Story and Photos By Andy Argyrakis
Above being a singer, entertainer and occasional
songwriter, Joe Cocker is best regarded for his
abilities as a song interpreter. His burly but
unmistakable voice, those spastic mannerisms and
charismatic inflection have reached legendary
proportions since debuting in the United States at
1969's unforgettable Woodstock extravaganza. And in
the thirty-five years that have passed, he's been able
to step beyond those psychedelic rock pretenses to
become a ballad blaster, soulful pop star and R&B
crooner, canonizing many of his rough necked
renditions as classics. Despite being around for so
long, Cocker's remained relatively prolific in his
pace of recording and maintains time on the road more
than most half his age. The reason for the most recent
visit to town was in support of Heart & Soul, the New
Door Records debut and first fresh batch in three
years. Though cover songs have always appeared amply
on records throughout the years, in this context
Cocker exclusively takes many of pop culture's most
familiar tracks and spins them with mainly satisfying
scruff and gruff.
Several of those were sprinkled throughout the
platter at the Auditorium Theatre, along with smashes
from throughout the decades, backed boldly by a
five-piece band and two background singers. Amongst
the most enduring were the keyboard infused "When the
Night Comes," a straightforward look at Robert
Palmer's "Every Kinda People" and his immortal
treatment of Billy Preston's "You Are So Beautiful."
Though a stab at U2's "One" is earning some airplay,
it was one out of the awkward new handful where even
Cocker's might didn't add up to the original. Only
Bono could really do those melody lines justice,
especially with the high pitched orchestrally tinged
interpretation. The performer's intentions were noble
to revitalize Marvin Gaye's socially conscious "What's
Going On," though his overly messy approach seemed
foreign when sized up against the original's sweet
sentiment.
More appropriate was the deep-bellied ode to the
Queen of Soul Aretha Franklin's "Chain of Fools" and
even the somewhat delicately framed Paul McCartney
staple "Maybe I'm Amazed." The romantic mode continued
on the love theme from An Officer and a Gentleman ("Up
Where We Belong"), which aside from sappy lyrics was
accompanied marvelously by one of the supporting
divas. Even more on target was The Beatles' "With a
Little Help From My Friends," which Cocker arguably
made more recognizable than even Ringo Starr as its
originator. It was that, along with The Box Tops' "The
Letter," which truly kicked the roof off the formal
venue vouching for Cocker's overall credence.
Aside from playing in the headliner's band,
saxophonist Euge Groove opened the show with a short
set hinged mostly on his latest Narada Jazz release
Livin' Large. Like Cocker, covers are also present on
that record including "Thank You (Falletin Me Be Mice
Elf Again" (made famous by Sly and the Family Stone)
and "Don't Let Me Be Lonely Tonight" (penned by James
Taylor). However, in the brief opening slot, he stuck
to originals like that disc's finger snapping title
track. More than simply elevator music, the other
spunky selections appeared complicated in composition
and showcased the brisk talents of the contemporary
genre's rising bright spot. |
