Tonight's The Night

If I ever wanted to be in a shitty bar in the 70s, this is what it would sound like. I don’t want to be in that bar

I’ve heard otherwise kind, generous people express their concerns about giving homeless folks money. What if they take it and buy alcohol or drugs instead of food? An easy solution, if that’s your problem, is to keep some packaged peanut butter crackers handy and give those out instead. Problem solved. Everyone’s happy. But I actually give money regardless, and I do it 'with' the understanding that maybe a little weed or booze might possibly be the most charitable act you could offer on that particular occasion, assisting someone to just make it through one very cold, lonely night after an unsuccessful job search. Yes, I’m fully aware that this is hardly a long-range sustainable strategy for turning one’s life around. But you also never really know what may come of one merciful deed, do you? Nor do you know what the result could potentially be by taking the tough stance, and refusing to be an enabler, even when it’s the seemingly appropriate time to do so. When Neil Young canned guitarist Danny Whitten, because of his continual abuse of heroin, I’m sure he felt as if he was doing the best thing for his friend. And in some instances, that works. On this occasion, however, Whitten went on to die of an overdose. That’s not Neil’s fault, but you can understand how one might feel in his place. That’s got to be a sucker punch to one’s emotional center. Then, a short while later, when roadie Bruce Berry also died of a heroin overdose… how much can one friend take? 'Tonight’s The Night' is the bitter fruit of these fallen seeds, an LP I’m sure Neil wished he never would have had to write and record. I’ve seen him in concert, playing most of his historic catalogue, and I don’t recall him performing one of the songs off this LP. He wrote in the early original vinyl liner notes: ‘I’m sorry. You don’t know these people. This means nothing to you.’ But, of course, he’s only partially correct. While we don’t know his two lost compadres, we are more than familiar with grief. And that’s really what 'Tonight’s The Night' is mostly about: the universal experience of loss, and the struggle through the aftermath of grief. Not too long ago I reviewed Soundgarden’s 'Superunknown,' a fundamentally bleak reaction to life’s more painful moments. Lead vocalist Chris Cornell wrestled with his own drug demons for years and eventually committed suicide by hanging. I hate that LP, despite the talented musicians that comprise Soundgarden, and the hard rock sound that I usually like. I hate it for the exact opposite reason that I love Neil Young’s 'Tonight’s The Night.' Not because Chris Cornell is any less moral than Neil Young, or because his life was any less difficult or painful. I love Neil Young and this particular LP because Neil, pain and grief notwithstanding, is a survivor. He’s an artist of tremendous courage, refusing to completely give up or in. Listen to his heartrending, raw-throated vocals on the title song: ‘When I... heard that he DIED out on the mainline.’ Listen to his intense cry for someone to make the pain stop on ‘Mellow My Mind,’ or his desperate plea on ‘Tired Eyes’ for folks like Danny and Bruce, headed the wrong way down the one-way path to ruin, to open up those eyes before the light in them is extinguished by death. Most other artists would have re-recorded or excised all three of those songs altogether from their LP because of the rough vocals and miscued instrumentals. But Neil just leaves it all in, because he’s so much more concerned about getting the mood of the song right, about offering something authentic, than getting a clean take void of emotion. There’s a good chance anyway that these songs might just be too personal for more than one take. Incidentally, this is one of the reasons I love classic punk rock so much, too. Passion over proficiency. And hey, if you can pull off both, even better. (‘New Mama’ contains passion along with pitch perfect, wonderfully balanced- ala CSNY- harmonies, and a rested, tender, beautiful vocal from Neil.) But, if I was forced to choose one or the other, then I’d choose passion every time. But back to my point regarding the contrast between 'Superunknown' and 'Tonight’s The Night'- there are two songs that standout on this LP that really cement my love for it: ‘Speakin’ Out’ and ‘Borrowed Tune,’ both important additions to understanding that within the grieving heart of Neil Young hope still beats. As he plays a piano part that would’ve made Fats Domino proud (and accompanied by Nils Lofgren’s super blues guitar solos) he sings to his wife, ‘I’m hoping for your love to carry me through. You’re holding my baby, and I’m holding you.’ A testimony to the healing power of love. But ‘Borrowed Tune,’ with just solo Neil on piano is maybe the best number on this whole thing. When he strikes the bottom chords on the third verse making the whole sound swell with richness, the song enters into its second half, and ultimately ends with the same verse it began with, but with one notable absence. The first verse begins with ‘I’m climbin’ this ladder, my head in the clouds. I hope that it matters. I’m havin’ my doubts.’ If you’ve never uttered this you’re probably too young yet to have experienced any significant loss (of a loved one, or a dream, or meaning, etc.) But on the last verse when he repeats this he ends simply on the ‘I hope that it matters’ lyric, and leaves out the ‘I’m havin’ my doubts.’ Is this still implied? Or, maybe, has Neil reconsidered. Maybe his doubts are now giving way to the greater strength of his hope? I like to think it’s the latter. Thank God for Ben Keith, whose pedal steel gave this entire LP that necessary and uniquely heart aching sound of the pedal steel. It’s THE instrument of sorrow, as opposed to the accordion, the instrument of joy. And thank God for Neil’s tried and true buddies from the rest of the Stray Gators, The Santa Monica Flyers, and as always, Crazy Horse. These three combos have always been Neil’s truest and purest and highest band mates, much more so than Crosby, Stills, and Nash (as wonderful as they are.) CSN belong together. Neil belongs elsewhere. Finally, what an interesting insertion of the LPs only live cut (something Neil often does on his albums): Danny Whitten sharing lead vocals on ‘Come on Baby, Let’s Go Downtown,’ a joyful, raucous song remembering better times, the good ol’ days of the late 60s. No coincidence, I’m certain, that this particular song was about going downtown to, specifically, buy some drugs! Well, everyone deals with grief in their own unique fashion. There is no right or wrong way. There’s just your way. And 'Tonight’s The Night' is Neil’s way.

