entertainmentdissected

It’s almost time to unveil No. 1 on JR’s Favorite Musical Females list. Anyone who knows me, or of my online postings, have no doubt who it is. But,  stay tuned for what I hope will be an informative, entertaining read on the ultimate Queen Bee…

We all know her first name ain’t Baby (as you know, it’s Janet… Miss Jackson, if you’re nasty). And when she’s on her game, she’s one of the most satisfying female acts to grace the pop world.

The youngest child of the legendary musical dynasty, the Jacksons, Janet Damita Jo Jackson did not leave an immediate imprint on pop music. Her self-titled 1982 debut album, as well as 1984’s Dream Street, had little to no critical or commercial impact (both albums and their singles failed to land inside the top 40 on their respective Billboard charts). No doubt longing to be just as successful as brother Michael, Janet professionally separated herself from her father and worked with producers Jimmy Jam & Terry Lewis on her breakthrough album, 1986’s Control.

With its new-jack-swing-like sound aimed directly at the future, Control remains one of the definitive female pop and R&B albums of all time. The record also established Janet as an independent woman (years before Beyonce and her girls proclaimed their independence); tracks like “What Have You Done For Me Lately,” “Nasty” and “Control” displayed her assertive, take-no-guff attitude. Perhaps Janet took a cue from Madonna, who arrived on the scene in 1983 and put forth a woman-in-charge image. However, while Madonna displayed a sexually charged image, Janet took the opposite route (at least at that time), even recording a let’s-not-rush-into-sex track (”Let’s Wait Awhile”).

Rather than make Control II, Janet took a more socially conscious approach with 1989’s Rhythm Nation 1814. Alongside lighter pop jams like “Miss You Much,” “Escapade” and “Love Will Never Do (Without You)” were serious-themed tracks like “Rhythm Nation,” “The Knowledge,” “State of the World,” “Black Cat” and “Livin’ in a World (They Didn’t Make).” Social issues like racism, illiteracy, crime and drug use were part of the message this time out, and Janet cast herself as a militant leader of her own rhythm nation. In the process, she scored seven top five hits on Billboard’s Hot 100, the most ever from one album.

Around 1991, Janet started to become more comfortable with her sexuality, and thus started removing the layers of clothing with which she covered herself up during the Control and Rhythm Nation years (witness the “Love Will Never Do” video).

(This is where the Madonna Influence really comes into play. Brother Michael likely has influenced Janet more than any other artist, but shades of Madonna can be seen throughout Janet’s career- whether it be her stance of control, assertion, or exploring her sexuality and sensitive issues. Janet has never acknowledged such influence, taking a defensive stance when asked about Madonna back in 1990 and thereafter, but as recently as last year, she squashed rumors of a feud, saying, “I think she’s done wonderful things.” “Divas” getting along, who would have thought it?)

In conjunction with her sexual awakening, Janet followed a state-of-the-world-type album with one that oozed sensuality and sexuality, in the process likening herself to Marvin Gaye. Rhythm Nation was her What’s Going On, while 1993’s janet. was similar in nature to Let’s Get it On. janet. spawned several more hits, and, later that year, the full-size photo of the cropped image used as the janet. cover art turned up on Rolling Stone magazine’s cover, with Janet appearing topless, her then-husband cupping her breasts from behind.

Amidst the sensuality, janet. also included a track that would have made James Brown proud- the African-American-woman-strong “New Agenda.” It was comforting to see that Janet still had interest in important issues, a trend that would continue with 1997’s The Velvet Rope. Exploring themes like homophobia, domestic abuse and depression, the album provided one of Janet’s best one-two punches among singles with the Joni-Mitchell-sampling “Got Till It’s Gone” and “Together Again,” a hopeful, uplifting ode to lost loved ones (in this case, as result of AIDS).

Unfortunately, The Velvet Rope was Janet’s last pretty darn good album- at least from this fan’s perspective. She had a some bright moments with 2001’s All For You (the three singles, plus “Trust a Try” and “Better Days”) and 2004’s Damita Jo, but nothing that rivaled her best work.

