I agree with the earlier post "Middle of the Road" - this material is definitely MOR and deliberately so, and it is not really representative of Sam Cooke's style or work. If you are a purist, then Cooke's best vocal performances were on his gospel hits on Specialty, before he went pop, or live albums like Live at the Harlem Square Club. For a good selection of his more mainstream work, Man and his Music would be a better album to go for. It includes the three classics June mentions (especially Change is Gonna Come, which is surely one of the greatest songs ever written, and covered by all the soul legends) plus other late hits like That's Where It's At, which shows the direction Cooke was taking, just before his untimely death.
Coming back to this album, it is an interesting document of Cooke's attempt to cross over to a white audience. What is often forgotten about Cooke is that, like Nat King Cole and others, he was at the absolute vanguard of black crossover artists.These songs represent his attempt to sell himself to a white, supper club audience. The same thing was done with Marvin Gaye in his early Motown years, and Aretha Franklin at Columbia, before Atlantic gave her the chance to do her natural thing.
To some extent, Cooke's mainstream work (Cupid, Only Sixteen, etc) was part of the same process. That is why it annoys me when people say that Otis Redding was a greater artist. For me he was riding on the back of the progress made by Cooke and Ray Charles, and by 1966 black artists were able to achieve great commercial success performing in their own natural style. Plus he, and many others, had dome of their early hits covering Sam Cooke songs.