Her Atlantic debut and the record that crowned her Queen of Soul, cut partly at Muscle Shoals. It opens with "Respect" and "Do Right Woman - Do Right Man".
A quick follow-up the same year, mixing soul originals with covers of the Rolling Stones and Willie John. The Muscle Shoals band keeps the groove tight.
One of her finest, home to "Chain of Fools", "(You Make Me Feel Like) A Natural Woman" and "Ain't No Way". Eric Clapton guests on guitar.
A tight, punchy set built around the hits "Think" and "I Say a Little Prayer". Soul at its most direct and joyful.
A looser, songbook-minded record with readings of the Beatles and Burt Bacharach alongside "Call Me". Warm and unhurried.
A deeper, gospel-rooted album she wrote much of herself, with the title track and "Don't Play That Song". Piano and church feeling run through it.
A Grammy-winning peak of her Atlantic years, with "Rock Steady", "Day Dreaming" and the Nina Simone title song. Confident and expansive.
A gospel album recorded live over two nights at a Los Angeles church with the Southern California Community Choir. It became the best-selling gospel record of its time.
An ambitious, jazz-tinged album produced with Quincy Jones, more experimental than her hit records. It carries the single "Angel".
A return to warm, polished soul with "Until You Come Back to Me", one of her biggest seventies hits. Smooth arrangements throughout.
A soundtrack album written and produced by Curtis Mayfield, its lush soul carried by "Something He Can Feel". Cinematic and cohesive.
Her first album for Arista, steering toward contemporary pop and R&B under Clive Davis. It includes "United Together" and a take on "Come to Me".
A polished early-eighties set with a title-track duet with George Benson and a Grammy-winning cover of "Hold On, I'm Comin'".
Produced by Luther Vandross, its title track returned her to the top of the R&B chart. Sleek, modern early-eighties soul.
A second album with Luther Vandross in the producer's chair, keeping the smooth, danceable groove of its predecessor. The title track was another R&B hit.
Her biggest commercial success, a glossy pop-soul album with "Freeway of Love" and "Sisters Are Doin' It for Themselves" with the Eurythmics.
A confident mid-eighties album carried by the number-one duet "I Knew You Were Waiting (For Me)" with George Michael and a cover of "Jumpin' Jack Flash".
A guest-heavy album of duets with Elton John, James Brown, Whitney Houston and the Four Tops. Late-eighties pop production throughout.
An early-nineties album spanning new jack swing, ballads and a Luther Vandross duet. It closes her long run on Arista's pop-soul path.
A late-career comeback that brought in younger producers like Lauryn Hill, whose title track became a hit. Her voice meets contemporary R&B.
A relaxed later album that won her a Grammy for "Wonderful". Contemporary soul with a comfortable, grown-up feel.
