We just finished our first shootout in over FIVE [2012 or so] years for the album and were SHOCKED by how amazing the best copies can sound, even better than we remember them from last time around. Turn this one up good and loud and you’ll have Joe Cocker in all his raspy glory belting out With A Little Help From My Friends right in your very own listening room! (more…)
- The sound is rich and tubey, with driving energy and the top end and clarity that was simply missing from far too many of the copies we had to work through in order to find this one
- 4 1/2 stars: “Unlike a lot of other “coffee table”-type rock releases of the era, such as Woodstock and The Concert for Bangladesh, people actually listened to Mad Dogs & Englishmen — most of its content was exciting, and its sound, a veritable definition of big-band rock with three dozen players working behind the singer, was unique.”
Sonic Grade: B
One of the better Speakers Corner Rock and Pop releases. We haven’t played a copy of this record in years, but back in the day we liked it, so let’s call it a “B” with the caveat that the older the review, the more likely we are to have changed our minds. Not sure if we would still agree with what we wrote back in the ’90s when this record came out, but here it is anyway.
“Speakers corner knocks one out of the park with this wonderful reissue! Those conga drums and the back-up singers sound so much better than I remember them! If you’re going to own one Joe Cocker album make it this one. It’s a man-size serving of English Soul.”
- Cocker’s sophomore release finally returns to the site with STUNNING Shootout Winning Triple Plus (A+++) sound or very close to it from start to finish
- Consistently stronger material than his debut – did Cocker ever release an album with more good songs than these?
- How’s this for a track listing: Dear Landlord; Bird on the Wire; She Came in Through the Bathroom Window; Something; Delta Lady; Darling Be Home Soon – and there’s more
- 4 stars: “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.”
*NOTE: Side two Track Four, Hello, Little Friend, is slightly noisier, on the low end of Mint Minus Minus.
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. (more…)
- This outstanding copy boasts solid Double Plus (A++) sound from start to finish
- There’s a reason this album is so tubey and real – it was recorded at Olympic and Trident in the halcyon days of 1968
- The sound is solid, present and rich – you’re unlikely to find a better sounding pressing, and if you own the mediocre Speakers Corner pressing from years back, a world of sound will open up to you that you never knew was there
- 4 stars: “Joe Cocker’s debut album holds up extraordinarily well across four decades, the singer’s performance bolstered by some very sharp playing… Tracks like “Just Like a Woman,” with its soaring gospel organ above a lean textured acoustic and light electric accompaniment… help make this an exceptional listening experience.”
Well, for one thing, if you get the wrong stampers on this record, you will discover, as we did, that it’s clearly been mastered from a badly made dub. The “cassette-like” sound quality will not be hard to recognize. If you have stumbled onto one of those pressings, give up on it and try your luck elsewhere, making sure to note the bad stampers.
Most copies have a tendency to sound smeary and congested. Listen for good transients and not too much compression. Most copies are opaque, as well as dull up top; try to find the ones with some degree of transparency and as much top end extension as you can (the percussion will be helped most of all by the extended top).
And of course you need to find a copy that rocks, as this is a definitely a Rock Concert, although what it most reminds me of is Ray Charles doing a choice set of modern classics, mixing it up by off-handedly mixing in a few of his own. See how they all fit together? That’s how the pros do it. (The main pro in this case is Leon Russell, the mastermind of the whole operation. He clearly knows what he is doing.)
For music and performance this one is hard to fault. For sound, well, we did the best we could. It is what it is. To find better — on four sides, are you serious? — well, that’s not going to be easy. It was not easy for us to find four sides this good, and we do it for a living.
All tracks were selected and mixed by none other than the legendary Glyn Johns.
A++, Super Hot. Big, lively and rich, this has a nice, solid bottom end that really drives this music along.
A+++, by far the best side two in our shootout! As soon as we dropped the needle we were shocked at how much more transparent and spacious this side was. All the instruments sound more natural here, and the vocals in particular are a huge improvement over the typical pressing. This is As Good As It Gets (AGAIG) for this album, folks!
A++. Big and rich, open and transparent, all the instruments sound more natural and full here.
