We're barely skimming the surface, of course, but we think these discs constitute a respectable cross-section of the best CDs ever recorded by women singers, with selections limited to one per artist. The timeline ranges from 1921 to last year, covering as many styles as we could think of (except opera and classical, mostly because we don't know squat about either). We hit most of the legendary touchstones, but also sprinkled in some obscurities — a few pet titles, as it were. The list is in alphabetical order, not ranked. (And OK, we cheated on the one-artist rule with Laura Nyro.)
Who did we leave out? Who made it that shouldn't have? As always, let us know. We'd be glad to print a second list of readers' picks.
Let the arguments begin.
Christina Aguilera: Back to Basics (RCA, 2006). Xtina gets all grown up and drops a double-disc that puts her big, sexy (and sensitive) pipes in front of a winning mix of disco beats and old-school horns.
Tori Amos: Little Earthquakes (Atlantic, 1992). Her debut is a compelling, piano-driven exploration of emotions; Amos raised the stakes by singing a cappella about her own rape.
Fiona Apple: Tidal (Sony, 1996). The singing-songwriting pianist unleashed her debut at 18 with this lusciously melodic, jazz-inflected pop album, delivering mature, confessional lyrics in a fiercely husky voice. And who can forget the "Criminal" video?
Erykah Badu: Live (Umvd Labels, 1997). Badu intersperses a collection of R&B and jazz covers among material from her retro-soul debut, the very worthy Baduizm.
Joan Baez: Diamonds & Rust (A&M 1975). The folk queen strikes back at ex-lover Bob Dylan with the haunting, self-penned title-track, and puts her soprano stamp on an eclectic mix of cuts written by Dickey Betts, John Prine and others.
The Bangles: Different Light (Sony, 1986). The height of the 1980s girl-pop movement, The Bangles merged SoCal soft rock, folk and poppy harmonies into hits like Prince's "Manic Monday" and the novelty tune, "Walk Like an Egyptian." Susanna Hoffs' little-girl-pout voice still titillates.
Bikini Kill: The Singles (Kill Rock Stars, 1998). While far from a cohesive album, this disc collects three Olympia-shaking Bikini Kill 45s that explain exactly why this band was the adrenaline needle to the heart of the riot grrrl scene.
Bjork: Vespertine (Elektra, 2001). High-pitched, breathy, by turns anguished and ecstatic, the Icelandic swan (remember that Oscar dress?) is an acquired taste, but once acquired, hard to shake. The knotty melodies and gorgeously spacey orchestration seal the deal.
Mary J. Blige: Mary (1999, MCA). As the title suggests, this is a highly personal album from the rapper/singer that effectively blends contemporary hip-hop with classic soul.
Blondie: Parallel Lines (Capitol, 1978). New York attitude. Platinum blonde hair. Disco meets punk meets Euro meets girl groups. Debbie Harry was the coolest customer to emerge from the late-'70s CBGB-fueled punk scene, her voice a singular blend of sneer and what-the-fuck.
The Breeders: Pod (4AD/Elektra, 1990). Pixies bassist Kim Deal and Throwing Muses guitarist Tanya Donelly teamed up for this promising debut, before various conflicts sadly sidelined the band for most of the decade.
Rosanne Cash: Seven Year Ache (Columbia, 1981). The scion of country royalty created the template for every pop-country singer to follow. Her world-weary voice turned male-centered songs (from producer/then-hubby Rodney Crowell and others) inside out.
The Carter Family: Can the Circle Be Unbroken?: Country Music's First Family (Columbia/Legacy/2000). Two-thirds of this highly influential trio were women, which helped forge country's strong bond with the ladies. These vintage recordings from '35 and '40 are smartly chosen and carefully cleansed for minimal pop 'n' hiss.
Neko Case: Fox Confessor Brings the Flood (Anti-, 2006). An intelligent, unpredictable and spellbinding collection of genre-defying tunes that Case calls "country noir."
Cat Power: The Greatest (Matador, 2006). Chan Marshall (aka Cat Power) lightened up (a bit) and dialed up Al Green's Memphis to record this brilliant disc of indie soul.
Patsy Cline: The Patsy Cline Story (1963, MCA). Two dozen gorgeous hits, each one showcasing one of the world's most expressive singers at her finest.
Judy Collins: Who Knows Where The Time Goes (Elektra, 1968). Collins' crystalline soprano never sounded better than in this Stephen Stills-produced disc, which features definitive renditions of the Sandy Denny title tune and Collins' own "My Father." A high point in artful '60s folk/pop.
