Dave Mustaine (Megadeth) – AC/DC’s Let There Be Rock (1977)

During my teenage years in Huntington Beach, California, there was this girl named Cindy who worked at a record store. I used to trade pot for records with her, and that’s how I stumbled upon AC/DC.

Upon playing the record for the first time, I couldn’t help but notice the unusual appearance of the guy on the back cover. However, as soon as the music started, my whole world changed.

The music felt oddly close, like it was right in front of me. Most albums surround you, but this one felt intimate, almost unsettling. I remember every detail, from the initial crackle before “ga-dun-gar!” in “Go Down” to the final guitar notes in “Whole Lotta Rosie.”

Even the song “Let There Be Rock” had its quirks. I remember being puzzled by the term “schmaltz” and thinking Bon Scott sounded like he had peanut butter stuck to his mouth. But my love for the band grew, and I started collecting everything they released.

Bon Scott became one of my heroes, so his passing was a sad moment for me. AC/DC remains a band I hold in high regard. Although Brian Johnson is incredibly talented, the band’s dynamic shifted for me after Bon’s departure. I’m thankful for AC/DC’s impact – they’re truly remarkable. NJ

Kevin Cronin (REO Speedwagon) – Crosby, Stills & Nash’s Crosby, Stills & Nash (1969)

Having been a big fan of Buffalo Springfield, The Byrds, and The Hollies, the news of David Crosby, Stephen Stills, and Graham Nash collaborating excited me immensely.

I remember sitting at my girlfriend’s place to listen to the album. The opening track, “Suite: Judy Blue Eyes,” captivated me. I replayed it multiple times before delving into the rest of the album.

As a fervent folk enthusiast, this album was a game-changer. It encapsulated the unique sound I had always imagined but couldn’t articulate. The impact was so profound that it spurred my desire to join a band and create my own music.

Witnessing CSN live, especially their Woodstock performance, was awe-inspiring. That gig had a profound effect on me. Over time, I collaborated with Stephen Stills on songwriting, an honor I hold dear.

The significance of this album is immeasurable. The trio reshaped the musical landscape, and it all began here. Combined with “Rubber Soul” and “Madman Across The Water,” this album could keep me content on a desert island.

Luke Morley (Thunder) – Montrose’s Montrose (1973)

The Saxon Tavern in Bellingham, South London, was the place I stood one Friday night in 1976 when I first encountered Montrose’s “Space Station #5.” The music grabbed me, and I was determined to find out more.

The following day, my quest for the album began. It wasn’t available in my area, so I traveled to Soho and found a copy. I played that album nonstop.

What struck me was the absence of self-indulgence – the music was straightforward, with blues-tinged vocals, prominent guitars, and memorable tunes. From “Rock The Nation” to “Make It Last,” the album was an unrelenting wave of energy, the essence of pure rock ‘n’ roll.

This album bridged the gap between ’70s blues rock and the ’80s rock scene led by bands like Van Halen. The production by Ted Templeman gave it a distinct, three-dimensional quality that was groundbreaking.

For me, this is the epitome of perfect hard rock. Anyone who appreciates unpretentious, straight-ahead rock should own this album. If not, they’re missing out!

JJ Burnel (The Stranglers) – The Doors’ LA Woman (1971)

My introduction to “L.A. Woman” happened during my student days in Yorkshire, enhanced by a dose of acid. From that point on, my connection to the album was unbreakable, encompassing a significant phase of my life filled with adventure.

Honestly, my obsession with “L.A. Woman” knew no bounds. I’d gift the album to people who needed to hear it. Over the years, I replaced it numerous times. Only later did I realize its bluesy essence.

Despite the trippy times, the album’s resonance remained steadfast. The songs that concluded each side – “L.A. Woman” and “Riders On The Storm” – left an indelible mark, inspiring us in The Stranglers to experiment with long, epic tracks.

Meeting Stephen Stills was monumental; we even collaborated on songs. “L.A. Woman” is permanently etched as The Doors’ magnum opus in my mind. While my spins have decreased, the album still holds a special place in my heart. DL

Scott Ian (Anthrax) – Kiss’ Alive! (1975)

If I had to pick, the greatest album for me would undoubtedly be Kiss’ “Alive!” The impact it had on my life and the path it set me on is immeasurable. Kiss fueled my desire to play guitar in a band and shaped my musical journey.

In 1975, when I was a kid, the music world was hit by the Kiss frenzy, and “Alive!” was at the center of it. I vividly remember being drawn to the songs, the look, and the overall aura. As an eleven-year-old, it was like a drug.

