A scroll through the official Facebook profile of the band Cake takes you past dozens of posts about anything but music.

On Tuesday afternoon, the most recent linked to an article on The Daily Beast about “Silicon Valley’s Shady 1 Percenters.” Cake added its own comment: “Why do you think progressives still love the new oligarchy?”

Farther down, Cake’s feed looks like just about any politically vocal Facebooker’s. There’s a quote from Garrison Keillor about the “war on public schools,” an article titled “Take a photo of a glacier — it’ll last longer,” and an image of Dick Cheney and Donald Rumsfeld with a caption I didn’t read.

Along the way are polite but curt exhortations added to the posts by whoever’s running the Cake Facebook profile: “Thoughts?” “Huge insult to freedom?” “Crushing blow to free market? Explain.” “Please explain your thoughts.”

Scattered here and there are links to Cake’s online store, show announcements, music videos and concert posters, like the one for the band’s show Saturday in Bend (see “If you go”).

I say all that to tell you this: Talking to John McCrea — bearded frontman of the Sacramento, Calif.-based band — is kind of like scrolling through Cake’s Facebook.

Earlier this month, McCrea and I chatted by phone for 21 minutes. Fewer than five were about actual Cake music.

To be honest, McCrea sounds a little weary of music, or at least all the annoying stuff that surrounds being part of a band that scored a handful of hits (“The Distance,” “Never There,” a cover of the disco staple “I Will Survive”) in the mid-1990s and has been plugging away ever since.

Cake formed in the early 1990s and struck gold a few years later thanks in part to their unique sound. At a time when grunge was wheezing its final breaths, gangsta rap was riding high and boy bands (and Spice Girls) were just around the corner, Cake’s combo of rock, funk, twang and Mariachi music (via Vince DiFiore’s trumpet), plus McCrea’s monotone talk-sing style, stood out.

The hits fueled a career that has yet to stop, even if McCrea sometimes wishes it would slow down.

“My philosophy is to tour as little as possible, and it’s always been that. But we’ve toured a lot,” he said. “Right now, what I’d like to be doing is writing a new album … but as the value (of) recorded music descends into the garbage heap, bands are sort of touring endlessly now, because that’s the only income source.”

He is cognizant, presumably, of how it sounds when a career rock star complains about his job, but he also paints a compellingly bleak picture of the lifestyle.

“It’s a privilege to be in this band. That said, I don’t enjoy sitting in a bus for 16 hours. I don’t know who does,” McCrea said. “You get to be a rock star for an hour and a half, and a lot of times you shake hands with a couple of jocks who are friends of the radio station that squeeze your hand too hard, and then you go back into the bus for another 16 hours and they dump you in the late afternoon in the next town and you’ve got two hours to either eat or take a nap.

“And then you go back on stage and repeat,” he continued, “so live it up, rock star.”

Fortunately, McCrea has plenty to take his mind off of music.

• On the decline of the music industry: “Despite the rosy spin the tech industry has described, we’ve lost about 45 percent, according to (U.S.) Department of Labor statistics, of working musicians in nine years. I know from personal, anecdotal experience that seems true, because I have friends that are no longer able to support themselves with music.”

“The whole revolution of information distribution didn’t hurt rich rock stars so much. It hurt the middle class and the lower middle class of musicians, a lot of whom I think are more important than rich rock stars, artistically.”

• On self-releasing Cake’s most recent album, “Showroom of Compassion,” on the band’s own label: “I’m glad that (we were) able to claim a larger percentage of the diminished returns of releasing recorded music. We don’t want to have to share 90 percent of what we make … with some company in New York anymore. We can’t afford to.”

“I never liked being on major or independent labels very much because you’re handing over power over your destiny to somebody that may or may not care very much. Usually they don’t care very much.”

• On artists fighting back against the Web-fueled devaluation of recorded music: “We’re caught right now in between the old exploitation of the major label system and the new exploitation, which is the devaluation of content. So it may be time for people to aggregate power. Content workers need to think about what they do as being a little bit more valuable, because it’s being monetized, it’s just not consensual.”

“It’s a tall order, but I think we can use the Internet to do it. Maybe everybody can’t attend a meeting … but what if you developed a collective bargaining app where you could actually participate in a democratic group that used their aggregation of power to ask Spotify for another hundredth of a penny, you know? If you have 500 or 1,000 economically meaningful bands, all together (challenging the system) …”

• On Cake’s Facebook: “We would be bored if we had to talk about ourselves the whole time. So instead we’re talking about things we’re interested in.”

Postscript: Oh right … music. Um, well, McCrea is working on a studio in his backyard to demo songs for a new Cake album, and once that’s done, he’ll begin writing “in earnest,” he said. Whenever it is released, it will follow “Showroom,” which famously became the lowest-selling album ever to debut atop Billboard’s album-sales chart with 44,000 copies sold. Amos Lee’s “Mission Bell” broke that record two weeks later.

If you go

What: Cake, with Built to Spill

When: 6:30 p.m. Saturday, gates open 5 p.m.

Where: Les Schwab Amphitheater, 344 S.W. Shevlin Hixon Drive, Bend

Cost: $37 plus fees, available at the gate, The Ticket Mill (541-318-5457) in Bend or the website below

Contact: www.bendconcerts.com