Best Albums of 1967

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11.

Disraeli Gears 

 Cream

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"Disraeli Gears is Creams most solid album. The first four songs are excellent - two classics and two deep cuts. Second side starts strong with Tales of Brave Ulysses - one of the masterpieces, followed by SWABLR (She Walks Like a Bearded Rainbow) and the classic blues standard Outside Woman Blues...""Disraeli Gears is Creams most solid album. The first four songs are excellent - two classics and two deep cuts. Second side starts strong with Tales of Brave Ulysses - one of the masterpieces, followed by SWABLR (She Walks Like a Bearded Rainbow) and the classic blues standard Outside Woman Blues. The two Bruce songs on side two are just ok, despite his great singing they drag a little. Blue Condition and Mothers Lament are obviously rubbish. Ginger Baker should not be given a microphone."  [+]  Reply

- Highhopes | Helpful?  (Log in to vote) | +3 votes (3 helpful | 0 unhelpful) A maximum of 5 top-voted qualifying comments are selected for each album. To provide the best experience for visitors, comments are excluded if they refer to data corrections, contain excessive profanity, are written in all caps, are non-English, are too short, consist of conversations between users, or contain lists of best tracks etc.

Year of Release:

1967

Appears in:

1,001 charts

Rank Score:

6,053

Rank in 1967:

11

Rank in 1960s:

42

Overall Rank:

271

Average Rating:

 81 (1,170 votes)

Comments:

66

12.

Surrealistic Pillow 

 Jefferson Airplane

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"Classic Californian rock. Surrealistic pillow, is a superb record. Released at the time when the psychedelic scene was in full swing, this album isn't quite as out there as their next record would be, in fact, surrealistic pillow, is just a damn good rock'n'roll record. Somebody to love, today, a...""Classic Californian rock. Surrealistic pillow, is a superb record. Released at the time when the psychedelic scene was in full swing, this album isn't quite as out there as their next record would be, in fact, surrealistic pillow, is just a damn good rock'n'roll record. Somebody to love, today, and, plastic fantastic lover, are all quality cuts but the real clincher is, white rabbit. Along with Procul Harum's, whiter shade of pale, white rabbit, is one of the greatest songs/singles to be released during the flower power era. A great song from a great album. "  [+]  Reply

- garycottier | Helpful?  (Log in to vote) | +4 votes (4 helpful | 0 unhelpful) A maximum of 5 top-voted qualifying comments are selected for each album. To provide the best experience for visitors, comments are excluded if they refer to data corrections, contain excessive profanity, are written in all caps, are non-English, are too short, consist of conversations between users, or contain lists of best tracks etc.

Year of Release:

1967

Appears in:

840 charts

Rank Score:

5,631

Rank in 1967:

12

Rank in 1960s:

44

Overall Rank:

289

Average Rating:

 81 (893 votes)

Comments:

63

13.

Days Of Future Passed 

 The Moody Blues

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"This album is definitely underrated in so many ways. At the time it was released in 1967 it was groundbreaking and helped influence many other styles of music. The idea of including an orchestra is just genius. Hands down one of the best and most unique albums out there. Much fun to have with thi...""This album is definitely underrated in so many ways. At the time it was released in 1967 it was groundbreaking and helped influence many other styles of music. The idea of including an orchestra is just genius. Hands down one of the best and most unique albums out there. Much fun to have with this one for years to come."  [+]  Reply

- gmarciel | Helpful?  (Log in to vote) | +7 votes (8 helpful | 1 unhelpful) A maximum of 5 top-voted qualifying comments are selected for each album. To provide the best experience for visitors, comments are excluded if they refer to data corrections, contain excessive profanity, are written in all caps, are non-English, are too short, consist of conversations between users, or contain lists of best tracks etc.

Year of Release:

1967

Appears in:

666 charts

Rank Score:

4,902

Rank in 1967:

13

Rank in 1960s:

47

Overall Rank:

344

Average Rating:

 80 (696 votes)

Comments:

53

14.