All For You lacked the aura of thematic importance that strengthened the previous four albums, as did Damita Jo. Released right after Nipplegate (you know, the Super Bowl wardrobe malfunction), Damita was short on true classic contemporary Janet moments. Rather, amidst some tolerable album tracks, the set’s highlights were old-school throwbacks (”I Want You,” “R&B Junkie”), with the one dance “jam”- “All Nite (Don’t Stop)”- showcasing Janet’s new low-key, whispery, lighter-than-air vocals. Granted, she’s always been a limited vocalist, but lately, it’s been more of a phone-in job than anything else.

Janet’s two most recent album- 2006’s 20 Y.O. and last year’s Discipline- have yet to take a place in my music collection. 20 Y.O. left such a negative impression on me, that I felt little inspiration to pick up Discipline (though I almost did purchase it a couple of times, since it does house a few decent tracks, including “Feedback”). Plus, in recent years, Janet’s rehashed the audio s-e-x way too much, whereas every attempt sounds like one long orgasm set to a quiet-storm background.

No matter how unimpressed, though, I am with the recent music, there’s no diminishing my love of the 80’s and 90’s force that was Janet Jackson. Never mind that, from tour to tour, she recycles what she’s already done (whether it be the innovative choreography, stagings, set design), she remains one of the most dazzling stage performers of our time, continuing to influence artists of both sexes. And with the right people working by her side (it may be time for Jam & Lewis to return as her primary collaborators), I hold out hope that Janet again can dazzle with her music.

To her credit, while on tour last fall, Janet acknowledged - for the first time in concert- her first two albums, performing a medley of “Young Love,” “Say You Do” and “Don’t Stand Another Chance.” She dedicated the old-school visit to the die-hard fans (hand raised), many who requested (via a Janet telephon hotline) that she give props to her early music. In fact, I requested the exact medley that she ended up performing- thank you, Baby… um, I mean Miss Jackson.

The top two on JR’s Favorite Musical Females list will be posted soon.

Revealing the top 25 was not as easy as I thought it would be- there are some acts that have a number of songs I like, so the Nos. 24 and 25 positions, say, could have been occupied by any number of female acts, depending on my mood when compiling the list.

So, that means Ms. Abdul could be alternating the No. 25 slot with the likes of Carly Simon, Carole King, Beyonce or even possibly even Taylor Dayne. Heck, I am not the biggest fan of her as an artist, but there are a handful-plus of Celine Dion songs that I actually enjoy. But, I will say that the top 25 as I have it now is pretty representative of the females whose music I enjoy most, on a whole.

I will be posting my write-ups for the top two within the next couple of days- and, simultaneously, thinking whether I should follow this up by compiling a similar list for my favorite testosterone-driven musical acts …

Catwoman may not be on her list of upcoming film roles (as was rumored), but Cherilyn Sarkisian has dipped into her litter of nine lives more than once during her 40-plus years in entertainment.

Nearly 45 years ago, the husband-and-wife singing duo of Sonny and Cher provided one of pop culture’s most popular and expressive sentiments in a love song- that no matter what anybody says, or if bad times or challenges arise, “I Got You Babe.” The No. 1 hit became the couple’s signature tune, with other notables including “The Beat Goes on,” “All I Ever Need is You” and “A Cowboy’s Work is Never Done.”

Simultaneously, Cher recorded Sonny-Bono-produced solo material, herself landing three signature No. 1 hits, which came to be known as “the story songs”- “Half Breed,” “Gypsies, Tramps and Thieves” and “Dark Lady.” Even though she didn’t compose “Half Breed,” the track detailed Cher’s struggles as a part-Caucasian-, part-Cherokee-American.

During the Sonny and Cher years, aside from scoring duo and solo hits and starring in a successful variety show- aptly titled The Sonny and Cher Show-Cher also became a fashion icon, popularizing long black hair, bellbottoms, exposed midriffs and eye-popping costumes. When the duo divorced in 1975, Cher’s music career suffered, until she jumped on the disco train in 1979 and landed a top 10 hit with “Take Me Home.”

