Tag Archives: Cake

Cake – Showroom of Compassion (2011)


Like going to a class reunion – most people are different, some are very much the same.  Same haircut, same way of speaking, same sense of humor; maybe a bit of a gut now but otherwise exactly how you remembered them.  The difference is that you’ve changed, how you receive the world’s changed, your tastes and level of tolerance for certain things are much different than what they once were.   Still, it’s good to revisit old friends sometimes, especially the ones you made during your formative years.  Cake will always fill me with nostalgia, even when listening to their new stuff.  In fact that has been a part of their appeal – nobody else sounds quite like them, but you can rest assured that they always will.
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Cake – Prolonging the Magic (1998)

Prolonging_the_Magic_Cake_albumJust looking at the tracklist brings the memories back.  In 1998 I was in 7th grade, which was a tough time for me.  Not just because of the events detailed here, but also because a month prior to that, I got busted for shoplifting at a convenience store.  Only I didn’t steal anything; on camera it appeared a candy bar went up the arm of my jacket sleeve, and I got slapped with a $350 fine.  I begged and pleaded, saying probably the same things every petty criminal did in middle school, but they had some evidence – apparently their inventory was off by exactly one candy bar, though they wouldn’t tell me which one.  They offered me a choice; either pay the fine or enroll in a “Second Chance” program for only 45 bucks, where I’d learn why shoplifting is not at all the victimless crime I apparently thought it was.  Oh, and I had to call the owner of the Kwik Trip and apologize to him directly for taking a 59 cent candy bar.  The condition was that they were only gonna offer me that sweet deal if I agreed not to fight the charge, and thus, admit to my family that I was a thief, and a liar to boot.  At no point did it occur to me that the police department might not have done their due diligence on this one, or that maybe the inventory thing was a standard line they use to get kids to admit they stole things.  Seems like such small potatoes today but back then it felt like the end of the world.  You never forget the disappointed look on your parents faces at that age.

But that was me at 13, a kid who kept finding ways to get himself into trouble, though not brave enough to actually get out of line.  Not much of an identity, with the misfortune of having most of his elementary school friends go to the other middle school, and a stigma over his head that kept him from making new ones.  And so I spent a lot of time alone, taking solace in things like music and computer games.  For me, Cake were the right band at the right time.  I loved how flippant they sounded, how out of time they seemed, and how great and catchy all those guitar riffs were.  I loved John McCrea, a frontman who sung everything with the enthusiasm of a teenager at a church service, who added a bunch of ad libbed nonsense and let the background vocals speak louder than the lead.  And that trumpet, so punchy and direct – they were everything that I thought a pop band could not be, so likeable yet terminally un-hip, as pop radio had not gone through the full-on irony phase that it would a decade later.  They were like a suburban rock n’ roll band that accidentally hired a Mariachi.  I watched MTV News one day and they had a story about how Cake had played some kid’s Bar Mitzvah simply because he wrote the band and asked them to, requesting only that they played some deep album track called “Race Car Ya-Yas”, about as half-assed a tune as Cake would ever do (and all the better for it).  To me this was about the coolest thing any band could do, something I hoped the megastar version of myself that lives in an alternate universe would take the time out to do.

Cake weren’t built for stardom, but they found it anyway.  Fashion Nugget was one of the big alt-rock albums of ’96, a fun listen but also an arbiter of absurdity.  There was a completely straight (?) cover of “I Will Survive”, some nonsensical free-association rhymes, a rockabilly tune, some overbearing Latin influences, and a song that shoehorned in F-bombs for no reason whatsoever.  You really didn’t know if they were brilliant or if they were just throwing shit at the wall.  Most importantly there was the rap-rock hybrid “The Distance”, which became the ubiquitous hit every band in their position so desperately needed.  This was what was selling in ’96 – Beck, Soul Coughing, Pavement, hell even They Might be Giants all covered this sort of territory.  “The Distance” is not a particularly good song; one could argue that it paved the way for “All Star” and “One Week”, though it gains points for at least being a bona fide rock song, in some sense.  It sticks out even in Cake’s own discography, and if you look at the songwriting credits, you can find out why – it is one of two songs in the band’s catalogue written solely by guitarist Greg Brown (the other, “Mr. Mastodon Farm”, is even more of an oddball).  This would be like Andy Summers writing The Police’s greatest hit – though the acrimony that caused Brown to split soon after never was made public, it’s been strongly suggested that Brown writing the band’s biggest hit rather than the frontman McCrea had a lot to do with it.

