See the 25 Recordings the Library of Congress Will Preserve

The Doors' self-titled 1967 debut album featured the hit "Light My Fire" as well as the 12-minute Oedipal drama "The End." (Elektra/Library of Congress)

Lyricist Johnny Mercer's own take on his peppy sermon, “Ac-Cent-Tchu-Ate the Positive," was more popular than a version released by Bing Crosby and the Andrews Sisters that same month. (Capitol Records/Library of Congress)

On "Songs of the Old Regular Baptists," the Kentucky choir sings a once-popular style of hymn in a call-and-response style. (Smithsonian Folkways/Library of Congress)

A collection of 101 homemade recordings from the 1893 Chicago World's Fair features world music from special international "villages," including some of the earliest know recordings of non-Western styles such as Javanese Gamelan. (Chicago History Museum/Getty Images)

The self-titled debut album of folk singer Joan Baez was a key part of the folk revival movement in the 1960s. (William Claxton—Library of Congress)

The 1953 double-album "John Brown's Body" was a landmark recording of a theater project about the Civil War. (Columbia Masterworks/Library of Congress)

Sweet Emma Barrett and the Preservation Hall Jazz band, veterans of New Orleans jazz, performed before a live audience on this 1964 album, which helped spark a revival of interest in the older style. (Preservation Hall/Library of Congress)

A five-part composition written between 1986 and 1993 by composer Jaon Tower, "Fanfares for the Common Woman" celebrated women in music. (KOCH International/Library of Congress)

Radiohead's 1997 alt-rock album "OK Computer" was an instant classic due to its complex blend of different musical styles. (Capitol Records/Library of Congress)

A collection of rare homemade recordings made from the 1890s to the 1910s housed at the University of California, Santa Barbara features families singing, people telling jokes and even the sounds of barnyard animals.

Blind Lemon Jefferson's rural style of the blues, captured on a 1928 single "Black Snake Moan" / "Match Box Blues" was influential in broadening the genre. (GAB Archive/Redferns/Getty Images)

Irish fiddler Michael Coleman, who moved to New York City in 1914, brought new respect to traditional Irish music with his highly skilled playing. (Viva Voce/Library of Congress)

Steve Martin's 1978 comedy album "A Wild and Crazy Guy" was notable for eschewing formulaic jokes and for bits like "King Tut." (Warner Records/Library of Congress)

The 1959 recording of the gospel classic "Mary Don't You Weep" broke new ground musically and became an anthem of the civil rights movement. (Vee-Jay Records/Library of Congress)

Trumpeter Chet Baker was a featured player on the Gerry Mulligan Quartet's live performance of jazz standard "My Funny Valentine," a powerful West Coast cool jazz classic. (Library of Congress)

Radio coverage of the 1945 funeral of President Franklin D. Roosevelt featured veteran broadcaster Arthur Godfrey breaking down emotionally. (George Tames—Library of Congress)

After the breakup of the Fugees, Lauryn Hill released an acclaimed 1998 solo album that fused soul, R&B, rap and reggae. (Lauryn Hill/Library of Congress)

Cole Porter's first musical to integrate songs and the storyline was a retelling of Shakespeare's "Taming of the Shrew." (Library of Congress)

The musicians behind "Sesame Street" strived to write inventive, humorous songs such as "Rubber Duckie" and "C is for Cookie" that both children and adults could enjoy. (Library of Congress)

Released as a B-side, Tennessee Ernie Ford's cover of "Sixteen Tons" stood out among more lighthearted country songs of the 1950s. (Library of Congress)

Sly and the Family Stone's 1969 album Stand! was an important influence on soul and funk and is among the most sampled records of all time. (Epic Records/Library of Congress)

The Righteous Brothers' "You've Lost That Lovin' Feelin'" was among the most-played songs of the 20th century on radio and television. (Polydor/Library of Congress)

Inspired by a gospel song, Ben E. King's "Stand by Me" was among the most broadcast songs of the 20th century. (Rhino Records/Library of Congress)

Orson Welles once called "Sorry, Wrong Number," an episode of the "Suspense" radio series, the single greatest radio script ever written. (Decca/Library of Congress)