I’m not going to go into great detail about this, but it’s clear that if David Bowie isn’t the most influential artist in post-war pop music history, he certainly ranks among the greatest – perhaps on a level with Chuck Berry, Elvis Presley, Lennon and McCartney, and even his own predecessor, David Jones (who later became known as Bowie).
In contrast to the pioneers who significantly developed and made rock and roll famous, Bowie stands out as having an even greater impact in numerous aspects. Contemporary pop music owes more to the innovations Bowie introduced during the 70s and 80s than it does to those early giants of the industry. I wouldn’t be surprised if a random survey of top musicians in 2025 revealed that Bowie would be the most frequently cited influence.
Bowie transcended music, becoming a cultural icon in fashion and performance art that stretches beyond the stage. He revolutionized our perception of pop stars, transforming them into versatile canvases where fans could imagine their dreams. Known for his multi-faceted talents as an actor, mime, dancer, and model, Bowie never limited himself to just being a singer; he saw himself as offering much more.
David Bowie’s impact on modern pop music continues to be massive almost a decade after his death
Despite his complex feelings towards rock fame, David Bowie remarkably produced a vast body of music. From his debut in 1967 up until ‘Never Let Me Down’ in 1987, he released a total of 20 albums – 17 studio and three live. This equates to an album per year for an uninterrupted span of twenty years. The majority of this output consisted of original compositions, with one album dedicated exclusively to cover songs.
In the late ’60s, I dabbled with various styles, but it was around this time that I truly found my stride and emerged as a pioneer in glam, synth-pop, and a unique blend of blue-eyed soul, pushing the boundaries of art rock. My music left an indelible mark on almost every pop genre for decades to come.
As age and sickness appeared to be working together to diminish his pace, David Bowie put out two albums during his last five years that many other musicians could only dream of achieving.
By the time January 2026 rolls around, it will be a decade since we lost the iconic David Bowie. To ensure I don’t miss this significant milestone, I’ve decided to start a countdown now, listing what I believe are his 25 best songs.
Any such list is incredibly subjective. Being a follower of Bowie’s early ’70s work, I could have effortlessly filled this list with the entirety of “Hunky Dory” and “The Rise and Fall of Ziggy Stardust and the Spiders From Mars”, which from now on will be referred to as “Ziggy Stardust”.
I made several picks from those albums, but upon revisiting David Bowie’s full discography, I discovered numerous additional options. This compilation will include popular tracks as well as less known gems that warrant recognition. However, it might overlook a few favorite songs among fans.
Here’s a hint: Among David Bowie’s two number-one hits on the Billboard charts, we’ll be featuring just one today. Let’s get started with our countdown!
25. “Fashion” (1980)
Before we proceed, let me clarify that neither “Let’s Dance” nor “Golden Years” will appear on this list. Both tracks were top ten hits, with the former being one of Bowie’s two number-one singles. I have no issue with either song, but I personally believe that “Fashion,” from the album “Scary Monsters (and Super Creeps) ,” is more musically and lyrically superior.
In a tune that embodied the inflexibility of fashion trends, David Bowie paved the way for numerous synthesizer dance tracks, such as those produced by Madonna and Lady Gaga, in the subsequent years. Moreover, he was accompanied by an exceptional band during his performances.
The heavy bass beats are thanks to George Murray, and Carlos Alomar, a significant influence on Bowie’s neo-soul sound in the mid-70s, contributes the funky rhythm guitar. Additionally, the legendary art rock guitarist Robert Fripp adds an ethereal touch throughout.
24. “All the Madmen” (1970)
Reflecting on an early point in his music journey, “All the Madmen” is a notable song from David Bowie’s third album, “The Man Who Sold the World“. Later, Kurt Cobain and Nirvana would popularize the title track with their rendition during their Unplugged performance. “All the Madmen” showcases Bowie’s initial affinity for theatricality and English folk influences, while he was beginning to establish a rock and roll identity.
The tune transcends traditional genres, starting with an acoustic folk-style intro by David Bowie, followed by Mick Ronson’s rocky, glam infusions and Ralph Mace’s synthesized art rock elements. Tony Visconti, who had started producing Bowie on his last album, provides the bass that ties all these diverse sounds together.
