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.

It's Illmatic by Nas. The best rap album of all time. Nas's lyrics are so slick that they slide off his tongue and spread like an oil spill in your brain, and the beats from the best craftsmen in the game (QTip, Large Professor, Premier, Pete Rock, L.E.S.) back him up so perfectly that they feel like a part of him, a natural extension of his craft. The album might honestly have the best three song run in hip-hop history. It should be illegal to follow New York State of Mind with Life's a Bitch and The World Is Yours, and the album never stops from there. Poignant slice of life tales on Memory Lane and One Love give the album an emotional through line and enhance the heady blend of ambition and apathy, power and weakness, joy and tragedy that defines the life of Nasty Nas. Represent is similarly incredible, with a hungry and passionate Nas giving it his all. It Ain't Hard to Tell, One Time 4 Your Mind, and Halftime are the only "subpar" tracks, meaning that they're 8/10 instead of perfect 10s and above like the rest of the record, but they all deliver standout moments and are probably the favorites of many listeners. This album is a touchstone of hip-hop, as Nas's measured, neverending flow and poignant, deadly lyrical skills either directly or indirectly inspired B.I.G., a future rival in Jay-Z, and countless other rappers. His lines have been reused countless times, and every contemporary hoping to make his or her bones in the game pays homage at some point to the album. It isn't rap's most important album, but it's the best there ever was.

Really fun, theatrical experience. Steinman's gloriously simple and overwrought songwriting empowers Meat Loaf's voice, which conveys emotion potently. More than anything, I'm not surprised that this album started a franchise and has been converted into a musical, because this is theater kid music. There's some great stuff on here, such as the opener, Two Out of Three Ain't Bad, and You Took the Words Right Out of My Mouth. If you give in to the schmaltz, you'll probably have a fun time with Bat Out of Hell.

Phil Spector being a terrible, awful, horrible person knocks the star off the Christmas tree for me, and the oversaturation of Christmas music takes another half. So this album getting 3 stars is impressive, because it's a very good album. Spector was a revolutionary producer and his wall of sound works immaculately on the record's best cuts. Darlene Love is the MVP, as her melancholy, soulful rendition of Christmas (Baby Please Come Home) has become a staple and the other songs she worked on were great, especially Marshmallow Land. Everyone else does a great job throughout and the joy that Spector's production conveys creates a classic Christmas album from the Grinch of the record label. Also Brian Wilson worked on it and cited the record as an inspiration for Pet Sounds. It's a festive joy that was released on the same day JFK died, and its classics (Sleigh Ride, Christmas (Baby Please Come Home), White Christmas, Marshmallow Land, I Saw Mommy Kissing Santa Claus, The Bells of St. Mary) will entertain and live in the hearts of eager children for years to come.

Very catchy jazz. Perfect as a backdrop for social occasions.

Great composition and showmanship. Muddy Waters was incredible and you can feel the passion and energy from everyone involved.

Absolutely enthralling. This album grabs balls and never lets go as it shifts from delight to delight.

Boring Brit-pop with some redeeming factors. Not enough spark or ambition to the album.

A great album that just doesn't align with my musical tastes enough to warrant a higher rating

Really fun, theatrical experience. Steinman's gloriously simple and overwrought songwriting empowers Meat Loaf's voice, which conveys emotion potently. More than anything, I'm not surprised that this album started a franchise and has been converted into a musical, because this is theater kid music. There's some great stuff on here, such as the opener, Two Out of Three Ain't Bad, and You Took the Words Right Out of My Mouth. If you give in to the schmaltz, you'll probably have a fun time with Bat Out of Hell.

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.

Phil Spector being a terrible, awful, horrible person knocks the star off the Christmas tree for me, and the oversaturation of Christmas music takes another half. So this album getting 3 stars is impressive, because it's a very good album. Spector was a revolutionary producer and his wall of sound works immaculately on the record's best cuts. Darlene Love is the MVP, as her melancholy, soulful rendition of Christmas (Baby Please Come Home) has become a staple and the other songs she worked on were great, especially Marshmallow Land. Everyone else does a great job throughout and the joy that Spector's production conveys creates a classic Christmas album from the Grinch of the record label. Also Brian Wilson worked on it and cited the record as an inspiration for Pet Sounds. It's a festive joy that was released on the same day JFK died, and its classics (Sleigh Ride, Christmas (Baby Please Come Home), White Christmas, Marshmallow Land, I Saw Mommy Kissing Santa Claus, The Bells of St. Mary) will entertain and live in the hearts of eager children for years to come.

A really solid, interesting album that delivers with every song

Lots of ambition on this album, but the shorter song lengths prevent many of the tracks from developing. Feels like something a band would make a couple years before their big break

Classic jazz album filled to the brim with beautiful, soul-searching rhythms. Experimental but not too experimental to wall off mainstream appeal. Do yourself a favor and listen to this all-time great.

It's Illmatic by Nas. The best rap album of all time. Nas's lyrics are so slick that they slide off his tongue and spread like an oil spill in your brain, and the beats from the best craftsmen in the game (QTip, Large Professor, Premier, Pete Rock, L.E.S.) back him up so perfectly that they feel like a part of him, a natural extension of his craft. The album might honestly have the best three song run in hip-hop history. It should be illegal to follow New York State of Mind with Life's a Bitch and The World Is Yours, and the album never stops from there. Poignant slice of life tales on Memory Lane and One Love give the album an emotional through line and enhance the heady blend of ambition and apathy, power and weakness, joy and tragedy that defines the life of Nasty Nas. Represent is similarly incredible, with a hungry and passionate Nas giving it his all. It Ain't Hard to Tell, One Time 4 Your Mind, and Halftime are the only "subpar" tracks, meaning that they're 8/10 instead of perfect 10s and above like the rest of the record, but they all deliver standout moments and are probably the favorites of many listeners. This album is a touchstone of hip-hop, as Nas's measured, neverending flow and poignant, deadly lyrical skills either directly or indirectly inspired B.I.G., a future rival in Jay-Z, and countless other rappers. His lines have been reused countless times, and every contemporary hoping to make his or her bones in the game pays homage at some point to the album. It isn't rap's most important album, but it's the best there ever was.

A surprisingly great album. I wasn't expecting psych rock from a group called Country Joe and the Fish, but this record blew me away. Section 43 is beautiful, and every other track is similarly good.

There are very few wonders of the world that can match Nina Simone's all-encompassing voice. Full of melancholy beauty from the lyrics brought to life by her stellar performance, Wild Is The Wind is likely her definitive work, and it deserves that title. The accompanying piano on most of these spare, stripped-down tracks perfectly matches her. A great album with some slight filler.

Donald Fagen is a white-bread name for a white-bread artist making an overproduced soft rock album that’s overall uninspired but decent.

Listening to this album is like eating pasta before you cook it. Some weird people enjoy it, almost too much, but the rest of us are more interested in the finished product. There are some catchy songs here, but nothing classic. Plenty of great harmonies and musical moments, but it fails to coalesce in the way most great albums do. It just feels a bit rushed and as if it's trying to manufacture success based off of their previous sales.

An incredibly solid dad-jazz rock album by a group incapable of paring down their musical whims