Shawn Colvin: A Few Small Repairs (Sony, 1996). At once lovely, frank and at times bitter, this is singer/songwriter fare with bite.
Celia Cruz: Celia and Johnny (w/Johnny Pacheco) (Fania, 1974). The most important — and the greatest — woman's voice in Cuban salsa. Arranger/bandleader Johnny Pacheco knew exactly how to showcase her in this explosive recording.
Ani DiFranco: Little Plastic Castle (Righteous Babe, 1998). The preferred artist of Women Studies majors nationwide introduces a bit of humor, punchy brass and jazz elements into her punk-folk aesthetic, creating an album even a male chauvinist pig can love.
Dixie Chicks: Home (Open Wide/Sony 2002). A seamless blend of classic and contemporary country with bluegrass flourishes and '70s rock balladry, this is the band's pre-Bush-bashing triumph.
Missy Elliott: Under Construction (Elektra, 2002). Whether you're in the club or stuck in a mile-long traffic jam, Missy's hilarious rhymes and super-producer Timbaland's liquid beats will make you want to put your "thang down, flip and reverse it."
The Eurhythmics: Be Yourself Tonight (RCA, 1985). The experimental pop duo's fifth album reveals a more rockin' side of singer Annie Lennox, who struts her strongwoman persona in cuts like the titanic "Would I Lie to You?"
Marianne Faithful: Broken English (Island, 1979). The onetime Jagger lover (and former junkie) lends her wonderfully craggy vocal cords to tales of busted dreams ("Ballad of Lucy Jordan") and infidelity ("Why d'Ya Do It").
Ella Fitzgerald: The Cole Porter Songbook (Verve, 1956). Spry yet tender, Ella always put her voice in service of the song, which is probably why she excelled in interpreting collections by the great American composers — Berlin, Ellington, Rodgers & Hart, Arlen. Porter was her first songbook.
Roberta Flack: Softness With These Songs: The Best of Roberta Flack (Atlantic, 1993). The gentle songstress released a number of fine individual LPs, but this 17-song comp gathers it all, from the near-still ballad "The First Time Ever I Saw Your Face" to the breezy duet with Donny Hathaway, "Where is the Love?"
Fleetwood Mac: Rumors (Warner Bros.). Christine McVie and Stevie Nicks were at the top of their game on this landmark pop-rock LP.
Aretha Franklin: I Never Loved a Man the Way I Love You (Atlantic, 1967). This one has "Respect" and the title song, but 1968's Lady Soul has "Chain of Fools" and "Natural Woman." A toss-up, really. Or check out 30 Greatest Hits.
Judy Garland: Judy at Carnegie Hall (Capitol, 1961). No one has ever gotten to the aching heart of American pop standards as indelibly as Garland, and this historic live album deserves all of its accolades.
Emmylou Harris: Wrecking Ball (Elektra, 1995). The veteran songstress teams with U2 producer Daniel Lanois to bravely reinvent songs by the likes of Hendrix and Neil Young, resulting in a mesmerizing work that's distinctly her own.
PJ Harvey: To Bring You My Love (Island, 1995). Harvey strips her sound down to the bare essentials and summons themes of Biblical proportion: snakes, deserts and devils.
Nona Hendryx: Nona (RCA, 1983). The former LaBelle backup singer concocted a bracing mix of hard-rock, funk and dance.
Lauryn Hill: The Miseducation of Lauryn Hill (Ruffhouse, 1998). The Fugees frontwoman masterminds a summit of rap, soul and reggae that stands as one of the most intelligent, accessible and interesting albums of the '90s.
Hole: Live Through This (DGC, 1994). Courtney Love showed that Kurt Cobain didn't own all the talent in the household with this major artistic leap that put a female face on the normally male-dominated alt-rock scene.
Billie Holiday: Ken Burns Jazz Collection (PolyGram, 2000). A single-disc overview culled from the legendary Lady Day's many phases and record labels. Hits most of the touchstones.
Whitney Houston: Whitney (Arista, 1987). If you care to take American Idol into account, Whitney may be the most influential singer of the last two decades. Don't hold that against her, though; her early stuff had an infectious innocence about it.
Janet Jackson: Control (A&M, 1986). Michael's little sis issued an unflinching statement of emancipation on this deeply funky disc — with the help of Jimmy Jam and Terry Lewis.
Mahalia Jackson: Gospels, Spirituals, and Hymns (Rhapsody, 2004). Omnipresent on television and at jazz festivals during the 1950s and '60s, Jackson singlehandedly raised the profile of black gospel from almost exclusively church-based to something that American families regularly watched on the Ed Sullivan Show.
