- A killer 2-pack, with Triple Plus (A+++) sound, or close to it, from first note to last – they don’t get much better than this!
- Here it is – the energy, space, and full, rich, Tubey Magical sound this music needs to work
- You get Triple Plus sound for some of his best tracks here: Dear Landlord, Bird on the Wire, She Came in Through the Bathroom Window, and Hitchcock Railway
- “Cocker mixed elements of late-’60s English blues revival recordings (John Mayall, et al.) with the more contemporary sounds of soul and pop; a sound fused in no small part by producer and arranger Leon Russell, whose gumbo mix figures prominently on this eponymous release and the infamous Mad Dogs & Englishmen live set.” – 4 Stars
This is a surprisingly good recording. Cocker and his band — with more than a little help from Leon Russell — run through a collection of songs from the likes of Bob Dylan, Leonard Cohen and the Beatles, and when you hear it on a White Hot Stamper copy it’s hard to deny the appeal of this timeless music.
This album is a ton of fun, with Cocker and his band putting their spin on some of the best songs of the era. You need energy, space and full, rich, Tubey Magical sound if this music is going to sound right, and on those counts these copies deliver.
So Many Good Songs
The consistently high quality of the material is another reason this album has to be considered a Must Own. Did Cocker ever release an album with more good songs than these?
On side one alone you’ll find Dear Landlord; Bird on the Wire; She Came in Through the Bathroom Window; and Hitchcock Railway.
On side two: Something; Delta Lady; Hello, Little Friend; and Darling Be Home Soon.
I put this album up against the best Cocker has ever made. He released both of his first two albums in 1969, strikingly reminiscent of another band we revere, Led Zeppelin. (Small world: Jimmy Page plays on Cocker’s first release.)
What amazing sides such as these have to offer is not hard to hear:
- Bigger, more immediate staging in a large acoustic space
- More Tubey Magic, without which you have almost nothing. CDs give you clean and clear. Only the best vintage vinyl pressings offer the kind of Tubey Magic that was on the tapes in 1969
- Tight, note-like, rich, full-bodied bass, with the good weight down low
- Natural tonality in the midrange — with all the instruments having the correct timbre
- Transparency and resolution, critical to hearing into the three-dimensional space of the studio
- No doubt there’s more but we hope that should do for now. Playing the record is the only way to hear all of the above
Our Famous 2-packs
Our 2-pack sets combine two copies of the same album, with at least a Super Hot Stamper sonic grade on the better of each “good” side, which simply means you have before you a pair of records that offers superb sound for the entire album.
Audiophiles are often surprised when they hear that an LP can sound amazing on one side and mediocre on the other, but since each side is pressed from different metalwork which has been aligned independently, and perhaps even cut by different mastering engineers from tapes of wildly differently quality, in our experience it happens all the time. In fact it’s much more common for a record to earn different sonic grades for its two sides than it is to rate the same grade. That’s just the way it goes in analog, where there’s no way to know how a any given side of a record sounds until you play it, and, more importantly, in the world of sound everything is relative.
Since each of the copies in the 2-pack will have one good side and one noticeably weaker or at best more run-of-the-mill side, you’ll be able to compare them on your own to hear just what it is that the Hot Stamper sides give you. This has the added benefit of helping you to improve your critical listening skills. We’ll clearly mark which copy is Hot for each side, so if you don’t want to bother with the other sides you certainly won’t have to.
Bird on the Wire
Lawdy Miss Clawdy
She Came in Through the Bathroom Window
That’s Your Business
Hello, Little Friend
Darling Be Home Soon
Cocker mixed elements of late-’60s English blues revival recordings (John Mayall, et al.) with the more contemporary sounds of soul and pop; a sound fused in no small part by producer and arranger Leon Russell, whose gumbo mix figures prominently on this eponymous release and the infamous Mad Dogs & Englishmen live set.
Russell’s sophisticated swamp blues aesthetic is felt directly with versions of his gospel ballad “Hello, Little Friend” and Beatles-inspired bit of New Orleans pop — and one of Cocker’s biggest hits — “Delta Lady.”
Following up on the huge success of an earlier cover of “With a Little Help From My Friends,” Cocker mines more Beatles gold with very respectable renditions of “She Came in Through the Bathroom Window” and “Something.”
And rounding out this impressive set are equally astute takes on Dylan’s “Dear Landlord,” Leonard Cohen’s “Bird on the Wire,” and John Sebastian’s “Darling Be Home Soon.” Throughout, Cocker gets superb support from his regular backing group of the time, the Grease Band.
A fine introduction to the singer’s classic, late-’60s and early-’70s period.