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.