It would be another eight years before Cher landed another significant U.S. chart hit, with 1987’s “I Found Someone.” However, during the chart dry spell, she focused her energies on acting- and, in the process, landed critically lauded roles in Silkwood (for which she received a Best Supporting Actress Oscar nomination), Mask and Moonstruck, for which she snared the Best Actress Academy Award.

Though her film career has received plenty of accolades, Cher’s music career remains underrated. Few deny her iconic status (especially among the gay community), but when it comes time to discussing Cher’s music, she’s often given the shaft. Cher became eligible for the Rock and Roll Hall of Fame in 1990, both as part of the Sonny and Cher duo and as a solo act- but has yet to be a serious contender for induction.

Do critics and historians view Cher as more of a punchline than a serious, impactful musical artist? Have all the plastic surgery stories, dalliances with younger men, dreadful infomercials and outrageous wardrobe choices (at awards shows and in music videos, particularly) affected perception of her as an artist? Her current Vegas residency may not do her any favors, either (while successful, it isn’t necessarily the hippest avenue to go; and she took over for, of all people, Celine Dion). While it’s true that her music has not scored big critical marks through the years (outside of “I Got You Babe” and her smash 1999 comeback single, “Believe”), the fact remains that if critics listened to Cher’s catalog without prejudice, they would find themselves taking part in a highly satisfying, musically varied journey.

Cher expertly shifts with the times, effortlessly moving from 1960’s/1970’s folk rock and pop to disco to 1980’s hairband rock to dance. Sometimes, Cher’s music even gets poignant: Listen to the heartbreaking family/relationship woes chronicled on “You Better Sit Down Kids,” “Living in a House Divided” and “I Saw a Man and He Danced With His Wife,” or powerful, uplifting tracks like “If I Could Turn Back Time,” “Heart of Stone” and “Song For the Lonely.” She does not possess one of the greatest voices of our time, but she delivers each vocal with a distinctness, sincerity and passion like few others. Just about every Cher track has an anthemic quality- you could feel the rush, the intensity in her voice, as she treats each performance like it’s her last.

Maybe that’s where the critical problem lies: She makes it look, and sound, easy. People have taken Cher for granted for so long, that it’s a given, as she joked, that along with the cockroaches, she’ll be here when life on Earth ends. Maybe at that time she’ll receive her proper due.

Until then, in-between nightly Vegas shows, Cher- who turns 63 this May- undoubtedly is plotting her next comeback. How big could it be, though, for a woman in her 60’s? Well, by now we know that we cannot underestimate her- after all, who could have predicted that she would land the biggest hit of her career nearly 35 years after “I Got You Babe” and her first solo hit, “All I Really Want to Do”? That’s our Cher.

The fiesty lady who dared you to, “Hit me with your best shot… fire away,” celebrates 30 years as a recording artist this year.

Back in 1979, Patricia Mae Andrzejewski- best known as Pat Benatar- released her debut album, In The Heat of the Night. Featuring a cover of John Mellencamp’s “I Need a Lover,” the set also spawned the classic rock anthem, “Heartbreaker,” which appears as a playable song in 2008’s Guitar Hero: World Tour video game.

The debut sold more than 1 million copies, but it was Benatar’s sophomore album- Crimes of Passion- that established her as a force in rock, thanks in part to anthems like “Treat Me Right” and ”Hit Me With Your Best Shot.” Also appearing on Crimes was the powerful child abuse tale, “Hell is For Children,” which stands as one of the best co-writing effort of her career. Despite never being released as a single, “Hell” remains one of Pat’s most-known and revered tracks, continually appearing in every concert tour.

Follow-up albums Precious Time and Get Nervous scored platinum-plus sales, and Benatar landed more memorable hits through the 1980’s- “Fire and Ice,” “Promises in the Dark,” “Shadows of the Night,” “Love is a Battlefield,” “We Belong” and “All Fired Up,” to name a handful.

