Joe Cocker – Cocker (Album Review)

By the mid-80s, Joe Cocker had cemented his reputation as one of the most soulful and raw vocalists within the pop-rock genre. With a gravelly vocal that could tear the roof off one moment and break your heart the next, he entered 1986 with Cocker, his tenth studio album; a polished and radio-friendly release that continued his 80s-era reinvention while also being an ideal follow-up to the thoroughly enjoyable Civilized Man.

Though not as gritty as his earlier material, Cocker embraces slicker 80s production values without compromising his signature emotional intensity. The rich blend of ballads and mid-tempo rockers will appeal to just about all music lovers, and while the album artwork isn’t anything to fawn over, it’s ideal for Cocker in that it’s what one would have expected from a solo artist during that era.

Naturally, an 80s album has that well-acknowledged sheen to the production, and despite the Lossless Apple Music stream being sonically appealing, the album is somewhat of an enigma, as it has, certainly to my knowledge, never been remastered. Hence, one would assume that the Apple Music stream would offer the CD-equivalent counterpart, but the album is delivered at 24-bit rather than the CD’s 16-bit. Hence, it isn’t a direct 1:1 parallel.

While it pleases me to note that the album hasn’t been remastered to questionable modern standards, it’s both a blessing and a curse, as a reissue campaign would be much appreciated for those of us who have come to appreciate Joe Cocker’s extraordinary catalogue in recent years. Still, the streamed edition is thoroughly enjoyable, and I wouldn’t be surprised if it weren’t the same mastering, that has been used on previous CD releases, just the studio-quality version before it was truncated from 24 to 16 bits. Yes, the 80s recording, mix, and mastering sheen remains present, which may deter some, but it’s otherwise thoroughly enjoyable and dialling back the treble range slightly can bring forth a little more warmth in the album’s reproduction should that be your intent. Even if it’s not, join me as I take a look at the songs that make up this often underrated release.

Shelter Me is a great opener, with synthetic elements that, admittedly, connect it to the mid-80s, but Shelter Me has a timeless quality that ensures this classic tune can be appreciated indefinitely.

A To Z has a playful groove that will see you moving your body involuntarily to the rhythm. The arrangement is sleek, complete with funk-laden bass lines and synth embellishments, while Cocker’s performance is spirited, giving this track a sense of fun and ease that lightens the overall mood of the album. While it may not be amongst Cocker’s most well-known songs, this deep cut is one of his greatest recordings.

Don't You Love Me Anymore is a standout and is amongst the most heart-wrenching power ballads the Englishman ever recorded. Cocker’s vocal is raw, cracked in all the right places, giving the lyrics a level of authenticity that is seldom heard.

Living Without Your Love continues the emotional thread, with another touching ballad, this time with a more subdued, introspective tone. The arrangement is understated, allowing Cocker’s vocal space to breathe. While songs like this were never intended to be chart-topping hits, it’s album tunes such as Living Without Your Love that are a core component as to why Cocker is such an incredible album.

Don't Drink The Water is a solid mid-tempo blues rocker that is perfectly positioned within the album’s structure as it bridges the gaps between the previous ballads and the rockier You Can Leave Your Hat On.

You Can Leave Your Hat On was originally recorded by Randy Newman and released on his 1972 album, Sail Away, and while it’s a solid recording, Cocker takes it to another level with his gravelly vocals and a more funky vibe. As such, You Can Leave Your Hat On is not only a standout from Cocker, but it became a defining moment in his career; one that was already illustrious.

Heart Of The Matter is a little less bombastic than You Can Leave Your Hat On, but the subtleness not only appeals to the song but also allows the listener to appreciate the previous song before Heart Of The Matter opens up throughout the chorus. Again, it’s songs such as this that ensure the album experience is upheld.

Inner City Blues is a Marvin Gaye original that was released on his renowned 1971 record, What’s Going On, and it was a bold move on Cocker’s part to record it, but he pulls it off with his own smoky, rock-tinged approach. Despite not necessarily reinventing this classic tune, Cocker pays homage to the original with sincerity and strength.

Love Is On A Fade is a melodic toe-tapper that rewards those of us who listen to Cocker repeatedly, for a song need not be a hit for it to be thoroughly enjoyable.

Heaven closes the album with a serene, uplifting, soulful ballad. It’s an ideal closer that permits a reflection of the music that’s just been heard, as well as simultaneously encouraging you to play the record again, as Cocker’s vocal is exceptionally moving, and you’ll want to hear more of his gravelly tones.

While it’s easy to consider Cocker as an album with only one major hit and, therefore, dismiss it, to do so would be short-sighted. Cocker may be firmly rooted in the mid-80s production qualities, complete with synthesisers and slick arrangements, but Joe Cocker’s vocal and overall style remain timeless, ensuring that it’s a standout from his celebrated career and is amongst the greatest records released in the 80s, particularly in 1986.

