Happy Gay and Lesbian History Month! The latest crop of releases by queer artists, from he lesbian, gay and bisexual communities, should get you through the end of the year with no trouble.

Peaches sings “I don’t have to make the choice/I like girls and I like boys” on “I U She,” a kinky bisexuality mantra from her new album Fatherfucker (Kitty-Yo/ XL/Beggars Group), the eagerly anticipated follow-up to The Teaches of Peaches. Expertly straddling the worlds of punk, hip-hop and electroclash in, I would imagine, thigh-high platform boots, Peaches is even riper on this album than she was before. Stomping in on opening track “I Don’t Give A…,” Peaches spits a pit in our eyes as she rants “I don’t give a fuck” over Joan Jett’s “Bad Reputation.” She raps about her labia majora, “soft as angora” and knocking us out “like Rocky Balboa.” She goes head to head with Iggy Pop on “Kick It,” on which they quote each other like old friends. Once again, Peaches sends it out to the men, boys, girls, women and ladies on “Shake Yer Dix.” She duets with Taylor Savvy on “Stuff Me Up,” on which they encourage the listener to “eat a cookie/eat a big dick everyday” and “eat a cookie/eat a big clit everyday,” and sings the praises of anal sex for men on “Back It Up, Boys.”

Bisexuality is also the focus of Bi The People: A Compilation of Bisexual Artists & Friends (Violent Yodel). Compiled by Skott Freedman, who also contributed the track “The Price You Paid,” the various artists’ disc benefits national, nonprofit organization The Bisexual Foundation. Other contributors include Jill Sobule (the sexy and funny “Saw A Cop,” about being pulled over by a female police officer), Laura Love (“If You Leave Me”), Melissa Ferrick (“Fighting Chance”), Bitch And Animal (the Eminem slamming “Secret Candy”), notorious bisexual Tom Robinson (“Boy Girl”), Jewel tour opening act Anne Heaton (“Black Notebook”), Pansy Division (the oldie “Luv Luv Luv”), Carol Burnett’s daughter and bi disco diva Erin Hamilton (a dance cover of Kiki Dee’s “I’ve Got The Music In Me”), queer Celtic artist Ashley MacIsaac (“Sleepy Maggie,” with vocals by Mary Jane Lamond), openly gay American Idol contestant Jim Verraros (“I Want You”) and the ubiquitous Rachael Sage (“What If”), among others.

The Pie-Love Sky (Big Head) by openly bisexual singer/songwriter Jodi Shaw was produced by Steve Addabbo, who co-produced Suzanne Vega’s first two albums. It’s hard not to draw comparisons between Shaw and Vega (even to Natalie Merchant, whom Shaw sounds like on “The Forger” and “Kristine’s Lullaby”), but Shaw does emerge her own person throughout. From her acoustic interpretation of Yaz’s “Only You” (Ms. Shaw, you have excellent taste in cover material) to original folk tracks such as “The President Knows,” “In Cabrini-Green” and “Is,” to the drum loops of anti-folk tunes such as “Dumbo’s Feather” and “Out of Love,” the “Pie-Love Sky” is the limit.

Creative and life partners Drew Daniel and Martin Schmidt, return with their group Matmos’s latest effort The Civil War (Matador). After working with some other “high profile” artists and the release of Drew’s wonderful The Soft Pink Truth side project, the electronic sound collagists once again set a higher standard for the genre with this album that touches on the American Civil War, the 1660 English Civil War and civil wars closer to home. Those are bagpipes and a tin whistle on “Z.O.C.K.,” but I bet you never thought you’d hear them in this setting. “Reconstruction” is more like a deconstruction and “Y.T.T.E.” finally gives those waiting for a chance to dance to get up and do so. Matmos’s interpretation of “The Stars And Stripes Forever” has the potential to inspire flag waving in even the most unpatriotic listener –- or marching at the very least.

Speaking of accessibility, Preacher Gone To Texas, an Iowa-based hardcore “scremo” band, has the potential to reach both straight and gay fans of this polyp-producing style of emo rock with their album Choice Vs. Chance (Sinister Label).

