Baby That’s Me. Cake. 1967. Decca.
The great, impassioned project of girl group pop romanticism was the reduction in scope of of the extraordinary body of work from the preceding generation, the big band/swing era, whose typically elevated forms of expression brought us an aristocracy of twentieth century American pop. It was a time of serious economic and social deprivation, when work was considered such an essential tool of survival that, conversely, self consideration and -contemplation were often thought of as unaffordable luxuries. The music reflected this line of thinking; it evokes luxury and glamor, creating a fantasy of over abundance and wealth that still persists today, albeit to a hip-hop soundtrack. World War II, however, shrank the globe, and when the men who fought it returned to the States, the music they came home to was tense with the gradually decreasing gap between rural and urban experience. New York City’s The Cake, along with famed LA production duo Charlie Greene and Brian Stone, conjure the spir...