By Gregg Shapiro

Contributing writer

This winter was predicted to be one of the warmest on record. But let’s face it, winter is winter, warmest on record or not. Here are some records intended to warm you up, body and soul.

In light of the success of her breakout second disc “Back to Black,” Grammy Award nominee Amy Winehouse’s 2003 debut album “Frank” (Universal Republic) has been getting more attention than it received at the time of its initial release. An equally accomplished effort, “Frank” contains plenty of indications of the diva within Winehouse just waiting to burst forth. The Winehouse on “Frank” owes more to Billie Holiday (check out “You Sent Me Flying/Cherry” and “Take The Box”) than the 1960s girl group sound that fuels “Back to Black,” but that just works to enhance her aura. “Stronger Than Me” has her questioning a boyfriend’s sexuality when it turns out that she’s tougher than he is, while “Fuck Me Pumps” finds her channeling her inner drag queen. The dancers in the room will have trouble sitting still when “In My Bed” and “October Song” start. Just wait until you hear what she does when she covers “Moody’s Mood For Love” and “(There Is) No Greater Love,” and be sure to sit tight for the bonus material.

“As I Am” (J), the first new studio album in four years from Grammy winner Alicia Keys, confirms her status as a 21st Century diva, a soul superstar of the highest order. All of the components that established Keys—her piano playing, her singing, and her songwriting—are on display here in the best possible way. Keys kicks things off with the piano track “As I Am (Intro)” and then proceeds to take her place as close as possible heiress to the soul queen throne. If not Keys, than whom? Who else pays such respectful homage to the roots of the music while firmly setting it in a contemporary space? Beyonce? Please think again. The proof is right here on “Superwoman” (co-written with Linda Perry), “No One,” the John Mayer duet “Lessons Learned” (co-written by Mayer), “Wreckless Love,” “Teenage Love Affair” and the dramatic power ballad “Sure Looks Good To Me” (also co-written with Perry).

Angie Stone’s debut disc preceded Alicia Keys’ by a couple of years, and there’s no denying that both women share a fondness for old school soul. The same still holds true on Stone’s latest disc “The Art of Love & War” (Stax), on which she once again reinforces her dedication to the genre. As with some of her biggest hits, such as “Wish I Didn’t Miss You” and “No More Rain (In This Cloud),” which made excellent use of classic soul samples, the snappy “Play Wit It” includes elements of Patrice Rushen’s funky “Hang It Up.” In terms of the Keys comparison, it’s interesting to note that both women make musical reference to Stevie Wonder on their respective albums. Keys’ “Superwoman” shares its name with a Wonder tune, while Stone’s “My People” is a direct allusion to his song “Black Man.”

As with her previous studio album, the fittingly named multi-Grammy-winning “The Breakthrough,” Mary J. Blige continues to turn important corners in her career. The 16 tracks on the aptly titled “Growing Pains” (Geffen/Matriarch) cover a range of topics with a special focus on relationships (“Grown Woman,” “Feel Like A Woman,” “Stay Down,” and “If You Love Me?”) and personal empowerment (“Work That,” the sizzling “Just Fine,” the radiant retro of “Till The Morning,” the fierce and thorny “Roses” and its flipside “Fade Away,” the heat of “Smoke” and “Work In Progress”). “Growing Pains” is nothing short of a triumphant achievement in which Blige can take pride.

The Keys, Stone and Blige discs are on shelves at the same time as the double-disc set “Rare & Unreleased Recordings From the Golden Reign of The Queen of Soul” (Atlantic/Rhino), an imperfect, but fascinating set of demos, outtakes and B-sides by Aretha Franklin. Franklin’s legendary Atlantic Records period, wedged between her early Columbia and later Arista years, definitely set the standard for practically every soul diva for years to come, and even when she wasn’t at her best she was still better than almost everybody else.

If Aretha Franklin is the reigning Queen of Soul, then Grammy nominee Ann Nesby is the self-proclaimed Queen of Inspirational Soul. Anyone who remembers her from her early days with the pop gospel unit the Sounds of Blackness could certainly testify to that fact. On “This Is Love” (Shanachie), Nesby belts out modern R&B love songs, always keeping an eye on the sky. On the pumping “It’s So Easy Lovin’ U” she also reminds listener of what she’s capable of doing to a dance floor.

Jazz vocalist Lizz Wright collaborated with out singer/songwriter Toshi Reagon on the song “Hit The Ground,” from her 2005 album “Dreaming Wide Awake.” On her brand new album “The Orchard” (Verve Forecast), Wright co-wrote half of the tracks with Reagon, and Reagon also plays guitar and provides backing vocals on a number of tracks. With that in mind, as the disc’s title suggests, the album has a more earthy tone to it, organic and sensuous. Standout tracks include “My Heart,” “Leave Me Standing Alone,” “Song For Mia” and a cover of Led Zeppelin’s “Thank You.”

Lena Horne, who turned 90 in 2007, is an unexpected source of wonder. Did you know that in 1966, just shy of age 50, she recorded a steamy and sizzling disc titled “Soul” (DRG/EMI)? Newly reissued on CD and expanded with six never-before-released tracks (including  the stunning standard “I Get Along Without You Very Well”), the disc opens with the forceful “I Got A Worried Man,” and includes Lena’s distinctive interpretations of period classics including “What The World Needs Now Is Love,” “Unchained Melody,” “A Taste of Honey” and more.

The Grammy Awards air on CBS on Feb. 10 at 7 p.m.