Benatar’s commercial star waned once the ’80s concluded (a 1991 blues album barely cracked the top 40, and a return to rock was not nearly as successful as past efforts), but her impact and influence continue to register. Touring with the classics routinely, she enjoyed her biggest-selling album since the ’80s with 2005’s Greatest Hits (600,000-plus in sales), and in the album’s liner notes, acts like Joan Jett, Martina McBride, Jane Wiedlin of the Go-Go’s, Sarah McLachlan and Tori Amos speak of her impact and importance to their careers.

Eligible for the Rock and Roll Hall of Fame since 2004, Benatar has yet to be considered. There’s no denying that she is one of the most successful female rock acts of all time, and that she epitomized the “tough rock chick” in her music, videos and on stage (a role she relished). But critics never showered her with all that much acclaim.

Will the Hall of Fame committee throw critical relevance out the window, and remember Benatar’s synonymousness with the 1980’s, and how many consider her a a pivotal figure in the Women in Rock movement? We can only hope.

Her mother (Cissy) sang backup for Elvis Presley, her aunt (Dionne)was one of the most successful female acts of the 1960’s and 1970’s and her godmother (Aretha) is the Queen of Soul. So it was no surprise when, in 1985, Whitney Houston’s debut album soared to record sales and set a benchmark for pop/R&B females to follow.

Houston’s large voice carried her to a record-setting seven consecutive No. 1 hits on Billboard’s Hot 100 singles chart (though in-between the streak, one single failed to crack the Hot 100, though reaching No. 10 on the R&B chart). Her greatest success would come with 1992’s The Bodyguard, her motion picture debut. Though the film was a box office smash, critical reaction was not so kind. That did not stop the soundtrack- or a cover of Dolly Parton’s “I Will Always Love You”- from becoming monster hits. Whitney transformed Parton’s classic country song into a showstopping vocal routine, singing as if her life depended on it. Other Houston cuts on the soundtrack included a cover of Chaka Khan’s “I’m Every Woman,” as well as ”I Have Nothing” and “Run to You.”

Houston appeared in two more films- 1995’s Waiting to Exhale and 1996’s The Preacher’s Wife- and landed additional soundtrack hits like “Exhale (Shoop Shoop),” “I Believe in You and Me” and “Step by Step.” With 1998’s quadruple-platinum My Love is Your Love (her first non-soundtrack project since 1990’s I’m Your Baby Tonight), she scored three top five hits, including the title track and “It’s Not Right But it’s Okay,” the latter energized by an anthmic Thunderpuss dance mix. (Surprisingly, a duet with onetime Whitney clone Mariah Carey failed to crack the top 10.)

Despite all the success and ubiquity of much of her music, Houston’s greatest cultural impact probably came with a 1991 rendition of America’s National Anthem. Appearing at Super Bowl XXV, Houston’s stirring performance registered with a country embroiled in the Gulf War, and patriotism was running rampant. The single reached No. 20 on the Hot 100 as a result, and a decade later, returned to the charts following Sept. 11 terrorist attacks on the World Trade Center. Once again a source of comfort at a difficult time in America’s history, Houston’s “The Star Spangled Banner” became her 23rd top 10 hit; alas, it also was her last top 10- at least until she attempts her long-delayed comeback.

And many of us are rooting for her to return to past glories. Her last album of new material- 2002’s Just Whitney- was released just as Houston publicly acknowledged her long-rumored drug use. Selling fewer than 750,000 copies, the album was the lowest seller of her career, and quite a decline from its predecessor, My Love is Your Love. Since, she’s released only a holiday album, One Wish, which also has sold disappointingly.

But amidst the commercial failures and personal issues, we can’t forget that at her peak, Whitney was The Voice. Her debut album’s sophisticated pop/R&B set the template from which the wanna-be’s took their cue- most notably, the aforementioned Mariah Carey, whose 1990 debut album seemed to be lifted straight from the Houston playbook. While unlike Houston, Carey co-writes the bulk of her material, that does not diminish Houston’s gift as an interpreter of song.

Some of Houston’s biggest hits- “Saving All My Love For You,” “The Greatest Love of All,” “All the Man That I Need,” “I Will Always Love You”- were covers. But in Whitney’s hands, most of those songs reached their greatest potential and launched a thousand (or more) pageants and talent competitions.

