry of the Celts, Planet Ireland.
"Memory" from Cats. Grizabella's entire subplot is that she left the Jellicle tribe to be famous and acted like a total Jerkass. So, naturally, when she comes back, the cats don't want any part of her. "Memory" is her saying that she wants the old days back and that she was sorry for being a bitch in the most awesome way possible.
Bill Bailey's stage performances include a lot of awesome music. Probably the best would be the in Tinsleworm, where he, with a local group of Indian musicians, perform a "Hindi Indie" version of Radiohead's "Creep".
Kristina (aka Kristina from DuvemÃ¥la) has a lot of good music, but few things can beat "Gold Can Turn To Sand".
In the original Swedish version, Kristina's "You Have To Be There" is one of the best songs from any musical ever. Unfortunately the English translation is poor, repetitive and has little of the original lyric's emotion and angst.
"Touch Me" also has some incredible moments, especially the buildup to the climax. "Consume my wine, consume my mind..."
"I Believe" which is two minutes of non-stop harmony.
And "Totally Fucked" is roughly three minutes and fifteen seconds of pure cathartic awesomeness.
"Those You've Known" is the climax of the entire plot and is hauntingly beautiful. The same goes for the live performance of "The Dark I Know Well".
The German incarnation of Spring Awakening is also a powerful experience, with the almost ethereal version of "Whispering" as "Hör nür hin".
"The Song Of Purple Summer" is both a showstopper and the end of the show.
The Russian Dance from The Nutcracker Suite, with the distinction of being Awesome Music in a ballet!
In Béla Bartók's one-act opera Duke Bluebeard's Castle, the opening of the fifth door reveals the full extent of Bluebeard's wealth as a landowner. The accompanying power chords are so overwhelmingly awesome.
Bertolt Brecht and Kurt Weill's Threepenny Opera gave us "Die Moritat von Mackie Messer" (The Ballad of Mack the Knife), but "Zuhälterballade" (Pimp's Ballad) is also awesome. What a beautiful, slow tango. They had some amazing music in their works. All you have to do is get past the rather depressing stories. Or enjoy them together, as you really should.
"So Much Better" is basically pure, gleeful, triumph and personal achievement expressed in song.
"Legally Blonde" is a song of such shocking pain, sorrow, loss of self-worth, and in the end solidarity that it takes you by surprise after all the peppy, fun, upbeat numbers that came before. But then when Elle gets her Heroic Second Wind and Vivienne comes in on the Reprise...sheer win.
"Run, Freedom, Run!" from Urinetown is so awesome that even hostage Hope has to bounce along with it.
Cop Song is pretty epic as well. Also "Snuff That Girl". Both can be creepy as Hell when done right, and are major ear worms to boot.
The Addams Family has some fantastic songs ("When You're An Addams", "Happy/Sad", and "Move Toward the Darkness", among many others), but the crown has to go to Alice's "Waiting", which is a scathing, hurting, vicious strike back at her neglectful husband, and it stops the show cold.
"There Ain't Nothing Like A Dick" is amazing too. Pretty good showing for a musical about walking and talking genitalia, eh?
From A Very Potter Senior Year: "I'm Just a Sidekick" definitely qualifies, as well as "Everything Ends", "When I Was", "This is the End", "A Very Potter Senior Year", "When You Have to Go All the Way Home"... dang it, these kids are talented. The reprise of "Back To Hogwarts" counts as well.
13 brings us "Brand New You", which may well be the best song of the musical. All of Lucy's songs are quite nice, too.
From The Wedding Singer, "Saturday Night in the City", "Right in Front of Your Eyes" and "It's Your Wedding Day" and its reprise. The rest of the show's good enough, but those three are pretty fantastic.
"Grow Old with You" was really sweet too. Overall, the song is just embodies what it's like to love someone and want to marry them.
"My Husband Makes Movies", from Nine. Marion Cotillard's version was simply gorgeous.
And speaking of Marion Cotillard, the sadness and neglect implicit in "My Husband Makes Movies" comes to a crescendo of bitterness and thoroughly justified rage in "Take It All". Her character's suffering at the hands of her cheating husband, who only knows how to take and not to give, is expressed via a fantasy cabaret scene in which her husband sits and watches as she performs for a club full of men who tear her clothes off. Intense, poignant scene with awesome music to boot.
"To this we've come" from The Consul, by Gian Carlo Menotti. Also, "Afraid, Am I Afraid?" from The Medium, by the same composer. Actually, pretty much all of Menotti could count.
"Your Daddy's Son" and "Make Them Hear You" from Ragtime. Beautiful and heartbreaking.
It opens with CMOA. The various groups swirling around each other, mixing, separating, then blasting out that last verse- amazing.
Obvious, but "Into The Fire" is worth including on the list. And then there's "The Riddle": "Every Judas once loved a Jesus/ But finally, treason will seize us". DAMN. It helps when one of the singers is Terrence Mann, of course.
Seussical's "Alone in the Universe" is pretty powerful, in particular when Horton and Jojo are both singing the chorus together- "I have wings, and I can fly, around the moon and far beyond the sky!" "Solla Sollew" as well.
Children Of Eden is Stephen Schwartz's less-loved show, but it's got a couple great numbers- "Spark of Creation", "The Hardest Part of Love", and "Lost In The Wilderness" are all excellent, but the clinchers are the A Capella harmonies in the Act One Finale and Title Song "Children of Eden" and Act Two Finale, "In the Beginning". If you do not leave the theatre sobbing and/or amazed at the talented cast, someone is doing their job horribly, horribly wrong.
"Keys/It's Alright" from Passing Strange. It starts as a ballady number, in which the main character, Youth — who's on his finding-myself world journey - has just arrived in Amsterdam and needs a place to stay, and a new friend simply hands him her house keys and says she can stay with him — and he is understandably touched. It builds into a huge explosive celebration of hope and optimism and "everything's gonna be alright", with the narrator bringing Youth's artist heroes into the song to encourage him as well:
From bare: a pop opera is "Bare", "You & I", "Ever After", "Best Kept Secret", "Confession", and "God Don't Make No Trash".
Gilbert and Sullivan's The Pirates of Penzance has "I Am the Very Model of a Modern Major General" (AKA the Major-General Song), "With Cat-Like Tread", and "When a Foeman Bares His Steel" (AKA the Policemen's Song).
"Don't'cha Pinch Me Charlie" is a great Crowd Song as everyone celebrates Charlie Bucket's Golden Ticket find.
The song that follows that — and closes out Act One — manages to be a solo turn that feels much bigger than a Crowd Song. "It Must Be Believed to Be Seen" starts with a clever variant on Willy Wonka's entrance in the 1971 version and goes on to reveal every facet of the character — the whimsicality, philosophy, and even creepiness — in less than five minutes. Pair this tune with amazing orchestrations, and then add Douglas Hodge's vocal, and you will believe.