23. “Fame” (1975)
As a gaming enthusiast immersed in my virtual world for half a decade, I was the talk of the town back in the U.K., pushing boundaries with my innovative glam style. Yet, I yearned for a breakthrough in the USA, and that’s when I made the leap across the ocean to embark on a fresh musical journey. Delving deep into the soulful roots of Philadelphia and the pulsating energy of New York City, I collaborated with guitarist Carlos Alomar and a band of veteran soul/funk musicians to create the album “Young Americans.
For the last song on the album, he collaborated with John Lennon, who jointly penned (together with Bowie and Alomar) a tune exploring the cost of fame. “Fame” marked David Bowie’s initial number-one hit single in the U.S.A.
22. “D.J.” (1979)
By the end of the 1970s, Bowie decided to leave sunny Los Angeles. His motivation was to break free from the harmful effects of cocaine and other detrimental factors lurking there. The three European albums he produced during this period showcased his exploration into avant-garde art rock.
In many of his compositions, he abandoned conventional pop song structures and instead embraced the early experimental style of Kraftwerk and Neu!, as seen in the track “D.J.” from his last Berlin album, Lodger (recorded in Switzerland). This piece not only showcased his adventurous spirit but also focused on one of Bowie’s recurring themes – performance. The lyrics “I am a D.J. – I am what I play” can be interpreted as a frenzied exploration of identity.
21. “Cactus” (2002)
It’s generally believed that by the late ’80s, David Bowie experienced a creative downturn. Despite maintaining his popularity, he didn’t produce music as prolifically as he had in the preceding two decades. This creative drought persisted until 2013, marking the latter stages of his life.
Although history tends to overlook many excellent songs from him, his overall albums didn’t quite reach his peak. However, a song like “Cactus” from the 2002 album “Heathen” demonstrates that he was still a force to be reckoned with. The fact that “Cactus” is actually a cover of a Pixies song from 1988 shouldn’t detract from the unique flair and vitality Bowie, working again with producer Tony Visconti after many years apart, brought to it.
History often overlooks many terrific songs by him, but his albums, on the whole, didn’t quite reach their potential. But a song like “Cactus” from 2002’s “Heathen” shows that he was still capable of greatness. It’s important to note that “Cactus” is actually a cover of a Pixies song from 1988, yet Bowie, teaming up with producer Tony Visconti once more after years apart, infused it with his own distinctive style and energy.
20. “Modern Love” (1983)
The song “Modern Love” hails from the same album that gave us “Let’s Dance,” titled after itself. This track represents another stunning fusion of dance pop, swing, and boogie woogie influenced by Little Richard, all set to a rhythmic ska beat.
Joining the esteemed roster of guitarists eager to collaborate with Bowie, Stevie Ray Vaughan and Nile Rodgers (the album’s producer) lend their talents. The mix includes pianos, horns, and saxophones, contributing to the catchy overall sound.
19. “I’m Afraid of Americans” (1997)
I’m not trying to argue that David Bowie’s albums from the 1990s have been undervalued; after all, the album “Earthling” got positive reviews upon its release in 1997, even if nobody was proclaiming it as a masterpiece.
The song “I’m Afraid of Americans” by Bowie and Brian Eno, a creation from their industrial era, has shown remarkable foresight in exposing a potential breakdown at the heart of American mentality.
18. “Rebel Rebel” (1974)
We’ll reach Ziggy Stardust in due time. When considering “Rebel Rebel”, it’s crucial to understand that it originated from an album a few years down the line, when Bowie was retiring one persona – the glam deity Ziggy – and venturing into uncharted waters with fresh identities.
The song “Rebel Rebel” maintains the distinctive characteristics of a flamboyant glam rocker, with its memorable guitar riff and provocative opening lyric, “You’ve got your mother in a whirl – She’s not sure if you’re a boy or a girl.” However, when it was included on the album Diamond Dogs, there was an unexpected twist. Was it punk, disco, a throwback to classic rock & roll, or perhaps a mix of everything? It could have been any or all of these elements.
