Ah, YES ~ THE FIRESIGN THEATRE ~
Those freaks, without a doubt, deserve a place in the National Recording Registry.
My 2 favorite recordings:

1. HOW CAN YOU BE IN TWO PLACES AT ONCE WHEN
YOU'RE NOT ANYWHERE AT ALL
+
THE FURTHER ADVENTURES OF NICK DANGER
THIRD EYE

2. I THINK WE'RE ALL BOZOS ON THIS BUS

("Join the expectant crowd gathering now...")

When you asked if listeners had any suggestions for the Library of Congress National Recording Registry I immediately thought of the 1956 (?)
recording and production of Samuel Beckett's, WAITING FOR GODOT ( Caedmon Records TRS 352 ).
If you don't already know this recording, there was an outstanding cast:
DIDI - E.G. Marshall
GOGO - Burt Lahr
POZZO - Kurt Kasznar
LUCKY - Alvin Epstein

timeless

I first heard this recording in the early 70's, and it's been with me ever since, like a pooka, ~ it "murmurs", it "rustles".
If you were to tell me this recording is already preserved in the Library of Congress, I wouldn't be at all surprised.
If it is not, then, now, it's about time.

In 1956, the first mainstream and wildly successful science fiction movie, Forbidden Planet, was released by MGM. Among its ground-breaking qualities was its soundtrack. In fact, in those days there were no soundtracks, only scores, as the music in films was all instrumental. But Forbidden Planet had a revolutionary sound, so new to the industry that it was called "electronic tonalities" in the credits. These electronic tonalities (by Louis and Bebe Barron) were the first of their form to be commercially released, and later helped spawn an entire new paradigm in sound production (as this was before the first synthesizer or even Moog), becoming part of the impetus for what we now call electronic music--a form almost omnipresent in today's popular (and not-so-popular) music.

These sounds were accomplished by building elaborate analog circuits and recording their various outputs as electricity was pumped through them, ultimately resulting in the destruction of the circuit (unlike the Moog and synthesizer that were to follow). The outputs (recorded on reel-to-reel tape) were then spliced, often hundreds of times in increments as small as half an inch, until a tonally cohesive whole was created.

For their ingenious work, the Barron's were nominated for an academy award. While they did not win the award, and in fact never worked commercially again, their influence spread new concepts far and wide. Today, their work in this movie and a few other avant-garde films of the era (such as Bells of Atlantis with Anais Nin), continue to inspire an international and mostly cult-like following of science fiction and tonal arts buffs. The sounds they produced for these films--and some as yet unpublished tapes--still have a freshness to them, as if they were created yesterday.

Forbidden Planet's "electronic tonalities" truly comprise a recording for the ages.

I think all of "Firesign Theater's" albums should be preserved and revived. I recall being audially astounded as I heard for the first time a character walking across the room (from one speaker to the other)and the other audio acrobatics that emanated from those records. Even more "mind-blowing", the cunning verbal pyrotechnics and storylines with masterful double entendre,songs, chants, lines that were so funny that whole paragraphs, sketches, were memorized and dialoged with the many who were equally smitten. I don't think anyone has created an audio world as complex, brilliant, and fun since.

I used to enjoy Bill Cosby's comedy albums in the '60's. He was a master story teller of lively tales about his childhood and the colorful characters in his neighborhood. He was a pioneer in his field. He has shown leadership today in encouraging young people to be more responsible in their lives.

Recordings that need to be preserved in the National Recording Registry:

1. Mike Nichols and Elaine May comic routine about a pay telephone. Not only was it hilarious, the pay telephone itself is rapidly heading to oblivion except they will be preserved in old noir movies. In addition, after their comic recordings Mike and Elaine both went on to become major motion picture directors. Of course Mike's directorial career was award-winning. On the other hand, Elaine's was derailed by the hugely over-budget "Ishtar," starring important actors Dustin Hoffman and Warren Beaty, which was undeservedly bombed and made the butt of jokes.
2. Shelley Berman's recording of a letter from a child at summer camp. Shelley won the first GRAMMY for a non-musical recording. He was the first stand-up comedian to appear in Carnegie Hall.
3. Oscar Brown, Jr., "Sin & Soul," captures music from his one-man show, mostly his own compositions. Some of the noteworthy tracks include: "Signifying Monkey" (based on an African fable); "The Work Song" (chain gang); "Bid 'Em In" (slave market); "Rags And Old Iron" and "Watermelon Man" (based on urban peddlers' sales cries); "Somebody Buy Me A Drink;" and "Dat Dere," and "Brown Baby" (about his then new born child.) On my copy, which I bought at a live performance, the quality of the recording is not very good. Plus, the audio recording could not capture his on-stage acting out of the songs, which, sadly, I guess is lost forever.