Regardless of whether she can make a startling comeback or not, Whitney’s status as one of the premier vocalists of the last 20 years remains in tact. No matter that she hasn’t been much ofa critical darling for most of her career (a common complaint being that her material hasn’t been strong enough to suit her talents)- her vocal styling continue to inspire and influence many an American Idol contestant; yet try as they may to replicate, there’s just no duplicating The Voice.

Before getting to the final three ladies in the runners-up spots, let me mention that two of my choices made it through to the final 12 of American Idol this week- those being Alexis Grace and  Michael Sarver.

Like Simon Cowell, I’m not as enthusiastic about Danny Nokey as the other three judges- he’s capable, but is it possible sentiment is playing a factor? Nokey’s wife passed away just weeks before the auditions, and he performed the Hallmark-ready “Hero” Tuesday night. So, who knows…

Back to the runners-up to JR’s Top 10 Favorite Female Musical Acts. At a later date, I may give props to ladies outside my top 25, but in the meantime, let’s resume…

13. Kylie Minogue: Emerging as one of the ultimate Madonna wanna-be’s of the late 1980’s (without the provocation and desire to rule the world), Australian-born Minogue has one of the peppiest, fun catalogs of any female of the last 20-plus years. It’s true, many of her early hits have a sameness to them (thanks to composing and production duties by Stock Aitken and Waterman, the Max Martin of its day), but Minogue’s bubbly personality sold them to the masses. Standouts among the lot include “I Should Be So Lucky,” “Shocked,” “Better the Devil You Know,” and “What Kind of Fool.” In the early 1990’s, she abandoned cookie-cutter pop and attempted to mature musically, though she denied that she was trying to enter the indie world (claiming we’d never see her pick up a guitar and rock out). After a couple of disappointing projects, Minogue hit the dancefloor as a new century began, and scored one of the decade’s biggest hits with 2001’s “Can’t Get You Out of My Head,” At that point, even the USA (where prior success was limited to her 1987 cover of “The Loco-Motion”) embraced Kylie- “Can’t Get You…” peaked inside the top 10, and the Fever album sold more than 1 million units. Though Minogue does not hold anything remotely close to Princess of Pop status in the USA (as she arguably does in the United Kingdom), she does have a U.S. following, especially among the gay community. Never known to push boundaries, Minogue is reliable for her light, carefree work, and in that regard, few do it better.

 12. Shania Twain: The Queen of Exclamation Points in Music, Shania Twain scored two monstrous albums in the 1990’s- The Woman in Me and Come On Over, the latter which remains one of the biggest-selling albums of all time, at 20 million copies and counting. Twain brought assertiveness and girl power (pre-Spice Girls)- and a sexiness- to country music like no other (oh, that navel!), and at times comes across like captain of the cheerleader squad. Light, frothy anthems like “Any Man of Mine,” “Don’t Be Stupid (You Know I Love You),” “That Don’t Impress Me Much” and “Man! I Feel Like a Woman!” showcase her straight-forward, no-bull approach, while ballads like “You’re Still the One,” “From This Moment On” and “Forever and For Always” present her romantic side. After achieving such huge commercial success, Twain catered to both the country and pop audiences equally, even releasing an “International Version” of Come on Over (featuring poppier-sounding arrangements) and packaging 2002’s Up! with two discs directed at both audiences (outside the USA, pop and world music discs comprised the album). Now separated from Robert John “Mutt” Lange, we await Shania’s next musical statement, which, in all likelihood, will include at least a couple ! songs.