I Never Loved A Man, The Way I Love You 

 Aretha Franklin

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"Alicia Keys, one of the most instantly recognizable voices of modern soul and blues, has said that she considers someone without an Aretha Franklin album only half a person. And if there is one Aretha album to own, this is the one. Obviously you know Aretha's iconic cover to Otis Redding's "Respe...""Alicia Keys, one of the most instantly recognizable voices of modern soul and blues, has said that she considers someone without an Aretha Franklin album only half a person. And if there is one Aretha album to own, this is the one. Obviously you know Aretha's iconic cover to Otis Redding's "Respect," a version that so eclipses the original that, even though it was written by a dude, has become synonymous with female empowerment. As for me, I love Aretha's originals on this record, especially "Dr. Feelgood," a slow, smoldering cocktail blues, the sort of thing you might expect as a the soundtrack for a sexy cinematic scene, provided the director has an impeccable sense of soul."  [+]  Reply

- buzzdainer | Helpful?  (Log in to vote) | +5 votes (5 helpful | 0 unhelpful) A maximum of 5 top-voted qualifying comments are selected for each album. To provide the best experience for visitors, comments are excluded if they refer to data corrections, contain excessive profanity, are written in all caps, are non-English, are too short, consist of conversations between users, or contain lists of best tracks etc.

Year of Release:

1967

Appears in:

651 charts

Rank Score:

4,252

Rank in 1967:

14

Rank in 1960s:

54

Overall Rank:

392

Average Rating:

 80 (620 votes)

Comments:

26

15.

Something Else By The Kinks 

 The Kinks

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"Something else, is my favourite Kinks album. Everything that had been promised over the course of a brilliant run of singles, and almost achieved on preceding record, face to face, finally comes to fruition on a perfect LP. Something else, is the album where Ray Davies finally lands on his feet. ...""Something else, is my favourite Kinks album. Everything that had been promised over the course of a brilliant run of singles, and almost achieved on preceding record, face to face, finally comes to fruition on a perfect LP. Something else, is the album where Ray Davies finally lands on his feet. His songs are like miniature kitchen sink comedy dramas featuring all sorts of everyday characters from envied schoolmate, David Watts, to the courting couple Terry and Julie in the fantastically beautiful, Waterloo sunset. Ray is on top form here, especially on, Harry rag, tin soldier man, and the aforementioned, David Watts, and, Waterloo sunset, but Dave also contributes one of the records best songs in, death of a clown. It's a wonderful album, of it's time, yes, but also relevant today because of it's humanity. A lot of people claim that The Kinks best LP is the next release, the village green, but for me it's this one. Excellent. "  [+]  Reply

- garycottier | Helpful?  (Log in to vote) | +9 votes (9 helpful | 0 unhelpful) A maximum of 5 top-voted qualifying comments are selected for each album. To provide the best experience for visitors, comments are excluded if they refer to data corrections, contain excessive profanity, are written in all caps, are non-English, are too short, consist of conversations between users, or contain lists of best tracks etc.

Year of Release:

1967

Appears in:

605 charts

Rank Score:

3,992

Rank in 1967:

15

Rank in 1960s:

57

Overall Rank:

418

Average Rating:

 81 (707 votes)

Comments:

28

16.

The Who Sell Out 

 The Who

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"This album is an interesting case. Individually, I'm not a huge fan of any of the songs, but as a whole, it's an amazing listen."  Reply

- Fischman | Helpful?  (Log in to vote) | +5 votes (6 helpful | 1 unhelpful) A maximum of 5 top-voted qualifying comments are selected for each album. To provide the best experience for visitors, comments are excluded if they refer to data corrections, contain excessive profanity, are written in all caps, are non-English, are too short, consist of conversations between users, or contain lists of best tracks etc.

Year of Release:

1967

Appears in:

635 charts

Rank Score:

3,444

Rank in 1967:

16

Rank in 1960s:

63

Overall Rank:

495

Average Rating:

 80 (872 votes)

Comments:

56

17.

