Kid Rock puts in an appearance.

What potential listeners think of South Park: Bigger, Longer &

Uncut depends on where said listeners stand in the ongoing debates

on the moral responsibilities of the entertainment industry. Not the

post-Littleton discussions on the causes of teen violence that have

scapegoated artists with antisocial viewpoints, but the disputes about

the excessively sophomoric content of modern media and the vague line

between risque and offensive humor in the post-"Beavis & Butthead" era -- a line "South Park" creators Matt Stone and Trey Parker have been regularly trampling since introducing their lo-fi adult animation to great fanfare a few years ago, and one they've just about rubbed out with this collection ofsongs.

Most of Bigger, Longer & Uncut is a cast recording of "South

Park" show tunes, spotlighting characters and carrying the film's

storyline (something about a war between the U.S. and Canada) the way

Broadway musical albums do. Except, of course, that Parker and

songwriting co-conspirator Marc Shaiman are the anti-Rodgers and

Hammerstein, sentimentally vacant and willing to cite any human frailty

or bodily function for a cheap gag. Unfortunately for censorious

critics, they're extremely good at it, invoking classic musical scores

from "Les Miserables" to "Oklahoma" and keeping the tunes short enough

that the jokes never drag. Laugh-out-loud highlights include Terrence

and Phillip's "Uncle Fucka," just about the most obscenity-filled

70-second ditty in the history of recorded music; guidance counselor Mr. Mackey's "It's Easy, Mmmkay" (RealAudio excerpt) a 12-step program call-to-arms with the immortal lines "you don't have to spend your life addicted to smack/ homeless on the street, giving handjobs for crack"; and Big Gay Al's "I'm Super" (RealAudio excerpt), a politically incorrect Busby Berkeley-esque number. In typically irreverent "South Park" fashion, there are also guest appearances (former Doobie Brother Michael McDonald, Satan The Dark Prince and Saddam Hussein) and a symphonic reprise of Eric Cartman's classic "Kyle's Mom's A Bitch," but these don't hold the acerbic power of the names they're attached to. Read: considering everything else, they could've been better.

The last eight tracks are recording-artist renderings of cast songs and

a classic Chef (a.k.a. Isaac Hayes) slow jam called (what else) "Good

Love." And while these are conceptually on the ball (RuPaul doing the

Big Gay Al song, Rush's Alex Lifeson and Geddy Lee assisting Terrence

and Phillip on "O Canada"), only Kid Rock and his diminutive sidekick

Joe C. make the reel. Their foul-mouthed take on "Kyle's Mom ..." (RealAudio excerpt) --

full of disses of suburban Colorado housewives, and crammed with teen-age hoodlum sex boasts over a slinky Cali gangsta groove -- basically embodies typical entertainment for a large percentage of "South Park" devotees, delivered in the modern language of hip-hop. Which surely won't come as a surprise to a large cross-section of Americans who will nevertheless be aghast at the situation. To them, it and the rest of Bigger, Longer & Uncut will undoubtedly mark another case of pop culture-propelled moral degeneration from sea to shinning sea.