Etta James: At Last (Chess/MCA, 1961). Lusty, string-soaked uptown blues sung with unmitigated passion. Also check out Mystery Lady, Etta's jazzy paean to Billie Holiday (RCA, '94).
Joan Jett & the Blackhearts: I Love Rock N' Roll (Boardwalk, 1981). The former member of jail-bait vixens The Runaways employs the Blackhearts for a blast of classic rock with a womanly twist.
Rickie Lee Jones: Rickie Lee Jones (Reprise, 1979). She came out of nowhere, a hipster chick in a beret whose blend of jazz, folk and R&B redefined what it meant to be a woman singer/songwriter.
Janis Joplin: Pearl (Columbia, 1971). "Me and Bobby McGee," "Cry Baby" and the jukebox favorite "Mercedes Benz" are all found here on the blooze-belter's final album.
Alicia Keys: Songs in A Minor (J, 2001). The singer/songwriter/pianist was only 19 when she released this startling debut that sounded more like golden-era Stevie Wonder than anything on the charts.
Carole King: Tapestry (Sony, 1971). The former Brill Building tunesmith unleashed this beautiful collection of songs that stood for a while as the biggest-selling album of all time.
Gladys Knight & the Pips: The Essential Collection (Hip-O, 1999). This single disc collects 18 of the brassy-voiced diva's best tunes, including her estimable version of "Heard it Through the Grapevine," as well as "Midnight Train to Georgia" and "Neither One of Us."
Alison Krauss: Forget About It (Rounder, 1999). The voice of an angel, the bluegrass chops of the devil. On this disc, Krauss completed her transformation, physically and musically, from adolescent fiddle player to country-pop stylist.
LaBelle: Nightbirds (Sony, 1974). New Orleans legend Allen Toussaint produced this hotwired slab of funky psychedelic soul.
k.d. lang: Ingénue (Sire, 1992). Lush and classy, the disc sounds like a collection of newly minted standards. Includes "Constant Craving."
Cyndi Lauper: She's So Unusual (Portrait, 1984). "Girls Just Want to Have Fun," "Time After Time," "She Bop," "All Through the Night" and "Money Changes Everything" — they're all here on this stunningly successful debut record that sounds as fun today as it did back when everyone wanted their MTV.
Bettye LaVette: I've Got My Own Hell to Raise (Anti-, 2005). The obscure soul survivor experienced a career renaissance in the wake of this album, a series of kinetic R&B remakes of songs by woman writers.
Peggy Lee: Black Coffee (Verve, 1953). In the era of the wholesome girl singer, Lee brought edge, swagger and a touch of exquisite despair.
Loretta Lynn: Van Lear Rose (Interscope, 2004). The country music queen shines like never before on this brilliant collection of self-penned gems lovingly produced by Jack White.
Shelby Lynne: I Am Shelby Lynne (Island, 2000). After languishing as a Nashville pawn for years, Lynne issued this heartfelt pop/R&B album that drew comparisons to prime Dusty Springfield.
Madonna: The Immaculate Collection (1990). Her recent forays into electronica have won some acclaim, but it's this greatest-hits disc that summarizes her appeal: From "Holiday" to "Vogue," she's always known how to get her hooks into us.
Aimee Mann: Magnolia soundtrack (Reprise, 1999). Mann's understated vocals and barbed lyrics provided the perfect counterpoint to the overwrought machinations of Paul Thomas Anderson's film, but her rueful meditations on loneliness and love also stand up perfectly well on their own.
Audra McDonald: Way Back to Paradise (Nonesuch, 1998). With her amazing vocal range, precise phrasing and impeccable taste in songwriters — all reflected in this, her debut CD — McDonald shows the chops that won her three Tony Awards before she was out of her 20s.
Joni Mitchell: Blue (Warner Bros., 1971). The greatest break-up album of 'em all, this confessional trailblazer is as poignant and poetic as it is tuneful.
Alanis Morissette: Jagged Little Pill (Maverick, 1995). The 21-year-old Canadian bum-rushed the scene with this bracing slab of nakedly candid rock.
MeShell Ndegeocello: Plantation Lullabies (Maverick, 1993). A sublime amalgam of hip-hop, jazz and funk, Plantation Lullabies is stylistically audacious, sexually charged and socially conscious. MeShell sings, raps and plays bass like an ace.
Nico: Chelsea Girl (Polygram, 1967). The German chanteuse delivers icy readings of pathos-drenched classics including "These Days," written by her boyfriend at the time, a teenage Jackson Browne.
Laura Nyro: Eli & the 13th Confession (Sony, 1968). "Sweet Blindness," "Eli's Coming," "Stoned Soul Picnic," "Emmie" — all appeared on this extraordinary album by one of the most underrated singer/songwriters of the rock era.