Tonight's the Night is a spectacle of raw, unfiltered tragedy. The opener is emotionally devastating, as Neil Young's voice croons and squeaks, soaring and collapsing through a set of lyrics about his dead friend Bruce Berry. Speakin' Out is wistful, melancholic, and evokes a sense of the band playing to dull the pain. World on a String works surprisingly well either in spite of or due to its roughness, but it's not as necessary as some of the other cuts. Borrowed Tune sketches a portrait of a sad, questioning, regretful artist wasted out of his mind at night's end. Come on Baby Let's Go Downtown is bright and bouncy and painful, as Danny Whitton who was instrumental in Neil Young's previous efforts delivers a posthumous performance that brings the house down. It reminds us what has been lost (the light that no longer shines) and provides a respite from the album's downtrodden tunes. Mellow My Mind is initially the least notable cut here, but its longing search for harmony and tranquility really sticks in the soul. To start side two, Roll Another Number is musically ambitious and describes Young's sense of anger at the industry that stifled the release of this album for so long. After deaths of those close to us, we often view our own lives through different lenses, and systems that once seemed necessary are now just a burden. Albuquerque picks up on the same thread, as Young seeks an escape from it all on what might be the best song he’s ever made. The tenderness and surprising sweetness of New Mama clash with the aggression of Lookout Joe with its wailing guitar riffs. Tired Eyes is delicate, full of regret and calm. Its placid yet beautiful sound is incredible to witness. The second rendition of Tonight’s the Night that closes the album is a necessary resolution to this abrasive, soothing, cynical, mourning, visionary record. Rest in peace, Bruce and Danny.

