March 15 (Bloomberg) -- Cat Power, Regina Spektor, Corinne Bailey Rae, Norah Jones, Eileen Rose, Gemma Hayes, Laura Veirs and Beth Orton: These are women to watch.

The phrase ``female singer-songwriter'' used to evoke images of earnest Joni Mitchell hippie types strumming guitars or mournful Carole King clones pounding pianos. Their literate lyrics suggested the singers were fragile flowers needing tender loving male care to flourish as artists, wives and mothers.

Songwriters from Kate Bush to Bjork, Patti Smith and Mary J. Blige redefined this image as they started to rock. Madonna, K.T. Tunstall, Shakira, Kelly Clarkson, Emmylou Harris and Mariah Carey have scooped up glittering Grammy and Brit prizes in recent months. The genre now faces further refinement amid a slew of new albums with added attitude.

This resurgence is a global phenomenon. Take the Colombian- born Shakira. Her all-Spanish ``Fijacion Oral Vol. 1'' (Sony) won the 2005 Grammy for Best Latin Rock Album and was No. 1 across much of Latin America. She has followed with the English-language ``Oral Fixation Volume 2'' (Sony), retaining the winning formula of her dance-meets-AOR ``Laundry Service.''

The CD includes mainstream ballads that recall Christina Aguilera and a guest appearance by guitarist Carlos Santana. She then chucks in Gregorian chant and throws caution to the wind with crazy lyrics. This brazen attitude makes Shakira stand out in a world of play-it-safe, hits-by-numbers recordings.

Christina and Carlos

Russian-born Regina Spektor's latest, ``Mary Ann Meets the Gravediggers and Other Short Stories'' (Transgressive/WEA) is also straight out of the school of Courtney Love individualism, adding a dose of Tori Amos lunacy. She sings ``my words tangle in my hair and tend to go nowhere,'' ends songs abruptly and flies off on tangents. It's alternately brilliant and infuriating.

American Chan Marshall, better known as Cat Power, has been in Memphis to pay homage to Southern Soul. The sometimes impressive result, complementing her voice with strings and bluesy horns, is called ``The Greatest'' (Matador).

Another songwriter trying a new approach is Norah Jones, the only woman and only star in the whimsically named the Little Willies. Their eponymous country debut (EMI/Parlophone) is enjoyable enough, though also forgettable. If it wasn't for Jones, this could just be any New York club band.

Sticking to traditional rock, Boston's Eileen Rose has recorded an exceptional album that deserves to make her huge: ``Come the Storm'' (Banana UK) is a story of failed relationships, whisky hangovers and hope. Rose is a new Alanis Morissette, with as much bite as P.J. Harvey.

Rocking Librarian

Seattle's Laura Veirs also rocks. She looks like a librarian and beats Suzanne Vega for intellectual word play on ``Year of Meteors'' (Nonesuch).

Corinne Bailey Rae first sang gospel in church and then at a jazz club in Leeds, England. ``Choux Pastry Heart,'' a track on her eponymous debut CD (EMI), says it all: sweet and soulful.

The legacy of Joni Mitchell hasn't petered out. Ireland's Gemma Hayes wasn't even born when ``Hejira'' came out in 1976 though there are echoes on ``The Roads Don't Love You'' (Source/EMI).

Beth Orton also favors acoustic folk on ``Comfort of Strangers'' (Astralwerks/EMI). The CD is so laid back, it almost sounds as if she's asleep on songs such as ``Absinthe.'' Orton has done much better on previous star-studded outings. File this one alongside Katie Melua for extremely unexciting music.

No round-up of this sort could fail to cite Fiona Apple, Alicia Keys, Aimee Mann or the criminally underestimated Thea Gilmore. If there is any justice, come the next Grammy Awards, some of these women should be among the winners.

All of the CDs are available in the U.S. priced from $13.98 and in the U.K., from 8.99 pounds.

To contact the writer of this review: Mark Beech in London at mbeech@bloomberg.net.

Last Updated: March 14, 2006 20:29 EST