A++ again. Natural and energetic with some transparency and space.
1,000 Recordings To Hear Before You Die
Joe Cocker has said that when this project began in 1970, he didn’t know most of the musicians assembled by songwriter/arranger Leon Russell for what turned out to be his most important U.S. tour. It’s easy to believe that, because there were some thirty-six people involved on stage — horn players, strings, backing singers, and an extra-large rhythm section with multiple drummers and keyboard players. Their nightly exploits were documented by a film crew that traveled coast-to-coast, and recorded by Cocker’s label, A&M Records, at several stops. (This double album was recorded at New York’s Fillmore East.)
If such an endeavor around a not-yet-huge artist seems wildly extravagant, chalk it up to the times: This was how they rolled in the early ’70s. And Cocker, another of the artists whose profile jumped after appearing at Woodstock in August 1969, looked like a safe bet. Russell, then a Svengali to several artists, believed that the grind-it-out British belter with the Ray Charles obsession could be huge if presented in the right context. So he wrote screaming arrangements of songs Cocker had been singing for years, and positioned the singer at the center of a constantly moving (and frequently gaudy) revue.
Bigger isn’t usually better in rock. But Mad Dogs works, in part because the ensemble pushes Cocker in ways few rock singers are ever pushed. He sings Traffic’s “Feelin’ Alright” as a series of boxing maneuvers, slipping his ad-libs into the (few) open spaces. He feeds off the campy vaudeville backing for the Beatles’ “She Came In Through the Bathroom Window.” And though he enjoys the power of Russell’s ensemble on the full-throttle rock numbers, Cocker is most persuasive when the heat isn’t full force: This steady-rolling version of “Cry Me a River” deserves a spot in the hall of fame, as does the sultry version of Russell’s “Delta Lady” that closes the program.
– Tom Moon, 1,000 Recordings To Hear Before You Die, 2008.
Honky Tonk Woman
Sticks and Stones
Cry Me a River
Bird on a Wire
Let’s Go Get Stoned
Blue Medley: I’ll Drown in My Own Tears/When Something Is Wrong
Girl from the North Country
Give Peace a Chance
She Came in Through the Bathroom Window
AMG 4 1/2 Star Rave Review
Mad Dogs & Englishmen was just about the most elaborate album that A&M Records had ever released, back in 1971, a double LP in a three-panel, fold-out, gatefold sleeve, with almost 80 minutes of music inside and a ton of photos, graphics, and annotation wrapping around it. A live recording done in tandem with a killer documentary film of the same U.S. tour, it was recorded at the Fillmore East, where the movie was a cross-country affair, and the two were, thus, completely separate entities — also, as people couldn’t “buy” the film in those days, the double LP has lingered longer in the memory, by virtue of its being on shelves, and also being taken off those shelves to be played. Unlike a lot of other “coffee table”-type rock releases of the era, such as Woodstock and The Concert for Bangladesh, people actually listened to Mad Dogs & Englishmen — most of its content was exciting, and its sound, a veritable definition of big-band rock with three dozen players working behind the singer, was unique.
- A Killer Copy of Joe Cocker’s patented Blue Eyed Soul Album, rating an outstanding grade of Double Plus (A++) or close to it on both sides
- Plays on some of the quietest vinyl we have ever heard for the album, a true Mint Minus throughout!
- Pardon Me Sir; High Time We Went and Black-Eyed Blues, Midnight Rider; Do Right Woman, Do Right Man and St. James Infirmary – so many of his best songs
- “With “St. James’ Infirmary,” Joe Cocker has moved into a whole different sphere of musical activity, far distant from the rip-roaring anarchism of the Mad Dogs … This album is, when all be said and done, riddled with meaningful soul.” — Rolling Stone
Great sound for this rockin’ soul album with two live tracks. Just listen to the drums on Black-Eyed Blues — the way the percussion and bass mingle sonically with Alan White’s skins takes this listener right into the room where the magic happened.
On side one, three out of five you know or should know: Pardon Me Sir; High Time We Went and Black-Eyed Blues.
On side two, three out of four you know or should know: Midnight Rider; Do Right Woman, Do Right Man and St. James Infirmary.