Sandra Bernhard has been working in the entertainment industry for 25 years. Starting as a comedienne on the legendary Richard Pryor Show, flitting her way through "Roseanne" as the token lesbian character, she has flirted with many a genre. (Some may remember her moment in children's entertainment with her cameo in "Sesame Street Presents 'Follow That Bird!'"; less will recall her sci-fi epic independant film "The Apocalpyse").

What Bernhard is best known for, however, is her live stage show. Since the late 1970s she has brought a brash (but brainy) combination of political commentary, wry and sarcastic humor and intense music to Broadway and beyond. Often her own personality upstages her performance art so that many forget what she has accomplished. (How many people, for instance, recall that she is a Tony winner for her one woman show "Without You, I'm Nothing"?)

"Excuses For Bad Behavior: Part 1" was Bernhard's only studio produced album. All previous and latter audio releases have been recording of live performances, but in "Behavior" Bernhard proves what many of her adoring fans already know: the woman can sing. And not just "I'm-a-Celebrity-Who-Wants-To-Sing-Because-I'm-Vain" singing a'la Nicole Kidman or Whoopi Goldberg. Bernhard's belting, powerful rock and roll voice evokes images of such powerhouse luminaries as Ann and Nancy Wilson, Joan Jett, and even - dare it be spoken - Janis Joplin.

But Bernhard never forgets for what she is best known: her sly observations on what is going on in celebrity and political culture (at any given moment). So, on "Behaviour" we find a combination of cleverly styled cover songs and originals mixed in with some sarcastic musical numbers, poetry and even the occasional comedy bit.

It's important when giving the project a listen to remember that it was recorded in the early 90s. As such, much of the material, while still funny, is era-topical. The opener, a spoken introduction sharing the album's title, has Bernhard waxing poetic about the very album the listener has bought. "You've tried EST; you've even tried a course in miracles"...she intones in a voice mocking the soothing women of self-help tapes. "But let's cut through the bullsh*t, and get right to the heart of the matter."

Her disco-floor cover of "(You Make Me Feel) Mighty Real" by Sylvester never strays too far from it's roots and was, in fact, a dance floor hit in the UK. "Manic Superstar," perhaps the most brilliantly concieved of all of Bernhard's 25 years of reinterpreted songs, combined "Everything's All Right" from Jesus Christ Superstar and "Manic Depression" by Jimi Hendrix to deliver a scathing look at hypocrisy in religion. "Close your eyes, close your eyes and relax/Think of nothing but.../Manic depression..."

"Who Knew?" is an original that delivers the sort of stereotypical funky early 90s pop one might expect from the era, but with a sing-talk lyric about a sassy woman looking for romance throughout the corners of Europe. "The Letter" is a spoken word comedy bit that serves to bridge two distinct feelings in the album; in it Sandra Bernhard reads a pretend letter from a disgruntled fan. "What is this? Why is she SINGING? I want her to be brassy and outspoken and a proud lesbian.../So instead I'll just reject her, and throw away all of my Roseanne reruns..."

"Lonely Town" is a fissure of a ballad that evokes Nina Simone's husky seductions, while "Christmas" is a self-mocking recollection of what Jewish girl might have envisioned was going on in the homes around her. "Prophecies" is a bit of a throwaway track, having clearly been hilariously topical when recorded; but now it's scathing satire of 1-900 psychic hotlines seems a little outdated.

Bernhard's "Sympathy For the Devil" makes the album worth it's purchase price alone. How she has managed to take this classic Rolling Stones track, frankly intouchable in and of itself, and turn it into one of the most elegantly delivered, soothing lullabyes of a track is incomprehensible. "Pleased to meet you" she coos, and with every "oooh-oooh" the spine simply quakes.

"Manhattan" is another spoken word track (but over funky music) that breaks the album into it's third section. In it Bernhard takes her turn at the tabloid media by reading headlines and advertisments from The New York Post (whilst Yiddish chants echo in the background). "Phone Sex (Do You Want Me Tonight)" is an ill-concieved attempt at sensuality that, with it's recorded exceprts of a real chat held on a phone sex line, comes across as too jumbled to really hit it's mark.

The rest of the album is fairly pleasant, with covers that are enjoyable if not striking, with the exception of "50 Ways To Leave Your Lover". If there were ever a song simply written to be devoured by Bernhard, this is it. With slight lyrical changes (the least of which is not Bernhard's own background speaking: "I don't need you, I don't need anybody.../I've already packed your bags.") Bernhard delivers what was a somewhat wimpy tribute to breakups with such vitriol and vigor that you may quite find yourself ready to go start a romance with someone just so you can enjoy the empowerment of sending them away.

It isn't a great surprise that this album was a commercial flop. Released on the doomed 550 Music (part of Epic) it saw little commercial promotion in the USA, and Bernhard has always been more successful in Europe than in America. The album has it's flaws - at times the jump from comedy bit, to ballad, to dance floor groove seems uneven and badly planned. Many probably also found it hard to adjust to hearing such an unarguably talented vocalist share the same mouth as a foul-mouthed comedienne. In the end, though, the album is worth the listen (especially since it can often be found used for less than a dollar).

Recommended: Yes

Great Music to Play While: Driving