17. “Oh You Pretty Things” (1971)
In my opinion, Hunky Dory is among the finest albums from the 1970s. It was David Bowie’s fourth studio album and the first where he seamlessly blended all his diverse styles into a harmonious whole. The track “Oh You Pretty Things” starts with a hint of the theatricality from his early works, featuring a brief piano introduction before transitioning into what appears to be a folk-rock ballad, based entirely on that rhythmic piano melody.
Initially, the song’s opening verse ends with “All the nightmares came today…”, leading us into a distinctly different realm of thought. By the time the chorus hits, it presents a complex, multilayered message that could be interpreted as new-age philosophy before it became popular. The lyrics “The Earth is a bitch, we’ve finished our news – Homo sapiens have outgrown their use” are incredibly poignant and powerful, delivering a bleak message in a generally upbeat piano melody.
Pulling that off was part of the Bowie magic.
16. “Space Oddity” (1969)
I struggle with the assessment of the song that introduced David Bowie to the world, as I find it impressive at times, but believe it’s overrated because of its historical importance. Upon reconsideration, however, I recognize that Bowie’s genius was evident from the start of his career, even though he may not have fully understood it at that point in time.
David Bowie’s debut self-titled album showcases an unusual charm. It is a clever, playful assortment of songs that leaned more towards the style of Anthony Newley rather than rock and roll during that period. Similarly titled, his second album maintained the same essence but delved further into folk music.
The track had an advanced, futuristic feel that initially presented as a straightforward folk melody. However, it soon grew more intricate by adding layer upon layer of sounds, resulting in a unique composition.
As a devoted fan, I’d share that Bowie once unveiled a captivating theme that resonated throughout his illustrious career – the intriguing question about the performer, specifically an astronaut, and whether he retained any autonomy beyond the scrutiny of the public eye. Remarkably, this song turned out to be a massive success, bestowing the album with its iconic title in later releases.
15. “Dirty Boys” (2013)
If you’re hoping for something from David Bowie’s last album “Blackstar,” I must say you might be let down. While “Blackstar” serves as a beautiful farewell, I believe its release was coincidentally timed with Bowie’s death, which has caused it to overshadow the album that came before it, “The Next Day.
Apart from boasting one of the most contemplative album covers in rock music, “The Next Day” represents a remarkable comeback to Bowie’s classic style, surprising many who believed that an older and less healthy Bowie might struggle with such a feat. This track exudes a jazzy, eerie feel, characterized by Steve Elson’s menacing saxophone performance and Earl Slick’s contrasting guitar riffs. In essence, it embodies the mood of a jazz-era crime drama in musical form.
14. “Suffragette City” (1972)
1. “The first track on my playlist hails from ‘Ziggy Stardust’, but it could have been left out. It might not even be a David Bowie song; instead, it was a generous offering from Bowie to Mott the Hoople in the early ’70s, as he frequently shared his time and abilities with artists he admired.”
2. “The opening number on my playlist is from ‘Ziggy Stardust’, yet it was nearly left out; it might never have been a David Bowie song at all. Bowie, who often lent his talent to artists he appreciated, gave this song to Mott the Hoople for recording in the early ’70s.”
3. “The lead track on my list is from ‘Ziggy Stardust’, but it’s possible that it could have been omitted; it may not have even been a David Bowie composition. Instead, Bowie, known for his generosity with his talent and time, shared this song with Mott the Hoople to record in the early 1970s.”
4. “The initial track on my playlist is from ‘Ziggy Stardust’, but there’s a chance it could have been eliminated; it may not have ever been a David Bowie tune. Instead, Bowie, who was generous with his time and talent, provided this song to Mott the Hoople for recording in the early ’70s.”
5. “The first selection on my list comes from ‘Ziggy Stardust’, but it might have been skipped; it may not have originated from David Bowie himself. However, Bowie, who frequently supported artists he respected, offered this song to Mott the Hoople for recording in the early 70s.”
6. “The opening track on my list stems from ‘Ziggy Stardust’, but it could have been a casualty; it may not have been penned by David Bowie at all. In the early ’70s, Bowie—known for his generosity with his time and talent—gave this song to Mott the Hoople for recording.”