Safe As Milk 

 Captain Beefheart & His Magic Band

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"Even on his first record the Captain exudes a well-rounded palette of contrasting emotions and styles. Compare the contemptuous misanthropic rejections on Dropout Boogie with the tender plebeian complacency on I'm Glad. Like Zappa, Beefheart seems to be utilizing popular genres in order to satiri...""Even on his first record the Captain exudes a well-rounded palette of contrasting emotions and styles. Compare the contemptuous misanthropic rejections on Dropout Boogie with the tender plebeian complacency on I'm Glad. Like Zappa, Beefheart seems to be utilizing popular genres in order to satirize or comment on them. But unlike Zappa (whose songs mock his subjects at a distance), Beefheart is not afraid to get inside his songs and live out the emotions therein, no matter how ridiculous. Aye Captain, I'll admit: for the longest time I thought Safe as Milk was overrated because of what a brilliant mindfuck Trout Mask Replica is. But this is a very fine album that stands on it's own."  [+]  Reply

- Elston | Helpful?  (Log in to vote) | +5 votes (5 helpful | 0 unhelpful) A maximum of 5 top-voted qualifying comments are selected for each album. To provide the best experience for visitors, comments are excluded if they refer to data corrections, contain excessive profanity, are written in all caps, are non-English, are too short, consist of conversations between users, or contain lists of best tracks etc.

Year of Release:

1967

Appears in:

522 charts

Rank Score:

3,438

Rank in 1967:

17

Rank in 1960s:

66

Overall Rank:

500

Average Rating:

 79 (632 votes)

Comments:

42

18.

Chelsea Girl 

 Nico

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"Not bad, huh? The musos and scenesters may well opt for The Marble Index, and Nico may have later disowned it, but Chelsea Girl is a truly stunning LP. The opening triumverate of songs (Fairest Of The Seasons/These Days/Little Sister) are truly sublime - the missing link between the Velvets and N...""Not bad, huh? The musos and scenesters may well opt for The Marble Index, and Nico may have later disowned it, but Chelsea Girl is a truly stunning LP. The opening triumverate of songs (Fairest Of The Seasons/These Days/Little Sister) are truly sublime - the missing link between the Velvets and Nick Drake. All this in spite of half of "It Was A Pleasure Then" sounding like someone scraping their nails down a blackboard."  [+]  Reply

- Jimmy Dread | Helpful?  (Log in to vote) | +11 votes (11 helpful | 0 unhelpful) A maximum of 5 top-voted qualifying comments are selected for each album. To provide the best experience for visitors, comments are excluded if they refer to data corrections, contain excessive profanity, are written in all caps, are non-English, are too short, consist of conversations between users, or contain lists of best tracks etc.

Year of Release:

1967

Appears in:

477 charts

Rank Score:

2,739

Rank in 1967:

18

Rank in 1960s:

73

Overall Rank:

618

Average Rating:

 77 (502 votes)

Comments:

22

19.

