Pickled Priest Mixtape: Our Favorite Songs of 1967

Here's our 1967 mixtape. It was a difficult birth, to say the least. If you want to find out how painful narrowing a pivotal year in music history down to a mere 26 songs can be, please try this at home. This mixtape wasn't made by trained professionals on a private tape deck. If we can attempt it, so can you.

PICKLED PRIEST'S FAVORITE SONGS OF 1967

SIDE A

26 “Tell Mama” | Etta James

In soul music, when a relationship is in trouble, there always seems to be someone waiting to swoop in and clean up the mess. That's just how it works. If you're trying to hold on to your man, suffice it to say you don't want to walk in and see Etta James holding a mop. If so, consider your man gone in sixty seconds. "Tell Mama" sidles up to the shallow soul of a man and knows just what he needs to settle down. The twist is that he doesn't know it yet himself.

25 “Commit a Crime” | Howlin’ Wolf

“Commit a Crime” is as honest as a song can get without taking the fifth. Even if Wolf did commit a crime at some point in this song—and to clarify, he doesn't—no impartial jury in the land would convict him. It's as clear a case of self-defense as you will ever hear, at least in a song. His woman tried to kill him first—it's right there in the lyrics. Some poison in his coffee, some Red Devil Lye in his evening cocktail, neither a go-to ingredient for any self-respecting barista or bartending school graduate. The most chilling moment in the song is its final moment, where after another dose of poison has been covertly delivered, the “evilest woman I've ever seen” sits down and just watches him, waiting for him to keel over. Cold blooded blues at its finest.

Side note: The song's original title was "What a Woman!" I guess that depends on whether or not you're the one being poisoned.

24 “The Boat That I Row” | Neil Diamond

Neil Diamond humble? He wears it well on this early song, which was released about five years before he transformed into the toast of Hollywood in the early 70s (as witnessed on the hairy-chested live LP, Hot August Night). That might've been ground zero for the pretentious, cheeseball charisma that would define the rest of his career (full disclosure: I eat it up), but in 1967 he was still on the rise, asking only to be taken on his own merits; I don't have a lot, but with me that's fine. It taps into what I believe is a common human desire; to be taken just the way you are. Well, he's got rowboat working and there's a decent chance he won't make it to the other side. We all know how this ends, however. That little boat is about to take him not only to the other side, but around the world multiple times.

23 “Early Morning Cold Taxi” | The Who

Not released on The Who Sell Out, but as a single in December 1967, I find it kind of interesting that the Who recorded it at all. Thematically, it doesn't track with their band philosophy up to that point in their trajectory. Just two years earlier they hoped emphatically on "My Generation" that they “die before I get old.” This song centers on the domestic bliss and the drudgery of a long commute in the freezing rain into a 9 to 5 office job. It’s downright conventional and more than a bit depressing (I'd know—I've been doing so for decades). So why does the song sound kind of upbeat, then? The secret is that the man doesn't seem to mind his daily rituals as long as he can return to the “warmth” of home at the end of his working day. How quaint. Not very Who, but quaint. It actually sounds like the setup for another Kinks song, doesn't it? Maybe that's why I like it. Plus, it still has that intangible kinetic energy common in the Who's early singles. Never has an early morning taxi ride sounded like an exciting option, but it does here.

22 “Carrie-Anne” | The Hollies

Girl, you'll be a woman soon

-Neil Diamond

Do do do do do do do do do…this schoolyard ditty has overtones of British prep school impropriety despite being playfully housed within an almost nursery rhyme cadence. It's well known that girls mature faster than boys, but that doesn't mean the boys have to like it. Here, Carrie-Anne has moved on from the innocence of childish games into the realm of older boys, where all the action is, it seems. Ready or not, here she comes.

21 “Suzanne” | Leonard Cohen

Cohen's mysterious tale of Suzanne, the OG of “living in a van down by the river,” has beguiled listeners ever since it was released in 1967. She's a half-crazy mentalist who inexplicably and impractically imports her oranges from China (Yuck—why exactly?), but somehow she casts a spell over her visitors that cannot be explained or broken. Stay long enough and soon you'll be able to touch her perfect body with your mind. Is that enough of an enticement for you? I mean, those must be some oranges! It's a bit of a convoluted narrative, but leave it to our favorite Canadian loverboy to make the encounter sound beautiful and poetic.

20 “Keep a Cool Head” | Desmond Dekker

I prefer my life coaching with a light reggae backbeat. It just seems less judgmental that way. I think island life imbues its inhabitants with an optimistic worldview that is much harder to maintain in an urban metropolis where resting tension levels run in the red on its best days. Desmond Dekker, like many of his rocksteady cohorts, knows how to simmer the groove without losing the impact of his message. "Keep a Cool Head" is one of those songs that leads by example. It never gets worked up. It doesn't ask you to ignore your anger, it just recommends you use it wisely. So calm yourself. Keep a cool head. Repeat as needed.

