10 Classic Glam Rock Albums

T.Rex ― The Slider (1972)

Electric Warrior gets more attention, but no T.Rex album embodied the glam aesthetic more than this 1972 milestone. Released at the height of T.Rextasy, The Slider came off as a quixotic blend of British guitar pop and late ’60s American bubblegum music. Bolan’s solo on “Ballrooms of Mars” soars heavenward, while tracks such as “Metal Guru” and “Telegram Sam” sound gloriously ecstatic.

David Bowie ― The Rise and Fall of Ziggy Stardust and the Spiders from Mars (1972)

Bolan ignited the spark, but it was Bowie who set the glam movement ablaze with this 1972 effort. Aided by the soaring guitarwork of Mick Ronson, Bowie crafted a theatrical masterpiece built on hook-laden, high-energy pop rock. Ronson’s solo on “Moonage Daydream” remains one of the genre’s most euphoric moments, while “Ziggy Stardust” has been hailed as rock’s first-ever power ballad.

Roxy Music ― Roxy Music (1972)

Roxy Music made better albums than this one, but none bore the sparkling freshness and campy energy of the group’s self-titled debut. Visually, the band parodied glam’s excesses, but beneath the tarted-up façade lay songs brimming with twisted sophistication. Brian Eno’s electronics wizardry and Phil Manzanera’s dazzling guitarwork were key ingredients in the band’s newfangled style.

Queen ― Queen II (1974)

Queen gave glam a bigger, more anthemic sound with this glittery opus. Combined with Freddie Mercury’s underrated keyboard work, Brian May’s ringing leads and pristine riffs created a backdrop for songs that were by turns ferocious and elegant. “Ogre Battle” packs all the pile-driver wallop its title implies, while “Seven Seas of Rhye” exudes the spirited melodicism that made Queen a lasting force.

New York Dolls ― New York Dolls (1973)

Just when it seemed the British had a lock on glam, out stepped the Dolls in their platform boots and poofed bouffants. Produced by Todd Rundgren, the band’s debut roared on the dual-guitar strength of Johnny Thunders and Sylvain Sylvain. Songs such as “Personality Crisis” and “Trash” sound like punk rock as envisioned by brilliant (though delinquent) cartoonists.

Lou Reed ― Transformer (1972)

Fabulous songwriting, inventive arrangements, and Mick Ronson’s deft guitar touch were the key components in Lou Reed’s sole foray into the glam world. Peopled with real-life characters from Andy Warhol's Factory scene, the album is in essence a snapshot of New York’s underworld at the turn of the ’70s. Ronson’s string arrangement for “Perfect Day” exudes pastoral beauty; likewise, “Satellite of Love” boasts a breathtaking outro ― sung by Bowie, Ronson, and Reed ― that’s packed with celestial splendor.

Mott the Hoople ― All the Young Dudes (1972)

These working class blokes from London’s suburbs entered the glam world with trepidation on this breakthrough album. Presented (by David Bowie) with the very anthem of the glam movement, Ian Hunter and his bandmates brought a gnarly rock and roll spirit to their glitter-dusted arrangements. Mick Ralphs’ muscular guitarwork, in particular, put a meat-and-potatoes punch into track such as “One of the Boys” and “Jerkin’ Crocus.”

Slade ― Slayed? (1972)

Never mind that Slade made hardly a dent in America. In their native England, the band scored a string of chart-topping singles that, for a time, made them rivals to the glam throne shared by Bowie and Bolan. Quiet Riot’s 1983 cover of “Cum on Feel the Noize” eventually gave the group some stateside cachet, but this album ― packed with glitter-pop party anthems ― remains a classic of the glam era.

Suede ― Suede (1993)

Splitting the difference between Bowie and the Smiths, Suede was the great hope of British pop at the turn of the ’90s. Centered on the Ronson-like guitarwork of Bernard Butler and the sparkling charisma (and talent) of singer Brett Anderson, the band’s songs were richly melodic and filled with sexual ambiguity. Tracks such as “Animal Nitrate” and “Metal Mickey” boasted a pop shimmer evocative of Marc Bolan at his very best.

Jobriath ― Creatures of the Street (1974)

One of the most hyped artists in rock history, Jobriath was heralded, briefly, as the authentic counterpart to David Bowie’s pre-fab image. The New York-based singer-songwriter made just two albums before fading into obscurity, and died, a lonely and tragic figure, in 1983. This album ― a mix of Jagger-esque swagger, showtune bravado, and terrific rock and roll ― is a lost jewel in glam rock’s glittery lineage.