As of Dec. 30, Patti Smith is 75 years old. In honor of this landmark birthday, we’ve compiled a playlist of 75 songs by the legendary artist - as well as by her influences, peers, and protégés.

Below, listen to all the songs in a YouTube playlist. Scroll down for a complete, annotated list.

“Because the Night” (The Patti Smith Group, Easter, 1978). Written by Patti Smith and Bruce Springsteen, this passionate anthem became Smith’s best-known song.

“Gloria: In Excelsis Deo” (Patti Smith, Horses, 1975). The epochal opening track on Horses, this was Smith’s adaptation of the Van Morrison song originally recorded by Them.

“Blitzkrieg Bop” (The Ramones, The Ramones, 1976). The quintessential sound of the New York punk scene Smith rose up in. Earlier this week, New York mayor Bill de Blasio presented Smith with a Key to the city.

“The Coral Sea: Performance I, Part One” (Patti Smith with Kevin Shields, The Coral Sea, 2008). The mastermind of My Bloody Valentine collaborated with Smith to set her 1996 poetry collection The Coral Sea to music.

“Venus in Furs” (The Velvet Underground, The Velvet Underground & Nico, 1967). John Cale, whose distorted viola is prominent on this Velvet Underground classic, would produce Smith’s landmark 1975 album Horses.

“25th Floor” (Patti Smith, Easter, 1978). In his Rolling Stone review, Dave Marsh wrote that this song “makes the Patti Smith group the most logical heir to the Velvet Underground.”

“Gimme Shelter” (Patti Smith, Twelve, 2007). A Stones song from Smith’s covers album.

“Paint It Black” (Rolling Stones, Aftermath, 1966). Smith has often covered the Stones, whose dark blues rock was an important influence.

“Beneath the Southern Cross” (Patti Smith, Gone Again, 1996). Jeff Buckley, who contributed vocals to this track, met Tom Verlaine during these sessions and asked the Television guitarist to produce his next album. While the album, My Sweetheart the Drunk, wasn’t completed before Buckley’s 1997 death, the recordings Buckley and Verlaine made together were later released as Sketches for My Sweetheart the Drunk.

“Dancing Barefoot” (Patti Smith, Wave, 1979). This ecstatic song was written by Smith with Ivan Král.

“In a Sentimental Mood” (Duke Ellington and John Coltrane, 1963). Smith adores Coltrane: “Infused with the most compassionate edges of revolution, his music never ceases to elevate the listener, offering a spectrum of revelation, complex yet openly humanistic.”

“Mercy Is” (Patti Smith and the Kronos Quartet, 2014). Smith created this song with the famed Kronos Quartet and film composer Clint Mansell for the Biblical epic Noah.

“Ghost Dance” (Marianne Faithfull, Faithfull: A Collection of Her Best Recordings, 1994). Charlie Watts and Ron Wood backed Faithfull on this Smith cover, which was produced by Keith Richards.

“We Three Kings” (Patti Smith, A Very Speical Christmas 3, 2007). This was Smith’s contribution to the third volume in this series of Special Olympics benefit holiday albums.

“Habanera (L'amour est un oiseau rebelle)” (Maria Callas, Maria Callas Sings Great Arias from French Operas, 1961). Smith has repeatedly credited the opera icon Callas as one of her favorite singers, “for the depth of feeling and the range of suffering and joy she was capable of conveying through her voice.”

“Free Money” (Patti Smith, Horses, 1975). This Lenny Kaye collaboration was later given an unlikely cover by Sammy Hagar.

“E-Bow the Letter” (R.E.M. featuring Patti Smith, New Adventures in Hi-Fi, 1996). Michael Stipe, a longtime friend and admirer of Smith’s, enlisted her to add haunting vocals to this song by his band R.E.M.

“The Mermaid” (Patti Smith and Johnny Depp, Son of Rogues Gallery, 2013). Long before TikTok made sea chanteys trendy, Smith covered this pirate song for a compilation of covers, collaborating with an artist you might have heard of.

“Fire of Unknown Origin” (Blue Öyster Cult, Fire of Unknown Origin, 1981). Blue Öyster Cult’s version of this Smith song became the opening track of their eighth studio album. More cowbell!

“Dream of Life” (Patti Smith, Dream of Life, 1988). The title track to the only album Smith made with her husband Fred “Sonic” Smith.

“Ask the Angels” (The Distillers, The Distillers, 2000). A cover of Smith’s Radio Ethiopia track.

“Ask the Angels” (Patti Smith, Radio Ethiopia, 1976). The original, written with Ivan Král.