19 “Never Like This Before” | William Bell

Ah, there's nothing better than finding a lover who pushes all of your buttons, some you didn’t know you had. On "Never Like This Before" we find the wildly underrated William Bell leveling up in the romance department. And who could blame him for being excited about it? She's “as sweet as canned soup” after all! Uh, whatever works, I guess. I wonder if that line would work on a girl in 2026? I seriously doubt it, but back in 1967, from a man as handsome as William Bell, it landed on just the right lady.

18 “Born Under a Bad Sign” | Albert King

Even though it was recorded in the late-60s, it could be argued that "Born Under a Bad Sign" is the ultimate summation of the blues writ large. Bad luck, bad love, bad women, bad men, bad mojo, bad habits, you name it, if it's bad, it's been covered in a blues song. A real misfortune cookie of a genre if there ever was one. Nothing but doomsday prophecies all down the line. Albert King captured the essence of the blues in just one song by answering the question, "Why does this shit always happen to me." With his rich, heavy voice and some tasty licks from his trademarked Flying V guitar, he explained it to us once and for all.

17 “The Dark End of the Street” | James Carr

A couple decades ago, I heard James Carr was going to be performing an exceedingly rare set at Rosa’s Blues Lounge, an out of the way club on Chicago's near-NW side. I bought a ticket, got there early, snagged a prime seat at the corner of the bar, and hoped the mercurial singer would show up. Never a guarantee with him, much like a Morrissey concert. When he finally did arrive, I didn’t know what I was gonna get. He was a little slow to warm up, but by the time the familiar notes of “The Dark End of the Street” began, he was as close to locked in as he would ever get. That night, his signature song sounded like manna from soul heaven. It’s been done by tons of people over the years, but there’s just something special about his very human original. You get feeling he lived on that very street for entire life, if not literally, then figuratively.

16 “Sweet Soul Music” | Arthur Conley

15 “Memphis Soul Stew” | King Curtis

Whether you like things sweet or savory, our soul kitchen has got you covered. “Sweet Soul Music” is basically an advert for the genre, putting the spotlight on the kings of soul like Lou Rawls, James Brown, Sam & Dave, Wilson Pickett, & Otis Redding (who co-wrote and produced the song). Conley's enthusiasm, like a talent show emcee with a few shots of bourbon in his system, is infectious. With the slogan "Do You Like Good Music?" I suspect you'll be buying what he's selling sooner than later.

King Curtis, on the other hand, gives you the recipe if you want to make your own soul at home. Like most cooking shows, your results will vary dramatically. Expect ingredients dripping from your ceiling fan and pots overflowing with grease because this seemingly simple recipe is way more complicated and nuanced than it seems. Recipe included as a courtesy below. I recommend following along with the song like you would a YouTube video and don't skip a step or substitute any ingredients if you know what's good for you.

MEMPHIS SOUL STEW

1/2 teacup of bass

1 pound of fatback drums

4 tablespoons of bawling Memphis guitar

A pinch of organ

1/2 pint of horns

Place on the burner and bring to a boil

Beat well

014 “On a Saturday Night” | Eddie Floyd

This song has quite a swing in its backyard. You can and should dance to it. The title is a tip-off that this slab of soul is one of the quintessential "Saturday Night" records. Granted, Eddie's Saturday night is a bit different than most. When he "entertains" at home, he is known to kick back the rugs and pull down the shades. After all, he tells his lady, If we're gonna have a good time...it might as well be a good time. Wink wink. While that might sound redundant, at least he's telegraphing his intent in advance. If the lady isn't down with that proposal, she can walk away right now. Next, Eddie gets even more transparent...When I find my baby, we're gonna go in the back door / I'm gonna lock up the front door, and if that means what I think it means, and I don't know for sure it does, things are about to get a little freaky. Isn't that what Saturday nights are for anyway?

SIDE B

13 “Piece of My Heart” | Erma Franklin

In any other family she'd be the star, the pride and joy. Erma might’ve played second fiddle in her own house, but she had the pipes to stand out on her own merits, too. Sadly, there wasn’t room for two of the same kind from Rev. Franklin's stable, and admittedly Erma wasn’t on Aretha's level—who is?—but she wasn’t chopped liver either. Witness her original version of “Piece of My Heart,” later done definitively by Sammy Hagar on his Standing Hampton album. Just kidding—of course we all know Janis Joplin absolutely crushed the song with her maniacal rasp a year later on Big Brother & The Holding Company's second album, Cheap Thrills. But if you'd prefer a more soulful version of the same song, one that didn't involve a fifth of Jack Daniels to get in the proper frame of mind, Erma’s version is the standard by which all others are to be judged.

12 “To Love Somebody” | The Bee Gees

Famously written by Barry and Robin for Otis Redding, it's a modern tragedy that recording never materialized. Otis died in a plane crash months after the song was finished, but oh me, oh my, would I have loved to hear him belt out these lyrics in the studio with the MGs as support. With all respects to this wonderful Bee Gees version, now definitive, let's take a moment to mourn our loss.* Lucky for us, this tale of unrequited love also falls directly into the wheelhouse of its creators. Great songs have a way of doing that. While not hardcore soul, there's still plenty of it throughout the Bee Gees take, especially when the song soars triumphantly near the end. Perhaps, all told, the band's finest single ever? Debate amongst yourselves. All I know is that the original intent of the song comes through and then some. Tell me there's no soul in this cut. I dare you.