The connection was intense, and it still holds. Kiss not only introduced me to rock ‘n’ roll but laid the foundation for my career. I consider myself fortunate to now call Gene Simmons, Paul Stanley, Ace Frehley, and Peter Criss my friends – the very people who shaped my musical dreams. The power of “Alive!” is undeniably legendary.

Yngwie Malmsteen – Deep Purple’s Made In Japan (1972)

At the tender age of nine or ten, my older brother brought home “Made In Japan.” Already smitten by Deep Purple’s “In Rock” and “Fireball,” this album’s impact was akin to a biblical revelation.

After that, I acquired “Machine Head.” However, as a naive Swedish kid, I wondered why “Lazy” and “Space Truckin'” were suddenly shortened.

“Made In Japan” held unparalleled influence. The energy and intensity it exuded were unmatched. In a pre-internet era, a new album was a sacred experience. I wore out multiple copies of the vinyl, meticulously mimicking Blackmore’s solos.

Even today, I can’t help but exclaim, “This is an incredible album!” as I play “Made In Japan” in my car. Its colossal impact endures. DL

Matt Sorum (ex-Guns N’ Roses/Velvet Revolver) – Deep Purple’s Burn (1974)

My entry into the world of records was through my brother, and as a drummer, Deep Purple’s “Burn” was my obsession. The drumming on that album resonated deeply with me, shaping my musical journey.

Back in the nineties, joining Guns N’ Roses meant conforming to the rigid hard rock approach. Yet, artists like Dave Grohl revitalized drumming, breaking away from convention.

It was then that I recalled Ian Paice’s impact on my drumming. To emulate him and incorporate his style into my playing was a breath of fresh air. I blended his technique with mine, creating my unique drumming identity.

“Burn” will forever hold a special place in my heart. I regard Ian Paice as one of the finest drummers in rock history. His influence on me has been profound, igniting a sense of respect for drumming that continues to burn brightly.

Joe Elliott (Def Leppard) – David Bowie’s The Rise & Fall Of Ziggy Stardust And The Spiders From Mars (1972)

As a young teenager, I was engrossed in the glam rock scene, from T. Rex to Slade. Despite my adoration for singles, I yearned for more, which is when I discovered the album “Ziggy Stardust.”

The music spoke to me on another level. As a kid from a rundown area, the album provided an escape, a glimpse into a different universe. The record’s concept struck a chord, and I became a lifelong Bowie devotee.

The album inspired me to be a better musician. Bowie’s work drove me to be a more creative songwriter, setting me on a path that eventually led to the formation of Def Leppard. Even now, I regard “Ziggy Stardust” as a timeless masterpiece.

Mark Tremonti (Creed/Alter Bridge) – Metallica’s Ride The Lightning (1984)

“Ride The Lightning” marked a significant turning point in my life. As a 12-year-old, I was into bands like Slayer, Iron Maiden, and Ozzy Osbourne. But when I heard Metallica’s “Fight Fire with Fire,” everything changed.

The riffs were heavy, but there was a level of complexity I hadn’t experienced before. This album opened the door to thrash metal for me. I started taking guitar lessons and attempting to play songs from the record.

Metallica’s influence on my playing and songwriting is profound. The clarity and intricacy of “Ride The Lightning” became a core element of my style. It shaped my approach to both rhythm and lead guitar, steering me towards a path of constant improvement.

To this day, I hold “Ride The Lightning” as one of the greatest albums ever, both in terms of its influence on me and its significance in the world of metal.

Corey Taylor (Slipknot/Stone Sour) – Iron Maiden’s The Number Of The Beast (1982)

Growing up, music was my sanctuary. My dad was a trucker, so I spent hours in his truck, listening to his cassette collection. That’s where I found Iron Maiden’s “The Number Of The Beast.”

The moment “Invaders” began, I was hooked. The title track blew my mind, and “Hallowed Be Thy Name” sealed the deal. The album’s dark but empowering themes resonated with me, a kid trying to find his place in the world.

Bruce Dickinson’s vocals were pure intensity. The album led me down the path of heavier music. It was like a siren’s call, and I couldn’t resist its pull. It was my gateway to discovering bands like Slayer and Mercyful Fate.

“The Number Of The Beast” will forever be the embodiment of metal for me. It’s a timeless album that ignited the fire of rebellion and fueled my passion for music that speaks to the outsider in all of us.

Mark Boardman is a British entertainment journalist and the editor of MarkMeets, a website that covers celebrity news, entertainment, and events. MarkMeets is known for providing coverage of red carpet events, movie premieres, music releases, and other showbiz-related news.

Mark Boardman has been active in the entertainment industry for many years and has interviewed numerous celebrities and public figures. He has also covered major entertainment events like award shows, film festivals, and concerts.