DISClosure
CD Reviews Of A National Scale
Cake
Comfort Eagle
by David Banyas
 On
a first listen, some of Cake’s music might hit like something you’d hear
as the background to a Scooby Doo chase sequence. Musically, it might seem
as healthy and complex as a bowl of Cheerios. But that’s only the first
listen… Once you move past some of the simple and spacious riffs, you’ll
find that the oft-weird, anecdotal lyrics, sung just one degree above the
speaking voice of frontman and songwriter John McCrea, amid trumpet-heavy
melodies and bucket seat funk construct a creative, mellow, intelligent
environment.
Cake’s music, recognizable by the winding surf guitar, the lonely bull-ish
Herb Alpert-like trumpet, the odd castanet, and droll vocals a la Lou
Reed, took a bit of a downward turn with their third album, 1998’s
Prolonging the Magic. McCrea created unwavering fans with Cake’s first two
albums, Motorcade of Generosity and Fashion Nugget, by recording humorous
covers (his rendition of Gloria Gaynor’s “I Will Survive” is now a cult
classic), showcasing the irony of the human condition, and drawing
beautiful, sometimes sad, scenes. But, although still head and shoulders
above industry standards, Magic seemed comparatively less evocative, less
challenging, less intelligent than Cake’s previous work.
Two-and-a-half years after Magic, Cake has released Comfort Eagle, a
40-minute resurgence of sweet, confident, eccentric Cake.
Exceptional, flippant songs describe inflated ego, snobbery and delusion
(“Opera Singer”), deliver sly, prancing bass lines as they comment on the
unreasonable allowances that people make for celebrity (“Meanwhile, Rick
James…”), and express the banal, impersonal marketing of the American
lifestyle through the media (“Comfort Eagle”). Traffic jams become
metaphors for incessant man-against-man struggles (“Long Line of Cars”).
Short skirts become the feminine confidence that McCrea loves in women
(“Short Skirt/Long Jacket”). And what seem like serenades (“World of Two”
and “Pretty Pink Ribbon”), reveal themselves as clever aspersions on the
selfish and narcissistic people of the world.
All of these insights are put across with tongue-in-cheek lyrics, original
metaphor, crisp guitar and trumpet proclamation, and beats that bounce
without dumbing down a single note. Regardless of how analytical the
subject matter in their songs, Cake provides a brilliant production. This
is one is a permanent addition. (Columbia)
Phish
Live Phish (Volume 1 – 6)
by Benjy Eisen
 Phish
has always been a band known for warranted excess. Their latest project
is, of course, no exception. Live Phish isn’t a single disc. It’s not a
double disc. It’s not a box set. It’s 17 CDs (!!!!), issued over six
volumes — with an additional six volumes to be released every six months,
indefinitely. And each one of them rivals any of their previously released
studio albums. Phish has always been a live band whose art is in their
unparalleled ability to create on-the-spot and off-the-cuff masterpieces.
Come on, what Phish fan do you know of who actually listens to the albums?
I mean, more than once? If they’re smart, they listen to live tapes. And
since Phish are smart, they finally started releasing these shows as
official releases. Each volume is one complete show. There is no
difference between Live Phish and live Phish tapes, except this — sound
quality. It’s a huge difference. These discs sound phenomenal. (The only
complaint? Shelling out $129. Twice a year.) (Elektra)
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