7. “The introductory track on my playlist hails from ‘Ziggy Stardust’, but it could have been overlooked; it may not have belonged to David Bowie. Instead, Bowie, who was generous with his time and talent, shared this composition with Mott the Hoople for recording in the early 70s.”
8. “The first number on my list is from ‘Ziggy Stardust’, but it could have been left out; it may not have been a David Bowie song. In fact, Bowie—generous with his time and talent—gave this song to Mott the Hoople for recording in the early 1970s.”
Choose the one that resonates best with your style and purpose!
Instead of refusing the offer, Mott had to step aside, and Bowie composed a different song for them (“All the Young Dudes”) as a means to revitalize Mott’s career. This track was later added onto Bowie’s album “Ziggy“, although musically it aligns well, the lyrics do not follow the narrative of the “Ziggy ” storyline.
It’s been proposed that the song “Suffagette City” fits the style Ziggy might have played, given its inventive language, fitting for an extraterrestrial rock star, and its powerful rhythm. Regardless of your perspective, it’s undeniably one of Bowie’s most enjoyable, upbeat tunes.
13. “Ashes to Ashes” (1980)
From the very start, another track on “Scary Monsters” delivers a dose of its peculiarity. However, it later unfolds into a beautiful chorus that echoes Bowie’s initial smash hit and legendary persona, “Major Tom.” This is where I believe one significant aspect of Bowie’s oeuvre often goes unnoticed in critical conversations.
Previously mentioned, “Scary Monsters” is generally understood to have followed Bowie’s Berlin and Plastic Soul phases, which in turn succeeded his Glam and Folk eras. However, it wouldn’t be accurate to say that Bowie completely separated himself from the earlier stages of his musical journey. Instead, one could say that the various periods of Bowie’s artistic evolution were interconnected and influenced each other throughout his career.
He stored various items and drew upon them whenever necessary. This way, he’s reviving a character from a past timeframe and blending melodic concepts he discovered in Germany and the New York nightclub scene, ultimately creating a fresh, unique audio experience.
12. “Watch That Man” (1973)
Bowie swiftly released “Alladin Sane” to cash in on the popularity of “Ziggy Stardust.” The opening track, “Watch That Man,” combined glam music with a classic American rock and roll tune, featuring backup vocals that had a soulful vibe.
From that period, this track by Bowie showcases one of his heaviest rock performances, leaning more towards the Rolling Stones’ style rather than T Rex. Notably, regular collaborators like Woody Woodmansey displayed energetic drum work, while Mike Garson delivered a lively piano riff reminiscent of Little Richard.
11. “Sound and Vision (1977)
If you’re a lover of Berlin albums, I must apologize for my personal preferences. They aren’t my top picks, but I’ve made sure to include some fantastic tracks from those albums. One standout tune that I believe deserves mention is from the first Berlin album titled Low. Some people even consider this one of Bowie’s greatest achievements.
On one side, which leans towards more conventional tunes, David Bowie crafted the incredibly infectious “Sound and Vision.” Notably, this piece was produced during a challenging phase in Bowie’s personal life. At that time, he had left L.A. with the intention of cleaning up his act.
At the time, he barely weighed anything and had a strong addiction to drugs. Bowie accompanied his old acquaintance Iggy Pop, whose state was even more precarious. Iggy is featured on several tracks from the album “Low“, but not this particular one. Bowie was delving into novel sounds alongside Brian Eno during this period. While Eno is only acknowledged as a backup singer on this track, it’s likely that he played a significant part in its development.
10. “Diamond Dogs” (1974)
David Bowie’s album, “Diamond Dogs,” showcases some amazing rock & roll performances by him and his frequent collaborators. While bassist Herbie Flowers didn’t hold it in high regard at the time of its release, it has gained more appreciation over the years. Initially, it found itself stuck between the end of the Ziggy era and the start of Bowie’s American plastic soul phase.
These two albums, “Alladin Sane” and “Diamond Dogs,” were influenced by Bowie to some extent. Now, you can listen to him playing the saxophone passionately while urging his fervent audience towards a form of punk music that draws from classic rock as its foundation.