John Wesley Harding 

 Bob Dylan

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"It's funny that most of the comments here allude to this being below par for Bob, and not on the same level as some of his other recordings. Personally I think that's absolute hogwash - this is Dylan at his very best; Dylan the mythologiser, Dylan the storyteller, Dylan the philosopher. Beginning...""It's funny that most of the comments here allude to this being below par for Bob, and not on the same level as some of his other recordings. Personally I think that's absolute hogwash - this is Dylan at his very best; Dylan the mythologiser, Dylan the storyteller, Dylan the philosopher. Beginning with the opener and title track, Dylan weaves a series of telling tales about his life and his career as told through the point of view of others. The title track is no more about John Wesley Hardin than it is about Dylan the protest-singer, or at least the one which the media chose to portray. It may seem like a simple tale of a Robin Hood-esque noble outlaw, but the song itself acts as a metaphor for Dylan's own exploits, or at least some exaggerated version of them as dreamed up by those raving, quasi-religious "followers" he was so reluctant to acknowledge in the first place. In the final verse he appears to switch to something more accurate, at least in terms of his opinion of himself and the way he could confound expectations and hopes others had of him ("no charge held against him could they prove"). And why, of all people, choose John Wesley Hardin anyway? The man was apparently so mean that he once killed a man for snoring (though this probably didn't actually happen), so why choose his name for a tale about a noble outlaw? My opinion is that Dylan chose Hardin for his reputation as a self-mythologiser, a man who would wilfully embellish his stories in order to make them more exciting, just as Dylan has been wont to do. (Anybody who seriously believes Chronicles to be a work of accurate autobiography needs their head checked.) Dylan even looks like a noble outlaw on the cover, enhancing the idea that he sees himself as Hardin, or at least the Harding of this song and this album. What people often dismiss as a series of cute folk tales and ditties, ones which I've been told pale in comparison to his apparently more focused and passionate paeans to love or justice, are arguably his most personal (or, perhaps more accurately, his most self-referencing) works, those in which he puts himself smack bang in the middle of the story, even as somebody else entirely. And we see this happen throughout the record. Dylan is the lonesome hobo who has served his time for everything except begging on the street (or is he? Would he really admit to not trusting his brother?), who in turn is the accused drifter. He is both the joker (whose wine is drunk by businessmen and whose earth is dug by ploughmen, without gratitude or recognition of his worth) and the thief (who understands that life is but a joke). Whilst he is defiant in the face of accusations (he is no martyr), he feels the pressure of expectation, the guilt that perhaps he played along and performed his role, even going so far as to bowing his head and crying in the (imagined) presence of St. Augustine (who wasn't, in fact, martyred - perhaps more mythologising on Dylan's part). Perhaps the album's two most striking moments, the parable 'The Ballad of Frankie Lee and Judas Priest' and the piano-driven 'Dear Landlord', appear to be about Dylan's relationship with his management. Judas Priest tries to force Frankie to accept his offer "before (it) all disappears"; Frankie, in his attempts to join Judas in his beautiful home, dies of thirst. Did Dylan sell his soul? Is that what he's admitting to? Or is it just a precursory warning about the trappings of fame, about mistaking paradise for that home across the road? But later, on 'Dear Landlord' (frequently thought to refer to God, but that reading doesn't wash with me, it seems far too confrontational for that), he warns that he's "not about to move to no other place". Perhaps he likes the home after all. "If you don't underestimate me", he states to the Landlord, "I won't underestimate you" - perhaps a grudging respect, or just a necessary compromise. Not all of the album's songs are so dense with cryptic tales and biblical imagery (in fact, on first inspection, not many of them seem remotely cryptic at all, but that's another story). Album closer 'I'll Be Your Baby Tonight' is a simple love song, much more in line with the stuff he'd record on Nashville Skyline, often regarded as this album's sister. That may be true musically (both definitely take their cues from roots and country music), but thematically the two couldn't be more different. Here we have Dylan the shapeshifter, the defiant myth-buster, the mischievous myth-maker, whereas on Nashville Skyline we see Dylan the hopeless romantic. And the music here is much more sparse, darker, naked. On Nashville Skyline there's a certain decadence musically, Dylan basking in the Nashville sound, with all its twangs and rhinestones. Here Dylan lays his soul bare, over fittingly austere accompaniments, often nothing more than a few shuffling guitar chords. Where The Band - whose Music from Big Pink I see as more of a sister album to John Wesley Harding than anything else - used roots music as something expansive and out-of-time (sounding at once centuries old and yet of the present, as though it has no time of reference at all, the musical equivalent of a tree that stands for hundreds of years), Dylan here uses roots music as something small and insular, music to share stories around the campfire to. Which is, essentially, what this album is. It's Dylan sharing his stories around the campfire, his fears and his guilt, and his pride in forever confounding expectation. This is Dylan the man, and Dylan the myth. This is Dylan the honest, sharing his thoughts as nakedly as he ever would, so long as you're willing to dig a little. Or maybe - just maybe - this is Dylan the deceiver, singing simple folk tales for his followers to dig into forever more, in futile search of some deeper meaning that simply isn't there. Maybe - just maybe - I've been duped, and this album does, in fact, pale in comparison to his earlier works. And maybe - just maybe - the little neighbour boy was right; "nothing is revealed"."  [+]  Reply

- Skinny | Helpful?  (Log in to vote) | +14 votes (15 helpful | 1 unhelpful) A maximum of 5 top-voted qualifying comments are selected for each album. To provide the best experience for visitors, comments are excluded if they refer to data corrections, contain excessive profanity, are written in all caps, are non-English, are too short, consist of conversations between users, or contain lists of best tracks etc.