Laura Nyro & LaBelle: Gonna Take a Miracle (Sony, 1971). Affectionate remakes of '50s/'60s pop-soul ("Dancing in the Street," "Jimmy Mack") pairing lusty-voiced Nyro with barnburnin' Patti LaBelle in a rare turn as backup singer.
Sinead O'Connor: I Do Not Want What I Haven't Got (Ensign/Chrysalis, 1990). The definitive reading of Prince's "Nothing Compares 2 U" plus much more to recommend from the controversy-courting artist.
Dolly Parton: Jolene (Buddha, 1974). A clutch of self-penned, passionately sung cuts from an American music icon (and perennial boob joke), including the evocative title track (covered in recent years by the White Stripes) and the original version of "I Will Always Love You."
Liz Phair: Exile in Guyville (Capitol, 1993). An answer album to the Stones' Exile on Main St., Guyville is raw, rockin' and sexually explicit.
Edith Piaf: The Voice of the Sparrow: Very Best of Edith Piaf (Capitol, 1991). Very much of her time and place, Piaf personified the spirit of the French Resistance during World War II. "La Vie En Rose" remains one of the most beloved tunes ever recorded.
The Pretenders: Learning to Crawl (Sire, 1984). Chrissie Hynde's most shining hour includes "Back on the Chain Gang," "My City Was Gone" and an absolutely riveting cover of "Thin Line Between Love and Hate."
Queen Latifah: All Hail the Queen (1989, Tommy Boy). The debut album from rap's first female star features the smash "Ladies First," as well as "Come Into My House" and the De La Soul collaboration "Mama Gave Birth to the Soul Children."
Ma Rainey: Ma Rainey (Milestone, 1992). Nothing less than majestic, Ma Rainey was the Enrico Caruso of the Blues. A tune like "Jealousy Blues" radiates unrivaled dignity and a stately power.
Bonnie Raitt: Nick of Time (Capitol, 1989). Goodbye Warner Bros., hello Capitol and producer Don Was. Hello stardom and artistic cred.
Elis Regina: The Definitive Collection (Wrasse, 2004). Recklessly talented, Regina's interpretations of bossa nova and samba ranged from uncontrolled exuberance to tender introspection, all sung with unflinching honesty.
Linda Ronstadt: Heart Like a Wheel (Capitol, 1974). This sweet country-rock (by way of California) collection includes the hits "You're No Good," I Can't Help It (If I'm Still in Love with You)," "It Doesn't Matter Anymore" and "When Will I Be Loved" — plus key album tracks like her reading of Little Feat's "Willin'."
Salt-N-Pepa: The Best Of Salt-N-Pepa (FFRR, 2005). The pioneering female rap trio from the '80s is smart, sassy and, yes, a little naughty on this terrific hits collection featuring "Whatta Man," "Shoop," "Let's Talk About Sex" and the timeless party-starter "Push It."
Nina Simone: High Priestess of Soul (Phillips, 1966). A brooding, versatile vocalist, Simone puts her mystical mark on everything from Chuck Berry's "Brown Eyed Handsome Man" to the hymn-like "Come Ye."
Sleater-Kinney: Dig Me Out (Kill Rock Stars, 1997). Both the apex of riot grrrl and proof that Sleater-Kinney was way too restless to fit under that banner any longer, Dig Me Out plundered '60s garage-rock for a sharp, smart set of punk zingers.
The Slits: Cut (Island, 1979). It took a trio of tough, amateurish chicks to show worn-out punks that the future could be found in the beat, however primitive.
Bessie Smith: The Essential Bessie Smith (Sony). The two-disc set offers a fitting overview of one of the first prominent female blues singers.
Patti Smith: Horses (Arista, 1975). As righteous and fully formed a debut as you're likely to find, ever, Horses carried on the poeticism of the hippies and ignited the fury of the punks all in one fell swoop.
Sammi Smith: The Best of Sammi Smith (Varese, 1996). The country "outlaw" movement that gave rise to Willie and Waylon also shined a light on Smith, whose aching, last-call vocals prove the perfect match for mature lyrics like Kris Kristofferson's "Help Me Make It Through the Night," which she made a big crossover hit in '71.
Phoebe Snow: Phoebe Snow (Columbia, 1974). A vocalist of staggering technique, Snow combines emotional vulnerability as a performer with vivid poetic imagery as a songwriter. She's never equaled the initial impact made on her debut recording, but everything she does is worthy of your attention.