11. Diana Ross (The Supremes): If any female personifies the term “diva,” it’s Ms. Ross. While probably not the strongest vocalist of the trio, she fronted The Supremes and not only helped define the Motown Sound, but led the group to unprecedented girl-group relevance and success. Oftentimes people thought of the trio as Diana Ross and Her Backup Singers- which, essentially, is what it was (the group later officially became Diana Ross and the Supremes). Going solo at the start of the 1970’s, Ross scored major hits such as “Ain’t No Mountain High Enough,” “Touch Me in the Morning” and “Theme From Mahogany (Do You Know Where You’re Going To?)”; in addition, she scored a Best Actress Oscar nomination for her stirring peformance as Billie Holliday in 1972’s Lady Sings The Blues. She kicked off the 1980’s by collaborating with Chic masterminds Bernard Edwards and Nile Rodgers, which resulted in “Upside Down” and “I’m Coming Out,” the latter which became a gay anthem. Thereafter, she duetted with ex-Commodore Lionel Richie on one of the decade’s biggest- and most scorned- hits, the sappy “Endless Love.” Ross’ performance elegance and class influenced many a female singer, right down to our modern-day take on Ms. Ross, Beyonce Knowles. Like Ross, Beyonce fronted a mega-successful girl group (Destiny’s Child) and became a major solo superstar; she also starred in the film adaptation of Dreamgirls, which was based loosely on Ross and The Supremes. As much as some may try, however, there’s only one Diana Ross- and ”The Boss” would be the first to make sure you remember that.

On the way to dissecting JR’s Top Five Favorite Musical Females, I’ve been posting runners-up to the Top 10. Today, I begin giving you the five females bubbling under the top 10: some legends, some not quite yet (and may never be).

15. Barbra Streisand: As Mike Myers’ Saturday Night Live alter ego, Linda Richman, would say, she’s like buttah. Barbra Streisand has enjoyed a prosperous 40-plus year entertainment career, whether it be music, stage, television or film- in fact, she’s one of a few handfuls of people to win Emmy, Grammy, Oscar and Tony awards. Musically, she’s most at home on Broadway/Broadway-influenced material, which has dominated much of her work. To this day, her signature song remains “People,” which originated in the musical Funny Girl (for which she won the Oscar for her film-adaptation turn as Fanny Brice). Other classics include her slowed-down rendition of “Happy Days Are Here Again,” plus pop gems like “The Way We Were,” “Evergreen” and “Woman in Love.” Despite possessing one of the loveliest, most powerful voices in music, mass critical acclaim has eluded Streisand. While undoubtedly influencing some big-name divas in her wake (look no further than Celine Dion; heck, even Diana Ross and Whitney Houston cited her as a major influence), Babs’ musical-theater-dominant work- not to mention her samey, light material- may be leaving critics and historians cold. In fact, she was notably absent from Rolling Stone’s recent 100 Greatest Singers list- you wanna leave her off a 100 Greatest Artists list, OK- but a list celebrating the greatest vocalists? Unacceptable. Nonetheless, she received Kennedy Center Honors recognition late last year, for “exemplary lifetime achievement in the performing arts.” Whether as singer, actress, director or political activist, there’s only one Streisand.

 14. Cyndi Lauper: With her 1983 debut recording, She’s So Unusual, Cyndi Lauper landed an era-defining album, along with two era-defining singles. Both  the feminist “Girls Just Want to Have Fun” and the poignant “Time After Time” rank among the greatest tracks of the 1980’s. For good measure, she also scored with an ode to female masturbation (”She Bop”) and a sensible sentiment to dollars affecting everyday life (”Money Changes Everything”). Her sophomore effort brought her a gay anthem in its title track (”True Colors”), the track acting as the basis of last year’s True Colors Tour, which sought to raise awareness of discrimation in the gay, lesbian, bisexual and transgender community. Lauper continues recording, having released a dance album- Bring Ya to the Brink- last year. However, it’s that initial and early impact- plus, her best material chronicled on the 1994 compilation 12 Deadly Cyns… And Then Some- that ensures continued relevance among all walks of life.