Prolonging the Magic was their third album; a perfect album title from the band whose first single was the droll, sarcastic “Rock n’ Roll Lifestyle”.  For “prolonging” is all this band really does; once Cake figured out their signature sound, they made damn sure to stick to it, and in a sense you could copy and paste the same review for every single album they did.  Since the success of “The Distance”, Cake began to force their lead singles a bit – “Never There” is certainly written like one, with its snappy, echoed-out bass line, call-and-response sections, ultra-simple chorus, and telephone noise gimmick; all there to distract you from the fact that there’s not much of a song there.  But it catches the ear, and sometimes I feel that’s all Cake is trying to do.  I mean these chord progressions are straight from the 50’s R&R playbook; the only real modern element here is that constant left-of-centerness that Cake strive for.  Prolonging is more straight-faced than their first two albums, but there is still some strangeness here – sleigh bells, an air raid siren, little piano flourishes, lyrics that teeter between cliché and complete nonsense.  Then you’ve got the three central tenants of the Cake sound: 1) shouty background vocals, 2) trumpets, and 3) “ahhh yeah, alright, ohhh no, nawww, hey!!”  The first two make every song sound festive; even downtrodden ballads like “Mexico” and “When You Sleep”.  The third, perhaps a way for McCrea to make himself seem more invested and excited than he sounds on record; otherwise, he’s about as detached a singer as you’ll find.

Granted, none of this really stood out when I first started listening to them; this album is 17 years old now, which means I’ve had it for over half my life, and when I had it in heavy rotation I didn’t have a whole lot of reference points.  I can’t be objective about it now; I played this album and Fashion Nugget probably once a week while I did my paper route, and every note of both is etched into my memory.  In fact, it was so familiar to me that when I re-bought the CD (because keeping CDs unprotected in my winter coat eventually ruined nearly all of them), I had to buy another copy because I’d somehow wound up with one that had a few odd edits on it, including an alternate version of “Hem of Your Garment” that sounded totally wrong to me. Luckily there were plenty of used copies around; some of which had Parental Advisory stickers even though there isn’t a single swear word on it (a makeup call for “Nugget”?)  Eventually I found other bands, but they released Comfort Eagle just as I was entering high school, causing me to go back and pick up Motorcade of Generosity as well, and suddenly they became my favorite band again.  It didn’t hurt that most of the girls I knew were into them too; it gave me something to talk to them about.  When I bought my first car, Comfort Eagle was the first CD I put in the stereo, and there was something about it that seemed right.  These were my guys.

Somehow I imagine there are a lot of people out there with a similar story.  Even today, they sell out decent sized venues, and their last album even hit #1 on the Billboard 200, if only for a week.  I doubt it’s their new music that’s doing it – they’ve only done two albums since Comfort Eagle, neither of which are all that good, and I haven’t heard their new singles get any airplay at all.  But nostalgia is a powerful thing, especially for a band as esoteric as this one – Cake just seem to exist in their own zone, not really belonging to any era.  Can’t say I’ve wanted to listen to them much now, but I can still wring some enjoyment out of this disc; even the minor tunes like “Guitar” and “Alpha Beta Parking Lot” sound good, not to mention the big hooky ones like “Hem Of Your Garment” and “Let Me Go” (on contrast, the singles “Never There” and “Sheep Go To Heaven” feel played out).  Again, tough to be objective here; even back then I never had the idea that this was some great, timeless band, just one that I liked a whole lot.

Little Critters: Ryuichi Sakamoto, Cake, Mike Doughty

Ryuichi Sakamoto – Works I-CM (2002)
Since I’ve already done a Hosono and a Takahashi album here, I figure it was only a matter of time before I got a Sakamoto one in. Problem is I haven’t really been listening to much Sakamoto lately, as there have been so many soundtracks and collaborations and other assorted compilations that I don’t really know what is what anymore. Furthermore, I’m a little more picky with him. Works I-CM is the one album of his I’ve been playing a lot lately, and it’s not an album proper, but rather a compilation of music that he did for commercials between 1982 and 1984. If you’re a fan this should make your ears perk up a little, as 82-84 was a particularly fertile period for Sakamoto, and as you may expect this album has several gems on it. In fact it probably warrants its own feature on Critter Jams, but the fact that all the songs (outside of “Expo 85”) have Japanese titles make it difficult to talk about.