There’s better Neil but this is still better than a lot of things

I really don't like Neil Young. Like... I really don't. This release from '75 has an undeniable disco stank on 'em. On top of the unappetizing disconess, Neil's voice is... raw and unrefined. Again, not in a good way. More in a, "Oh buddy, maybe you shouldn't try to hit those notes" way. It makes me appreciate the earlier Neil Young album that I reviewed a bit more. That said, after reading the wikipedia article on this album, I think I understand it a bit more. Apparently, this album was written in a time of grief and recorded over the course of two days while Neil was processing the loss of his friends. This DOES have an exceptionally raw feel to it and, for all that I don't think these songs and recordings stand on their own, the album really does communicate the almost nihilistic grief of post-Vietnam era young man.

*Tonight's The Night* (1975) Neil Young has just lost two friends to junk. One of them was a musician from his backing band Crazy Horse, the other was a roadie. *Harvest*'s hit on the chart is still récent, but he couldn't care less. His mind is despondent. He wants to record again with Crazy Horse, gathering them for the first time since the tragedy. The music is played loose, some of Neil's vocals are off-key, the overall mood is like a funeral wake. The first version of the album is anything but tight and cohesive, before new recording sessions strengthen its limp backbone. But even the final product sounds a little too sepulchral and disjointed to the label executives, appalled when they hear the record. The LP is shelved for a time (*On The Beach*, recorded after the *Tonight's The Night* sessions, was released before it). When *Tonight's The Night* is finally released, Young has completed his "ditch trilogy". It doesn't take a seer to understand that this album is not the ideal entry point into Neil Young's protean discography. But if your soul and ears are open enough, you might just sense why it is a favourite for many of his fans. The (double) title-track sums up everything that's striking about the record--its slacker, borderline-depressive ethos and, ahem, "work ethic", but it shouldn't hide all the other endearing cuts in the record. "World On A String" and "Mellowed My Mind" conceal classic Neil Young choruses beyond their meat-and-potatoes surfaces (Young's objectively atrocious vocal performance in the second actually makes the song better and more emotional in my humble opinion). "Speakin' Out" offers the prettiest piano solo in Young's oeuvre. Speaking of piano performance, the loner rips off the Rolling Stones' "Lady Jane" to an incredible result for the aptly-titled "Borrowed Tune", as good as the original--this one is a tearjerker for sure. Classic rocker "Come on Baby, Let's Go Downtown" then wakes you up, and makes you ready to paint the town red. Unless it's black. The track is actually a live recording of the song from 1970, and Danny Whitten's ghost looms over the proceedings. He was the Crazy Horse member who had recently passed away, and it's his guitar and background vocals that can be heard here Later, Neil Young will pay his tribute to roadie Bruce Banner, for the second version of the title-track closing the LP. The result could have sounded awkward or self-conscious. But it's just bittersweet and touching instead. All the tracks (apart from the album closer) that I've mentioned so far are from side one, and, you probably guessed it, things get even better on side two. Well, except "Roll Another Number For The Road", the only dud in the album, and a number that should ironically be left in the cutting room's floor. Everything else is pitch-perfect, though: cinematic western ballad "Albuquerque", where Neil drawls agonizingly long vowels ; the deep ominous minor harmonies of slow rocker "Lookout Joe" ; or the heartbreaking plea of "Tired Eyes", where confessional spoken words seamlessly lead to an unforgettable chorus where everyone sings in frail harmonies. Stellar piano and steel guitar arrangements abound everywhere. Just close your tired eyes and picture the sort of Americana scenery that could be shot with this music in mind. Then, just like Neil asks, open them, and breathe. Life's good, in spite of its unavoidable, inherent tragedies. Number of albums left to review: 68 Number of albums from the list I find relevant enough to be mandatory listens: 403 (including this one) Albums from the list I *might* include in mine later on: 231 Albums from the list I won't include in mine: 299

Darn Spotify & Rogan! Now Neil isn't on Spotify anymore had to listen on Jeff Bezos's baby instead. Neil is a musical; hero of mine so I am definitely up for this one! Probably Neil at his most bluesy and most Blue as well. Not a happy album but with real passion for his lost friends. Music at it's most powerful. Love it throughout but tops has got to be the title track, a eulogy for friends. So I love the whole album really but "Tonights The Night", Nils Lofgren's guitar solo on "Speakin' out" "Tired Eyes" and the wonderful live version of "C'mon Baby Lets Go Downtown" great album rightfully on this list I believe.

