David Cross has one of the most interesting filmographies of anyone listed on IMDb. Though the comedian and actor is most well-known for his roles in cult classic shows “Arrested Development” and “Mr. Show,” major budget movies like “Alvin and the Chipmunks the Squeakquel” and “Curious George” are also prominent on his list of past roles.
Fans of his more eccentric roles, however, are more likely to enjoy his latest comedy album, “Bigger and Blackerer,” than those who know him from his blockbusters. A sentiment the title alone could convey.
Cross delivers a wonderful mix of highbrow and lowbrow humor throughout the album, while managing to offend almost every demographic possible along the way.
In the hour of comedy Cross is able to poke fun at Jews, African Americans, date-rape victims, right-wing political activists, Christians (especially Catholics), Scientologists, Mormons, waiters, pedophiles, and racists—to name a few groups.
He compares Whole Foods-brand plastic wrap to a Jewish mother in one of the classier moments, and follows up with a description of a time he lost control of his bowels while walking his dog. An exemplary cross-section of an album that can induce laughs and groans with equal gusto.
One of the main components of Cross’ humor on “Bigger and Blackerer” is his description of drugs and his drug use.
What strikes me about this component of his material is that he does appear to pander to the lowest common denominator among his fan base.
While his self-depreciating drug humor is still more sophisticated than the fart jokes of Larry the Cable Guy (who Cross has famously berated for his material), it does not compare to his jabs at religion and race relations.
There’s a reason those jokes do not compare, and it’s simply that Cross’ genius shines when he discusses his favorite topics. One of the albums more uproarious moments comes when the comedian suggests he get a Martin Luther King honorary license plate with the letters “NGR LVR.”
Unfortunately for fans of Cross’ previous albums, his political commentary is not as prominent and nowhere near as cutting as it is on previous albums. Perhaps the passing of the Bush administration took the wind from the comedian’s sails, but the acerbic edge that delighted fans is conspicuously absent.
Another unfortunate part of Cross’ comedy is that it is tailored for the audience he has already carved out for himself. That young, cynical hipster set that probably own all three “Arrested Development” seasons are sure to love this album.
His polarizing nature, however, is destined to turn new fans away from “Bigger and Blackerer.” I’m not entirely certain that he wants those people as fans though: his intelligent jokes aren’t meant for the faint of heart, and if someone doesn’t love Cross’ jokes, they’re welcome to stop listening.