Continuing with those ladies below JR’s Top 10…

First, an HONORABLE MENTION. Fleetwood Mac is one of my favorite bands, and that is in good part because of Stevie “The Witch” Nicks,and, to a lesser degree, Christine McVie. Nicks worked her magic as lead vocalist on tracks like “Dreams,” “Rhiannon” “Silver Springs” and “Landslide,” while McVie offered a playful counterpart to Nicks’ seriousness on “Say You Love Me,” “You Make Loving Fun” and “Everywhere” Nicks also has some strong solo material that I like (especially “Stand Back,” “Edge of Seventeen” and “Rooms on Fire,” as well as duets like”Leather and Lace” and “Stop Draggin’ My Heart Around”), but my admiration for her solo work alone is not quite strong enough to land her in the top 25. If I combined her solo and Fleetwood Mac music, she would factor into the top 25. But, I decided against doing that, since I also happen to enjoy Fleetwood Mac when Christine McVie or the guys are the primary vocalists. But, I just had to give Stevie (and Christine) a proper mention. Plus, by doing this, I get to highlight one more female.

Back to the countdown: 

 20. Ann and Nancy Wilson (Heart): These sisters gave the band name some literal meaning. Ann’s powerful vocals, backed by Nancy’s skilled guitar playing, brought us such classic rock anthems “Crazy On You,” Magic Man” and “Barracuda.” Once the mid-1980’s rolled around, though, Heart’s recordings became a little more slick and mainstream- which resulted in their greatest commercial successes. “What About Love,” “Never”and “Alone” hit the top 10, and Nancy even took on lead vocals for the endearing No. 1 ballad, ”These Dreams.” Later years were not as successful for the band, with its last major hit back in 1990 (”All I Want to Do is Make Love to You”). Some scoff at the fact that Heart has yet to be considered for the Rock and Roll Hall of Fame (despite being eligible since 2001). Certainly not a no-brainer inductee like the Rolling Stones, U2 or R.E.M., Heart should at least be considered- after all, in a male-dominated field, the Wilson sisters have left their mark. Perhaps if Heart had been an all-female band, it would be a different matter.

19. Patsy Cline: The calm, smooth loveliness of the late Patsy Cline’s voice adorned such classics as “Crazy,” “She’s Got You,” “Sweet Dreams of You,” “I Fall to Pieces,” “Walkin’ After Midnight,” “You Belong to Me” and “The Wayward Wind.” There’s no disputing that she’s influenced and impacted many an up-and-coming female country artist, yet she remains shut out of the Rock and Roll Hall of Fame. Rock Hall, you’ve previously considered (or at least discussed) her, so what are ya waiting for?

 18. Debbie Harry (Blondie): The new-wave/punk scene scored a glamorous spokeswoman in the form of Blondie frontwoman Debbie Harry. No disrespect to the guys in the band, but Harry was the standout, and for good reason. Whether singing effortlessly over the disco of “Heart of Glass,” flowing in the reggae breeze of “The Tide is High,” ferociously stalking on “One Way or Another” or grabbing her MC mic for “Rapture,” Harry showcased her versatility. Though, while the standout of Blondie, Harry’s solo albums fizzled by comparison. Maybe it’s the idea of a strong, sultry female fronting an otherwise male band that made Blondie so appealing- that, and, naturally, the kick-ass music. On the receiving end of immense critical love (for 1978’s Parallel Lines, especially), Blondie was inducted into the Rock and Roll Hall of Fame in 2006.

 17. Dolly Parton: The most notorious female country singer of all time also remains the most successful (though Reba McEntire recently landed her record-breaking 56th top 10 on the country charts, breaking her tie with Parton). Scoring 25 No.  hits on the country charts, Parton’s talents as an artist (especially songwriting) justify her commercial success. Her classic, pre-pop-crossover tracks include “Jolene,” “Coat of Many Colors,” “Joshua” and- of course- “I Will Always Love You.” She then hit the pop charts in a major way, with “Here You Come Again,” “9 to 5″ and “Islands in the Stream,” the latter a duet with Kenny Rogers. Aside from her talent, the buxom honkytonk queen also has an admirable sense of humor, poking fun at her image by declaring that “it takes a lot of money to look this cheap.” Only Dolly…