Musically, Preacher Gone To Texas ought to appeal to fans of Thursday and The Blood rothers, among others. Add to that the bonus of a couple of openly gay band members, including totally cute guitar player Matt Moody, and everyone will be happy. A reprieve arrives in the piano-only closing track “One Scream: Motive For Movement,” and although I don’t have a mothering bone in my body, all I want to do is offer vocalist Matt Johnson a thermos full of hot tea with lemon and honey.

A queer punk revival is in full effect with new releases by Super 8 Cum Shot (Super 8 Cum Shot, Volume II) and Pansy Division (Total Entertainment). Burn YourRainbow (Spitshine) by Skinjobs also deserves a place at the table. From songs about non-conformity (the title track), queer love (“Peep Show Love,” “Might As Well Be You,” queer recruitment (“Recruiting,” which ends with the declaration “We’re queer and we’re recruiting – now!”), how queer history and rock and roll are on the same plateau (“Hands In The Air”), Skinjobs get their point across, loud and clear. Five of the hidden tracks are spoken-word bonuses and the fifth is a song about “the lesbians of the Skinjobs.” These genuine punks put hetero poseurs such as Good Charlotte, Sum 41, and Something Corporate to shame. In fact, I strongly recommend that the members of the above mentioned bands check out Skinjobs (and Super 8 Cum Shot and Pansy Division, as well) to find out precisely what is lacking in their own songs.

On a much mellower note, Remember Who I Am (Clever Shark) is the memorable debut disc by queer trio Girlyman. Imagine a bent Nickel Creek and you have only scratched the surface of Girlyman’s lush three-part harmonies and modern bluegrass/folk sound. A truly cooperative effort, all three members of Girlyman (NateBorofsky, Tammy Greenstein and Doris Muramatsu) contribute to the songwritingprocess and they alternate taking the lead vocals on the tunes. Standouts include “Say Goodbye,” “Fall Stories,” “Even If,” “Postcards From Mexico,” “Amaze Me,” and a praiseworthy cover of “My Sweet Lord.”

A great poet once said “make it new,” and that appears to be the challenge before lesbian singer/songwriters. With so many women who came before them and so many more trying to do the same thing, making it new may be easier said than done. On her fifth album Birthmark (Egasage), Aerin Tedesco does her part by ornamenting her folk-pop songs with an electric guitar here (“Downside Up”) and a cello there (“Fuel”) and even a didgeridoo (“London”). “Crush” is spiced up by some Cajun percussion and the banjo on “Cowboy” give it, well, it’s pluck.

Paving the way for Girlyman, Pamela Means, Andrea Bunch, and just about every other

queer singer/songwriter from the last thirty years is Janis Ian. Working Without A Net (Rude Girl/Oh Boy) is a double disc live set, which features songs from Ian’s 35 years plus career. From “Society’s Child” to “Days Like These” and “Boots Like Emmy Lou’s,” the recordings (from various venues and a multitude of countries) span the years 1990 to 2003, and offer an impressive, if incomplete, overview of Ian’s work. Some of Ian’s best-known tunes, including “At Seventeen,” “Jesse” (a hit for Roberta Flack), and “Fly Too High” (co-written by Giorgio Moroder!), are also present. A new studio disc by Ian is forthcoming in early 2004, and I, for one, am looking forward to see how she follows up her excellent 2000 studio album God & The FBI.

Finally, you must know that a queer music column would be incomplete without a few CDs by dance artists. Kevin Aviance follows up his 1999 Box Of Chocolates full-length album with Entity (Emerge). Aviance gets dipped, flipped and licked on “Give It Up,” co-written by gay DJ, songwriter and record producer Tony Moran, in which he compares himself to both a drug that will make you go crazy and to cotton candy. His smash hit dance single “Alive,” also a Moran co-composition, which features his trademark stuttered vocals certainly deserved its lively reception. “Power,” co-written by Aviance, is a hand and roof-raising number. “Freak It (Live Out Loud),” is Aviance’s most retro recording, reminiscent of the eighties sound of The Gap Band, and is a standout track. Equally surprising is the queer blues of “Seattle,” which illuminates yet another side of the multi-faceted artist.