By Gregg Shapiro

Contributing writer

Maintaining a sense of humor is crucial in these days of war and the Bushing of America. Being fierce is important, but so is being funny, something lesbian comedian Kate Clinton has a firm grasp on with her new CD “Climate Change” (Whyscrack). Recorded at the Birchmere outside of Washington, D.C., it is, as you might expect, popping with political humor. Clinton is wicked funny, from her bouts of “Bush tourettes” and her on-target evisceration of his presidency to her slams of Larry Craig and Alberto Gonzalez. She goads grandpa Dick Cheney and “his lovely wife Lon” and “chicken-shit Democrats.” She also talks about the effects of global warming on mother Barbara Bush and slams unconflicted white men Donald Rumsfeld and Karl “Man Boobies” Rove, the Pope and Jerry Falwell. In keeping with the climate change theme, Clinton tries not to veer from her om shanti boom-boom spiritual path, but still manages to observe that it’s not going well for straight people and she couldn’t be happier.

After releasing a pair of fine CDs over the past few years, Katie Sawicki has hit her stride with the gorgeous “Time Spent Lost” (Bend). On opening track “Tuesday,” Sawicki comes off like a queer Patty Griffin (and that’s meant to be a compliment). “Moving On” is equally moving, reinforced by Sawicki’s noteworthy fretwork. Her Nashville-tinged Brooklyn tunes, including “Hanging On,” “For The Quiet,” “Push On Back,” “Ironbound,” “Missing” and “Longest Year” go a long way to put her in a class by herself. While you’re enjoying the disc, be sure to check out the eye-catching packaging, which includes little postcards containing the song lyrics.

Natalia Zukerman smoothes out her bottleneck blues with a set of songs touching on pop, country and even jazz on “Brand New Frame” (Weasel). The title track (and album opener) draws its bluesy influence from David Adler’s Hammond organ, but the heartbreak of “Favorite Shirt” is in more a pop vein. “Bill,” with Melissa Ferrick on flugelhorn is the jazziest tune, while “Early Bird,” “Better Me” and the story song “Good Boy” are different sides of the country coin.

Kym Tuvim continues the blues streak with her latest “Nothing Sweet Nothing” (Retrofit). Pedal and lap steel guitars figure prominently on a number of the tracks. But even more essential is Tuvim’s rich and hearty voice, one that is custom-made for singing her blue-tinged compositions. Among the more irresistible originals are the swaying “Pendulum,” the airy “In My Head,” the deep “Flood” and the piano and vocal of “Reservoir.” Tuvim’s lovely reinvention of “The More I See You” will make you want to listen to it more.

If Justin Timberlake was a lesbian (and who’s to say that he’s not), he might sound something like Lori Michaels on her full-length debut CD “Living My Life Out Loud” (Reform). While working the 21st-century blue-eyed soul vibe, Michaels doesn’t avoid queer subject matter on album opener “Get It Through Your Head,” “Girls Thing,” “Two At A Time,” “Meet Me At The Partay,” with its queen bee dyke diva club attitude and “hey ho/ho hey/everybody knows you’re gay” chant, “You Make Me” and “Unconditionally.”

More of the same is not necessarily a bad thing and that’s what Rachael Sage delivers on the mostly luminous “Chandelier” (MPress). In this light, Sage still sounds like the kid sister of Tori Amos (“Vertigo,” “Blue Light”) and Ani DiFranco (“Invincible,” “Site-Seeing”), but manages to get her voice heard. Songs such as “My Word,” “Corinne,” the overtly queer “Wishbone,” “Moonlight & Fireflies” and the layered instrumental “Beloved” illuminate other possibilities in Sage’s repertoire.

In the same way that it’s effortless to highlight the similarities between Sage, Amos and DiFranco, the same thing happens with out jazz performer Karen Blixt. Being a lesbian in that realm may automatically lead some to draw parallels between Blixt and, say, Patricia Barber and Lea DeLaria, as they are our out sisters in that male-dominated genre. With jazz giant guest musicians Randy Brecker and Patrice Rushen, Blixt has returned with “Mad Hope” (HiFi Records) for a set of mostly original co-compositions. On “Jazz Ants” and “Faith Baby Faith” Blixt pays homage to Lambert, Hendricks and Ross, then sets sail for the islands on “Antigua.” She recalls Lani Hall in her phrasing on her interpretation of “Shadow and Light” and paints a moody musical portrait on “Frida.”