9. “Five Years” (1972)
A remarkable feat indeed, if “Five Years” manages to encapsulate an apocalyptic climax within a catchy four-and-a-half-minute pop tune. Given its pivotal role in launching the epic Ziggy Stardust album with such dramatic intensity, it stands out even more spectacularly.
To achieve greatness by fitting an apocalyptic peak into a four-and-a-half-minute pop song is no small feat. As it serves as the powerful opening for the groundbreaking Ziggy Stardust album, its impact becomes even more pronounced.
As a gamer, I’m drawn into the rhythmic journey of “Five Years.” The Woody Woodmansey shuffle sets the tone for the first fifteen seconds, then echoes again at the song’s closing moments, lasting another fifteen. This track masterfully blends the cosmic, as Bowie poignantly sings about a news guy weeping over Earth’s demise, with the mundane, like spotting someone in an ice cream parlor sipping milkshakes. It’s this unique ability to intertwine the extraordinary and the ordinary that keeps me captivated.
Additionally, it allows the character portrayed by Bowie to become wildly emotional, sobbing and shouting into the microphone, all while a steady drum beat provides a consistent rhythm beneath.
8. “Andy Warhol/Song for Bob Dylan/Queen Bitch” (1971)
While composing this text, there have been moments when I’ve pondered, “Could what I’m saying be correct? Did David Bowie release ‘Rebel Rebel’ at age 18?” As ‘Sound and Vision’, a song that’s been echoing in my mind since the start, was released in 1976, which is 11 years earlier than now. Similarly, I find it hard to believe that ‘China Girl’ wasn’t included. Given the extensive range and caliber of Bowie’s music, it’s likely that I may have missed one or two of your preferred songs. (Apologies for any anticipation on your end.)
Apologies for the transparency, but I’m pulling off a clever move here – getting three tracks in the price of one, bumping my favorite list up to number 27. These last three from ‘Hunky Dory’ might not be connected like side two of ‘Abbey Road’, but thematically, they’re tailored from the same fabric. They’re a salute to three New York icons (not natives, I should clarify) who significantly impacted Bowie.
The writings are tailored to fit each individual honoree uniquely. For instance, “Andy Warhol” reflects the man’s unique, icy cold, and somewhat bizarre personality. On the other hand, “Song for Bob Dylan” embodies a genuine tribute to folk music with lyrics worthy of a future Nobel laureate. Lastly, “Queen Bitch” showcases the Lou Reed that David Bowie was about to redefine by producing his groundbreaking solo album Transformer.
7. “Starman” (1972)
The tune “Starman” initially has a cheerful folk rhythm, with Bowie strumming his acoustic guitar and singing. However, it swiftly transforms into another interstellar adventure. Mick Ronson’s electric guitar adds a glittery, glam rock touch to the mix. This song, like previous ones, explores the theme of a performer, but in this case, the character is undeniably an extraterrestrial, more so than in “Space Oddity.
Here comes Ziggy, an entity that arrived to bring peace to a fading race in their last moments. Tragically, those who adored him would eventually consume him. This topic was the basis for many of Bowie’s most intimate songs and marked his first significant hit since “Space Oddity.
6. “Young Americans” (1975)
After that, they vanished just as swiftly as Ziggy Stardust, Aladdin, and Diamond Dogs materialized. With Andy Newmark’s tumbling drum rhythm and David Sanborn’s mournful saxophone notes, Bowie once more transformed himself, delving into his rendition of American soul music – which he called “plastic soul.
In this rendition, Carlos Alomar commences as David Bowie’s fresh source of guitar inspiration, while a choir of backing vocalists, which included a budding Luther Vandross, delivered authentic, undeniably real, soulful tunes. The album “Young Americans” perfectly encapsulated the disenchantment of the mid-70s and provided an ideal platform for Bowie to display his extraordinary vocal range, encompassing both tone and emotion.
5. “TVC15” (1976)
Station to Station was the album David Bowie recorded during his last days in Los Angeles, immersed in a drug-induced malaise that eventually led him to leave the continent. The album included the title track and the hit “Golden Years,” but it’s the futuristic “TVC15” that has grown in significance over time and now feels more powerful than ever.