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Joe Cocker – Civilized Man (Album Review)

Released in 1984, Civilized Man is Joe Cocker’s ninth studio album and is representative of a period of change in his career. During this era, which also includes his 1982 release, Sheffield Steel, Cocker transitioned from the raw, soulful blues-rock that defined his early years into a more polished, radio-friendly sound indicative of the 80s. Despite the shift, Cocker’s unmistakable gravelly voice remains paramount as he explores a range of styles, from heart-wrenching ballads to upbeat rock numbers, on this exceptional release.

One of the more interesting aspects of Civilized Man is that the two core recording sessions were undertaken by two different producers and a different lineup of musicians on both occasions. It’s as if two EPs were smashed together to make an album. However, if you were not aware of this fact, you’d likely not notice any difference as the album comes across as a single body of work. Achieving that result takes incredible skill, but it’s also important to acknowledge the variances as both lineups are amazing. It’s, therefore, somewhat disappointing that Civilized Man failed to set the charts on fire and has, subsequently, been all but forgotten.

While we’re incredibly fortunate to have this album readily available, thanks to streaming services, it hasn’t been reissued in any format for decades. Granted, for a reissue to be successful, the record label needs to know there’s an audience actively interested in getting their hands on the release and given it wasn’t the most successful of Cocker’s albums, possible hesitations are understandable. Of course, I’m the kind of music lover who would likely send a record label broke, for out-of-print is not something I’d ever let happen; particularly on such an exceptional release.

As already alluded to, in the absence of a physical release, the CD counterpart delivered via Apple Music is sonically beautiful. As the album has never been remastered, to my knowledge, it appears that this is the original mastering and it’s exceptional with a full-bodied sound that complements Cocker’s vocal styling perfectly. Every element can be heard in the mix and you’ll find yourself sitting back and relaxing to this outstanding release.

Civilized Man sets the tone for the album with its polished production and catchy melody. The blend of synthesisers and traditional rock elements gives the song a distinct 80s feel, while Cocker’s gravelly delivery ensures that it’s memorable.

There Goes My Baby is a cover of the classic Drifters’ hit, but Cocker delves deep into his soulful roots to pull off an extraordinary interpretation. His voice, rich with emotion, breathes new life into this timeless tune, making it one of the standout tracks on the album.

Come On In is a beautiful mid-tempo tune showcasing Cocker’s ability to seamlessly blend soul and pop. Cocker’s vocal performance here is reserved, yet effective, allowing the song's easygoing vibe, and smooth rhythm, to shine through.

Tempted is a sensational tune, originally recorded by the British rockers, Squeeze, but while this interpretation retains the song’s original groove, it’s Cocker’s gruff vocal that adds a layer of depth and maturity to the song. Add to that the slick radio-friendly sound and what you’ve got is one of the most enjoyable songs in all of recorded music history, with a touch of the legendary Joe Cocker.

Long Drag Off A Cigarette is a slower, acoustic bluesy number that brings out the best in Cocker’s voice thanks to the song’s minimal arrangement. It’s a simply beautiful song, but I do wish it was a little longer as it feels as if it ends prematurely. Of course, when music is this good, you always want more, so that could most certainly be a contributing factor to my prior thought.

I Love The Night takes things up a notch, but it isn’t the strongest song from the record. Nevertheless, it flows well within the album’s structure and holds the record together. Sometimes, that’s all that’s needed from album-only tunes, for each song need not be a standout for it to be successful.

Crazy In Love slows the tempo on what can best be described as a stunningly beautiful tune.

A Girl Like You is most certainly a song of the 80s and while there’s nothing wrong with that, particularly as it aligns with the era in which the album was released, the musical bed is a little too lively for Cocker’s style. It works, but only marginally. Let’s just say that I thoroughly enjoy the musical bed, separate from Cocker’s vocal, and vice versa. It’s as if there are two different songs, excellent in their own right, that have been combined to make a single tune.

Hold On (I Feel Our Love Is Changing) is a stirring ballad-styled number. Cocker’s vocal performance is both powerful and emotional and the lush production ensures that this song is not only one of the best from the album but is amongst Joe Cocker’s greatest recordings.

Even A Fool Would Let Go is a lovely soulful ballad and an ideal closing tune for it compels the listener to play the album again. With rich orchestration and Cocker’s heartfelt delivery, Even A Fool Would Let Go leaves a lasting impression and is somewhat of a hidden gem.

From start to finish, Civilized Man showcases Joe Cocker’s ability to adapt to the changing musical landscape of the 80s while staying true to his soulful roots. The album’s diverse range of songs highlights Cocker’s versatility as a vocalist, with each track offering something unique. Whether it’s the emotional depth of the ballads or the energy of the rock-infused tracks, Civilized Man is a testament to Cocker’s enduring talent and his ability to connect with listeners.

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