“Gone Again” (Patti Smith, Gone Again, 1996). Fred “Sonic” Smith co-wrote this song with Smith; it became the title track to the album she released in the wake of his death.

“Piss Factory” (Patti Smith, 1974). Smith co-wrote this song, inspired by her experience working in a stroller factory, with Richard Sohl; it was the B-side to her debut single “Hey Joe.”

“Blank Generation” (Richard Hell and the Voidoids, Blank Generation, 1977). Noobs often confuse Patti Smith with Scandal’s Patty Smyth; Smith’s peer Richard Hell didn’t help matters by marrying Smyth in 1985.

“Smells Like Teen Spirit” (Patti Smith, Twelve, 2007). “As most songwriters will tell you,” wrote Josh Jones in Open Culture, “a good song should strip down to voice and guitar without losing its heart. Smith’s version of ‘Smells Like Teen Spirit’ proves that Kurt Cobain’s songwriting stands up to the test.”

“Teen Age Riot” (Sonic Youth, Daydream Nation, 1988). Sonic Youth’s name was inspired by the nickname of Patti Smith’s husband Fred “Sonic” Smith.

“Come Back Little Sheba” (Patti Smith, 1996). Written with Lenny Kaye, this was the B-side to “Summer Cannibals.” The title comes from a 1950 William Inge play that became the basis of a 1952 Burt Lancaster movie.

“Desolation Row” (Bob Dylan, Highway 61 Revisited, 1965). “I related completely to him,” Smith has said about her friend Bob Dylan. “His arrogance, his humour, his mergence of poetry and performance.”

“My Generation” (Patti Smith, live, 1976). This Who cover from a Cleveland concert was released as the B-side of “Gloria.”

“Peaceable Kingdom” (Patti Smith, Trampin’, 2004). On Smith’s website, the lyrics to this song appear alongside one of Edward Hicks’s 19th century paintings on this theme.

“Stupid Girl” (Garbage, Garbage, 1995). “Patti Smith is a huge hero for me for a lot of different reasons,” Garbage frontwoman Shirley Manson has said. “Most importantly, it’s because she’s a woman who has navigated her creative life so beautifully and so artfully, with such integrity and authenticity, and she has proven to me that a woman, an artist, does not have to subscribe to the rules of the contemporary music industry.”

“Summer Cannibals” (Patti Smith, Gone Again, 1996). The lead single to Gone Again, “Summer Cannibals” was written by Smith with her husband, Fred “Sonic” Smith.

“While strumming the chords,” Smith later wrote, “Fred told me a story of his youth in the MC5. He woke up early one morning at a stopover in Georgia, feeling a lot of conflicting emotions. He loved playing music and was a true musician, but the stress and excess of being on the road was taking its toll. He already felt, at the age of twenty, as if he was being devoured. From his story I wrote the lyrics to the song he had in mind.”

“Glitter In Their Eyes” (Patti Smith, Gung Ho, 2000). Written with Oliver Ray, this song features Television’s Tom Verlaine on guitar and R.E.M.’s Michael Stipe on backing vocals.

“Marquee Moon” (Television, Marquee Moon, 1977). Smith and Television have long been close; they shared bills in the ‘70s, Smith dated the band’s Tom Verlaine for a period, and she covered this song at CBGB’s closing night in 2006.

“1959” (Patti Smith, Peace and Noise, 1997). Written with Tony Shanahan, this song earned Smith a Grammy nomination for Best Female Rock Vocal Performance.

“Trampin’” (Patti Smith, Trampin’, 2004). The title track to Smith’s ninth studio album, “Trampin’” is a traditional folk song.

“Dancing Barefoot” (U2, 1989). U2’s version of this Smith song, released as the B-side to their B.B. King collaboration “When Love Comes To Town,” was somehow huge in Iceland, where it became a number one hit.

“April Fool” (Patti Smith, Banga, 2012). The only single released from Smith’s most recent studio album, “April Fool” was inspired by the work of 19th century Russian surrealist writer Nikolai Gogol.

“Break On Through (To the Other Side)” (The Doors, The Doors, 1967). “Jim Morrison was one of our great poets and unique performers,” Smith has said about the Doors frontman. “His body of work will always endure.”

“Break It Up” (Patti Smith, Horses, 1975). Co-written with Tom Verlaine, this song was inspired by a visit Smith paid to Jim Morrison’s grave in Paris.

“Free Money” (Superchunk and Eleanor Friedberger, Live in NYC, 2014). A Bowery Ballroom performance that testifies to the enduring power of Smith’s 1975 song.

