Artist	Song
Elvis Presley	Jailhouse Rock
from Elvis: 30 #1 Hits (2002)
Little Richard	Tutti Frutti
from The Very Best of Little Richard (2008)
Chuck Berry	Sweet Little Rock & Roller
from The Definitive Collection (2006)
Fats Domino	Ain't That a Shame
from The Fats Domino Jukebox: 20 Greatest Hits (2002)
The Rolling Stones	Jumpin' Jack Flash
from Hot Rocks 1964-1971 (2005)
The Who	My Generation
from 20th Century Masters - The Millennium Collection: The Best of the Who (1999)
The Yardbirds	For Your Love
from Shapes of Things - The Very Best of the Yardbirds (2006)
Pink Floyd	Arnold Layne
from An Introduction to Syd Barrett (2010)
The Pretty Things	S.F. Sorrow Is Born
from S.F. Sorrow (2011)
Bob Dylan	Like a Rolling Stone
from The Essential Bob Dylan (2000)
John Lennon	Jealous Guy
from Power to the People - The Hits (Remastered) (2010)
The Velvet Underground	Sweet Jane
from Loaded (2005)
The Stooges	I Wanna Be Your Dog (Remastered)
from The Stooges (2005)
Marc Bolan	Mustang Ford
from Love and Death (1966)
James Brown	The Payback
from The Payback (1992)
The O'Jays	Back Stabbers
from The Philly Sound - Kenny Gamble, Leon Huff and the Story of Brotherly Love (1966-1976) (2001)
Kraftwerk	Kometenmelodie 2
from Autobahn (Remastered) (2009)
Joy Division	She's Lost Control
from The Best of Joy Division (2008)
Pixies	Debaser
from Wave of Mutilation - Best of Pixies (2004)
Nine Inch Nails	Closer
from The Downward Spiral (1994)
John Coltrane	Naima
from Giant Steps (2005)
Anthony Newley	Lumbered
from Stop the World - I Want to Get Off (2001)
Tommy Steele	Rock With the Caveman
from Big Hits and Highlights of 1956, Vol. 8 (2007)
Jacques Brel	Mathilde
from Infiniment (2004)
Bertolt Brecht	Mack the Knife from the Threepenny Opera
from September Songs (1997)

Comment:

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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