16. Tina Turner: Whether as part of the Ike & Tina Turner duo (in which she is a Rock and Roll Hall of fame inductee) or as a solo act, Tina is one of the undisputed queens of music. Few can match her legendary- and- voracious- stage energy; witness her Beyonce-inspiring tour-de-force on live performances of tracks like “Proud Mary” and “River Deep Mountain High.” When Mrs. Ike Turner, Tina suffered mental and physical abuse at his hands, but broke free and released her breakthrough record in 1984. Private Dancer housed the classic “What’s Love Got to Do With It,” which later became the title for the big-screen adaptation of Tina’s biography. Tina’a solo career continued churning out anthems like “Better Be Good to Me,” “Typical Male, “We Don’t Need Another Hero” and “The Best,” but it’s her strength, fortitude and rock and roll courage- and triumphs in her post-Ike world that ensure her reign as one of rock’s undisputed queens.

With the top five females waiting in the wings, let’s look at the female musical acts who I fancy enough to consider them favorites. Initially, I was going to post 11-20, but tacked on an extra five, to make it JR’s Top 25 Favorite Females.

(These women may have been solo and/or part of a duo/group- or, in one case, operated as a trio)

25. Paula Abdul:Long before she took the middle seat between Randy Jackson and Simon Cowell on American Idol, Paula Abdul was a pop star. Starting out as a choreographer (her clients included The Jacksons, ZZ Top and Janet Jackson), the former Laker Girl scored four No. 1 hits from her debut album, 1988’s Forever Your Girl; she had just one major hit studio album thereafter (1991’s Spellbound). While never an innovator outside of her dance steps (she essentially was an inferior mesh of Madonna and Janet), tracks like “Straight Up,” “Forever Your Girl,” “Cold Hearted” and “Opposites Attract” (the video with the animated cat) hold up well in nostalgia circles. And, even considering the kooky behavior (which I’ve written about in this blog), she’s a pretty likable gal, and enjoyable enough in a fluffy-pop-star-of-the-moment way.

 24. Anne Murray: Canadian-born Murray perhaps epitomized the soft-rock sound so prevalent in the 1970’s (also see Olivia Newton-John. Enjoying success on both the country and pop charts, Murray’s signature tracks probably are ”You Needed Me” and “Could I Have This Dance,” the latter which launched many a wedding through the years.

23. Laua Branigan: The late singer’s best tracks include “Gloria,” “Solitaire,” “How Am I Supposed to Live Without You” (more effective than the histrionics Michael Bolton delivered years later) and ”Self Control,” the latter whose video promoted masquerade orgies (years before Tom Cruise and Nicole Kidman’s underwhelming Eyes Wide Shut, thank you).

 22. TLC:Upon hitting the scene, this sassy R&B/hip-hop/pop girl group made a splash by decorating themselves in condoms. The trio- consisting of Tionne “T-Boz” Watkins, Rozonda “Chilli” Thomas and the late Lisa “Left Eye” Lopes- showcased assertive, unapologetic independent women before Destiny’s Child took a cue. Taking their place alongside such morality-questionable tracks like “Creep” were sensitive, life-affirming anthems like “Waterfalls” and “Unpretty.” Lopes’ death in an auto accident halted the trio’s recording career, and the girls have failed to find a new girl, despite subsequent attempts. Nonetheless, thanks to three impactful studio albums (3D, the girls’ fourth and last, did not generate much excitement), TLC’s musical legacy was in place.

21. Karen Carpenter (The Carpenters): Like other soft/easy-listening acts, The Carpenters weren’t given much in the way of critical love. Sure, a few singles- “(They Long to Be) Close to You,” “We’ve Only Just Begun” and “Superstar”- get the occasional kudos, but, on the whole, appreciation for the delicate loveliness of Karen’s voice (not to mention her brother’s studio work) has fallen on deaf critical ears. The Carpenters did pick up the pace ever so slightly on tracks like “Top of the World,” but it was the gentle, pretty ballads Karen’s voice so perfectly delivered that defined the duo’s work. In the wake of Karen’s public battle with anorexia, and subsequent passing, some of The Carpenters’ musical catalog took on new meaning- in a way, before Karen succumbed to the pressures of being thin- they only had just begun.