“Wing” (Patti Smith, Gone Again, 1996). “‘Wing’ means different things to different people,” wrote Rick Moore in American Songwriter. “But at its core it seems to be a song about the joy of personal freedom, each verse ending with the lines I was free needed nobody/ It was beautiful, it was beautiful. It was inspired by the work of Nobel Prize-winning philosopher Albert Camus, whose books The First Man and A Happy Death influenced Smith as a young artist.”

“Deanna” (Nick Cave and the Bad Seeds, Tender Prey, 1988). In describing the quality of songwriting he sought in this song, Cave admiringly cited Patti Smith’s adaptation of “Gloria,” calling it “one of the most demented displays of predatory sexual desire ever recorded. Yet, it is beyond sex. It is even beyond worship. It is poetry.”

“Looking For You (Was I)” (Patti Smith, Dream of Life, 1988). A fan favorite from Smith’s first album following the dissolution of the Patti Smith Group.

“Hey Joe” (The Jimi Hendrix Experience, Are You Experienced, 1967). Smith would later cover this rock standard most famously performed by Hendrix on his debut album. Smith met Hendrix once when she was young, and remembered, “for a young girl he was everything you would want in your rock and roll star. He was beautiful, intelligent, hungry.”

“Hey Joe (Version)” (Patti Smith, 1974). This was Smith’s debut single, adding a monologue about Patty Hearst.

“China Bird” (Patti Smith, Gung Ho, 2000). This Oliver Ray collaboration appeared on Smith’s first album not to feature a picture of herself on the cover: instead it featured a vintage photo of her father, Grant Smith.

“Luka” (Suzanne Vega, Solitude Standing, 1987). Vega’s best-known song, this came from her 1987 album co-produced by frequent Smith collaborator Lenny Kaye.

“Frederick” (Patti Smith Group, Wave, 1979). Inspired by Bruce Springsteen’s “Prove It All Night,” Smith wrote this song and dedicated it to her future husband Fred “Sonic” Smith. It became the lead single from Wave.

“I Wanna Know” (Lenny Kaye, Daddy Rockin’ Strong: A Tribute to Nolan Strong and the Diablos, 2010). Kaye, a guitarist and a key member of the Patti Smith Group, may be Smith’s most significant musical collaborator. His very small solo discography includes this Nolan Strong cover from a 2010 tribute album.

“Words of Love” (Patti Smith, Rave On Buddy Holly, 2011). This was Smith’s contribution to a Buddy Holly tribute album. “In a certain way, he was a teen idol and a pop star, but he had a certain amount of arrogance about him,” she told NPR regarding Holly. “Of course, he was young, so he would have that, but that was a unique thing for a pop idol; they were so clean-cut often in their demeanor. He just had this edge to him, to the way he presented himself, his songs and his vocal - it was a little bit more aggressive in a certain way.”

“Come On Baby Let’s Go Downtown” (Neil Young, Tonight’s the Night, 1975). “When I started performing a lot with Lenny Kaye and Richard Sohl,” Smith told New York, “we had goals: to infuse new life into performing poetry - merging poetry with electric guitar, three chords - and to reembrace rock and roll. It drew us together and kept us informed, whether through Bob Dylan or Neil Young or the Who.”

“Land” (Patti Smith, Horses, 1975). “Thirty-three years later the song seems absurdly out of place in punk and even in today’s music scene,” wrote Alex Young for Consequence of Sound in 2008. “It was an obvious peer to the work of the Velvet Underground and Television but it wasn’t quite like them. Listening to today’s critical darlings, I can’t help but think Smith had a huge influence, even if I’m not sure these artists actually heard her.”

“Down by the Water” (PJ Harvey, To Bring You My Love, 1995). Polly Jean Harvey might have been one of those artists - she’s said he hadn’t heard of Smith until she launched her career as PJ Harvey and was often compared to Smith. For her part, the elder artist is a fan.

“Walkin’ Blind” (Patti Smith, Dead Man Walking soundtrack, 1996). This was Smith’s contribution to the soundtrack for the 1995 movie based on the true story of Sister Helen Prejean, who served as spiritual advisor to death row prisoners in Louisiana.

“Because the Night” (Bruce Springsteen, Live 1975-85, 1986). In this thundering 1980 recording, you can hear how this song might have sounded if Springsteen had kept it for himself. Springsteen wrote the melody and chorus but struggled to write lyrics for the verses while making Darkness on the Edge of Town. At the time engineer Jimmy Iovine was working with both Springsteen and Smith, who was making Easter; he suggested asking her to have a go. The completed song became a classic, and Springsteen joined Smith for its live debut at CBGB’s in 1977. When Springsteen performs the song live on his own, as on this recording, he typically substitutes some of his own lyrics for Smith’s.