One that I think needs to grow on the listener for a bit, but it turns out to be another solid outing for Neil. This has a live feel that I enjoy.

Neil Young is like horseradish. It can really make a dish if it's used right and played to its strengths, but far too often it's either diluted to being pointless or coming on faaaaaar too strong. But man, when it hits right.... it hits RIGHT.

Neil Young is always interesting. He's created such a weirdly, darkly beautiful album that there's no way that it could have done well commercially, while also being a great example of what I love about rock.

I knew we were going to listen to a lot of Neil Young in this project and, to be honest, I wasn't looking forward to it. I've never been a big fan of his voice and hadn't given him much of a chance (outside of CSN&Y). Today this pushed all the right buttons. This record is full of feelings and story and musicianship and I love it. Now I'm looking forward to hearing more.

Beautiful album. Neil Young sounds like he shouldn't be able to sing but it fits perfectly with the impeccable songwriting. Big fan of the harmonica parts and the more upbeat tracks.

Bruce Berry was a working man. He used to load that Econoline van.

While I’m a Neil Young fan, I had never listened to anything from this album, and was pleasantly surprised with the raw intensity of this album. Rock and blues, guitar and piano. Emotional lyrics. Will listen again.

An amazing album, one of Neil Young's best. Its sad and poignant and powerful, The title track is the highlight of course but there are other great songs too. 5 stars

There are no tears for Danny Whitten or Bruce Berry here, only a wised-up, hard-bitten rue. But there is some consolation amidst the loss, and it builds across the tuneful Mellow My Mind/Roll Another Number/Albuquerque heart of the record, which gave me a lifelong love of the pedal-steel guitar. I have listened to this record more than any other by a wide margin.

Lovely piano work. Borrowed Tune is one of my favourite slow songs. World on a String is a romping rock stomper.

Sad, dramatic, apocalyptic, superb, amazing, outstanding. A truly masterpiece

If you think that a “perfect record” has to be neatly played and produced with a nice coat of studio sheen, look elsewhere. Tonight’s the Night is raw and real. It’s shambolic and sad. It’s a document of loss and heartache. It’s not a product that was manufactured in studio with the intent of moving the maximum amount of units. It comes from a very real place and Neil Young was kind enough to share that with us. *That* is what makes Neil Young great. It’s why he has so many records on this list. He’s authentic and lays it all on the line - the good, the bad, the ugly. In the face of massive success, he made a left turn and forged his own path. He could have just pumped out record after record that sounded like “Harvest” and slowly faded into semi-obscurity like his cohorts in CSNY or become another James Taylor. Instead, he rejected what was expected of him at that juncture in his career and did what he wanted. In this house, Neil Young is a goddamn hero…End of story.

Tonight's the Night has so many of the ingredients that make Neil Young great - the rawness of the playing is so refreshing compared with some of the overproduced crap that gets made today. Contains upbeat blues-rock (Come on Baby Let's Go Downtown) and beautiful ballads (Borrowed Tune) as well as some of his most personal and vulnerable lyrics. Perfect

In terms of Neil's expressions of grief, I find On The Beach a lot gloomier, a depression so deep and boggy he's stopped struggling and just sings. Tonight's the Night is a different beast, more funeral party than wake: there's a fresh, gaping hole in our lives and we're going to take the day to drink, eat, and remember the good times before we wake tomorrow and pick back up the messy work of living. I hope my funeral is how Tonight's the Night sounds.

