Cocker's debut album, built around his dramatic slowed-down rework of the Beatles song that gave it its name and topped the UK chart. It set the template for his gritty blues-soul singing.
The second album, recorded with Leon Russell and packed with covers, including the hit "Delta Lady". It cemented his reputation just as he was conquering America.
Released in the UK as "Something to Say", his third studio album is a looser, funk-tinged set that includes "High Time We Went". It arrived after the exhausting Mad Dogs tour.
Home to "You Are So Beautiful", one of his signature ballads and a lasting standard. The album leans on lush, soulful arrangements.
A mid-seventies set of covers and soul-rock material made during a difficult stretch of his career. It kept him on record while touring less.
Recorded in Jamaica with a funk and reggae feel, a change of scenery for his soul-rock. Reviews were mixed but the playing is warm and loose.
A late-seventies album cut with top New York session players, aiming for a polished R&B sound. It closed out a lean period before his eighties comeback.
Recorded in the Bahamas with the rhythm section of Sly Dunbar and Robbie Shakespeare, giving his soul-rock a reggae backbone. It marked the start of his return to form.
A glossy, eighties-produced rock record that leans on synths and big drums. It bridged the gap to his commercial revival.
Best known for "You Can Leave Your Hat On", later a hit on the "9½ Weeks" soundtrack. The album is firmly in eighties pop-rock territory.
The title track, a Ray Charles cover, became a worldwide hit and revived his career. The album is a confident set of soul and blues rock.
Includes "When the Night Comes", a big adult-contemporary hit co-written by Bryan Adams. The record keeps the polished late-eighties rock sound.
An early-nineties album of ballads and rock covers, including songs by Bob Dylan and the Bee Gees. It did especially well in Europe.
Built around strong covers, with the title track from John Hiatt and "The Simple Things". A steady soul-rock outing from his mid-nineties run.
A stripped-down set of acoustic reworkings of his own songs and favourite covers. The sparse arrangements put his voice front and centre.
A late-nineties album of blues-tinged rock and soul that sold well across Europe. It keeps his warm, road-worn delivery.
A turn-of-the-century record mixing originals and covers in a smooth soul-rock style. It rounded off a busy decade of touring.
A soul and R&B set whose title track revisits the Staple Singers classic. It leans on classic songwriting and a full band sound.
An album of covers of soul and rock classics, from "Chain of Fools" to "Everybody Hurts". It plays to his strength as an interpreter.
Produced by Ethan Johns, a warm set of soul and rock covers recorded with a live-band feel. Critics welcomed its unforced sound.
A late-career rock and soul album that returned him to the charts across Europe. The songs are sturdy and radio-ready.
His final studio album, an upbeat set of rock and soul recorded two years before his death. It closed a career of nearly five decades.