1. Roy Bittan from the E Street Band plays a rough piano melody, while Carlos Alomar and Earl Slick drive the guitars. Back then, the eerie nature of emerging technology, soon to be featured in David Cronenberg’s movies, served as fertile ground for creation.
2. Roy Bittan on the E Street Band is playing a jagged piano rhythm, with Carlos Alomar and Earl Slick powering the guitars. The chilling vibe of contemporary technology, soon to be seen in David Cronenberg’s films, provided an excellent canvas for creativity at that time.
3. In the E Street Band, Roy Bittan is striking a sharp piano rhythm, and Carlos Alomar and Earl Slick are pushing the guitars forward. The eerie feel of the technology that was about to become mainstream in David Cronenberg’s films offered a rich environment for artistic expression during that period.
4. Roy Bittan of the E Street Band is playing a complex piano pattern, and Carlos Alomar and Earl Slick are rocking the guitars. The unsettling ambiance of the technology that was on the verge of becoming popular in David Cronenberg’s films provided fertile ground for artistic development at the time.
Bowie attributed this specific horror to Iggy Pop’s anxious fantasies, yet he transformed it into irresistibly catchy pop tunes.
4. “The Jean Genie” (1973)
On the album Alladin Sane, tracks like “Cracked Actor” and “Drive-In Saturday” often spark debate among listeners. However, it’s hard to find someone who doesn’t appreciate “The Jean Genie.” This Bowie tune is a tribute to Iggy, and its orchestration is straightforward, with Trevor Bolder and Woody Woodmansey delivering a persistent blues beat on bass and drums, respectively. Mick Ronson adds the perfect amount of rock flair with his guitar playing.
As a gaming aficionado, I’ll tell you this: Bowie infuses a harmonica, giving the tune an electric blues feel. Yet, it’s not just any blues – no siree! It’s a glam-infused blues that’s downright impossible to resist.
3. “Life on Mars” (1971)
Between “Space Oddity” and “Starman,” one standout track on the album “Hunky Dory” employs the theme of space in a unique way – as a vast, enigmatic expanse that offers a tantalizing escape from our weary, mundane world in search of fresh, invigorating diversions.
This piece showcases some of his keenest poetry, such as “America’s troubled forehead now bears Mickey Mouse grown into a cow” and “Now the workers strive for renown, as Lenin is back on sale again.” It also has a melodic structure that he often revisited, where verses seamlessly transition into choruses.
During the early days of glam rock, Mick Ronson, who was instrumental in shaping guitar melodies, constructs a towering symphony of strings that transforms the simple existence of a girl with mousey hair into an epic narrative of yearning for something greater.
2. “Changes” (1971)
Didn’t I mention that “Hunky Dory” is my favorite album, you asked? Two of my top Bowie songs are found on his fourth record. “Changes” was the main track, and it perfectly embodied an artist at the time. The “Hunky Dory” album itself signified a change from his first three somewhat disjointed albums to a cohesive collection of tracks.
At that time, it was unknown that “change” would be a key factor in David Bowie’s career. However, he appeared to understand – or at least intuited – the transformative potential of change. The song “Changes,” remarkably, did not include guitars. Instead, Rick Wakeman played the piano, and Mick Ronson was on the Mellotron, laying down the rhythm that Tony Visconti and Woody Woodmansey established. Bowie also added a saxophone with an expressive touch throughout.
1. “Heroes” (1977)
Displacing “Changes” from the number one position requires a significant effort. In the second of Bowie’s Berlin albums, the powerful anthem “Heroes” has enough strength to take over the top spot. Bowie went all out musically for this song. Robert Fripp and Carlos Alomar played guitars, while Brian Eno handled everything else: orchestral strings, synthesizers, backup vocals.
The scene is as magnificent as possible, and the phrase “We could be heroes, just for one day” resonates with all of us. This song was released over four decades ago, and it’s been almost a decade since its composer passed away, searching for signs of life on Mars.
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2025-05-11 13:02