Tracks:
1. Elena Andujar- Perdí la voz (4:09) Rumba, 2.Marina Heredia- Me duele, me duele (3:49)Tangos- Rumba, 3. Aurora- Besos de caramelo (4:00)Rumba, 4.Macanita- Adiós Tristeza (4:30) (Bulerías),5.Mayte Martín- Navega Sola (5:02) (Alegrías), 6.Esperanza Fernández- Nacimiento (3:14) (Nanas), 7.Lole y Manuel- Todo es de color (4:40) (Bulerías por Soleá), 8. Carmen Linares- Banderas republicanas (4:38) (Tangos), 9.Las Montoya y Las Peligro- Casamiento Gitano (4:13) (Tangos), 10. Fernanda de Utrera- Romance de la Reina Juana (2:57) (Bulerias), 11- La Susi- Tangos del ole y ole (3:15) (Tangos),12. Martirio- Sevillanas de los bloques (3:12) (Sevillanas), 13- Dolores Vargas- Achilipú (2:32) (Rumba), 14. Lola Flores- Amanecí en tus brazos (2:54) (Cuplé por Bulerias), 15. Paquera de Jerez- Cubiletero (4:33) (Bulerias), 16.Perla de Cádiz- Tangos del dinero (3:52) (Tangos)

Notes from the record label:
Flamenco Woman emphasizes this difference and offers a more intimate and authentic image of women in the flamenco world by featuring seventeen different female singers from varied backgrounds and styles, born in different historical periods of flamenco.  All of them are true bastions of flamenco culture, having achieved the greatest accomplishments with voice and dance.  The fertile decade of the 70s brought forward one of the most eclectic group of dancers, well known for their innovations. Dolores Vargas "La Terremoto" (Príncipe Gitano's sister) and Lola Flores, baptised in Mexico as "La Faraona", both fall into this category. They are hardened veterans of the flamenco scene - both are artists with strong characters and similar styles.  They do rumba versions (which veer more towards pop) of "Achilipú", a hit during the hippy years and a Mexican bolero "Amanecí en tus brazos" adapted to the "Pescaílla" rumba style.

There are also Flamenco Women who specialize in using a festive style. The recently deceased Francisca Méndez Garrido "Paquera de Jerez" sung her different styles extremely well, especially la bulería. Both Fernanda de Utrera (Bernarda's sister) and "Perla de Cádiz", performer of some of the most enriched tangos, also have to be added to this list of exceptional musicians.

In addition to these voices bound to the orthodox flamenco sound, Flamenco Woman offers the presence of a new generation of singers and innovators. Encarnación Amador "La Susi" (the usual accompanist at Camarón's concerts) Esperanza Fernández, Las Montoya and las Peligro, Marina Heredia, Elena Andújar and Tomasa Guerrero "La Macanita" are but to name a few.  Two of the featured non-gypsy singers are the Catalonian Mayte Martín and Carmen Linares from Jaén. Mayte has a versatile voice and has created her own style, while Carmen, a singer with an exceptional amount of experience and an exemplary career has wisely combined contemporary and traditional sounds and experimented with the genre.There are three women who have totally moved away from the orthodox style to create a music that is less rigid. However, flamenco still can be heard at the root and engine of their art. Aurora, from Madrid was supported by Ketama from the start and is known for her participation in the soundtrack of Demasiado Corazón. The post-modern personality of Maribel Quiñónes de León (Martirio) interprets sevillanas with domestic themes that talk of modern Almodovarian families. Now we come to Lole Montoya, member of the one-time Lole and Manuel duo. She performs kind of evangelical songs from the 70s, such as "Todo es de Color", which have been adapted for flamenco. Finally, "La Niña de la Puebla" is a classic example of the genre, an emblematic figure of Los Campanilleros song style.