Organic is the fifteenth studio album by Joe Cocker, released on October 14th, 1996 in the UK. The album sees Cocker return to his musical roots with a remarkable collection of new recordings of some of his own classics, including "You Are So Beautiful", "Delta Lady" and "Many Rivers To Cross" coupled with fresh interpretations of Van Morrison's "Into The Mystic", Bob Dylan's "Dignity" and Stevie Wonder's "You And I". The Organic sessions were guided by producer Don Was and include performances from such legendary musicians as Jim Keltner, Billy Preston, Chris Stainton, Dean Parks and Randy Newman.
Greatest Hits features most, but not all (no "She Came in Through the Bathroom Window" or "It's a Sin When You Love Somebody"), of his biggest hits from the early '70s. Nevertheless, there's plenty of fine music here, making the record a solid compilation.
UK release. This collection comprises all of Cocker's studio albums released from 1984 - 2007, including Live recordings, rarities, additional content from European deluxe discs, US Album versions and songs found in tribute albums from the likes of Elton John and Bruce Springsteen. The albums included in this box are: 1. Civilised Man (1984) 2. Cocker (1986) 3. Unchain My Heart (1987) 4. One Night Of Sin (1989) 5. Joe Cocker (Live) (1990) 6. Night Calls (1992) 7. Have A Little Faith (1994) 8. Organic (1996) 9. Across From Midnight (1997) 10. No Ordinary World (1999) 11. Respect Yourself (2002) 12. Heart & Soul (2004) 13. Hymn For My Soul (2007) 14. Related Recordings (Exclusive Bonus Disc).
Night Calls is the thirteenth studio album by Joe Cocker, released on 7 October 1991. There were three different editions of the album released in 1991 and 1992. All of them featured different selection of songs, also in different order and cover artwork was also different for each of them.
The very title of Joe Cocker's Hymn for My Soul suggests that this, his 2007 studio album, is a gospel affair, or at least something inspired by faith – something that isn't true to the letter, yet there is something true about the spirit of this sentiment, for these are songs that serve as a tonic to Cocker's soul. He's pulled songs from several familiar sources – Stevie Wonder, George Harrison, Bob Dylan – and found other newer songs that share a similar sentiment, offering reassuring thoughts in troubled times. While nobody could ever claim that this album – produced by Ethan Johns, son of Glyn – has any grit, it nevertheless is warmer than recent Cocker discs…
Cocker is the tenth studio album by Joe Cocker, released in April 1986, his second on Capitol label. It features hit singles "You Can Leave Your Hat On" and "Don't You Love Me Anymore", the first made popular after its use in the famous striptease scene in the film 9 1/2 Weeks. Released as a single, Cocker's version of the song peaked at No. 35 on Billboard Hot Mainstream Rock Tracks. The album also features rendition of Marvin Gaye's "Inner City Blues", a Motown legend's classic lament to urban decay.
Civilized Man is the ninth studio album by the British artist Joe Cocker, released in May 1984, his first on Capitol label. It includes a cover of the 1981 Squeeze hit "Tempted", as well as "There Goes My Baby", a 1959 hit single from The Drifters. Civilized Man, along with its predecessor Sheffield Steel, marked the beginning of a new era of Joe Cocker albums, giving way to a much fuller style of production and taking more advantage of technology to experiment to produce more contemporary sounding music. Civilized Man expanded on the success of his previous album, selling well in Europe.
After his one-album stint at Asylum Records with Luxury You Can Afford in 1978, Joe Cocker was without a record label until 1981, when he signed to Island Records. Island head Chris Blackwell took him to the Compass Point studios in the Bahamas, where he recorded a 12" single, "Sweet Little Woman"/"Look What You've Done," released in May 1981, then continued working on a full-length album. When that album, Sheffield Steel, appeared a year later, listeners could be forgiven for imagining, during the instrumental portions, that they were hearing not a Joe Cocker disc, but rather a Robert Palmer record…