If you were lucky enough to score tickets to this summer’s True Colors Tour, then its eponymous soundtrack, True Colors, might help you remember what happened before the alcohol-induced blackout. Like the groundbreaking event, True Colors the album features songs from some of today’s hottest gay and gay-friendly artists, including The Dresden Dolls, Indigo Girls, Rufus Wainwright, Debbie Harry, The Gossip, and Cazwell, to name a few. The Cliks, the Toronto-based foursome led by transgender vocalist/guitarist Lucas Silveira, also appear on the album with its single “Oh Yeah,” an aggressive pop-rock track about the perils of stabbing friends in the back.

Twenty-one-year-old Jeffree Star – whose growing popularity is owed almost entirely to MySpace – also contributes to the disc with his nod to narcissism, “Plastic Surgery Slumber Party,” a robotic romp through a land where bodily reconstruction and daily regurgitation is required. Rounding out the album is the Erasure exclusive “Early Bird (DJ Manolo’s True Colors Mix),” and Cyndi Lauper’s 1980s hit, “True Colors (Morel’s Pink Noise Mix),” the festival’s unofficial theme song.

In 1976, disco diva Thelma Houston pleaded her case with “Don’t Leave Me This Way.” Three decades later you don’t have to. Her first album in 17 years, A Woman’s Touch, is a cover album brimming with songs made popular by some of the biggest male singers in R&B and pop. From the blues-influenced makeover of Sting’s “Brand New Day” to gay icon Sylvester’s “Disco Heat/Mighty Real” – a poignant gospel song this time around – Houston not only injects an air of femininity into the familiar tracks, but completely reinvents them as new hits. Suddenly, Jimmy Webb’s “By the Time I Get to Phoenix” is fresh again with an old-school flair, while the late Luther Vandross’ “Never Too Much” returns as a triumphant dance floor anthem. Other tracks include “Please Send Me Someone to Love,” originally by Percy Mayfield; Marvin Gaye’s “Distant Lover;” and “Love and Happiness,” first made famous by Al Green. “A Woman’s Touch is my tribute to the men who, in my humble opinion, are among the best artists of our time,” Houston says. “My aim was not to change the meaning of the songs, I was just hoping to infuse a new personality to the old classics.”

If there’s one word to describe newcomer Naommon’s debut album, Allnighter, it’s “electro-purple-fluoro-plastic-sulky-acid-soul-clashy-disco-sequin-pop.” OK, so that’s several words strung together – and a description by the singer himself – but, come on, you’ve gotta admit that it’s pretty fucking fantastic. But, does Allnighter live up to this liberal use of adjectives? In a word, yes-if-you-like-the-glitter-to-grit-of-grounded-electro-soul. A former contestant on the French TV talent show “Popstars,” Naommon brings his Parisian experience to Harlem, N.Y., where he’s combining his musical influences – David Bowie, Prince and Deee-Lite, among others – into his own sound, which easily can be dubbed “innovative reminiscence.” Allnighter’s title track is a clear indication of the young artist’s 1980s upbringing – synthesizers and all – while tracks like “Hurry Up” hustle back a decade with its undeniable disco flair. Flipping on the soul switch to clubland’s often apathetic aura, Naommon gives you new reason to sweat till the sun rises.

You don’t have to get your hands on Junior Senior’s latest album, Hey Hey My My Yo Yo, to hear what the Danish duo has to offer this time around. That’s because before the disc ever hit shelves, a bevy of their bouncy beats were infiltrating mainstream America. For instance, “Hip Hop A Lula,” an ’80s-inspired rap track popped up at multiplexes across the country on trailers for “Rush Hour 3;” “Can I Get Get Get,” was featured on an episode of ABC’s hit comedy “Ugly Betty;” and “Take My Time” was picked up for the PSP game “Lumines 2.” So much for staying underground, boys. But what’s even better about Hey Hey My My Yo Yo, besides its contents’ ubiquity, is that Jesper Mortensen (Junior) and Jeppe Laursen (Senior) haven’t compromised their musical prudence for the ever-decreasing dollar. The result is another inimitable album that promises nothing more than to put a smile on your face.