Neil Young has written some really gorgeous songs. I didn't find any of those here. His expressions of grief may be enough to trigger sympathy in those who believe they know and love the man through his music to love the album. But objectively, I just don't find much here other than spontaneous lyrics about his pain. And lyrics are just poetry. A music album must be good musically; If not, I'd rather the read the poetry from a book. As an aside, I find the Woodstock sound interesting, but it occupies a tragically outsized place of honor in the rock and roll zeitgeist. Ultimately, though, it's that voice. I really, really, really, really, really dislike Bob Dylan's voice. Neil's is worse. It creates an angsty-pain that spreads from my throat to my ears and into my head. Interesting song writing isn't worth the literal headache I end up with.

In case you didn't get the point from my previous reviews of Neil albums, I'm already a fan of this album. Not only that, but the Ditch Trilogy is probably my favorite three-album run from him. The more I learn about the backstory of these songs, the harder it hits. Deeply felt stories of loss, brotherly love, friendship, overdose, candles snuffed out, etc. Couldn't get much realer than this.

This is my perfect album. I was listening to this album when this album was generated to me. I love it when I'm sad. I love it when I'm mad. I love it when I'm glad I love it when I'm bad. From the cover to the last note this IA a perfect album. Ask Ronnie Van Zandt. He wore the shirt to this album all the time.

La coqueluche de Robert, l'homme le plus représenté de la liste faisait son apparition aujourd'hui. Et on peut dire qu'il frappe fort du poing sur la table. En effet, Neil Young va passer la totalité de l'album à invectiver le serveur du bar au sein duquel il enchaîne les whisky depuis l'ouverture, en matraquant son poing solide sur le bar, un grave "un autre" s'esquivant de sa bouche. Nous finirons cette écoute par quelques vomissements, ainsi qu'un leger coma pour le Neil. Comme on dit de par chez nous, pose la bouteille si tu sais pas boire.

Не, без Хэй Хэй, Май Май вообще не катит. Хоть и понятная, но очень скучная вещь. И даже оставайся она такой и приятно играй на фоне, я бы принял. Вокальные партии к тому же порой относительно оригинальные. Но за несколько прослушиваний эти примитивные нецепляющие мотивы просто раздражать сильно стали. В итоге имею альбом, в котором ни один трек по уху не пришёлся, но несколько в ухо кольнули дилдаком. Тод в Тенях вроде бы высмеивал регулярное повторение в треках слова Tonight. Я тогда просто кекнул, но тут это пиздец какой-то. Я, конечно, понимаю, что альбом называется Tonight's The Night, но за 2 титульных трека, что длятся в общей сложности 9,5 мин, мы слышим название альбома 64 раза. Я ебал, сука, туна-айтс зе най-т тю-дю-тю-дю-дю, туна-айтс зе на-айт... Здесь даже рифмы нет! Фу блять, фу нахуй.

I'm about 900 albums into this project and I've learnt a few things. Notably, I have learnt that I hold no love for the work of Neil Young, unlike Dimery, who saw fit to include seven albums under his own name plus one each from CSNY and Buffalo Springfield, making Neil Young the most represented artist on this list (tied with Paul McCartney and John Lennon). And Neil sure ain't no Beatle. This album in particular just seems to be taking the piss. Neil's record company thought he was committing career suicide, and I can see why. These are bad demo quality recordings of done severely undercooked songs, many of which are barely better than drunken jams. The singing and playing is dreadful -- I defy any Neil Young fan to defend his appalling singing on Mellow My Mind. The lyrics are first draft, rhyming dictionary drivel, and largely come down to "being a rock star is hard" and "heroin is really bad, but we sure like tequila and smoking dope!" with a short moment of "my old lady had a baby, it's kind of a drag, but she seems to be into it". This album actually made me really angry with how bad it is. I know Neil was trying to drive his career into a ditch. Well, mission accomplished, but it didn't stop his acolytes (Dimery and Pitchfork included) from hailing this as a work of unmitigated genius. It's like Brian desperately pleading with the crowd that he is _not_ the Messiah ("only the true Messiah would deny his divinity!"). Don't believe the hype -- this deliberately shit album deserves nothing but a single star.

Just awful. I don't see the appeal at all. His voice is awful, his lyrics are awful, and his band is awful

Yet another Neil Young album full of songs that have potential but are instantly ruined by his awful vocals. Please stop!