Essentially this is 50 minutes, spanning 19 tracks, many of which are quite short. Most of this sounds somewhere between his crystalline Naughty Boys work and Ongaku Zukan. The first track is “About You” from the latter, originally written for a Life Insurance company. The others are generally unavailable elsewhere, though pieces of them sometimes show up on later compositions. Akiko Yano appears on a number of them. None of these pieces are very sophisticated, but they do sound good (many use the same shimmering synth tones that were so apparent on Naughty Boys). I’ve been down on RS’s pop sense in the past; I feel that on some releases he feels he has to dumb himself down too much. But the music here is crisp, effortless, and fun. Many of the pieces just loop the same jingles over and over again; I have no idea why the ten-minute track is so long, but everything is a breezy listen so you don’t much mind the repetition. Sometimes it reminds me of leaving the Nintendo 64 on a menu screen for too long. It sounds like a lot of these tracks intended to eventually get vocals over the top, but the instrumentals are good on their own.

Overall the experience is not unlike Hosono’s excellent Coincidental Music; not as adventurous but it’s brisk and many of the pieces are quite interesting. Apparently there is another collection called Works II – TV and Inst. which I believe is more of the same.

Cake – Live From the Crystal Palace (2014) (vinyl only)
This and the next one sort of go together. Cake are not really a band I listen to anymore, but I loved them so much as a teenager that I figure I owe it to myself to check out their new stuff. I believe we’ve been hearing about this album for like…six years now, so if nothing else it’s kind of cemented some sort of legendary status in my mind. That said, I’ve heard for a long time that Cake weren’t exactly a great live act and this disc proves it. I have always wanted to go to a show, as their songs are wonderfully easy to sing (or shout) along to, but the constant tales of John McCrea’s pissy and depressing demeanor eventually turned me off. Simply put, I dig the guy’s music and I’m sure he’s super intelligent, but I would imagine that spending an evening with the dude would just be a massive bummer. That’s kind of ironic, as Cake’s music is usually a lot of fun.

As for the album – I guess it wasn’t really worth waiting for. The performance itself is nearly a decade old by this point, so you almost wonder why they released it at all. Cake’s studio music always had a spontaneous atmosphere to it and quite frankly they don’t sound a lot different live. Occasionally DiFiore (trumpet) will blast out a new line or something but there’s not a lot of excitement here; they have trouble really getting into a groove, as there are a lot of timing issues between instruments. They certainly don’t sound like a band that’s been together for over a decade. Still, good to revisit some of these tunes and I may just break out those first four albums again, still classics in my mind.

Mike Doughty – Live at Ken’s House (2014)
It’s no secret that I didn’t like Doughty’s collection of re-imagined Soul Coughing tunes; it felt a bit unsavory for one, but more than that it just wasn’t very good, attempting to bury the work of three very talented musicians through an unimaginative array of loud drum machines and garbage samples. Live at Ken’s House is a live (in the studio) take on a bunch of Soul Coughing material, featuring bassist Catherine Popper and drummer Pete Wilhoit, and thankfully he lets them loose and allows them to create the sort of grooves that at least resemble what the originals were all about. It’s so much better than the studio album that it’s downright baffling why this wasn’t the actual release; it retains a lot of the chaotic nature of the originals, throws a number of interesting wrinkles into the mix, and even re-does some songs completely (“Lazybones”, turning into a dreamy chiptune dirge). There are a few missteps – an acoustic version of “Super Bon Bon” is completely pointless, but the remixed version with female hip-hop collective HJA is downright offensive, featuring new lyrics like “got my mind on my money and money on my mind” and throwing in the same bits that worked so poorly on the Super Bon Bon Circles Sleepless album. In fact, the mini-acoustic set is kind of a waste altogether, considering that he already did so many SC songs this way on Water and Washington, and quite frankly I think this new band has a real groove to ’em; both the medleys are a lot of fun, and the snappy takes on “St. Louise is Listening” and “Bus to Beezlebub” are great. In other words they sound like cleaned up, more professional takes on what Soul Coughing did; maybe the soul of it is different (if anything, this whole project highlighted how integral De Gli Antoni and Gabay really were – Steinberg was as well, but Popper isn’t a bad replacement), but they’re 90% of the way there. It’s exactly what I was hoping his “re-imagined” disc would be like.