Sonic Youth: Daydream Nation (DGC, 1988). Groundbreaking indie/art-rock album buoyed by the presence of vocalist/bassist/songwriter Kim Gordon works on a cerebral and gut level, succeeding where a thousand other fuzzy guitar outings have failed.
Dusty Springfield: Dusty in Memphis (Atlantic 1968). The British pop/soul star ventured into the American South and returned with a flawless record featuring the hit "Son of a Preacher Man."
Barbra Streisand: People (Sony, 1964). The old (or rather the young) Babs, with vulnerability and rough edges intact — not the ultra-polished, self-important artiste she would later become.
Donna Summer: The Donna Summer Anthology (Island, 1993). Her singles were among the best in the disco canon. All of them and more are collected in this two-disc retrospective.
The Supremes: Gold (Motown, 2005). The quintessential Motown girl group is captured on any number of comps. Go with this recent two-disc set — it has the best remaster.
Sister Rosetta Tharpe: Sister Rosetta Tharpe Vol. 3, (1946-1947) (Document, 1996). It's amazing how much rock 'n' roll there was before Bill Haley showed up; it's weirder still what it was labeled. Tharpe's gospel has as much R&B and early rock in it as it does anything sacred. Great guitarist too, by the way.
Irma Thomas: Live! Simply the Best (Rounder, 1991). The queen of New Orleans R&B is at her passionate best in this concert set.
Big Mama Thornton: Hound Dog: The Peacock Recordings (MCA, 1992). Seventeen sides from the mid-'50s by the woman who taught Elvis to sit and roll over.
Tina Turner: Private Dancer (Capitol, 1984). We also recommend the wild Tina with Ike, but this solo breakthrough smash is among the definitive LPs of its era.
Sarah Vaughan: The Complete Sarah Vaughan on Mercury (Mercury, 1986). She's been called a "genre unto herself," for her ability to handle pop, jazz and torch with operatic majesty. Her Mercury period ('54-'59, '63-'67) represents her best work; pick any volume and you can't go wrong.
Dionne Warwick: Dionne Warwick's Golden Hits, Part 1 (Scepter, 1967). With a unique, flute-like voice, and a passel of tunes tailor-made for her by pop music's most sophisticated craftsman, Burt Bacharach, Warwick's body of work during the 1960s was astonishing.
Dinah Washington: The Complete Dinah Washington on Mercury, Vol. 4 (Mercury, 1988). She was capable of delivering the raunchiest blues and the sweetest orchestra pop with equal aplomb. Her best work was in live sessions with top-flight jazz musicians.
Ethel Waters: An Introduction to Ethel Waters: Her Best Recordings 1921-1940 (Classic, 1994). A hugely influential vocalist whose career spanned well over 50 years, during which time her material moved from early blues to Tin Pan Alley to sacred music. Waters was the first black singing star to balance stylistically both black and white vocal idioms.
Gillian Welch: Time (The Revelator) (Acony, 2001). Her songs are as harrowing as her folkie voice. The stripped-down production allowed her vocals to reach through and connect directly to your sternum, especially on the 14-minute Americana travelogue closer, "I Dream a Highway."
Wendy & Lisa: Eroica (Virgin, 1990). The two former Prince ingénues established their artistic independence with this intoxicating slice of psychedelia-tinged rock and funk.
Lucinda Williams: Lucinda Williams (Rough Trade, 1988). This is the place to start investigating the first lady of alt-country. Car Wheels on a Gravel Road (Mercury, 1998) is also highly recommended.
Cassandra Wilson: New Moon Daughter (Blue Note, 96). The dusky-voiced singer delivers a haunting, mostly acoustic blend of blues and jazz. Almost its equal is '93's Blue Light 'Til Dawn.
Lee Ann Womack: There's More Where That Came From (MCA, 2005). This country-pop star bucked the system with a sumptuous, countrypolitan-sounding album that overflows with spilled whiskey and tears.
Tammy Wynette: Anniversary: 20 Years of Hits (Epic, 1987). Much more than just the woman who sung (and cowrote) the anti-feminist anthem "Stand By Your Man," this Wynette collection does a banner job of spotlighting her early solo hits ("Apartment No. 9") and the heartwarming duets she cut with hubbie George Jones ("Two Story House.")
X: Los Angeles (Slash, 1980). X married rockabilly riffs, snotty expressions and the howl of lead singer Exene Cervenka to permanently mark southern California in the punk rock atlas.
Compiled and written by Creative Loafing Staff and contributor Charles Farrell.
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Music Issue 2007: Chicks Rock
Tampa Bay's top 10 women musicians — plus 100 must-have CDs by women artists