“So You Want To Be a Rock and Roll Star” (Patti Smith Group, Wave, 1979). Wave’s third single was this Byrds cover.

“Capitol Letter” (Patti Smith, The Hunger Games: Catching Fire soundtrack, 2013). Like most of the songs on this soundtrack, Capitol Letter wasn’t actually heard in the second Hunger Games movie.

“Doll Parts” (Hole, Live Through This, 1993). Hole leader Courtney Love says her key early influences were “50 percent Patti and 50 percent Stevie Nicks.”

“Privilege (Set Me Free)" (Patti Smith, Easter, 1978). The second single from Easter, this was Smith’s version of a song called “Free Me” originally written for a 1967 pop-star sci-fi movie called Privilege.

“Everybody Hurts” (Patti Smith, Twelve, 2007). Some cognoscenti regard this Automatic for the People song as evidence of R.E.M.’s decline from inscrutable glory to transparent sap, but this was the R.E.M. song Smith chose to perform on her covers album. Unsurprisingly, she’s since performed it live with her friend Michael Stipe.

“Spellbound” (Siouxsie and the Banshees, Juju, 1981). The parallels between Smith and Siouxsie Sioux are the subject of an entire essay on by the late musicologist Sheila Whiteley. “Like Patti Smith,” Whiteley wrote, “Siouxsie Sioux brought a new sense of individuality, a feminisation of rock, in her confrontational style and image.”

“It Takes Time” (Patti Smith and Fred Smith, Until the End of the World soundtrack, 1991). This collaboration between Smith and her husband appeared in the near-future science fiction drama by Wim Wenders, who asked soundtrack contributors to imagine the music they might be writing ten years later - that is, in 2001 - when the story was set.

“Blue” (R.E.M., Collapse Into Now, 2011). Smith and her longtime collaborator Lenny Kaye both appear on this track from R.E.M.’s final studio album.

“My Blakean Year” (Patti Smith, Trampin’, 2004). “I have worked on this song for awhile,” wrote Smith (with no caps or commas), “reading a lot of william blake as well as the wonderful blake biography by peter ackroyd. his life was a testament of faith over strife. he suffered poverty humiliation and misunderstanding yet he continued to do his work and maintained a lifelong belief in his vision. he has served as a good example in facing my own difficulties and feeling a certain satisfaction in doing so.”

“Redondo Beach” (Patti Smith, Horses, 1975). First published as a poem in 1972, these dark, poignant lyrics were set to reggae music in collaboration with Lenny Kaye and Richard Sohl.

“Helen Burns” (Flea, Helen Burns, 2012). Smith co-wrote and contributed vocals to the title track from Flea’s first solo EP, which might help explain why it references a character from Jane Eyre. “The beauty of Helen Burns is a quality I look for in all human beings,” explained the Red Hot Chili Peppers bassist. “Burns is always someone who is present with me and whose highest ideals resonate in the deepest experiences of my life.”

“People Have the Power” (Patti Smith, Dream of Life, 1988). A Fred “Sonic” Smith collaboration like the rest of this album, “People Have the Power” has become one of Smith’s best-loved tracks. U2 used it as their entrance music on their 2015 Innocence + Experience Tour, and Smith joined them for a live performance during that tour’s stop at London’s O2 Arena.

“Wild Leaves” (Patti Smith, Dream of Life, 1988). This was a B-side to “People Have the Power.”

“X Offender” (Blondie, Blondie, 1976). Both Smith and Blondie’s Debbie Harry are feminist icons from the ‘70s downtown scene, but they had very different stylistic approaches and there was an oft-discussed tension between the two. Even so, they’re in the history books together and for good reason.

“Higher Learning” (Patti Smith, Land [1975-2002], 2002). A collaboration with Tony Shanahan, Rev. Frank Ray, and Jay Dee Daugherty, this was a new track on Smith’s career-spanning compilation.

“Distant Fingers” (Patti Smith, Land [1975-2002], 2002). This 1975 demo of the Radio Ethiopia track was one of the rarities pulled from Smith’s vault for the Land compilation.

“Because the Night” (10,000 Maniacs, MTV Unplugged, 1993). This acoustic cover became a Top 40 hit off 10,000 Maniacs’ swan song live album.

“A Hard Rain’s a-Gonna Fall” (Patti Smith, live at Bob Dylan’s Nobel Prize ceremony, 2016). Only Bob Dylan would become the first rocker to win the Nobel Prize in Literature…and then skip the ceremony. And only Bob Dylan would have had the stature for Patti Smith to show up in his place to deliver this stunning rendition of one of his songs that most profoundly influenced her.