T. Rex - Electric Warrior (1971)

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T. Rex became framers of London's glam-rock movement. Their music seduces the listener with distorted guitar reports, trashy boogie, and a bevy of impossibly hookish hooks. This is rock and roll boiled down to its essence: raw sexuality. Vocalist Marc Bolan positions himself as a pusher of a candy-coated psychedelic mythology and, in general, absurdly vacuous wordplay. Electric Warrior still stands as the quintessential sleazy bubblegum album that provides such shining gems as "Mambo Sun," "Jeepster," and the eternal classic "Bang a Gong (Get It On)."

Alice Cooper - Love It to Death (1971)

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It's hard to believe that back in the early '70s Alice Cooper's vague rock-and-roll satanism caused the same outrage as modern-day shock-rocker Marilyn Manson. But, it's true... Cooper's antics caused venues to close, conservatives to burn his records, and teenagers to rock black eyeliner long before the moody goth forefather Robert Smith. While glam was still rolling around in its gender-bending cradle, Alice and group quickly adopted its musical costume. Love It to Death showcases a trashy, theatrical rock affair best realized on the classic "I'm Eighteen" and "Is It My Body."

David Bowie - The Rise & Fall of Ziggy Stardust and the Spiders From Mars (1972)

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David Bowie ignited a global explosion of gender role reversal, sexual experimentation, glitter fashion, and incredible rock and roll. Though he was not the first to tread in glam waters, Bowie popularized its sexually ambiguous rock opulence. Do not mistake Ziggy Stardust for some cheap musical affair for teenaged glitterati; it is an album of substance. The album's theme is the earth's destruction. An announcement is made that the earth will end in five years, and our young Ziggy finds that rock and roll suddenly loses its appeal in light of this impending doom. The rest is a wash of milk floats, star men, and tigers moving on Vaseline. You need to listen to Ziggy Stardustin all its alien glam-rock glory.

Lou Reed - Transformer (1972)

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The Velvet Underground is credited with influencing a zillion bands, but it was Lou Reed's Transformer that birthed "Walk on the Wild Side," a curious hit that acquainted the subculture icon with the masses. Reed's first solo album had fallen by the wayside, prompting David Bowie to step in and assist. Under the guidance of Bowie (who was in the midst of Ziggy Stardust mania) and Mick Ronsoon, Reed found coconspirators willing and able to revamp his musical eccentricities. The result is an imaginative album that would sculpt Lou Reed's musical persona for the remainder of the '70s. Aside from the obvious ("Walk on the Wild Side"), Transformer also includes stunners like "Perfect Day" and "New York Telephone Conversation."

Roxy Music - Roxy Music (1972)

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Skittering along the surface of vast ponds of musical influence, Roxy Music produced this dizzying art-cum-glam-rock debut. Masterful electronic embellishments, primitive rock, and theatrical arrangements seem to have all been sliced like genes and reconstituted into this avant-pop inner-space probe. Bryan Ferry's cigarette and absinthe-tinged crooning is magical. Brian Eno's limitless sonic imagination is stunning. Roxy Music is an unpredictable and intelligent listen steeped in glam accessibility, making it one of the most engaging albums of its time…or any other time for that matter. Be sure to check out the insanity of "Re-Make/Re-Model" and the pop sensibility of "Virginia Plain."

David Bowie - Aladdin Sane (1973)

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Aladdin Sane is often overlooked in favor of its predecessor Ziggy Stardust, which is an unfortunate mistake. While Ziggy Stardust stands as David Bowie's triumphant glam-rock moment, Aladdin Sane provides a deeper, more chaotic voice for the experimental possibilities of glam's narrow definition. This is truly one bizarre and complicated listen, but after a little bit everything seems to become ordered--beautifully so. Flamboyant rock flourishes are replaced with sci-fi lounge jazz, futuristic doo-wop, and avant-garde orchestrations. This album offers a glimpse at Bowie's "plastic soul" sound through a glam prism. Key tracks include "Drive-In Saturday," "Panic in Detroit," and "Jean Genie."

New York Dolls - New York Dolls (1973)

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New York Dolls in all their high-heel and mascara glory, provided hugely influential to the birth of punk. Johnny Thunders' sleazoid fusion of Chuck Berry and Keith Richards often rides a fast train to complete collapse, while David Johansen comes off like Mick Jagger soaked in whiskey and cheap amphetamines. The New York Dolls' menacing protopunk drag show is the equivalent of some twisted hallucinogenic-fueled field trip through rock and roll's stumbling underbelly. Yes, it is that good! Check out "Vietnamese Baby," "Frankenstein," and the "Trash."

Brian Eno - Here Come The Warm Jets (1973)

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Brian Eno's solo debut after departing Roxy Music puts his self-described "nonmusician" status to the test. The result may be one of the most refreshing experimental pop collections ever recorded. Since Eno lends his voice, freely associated lyrics, and name to the album, one would assume that, like a "normal" eponymous musician, he crafted all of the songs himself. That's partially true. Like a true studio alchemist, Eno sews a rich sonic quilt from the talents of various avant-garde musicians (including the legendary Robert Fripp). Eno's compositions are capricious, playful, and at times frightening. The bizarre texture and the graceful aging of the album are a direct result of his manic sound processing. "Baby's on Fire" and "Driving Me Backwards" are just two highlights in this fantastic album.

Sweet - Desolation Row (1974)

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Sweet proved that what you hear is what you get. Their ability to merge hard rock, glam, and straight anthemic rock was like crack for the ears. Sure, it's bubblegum glam and sure the lyrics are silly, but damn if the hooks do not embed themselves deep into your subconscious. Desolation Boulevard not only churned out three hits ("Ballroom Blitz," "Six Teens," and "Fox on the Run"), but it also prophesied the vacuous glamarama of the mid- to late-'80s Sunset Strip hair-metal explosion.