Hippy guff

Neil Old

Love a Neil Young album day!! Especially this one. A creative masterpiece, all the songs slap, maybe my favorite Neil album front to back.

"Tonight's the Night" is the sixth studio album by Canadian-American singer-songwriter Neil Young. The album was recorded in 1973 but not released until 1975 since Young felt it was unfinished. It was also the third and final album of his ditch trilogy where Young tried to separate himself from his "Harvest" album due to his difficulty dealing with the success of that album. The album was a direct expression of grief by him and his bandmembers in dealing with the drug overdoses of Crazy Horse guitarist Danny Whitten and CSNY roadie Bruce Berry. Commercially, the album hit #25 in the US and #48 in the UK and, critically, is considered among his best albums. The album starts slowly with Young and other vocalists chanting the song title "Tonight's the Night." Very sparse music with guitars, bass and a drum. The song was inspired by and is fairly lyrically direct on the heroin overdose of roadie Bruce Berry. (The album does end with a similar reprise of this song). "World on a String" is a more grungy and chugging bluesy number with guitar and piano. Young's searching and struggling for something that matters and knows it's believing in yourself. The most straight-forward rockin' number on the first side is "Come on Baby Let's Go Downtown." It's a song written by Danny Whitten and actually sung by him from a 1970 concert. Edgy guitar and about an addict going downtown to score drugs. Not all songs are about despair as Young wrote "New Mama" to the mother, Carrie Snodgress, of their son Zeke. Nice harmonies in this folk song. A steel pedal guitar is added to "Tired Eyes" giving it an Americana feel. Young's talking and singing. More piano. A song based on a true story in Topanga Canyon where a cocaine drug deal goes bad resulting on a bunch of deaths. I find this album quite compelling. It's sparse, sloppy, open, bluesy and tired. Most the vocals are melancholic, emotional and strained. It does sound like a band getting drunk, recording songs and trying to deal with deaths in their group. No answers except the resultant music. I do put this album among Young's best but I could see how this could turn a lot of people off.

Listened during the day while working? "This is a damned good rock and roll album." Listened at night while a little toasty? "This is a goddamned symphony!"

Captivating and Sublime. Neil Young at his best. Think it it as a kind of a calm fury

Vous avez sûrement comme moi constaté à quel point la voix de Neil Young semble alcoolisée tout au long de cet enregistrement. Le morceau d'introduction "Il est des nôtres..." donne d'ailleurs le ton d'un album qui connaîtra son pic émotionnel avec le titre "Viens boire un p'tit coup à la maison".

Long time fan of Neil, Tonight - raw and uncommercial, fragile and Beautiful, ragged and emotional and just does play the rock n roll game, because he always does what he feels is relevant to him at the time, be it responding to friends dying of drugs in this instance. 5 Star

I'm not familiar with this Neil album. I'm always amazed when a singer with an ok voice is able to pull emotions out of you. It's a real gift. Bluesy, raw and gritty. This album is right up my alley.

Awesome, soulful and sweet. Makes me want to lay in the grass in the sun.

Spectacular album, not a big Neil Young listener but this amazing in its unfiltered raw musicality. His voice makes complete sense with scrappy playing and emotion. I know I will Listen to this a lot.

Very pleasant album - great musician

Yes, this is the Neil I know and love. Easy 5!

I can't believe I'm saying this, but Neil made a good album here. I really enjoyed it! Favourite track: World on a String.

Very good

Álbum emocionalmente denso e bem diferente de Harvest. Destaque pra World on a String e Mellow my Mind

Pleasant even if it is an album about grief. As you'd expect from Mr. Young, a good blend of folk, blues, and outright rock n' roll. Can't say I'm a huge Neil Young fan, but I do enjoy his work quite a bit. Favorite tracks: "World on a String", "Come On Baby Let's Go Downtown", "Albuquerque"

In the 70s NY was on fire

Mournful, almost country-rock at times, Neil Young probably deserves his own genre. I like him best when he's harmonizing with others, and that only happened a couple of times on this album.