Year of Release:

1967

Appears in:

483 charts

Rank Score:

1,972

Rank in 1967:

19

Rank in 1960s:

97

Overall Rank:

869

Average Rating:

 78 (779 votes)

Comments:

36

20.

Goodbye And Hello 

 Tim Buckley

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"I had a busy day of listening today. I had a half dozen albums to relisten to. This one included. And to be honest I just wasn't overwhelmingly excited about listening to Tim Buckley. He had never yet clicked with me. Meaning he had never really connected with me or illuminated for me some sort o...""I had a busy day of listening today. I had a half dozen albums to relisten to. This one included. And to be honest I just wasn't overwhelmingly excited about listening to Tim Buckley. He had never yet clicked with me. Meaning he had never really connected with me or illuminated for me some sort of realization of the greatness of his music or the coolness or the style or virtuosity, etc. It just had never straightened into a clear concept in my mind which I liked. I had listened to this album and a few of his later (stranger and more experimental) albums. But I just made myself push play to at least recollect what i thought of this album. And the coolest thing happened. I finally "Got It". I mean I finally heard the sheer creative audacity of what Buckley had done with this album. I found myself overcome by the emotions he was expressing, I heard and understood what he was doing with his somewhat over the top musical waves. The palate with which he paints this album is immense. There are strange effects on many things, and guitars, and keyboards and symphonies and big crescendos and there is, of course, his vocals. His vocals were what finally worked for me. They just are all over the place and all in service of the songs. His voice has always been mentioned as a game changer in many ways, but I never liked them much. But here they really work, he sounds like he is almost bursting with an unimaginable amount of emotion and fire and sadness. And as he sings he is releasing these sounds and these feelings and its oft-times glorious. And yes later albums are definitely pushed way way up my "To Listen" list. I believe its generally understood that he got more and more out there and experimental as he went along in his short life. And I do recall "Lorca" and "Starsailor" being quite strange and beautiful. I am very very excited to listen to them for later songwriter lists (1969-1971 will probably HAVE to be top 15s at this rate cuz man there is a lot of great stuff coming up to listen to for those years). Its amazing to think he became somehow MORE innovative. Cuz listening to this today just blew my mind in how incredibly unique and forward-thinking the whole sound and flow of the album was. I mean you can hear traces of it in Fred Neil, but this is just next level wild and ahead of its time. Its a goodie. Grade: 9.2/10"  [+]  Reply

- Mercury | Helpful?  (Log in to vote) | +7 votes (7 helpful | 0 unhelpful) A maximum of 5 top-voted qualifying comments are selected for each album. To provide the best experience for visitors, comments are excluded if they refer to data corrections, contain excessive profanity, are written in all caps, are non-English, are too short, consist of conversations between users, or contain lists of best tracks etc.

Year of Release:

1967

Appears in:

369 charts

Rank Score:

1,959

Rank in 1967:

20

Rank in 1960s:

98

Overall Rank:

877

Average Rating:

 78 (391 votes)

Comments:

17

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Total albums: 835. Page 2 of 84

Best Albums of 1967 composition

Top 500 Top 250 Top 100

Artist	Albums	%
Various Artists	7	1%
István Kertész / London Symphony Orchestra	6	1%
Donovan	5	1%
The Kinks	4	0%
The Hollies	4	0%
Sun Ra And His Myth Science Arkestra	4	0%
Félix Leclerc	4	0%
Show all

Country	Albums	%
	468	56%
	130	16%
	27	3%
	19	2%
	18	2%
	18	2%
	17	2%
Show all

Compilation?	Albums	%
No	785	94%
Yes	50	6%

Live?	Albums	%
No	815	98%
Yes	20	2%

Soundtrack?	Albums	%
No	826	99%
Yes	9	1%