As far as I know, the vast majority of early rock and roll and rockabilly music. Take Elvis Presley's Mystery Train, a cover of a Junior Parker song - it's based around the E, A and B7 chords, or Chuck Berry's Carol. Most of these songs are based around blues structures, presumably because of the R&B/blues influence on them.
However, somewhere along the line, rock music began to use unconventional chords (by rock's standards) in unconventional ways. By 1965 the Byrds used the A, E, D, F7, B and Bm chords in I'll Feel a Whole Lot Better, a two and a half minute pop-rock song. It also involves a main riff that's hardly "bluesy" as most of the early rock songs were.
Was there a style of music or particular artist that influenced this shift into more outlandish harmonies and melodies? The limited research I've done is pointing me, unsurprisingly, in the direction of the Beatles. Bob Dylan remarked that:
[the Beatles] were doing things nobody was doing. Their chords were outrageous, just outrageous, and their harmonies made it all valid...
Is this thesis true? Did the Beatles' hits inspire rock songwriters to begin throwing weird chords into their music?
This is really just an opinion piece. There's plenty of late Blues and early Rock that fall well outside the standard 12 bar blues progression, and the I iv V, or I iv V IV progression. You have the turnaround that includes the vii, or even bebop blues like Charlie Parker's [https://www.youtube.com/watch?v=ryNtmkfeJk4](Now's the Time). You'd even have minor blues, or modal blues, but 12 bar was the standard, and you heard it a lot because it was popular, and it sold records.
Jerry Lee Lewis had songs with different chord progressions, 7s, minors and so on, but the I-vi-V-IV progression was super popular, so people stuck with it.
As for the Beatles, their big "outrageous" chord was mostly just adding the 6, so a C6 instead of just a C. Not particularly crazy by today's standards, but no one was doing it much at the time, so it caught on.
As far as really outrageous chords, I would say Zeppelin and Yes certainly did way more in terms of adding a ton of really interesting chords, progressions, suspensions and harmonic texture to rock.