I respect the raw emotion of this album and knowing the story behind when it was made, I wanted to give it a higher rating, but honestly it did not impress me (to say the least), and the vocals are kind of jarring. Eh.

Enjoyed this more the second time after reading up a on a bit of context. Certain songs 'hit harder', as the kids says. I'm now willing to give this a hefty promotion to a 3.5. I reckon there's probably a better Neil Young album out there, though.

Not a lot to take away from this album for me. Reminded me why I don’t really listen to Neil too much. 2 stars because I know he was trying.

I hate Neil Young.

A shambolic masterpiece, with terrific songwriting enhanced by emotionally resonant performances complete with mistakes, tempo problems, and Young missing notes left and right. A truly great album.

Pretty good, he is a wailer of a singer but good ol folk

An easy 5

i had to read up on the story of this album to fully understand why it sounds the way it does, and oh man.. 5/5. it’s quite impossible to not listen to “borrowed tune” and not be hit with an emotional freight train. “new mama” is absolutely incredible, so is “albuquerque” wow. just wow. i love lap steel guitar so much. i love harmonies. what an album!

I've not been very discerning with Neil Young, there's lots of it that we've done and I've liked it all. This is no exception.

Love it

One of my favorite Neil albums. Just veered off into the ditch

somewhat like bowie, i feel like i havent given neil young's music enough time and have approached his career to the extent that i have in a kind of unideal way: casual one-off listens to his most acclaimed albums that i never bothered to follow up on. a random number generator of acclaimed albums obviously isnt gonna solve this problem HJKFHSJKFHFSJKHFSJKFSHKFSJHK but i will pay more attention to our encounters. i think they will be fruitful, because i think his voice especially has clicked harder for me than it ever has before, both in vocals and songwriting,,,a good mixture of instant recognizibility and eclecticism across both. was v interesting to find out this was recorded in the aftermath of harvest, one of the ones ive actually heard...to bust out one of my signature tortured beach boys metaphor, this feels a bit like a wild honey/friends to that record's pet sounds/smile. incredibly whisky soaked in that way that makes me question whether people get drunk to escape or to wallow, a productive emotional tension that informs a rly incredible set of melodies and performances. borrowed tune in particular really cut to my center....how can i, number one Ballad Fan, continue to put off neil young???

Super

There just are not a lot of artists in the history of music who could make an album like this. Soulful, rocking, beautiful, ugly, and unique. Neil wears his heart on his sleeve and I love him for it.

Perfect album!

Classic.

The sound of Neil Young being drunk and depressed. Excellent album.

4.7 I had to give this a few listens because I didn't realize how good it was, there is nothing really negative to pick at. The studio musicians really elevate the songs, probably more so than other Neil Young albums. The remaining crazyhorse members playing is great too.

One of the best album by Neil Young and the trademark sound he has.

Never heard before. Good, Loose, Bluesy Rock 'n Roll. Really great.

Ahhh, tequila Neil. It's a sad one. 2nd favourite of the ditch trilogy. Never completely clicked with me the way On the Beach and (almost ditch trilogy album) Zuma did. Guess I prefer weed and cocaine Neils. Still 10 off 10, I love most Neils.

In a life and career of astronishing creativity and artistic left turns reaching to the very human soul, this is the most astronishing, and, to paraphrase Kirk's Spock Eulogy, the most human. Epically human.

Tja fucking goed wat valt er nog meer te zeggen?

IMO not that great. Beginning is bleak but in a Big Star way. It’s just not so beautiful. Then the rest of the album is more classic Neil Young, but not at his best. Great album cover.

