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Roots & Influences - World of David Bowie

Artist Song Buy
Elvis Presley  Jailhouse Rock   buy on itunes
Little Richard  Tutti Frutti   buy on itunes
Chuck Berry  Sweet Little Rock & Roller   buy on itunes
Fats Domino  Ain't That a Shame   buy on itunes
The Rolling Stones  Jumpin' Jack Flash   buy on itunes
The Who  My Generation   buy on itunes
The Yardbirds  For Your Love   buy on itunes
Pink Floyd  Arnold Layne   buy on itunes
The Pretty Things  S.F. Sorrow Is Born   buy on itunes
Bob Dylan  Like a Rolling Stone   buy on itunes
John Lennon  Jealous Guy   buy on itunes
The Velvet Underground  Sweet Jane   buy on itunes
The Stooges  I Wanna Be Your Dog (Remastered)   buy on itunes
Marc Bolan  Mustang Ford   buy on itunes
James Brown  The Payback   buy on itunes
The O'Jays  Back Stabbers   buy on itunes
Kraftwerk  Kometenmelodie 2   buy on itunes
Joy Division  She's Lost Control   buy on itunes
Pixies  Debaser   buy on itunes
Nine Inch Nails  Closer   buy on itunes
John Coltrane  Naima   buy on itunes
Anthony Newley  Lumbered   buy on itunes
Tommy Steele  Rock With the Caveman   buy on itunes
Jacques Brel  Mathilde   buy on itunes
Bertolt Brecht  Mack the Knife from the Threepenny Opera   buy on itunes


By an artists’ first album, their influences are usually set in stone, and their career builds on that solid — solid[i]ified[/i] — foundation. Not so with Bowie. Like an avalanche, he’s swept up everything in his path . . . and keeps on charging. After hearing an eyeliner-wearing hell-raiser named Little Richard, whose [i]wop-bop-a-loo-bop[/i]-ing “Tutti Frutti” changed the face of rock, he “bought a saxophone and came into the music business.” Anthony Newley was already a huge stage star in Britain when his show-stopping “Lumbered” incited Bowie to write a debut album “full of really weird Newley-style songs with lyrics about lesbians in the army and cannibals.” But the Velvet Underground’s “Sweet Jane,” with its dirty-sexy mix of art and punk, saved him from a lifetime of Tony® Awards and dropped him on the wild side’s catwalk. And in the mid-’90s, Nine Inch Nails’ “Closer” sharpened Bowie’s aggro-industrial tendencies to a Reznor edge. Even when most of his peers have calcified in their own image, Bowie continues listening and keeps evolving; from Chuck Berry to Kraftwerk and beyond, we’ve got what’s on [i]his[/i] iPod.
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