Tonight's the night - a delicate 5/5 Speaking ou - 3/5 World on a string - 5/5 what you expect from Neil Borrowed Tune - nice. 5/5 Come on baby... - love it. 5/5 Mellow - 3/5 Mother Number - 3/5 Albuquerque - 4/5 New Mama - 5/5 Lookout Joe - 4/5 Tired Eyes - 2/5

Neil Young's retreat to the raw and loose, after the success of Harvest and the addiction and the death around him. This one was a slow burner with me originally, not as easy a listen, but god it rewards returning to it.

Great album and a bit on the more bluesy end of his style.

Classic.

Raw and angsty Neil is a good Neil

Fantastic music

bleak never sounded so good. "Bruce Barry was a working man he used to drive that Econoline van"

very very cool

Very snazzy classic rock mixed with a bit of country and the occasional blues note. Gotta love having not only Tonights the Night on the album Tonights the Night but also Tonights the Night Part 2 on the album Tonights the Night. Best overall Neil Young album I've heard.

I like how natural it comes off. Relaxed. Almost feels like it could be a musical. Crisp and smooth at the Same time. Nice flow to the album overall. Not all the tracks pop, but for this as a whole to sound so good and not feel plastic I'm leaning 5. The mix sounds so good in headphones.

Wow - powerful stuff. Shame I had to resort to Youtube but it was worth it. Raw and emotional- a contrast to his other stuff which I love but is tame compared to this. The musicianship is really superior- boy Nils Lofgren is really good.

Neil Young’s albums from the early/mid 70’s all have a organic feel. Or whatever is the opposite of overproduced. “Tonight’s the Night” takes it to another level, feeling almost unproduced. It is somewhere between a wake and a celebration of friends/band mates Bruce Berry and Danny Whitten, who had both died of Heroin overdoses. The feel here is a bunch of guys hanging around the studio, laying down a few tracks in between a few drinks (or whatever), honoring their friends in the best way they knew (musically). In concept, it could’ve been a hot mess, but it all works. It’s “real”, it has emotion. This has been one of my favorite NY albums for years, and “Tired Eyes” is one of my favorite songs. An easy 5 star rating.

Neil Young is so damn good! Very emotional songs! Personal top3 in no order: Speakin Out World On A String Lookout Joe

Possibly my favorite Neil album, and that's saying something. This album is part of his absolute peak in my opinion. Loaded with character and just great from start to finish.

Nice music.

Love Neil Youngs vocals.

Grande mestre do blues, curto das antigas já, esse álbum em especial é só fado um atrás do outro

Stark. Raw. Unflinching. You can hear the pain in Neil's voice as he pays tribute to Danny Whitten and Bruce Berry. It's very rough on the edges and it can be a difficult journey. But it's so worthwhile once you get to the destination. Fantastic!

Love Neil Young. Great album

It’s in the title of one of his later albums; Neil Young’s music is Ragged Glory, and Tonight’s The Night is an epitome of sorts. Harder and more ragged than any of his other 70’s output, this is an album full of moments of sheer beauty interwoven within it’s bleakness. And it’s not even his best album, that’s how fucking good Neil Young is!

Loved hearing some of the less often played songs.

Really enjoyed this. Heard a few things from Neil Young and saw him live a few years back (incredible), but I’ve never been properly into him. Always put him in the legendary category without knowing too much about his back catalogue. This is my favourite album I’ve heard from him. Sounds almost at times like a predecessor to the whole slacker movement. His voice is as unique as they come, and his lyrics are up there with the best. The band work incredibly well with his style, sometimes it sounds chucked together but in a considered way, which doesnt make sense but I know what I mean. He just manages to make it all work together so well. Quite a few highlights for me, particularly Tired Eyes, Lookout Joe, Come on Baby, World on a String. And he looks cool as fuck on that album cover. 4.5

Just full of amazing Neil

Fantastic. I really loved this one.

Neil Young she/her

My bad didn’t listen

I knew Tonight's The Night, the main song on this album, very well indeed, but I hadn't heard any of the others much. Will definitely be giving this a repeat listening. Not my favourite Neil Young material, but it's still an easy 5 stars.

Pretty bad when you're dealing with a man and the light shines in your eye yeah!