*With no Otis version extant, we did get a gift in 2026 when Al Green recorded and released the song. In his own distinct style, of course, but it does give me some consolation to now have a soulful version of the song. Al did a fabulous job with the Bee Gees' "How Can You Mend a Broken Heart?" on his 1972 masterpiece, Let's Stay Together, so this turf is a natural fit for him. Why not cut a whole album of their material before it's too late, I ask?

11 “Bernadette” | The Four Tops

Whenever you have something of great value, people will want to take it from you. That’s just how this cutthroat world works. The faster you realize this the better. Levi Stubbs, not quick on the uptake, finds the woman of his dreams on "Bernadette" and then makes the tactical mistake of regaling his friends with how mind-blowingly amazing she is. Rookie move. The plotting soon begins to steal her from him. All because Levi couldn't keep his yapper shut. From there, he smartly goes on the offensive, pleading his case to her like a lawyer in love that he's her absolute best option. A dramatic courtroom moment occurs at the 2:39 mark when, seemingly done with his oral arguments, Levi turns to he one more time to make one last personal plea. Luckily, when you have a voice like Levi Stubbs such arguments tend to hold water. We never find out her verdict unfortunately, but it sounds like an open and shut case too me.

10 “She’s a Rainbow” | The Rolling Stones

A flattering compliment from the Stones, I’d say. Who wouldn’t like to be characterized as someone who comes in many colors? The connotations are overwhelmingly positive. "She's Monochromatic," on the other hand, wouldn't curry similar favor with its intended target unless proffered at a Bauhaus concert. A niche demographic, in other words. Who wouldn't prefer to be seen as someone who brings a positive light into the world just by being present? Or was she just a drug-induced phantasm? We were in the psychedelic era, after all. Maybe it was the LSD talking. I tend to default to the former explanation—that it is a considered reflection of a person’s true inner beauty. Special shout out to Nicky Hopkins on piano. One of the greatest guest contributions to a Stones' track ever. He comes in colors, too!

09 “I’m in Love” | Wilson Pickett

08 “Glory of Love” | Otis Redding

Long before Tom Cruise was jumping up and down on Oprah's couch declaring his love for Katie Holmes, we had these two stunning love songs that achieved the same level of emotional enthusiasm without the embarrassing denouement that followed. Either could be used whenever and wherever people fall in love or make that love "official." Wilson’s “I’m in Love” sounds like a spontaneous declaration of a man (and a half), legendary for his prolific lovemaking skills, who seems to have finally found “the one” and isn’t shy about announcing it to the world (I feel just like a baby boy on a Christmas morning with a brand new toy!). He’s always seemed like one of those guys who could not be tamed, but someone has captured his heart beyond all odds and it’s exciting to hear him shout it from the rooftops.

On another note, Otis Redding’s swinging take on the old classic “Glory of Love” (which dates back to the '30s) luxuriates in the miracle of true love as a concept. It radiates the joy that accompanies it and provides a roadmap for the future as well, one where two people laugh and cry together over time, in sickness and in health. Otis sounds overjoyed at this realization and it comes through in his vocal. He seems to be having a grand old time, like he's singing at some couple's wedding reception. Maybe that’s why my wife and I chose it for the first dance at our own wedding. We were feeling it and we wanted others to feel it, too. No couch required.

07 “I’m Waiting for the Man” | The Velvet Underground

Lou Reed's legendary $26-dollar fix featured in "I'm Waiting for the Man" would cost him about $250 in today's money (a cumulative inflation rate of 878%!), so it wasn't a small price to pay to a third-floor dealer in a Harlem brownstone back in 1967, but the song that resulted from the (oft repeated) transaction more than made up for the expense I'm going to assume. Even knowing the rampant drug use prevalent in the late-60s, it’s still hard to believe this song dates back to 1967, doesn't it? In fact, it doesn’t seem like it falls anywhere at anytime really. Where would you slot it if you didn't know its origin? It sounds a little too advanced for the late-60s, too radio averse for the 70s, and the complete opposite of the 80s. Maybe the 90s? That's might've been my guess, a time where alternative became a bankable option and lurid subject matter wasn't frowned upon—in fact, it was almost encouraged. Even then, it still would’ve sounded ahead of its time. I love songs with that quality.

06 “Autumn Almanac” | The Kinks

This would be one of my favorite songs even if the only thing it did was pronounce “Almanac” as “Alman-YAK” at times. I just love that part. That it is a classic “slice of British life” track from the masters of the craft is gravy. It contains some of Ray’s finest lyrics, too. The first line sounds like it was cribbed from a children’s book: From the dew-soaked hedge creeps a crawly caterpillar… Later, we get tea and toasted, buttered currant buns (yum) on a Friday evening, football on Saturday, and roast beef on Sunday. Sounds charming, borderline idyllic to me. It ends with the song's most touching moment, This is my street, and I’m never gonna leave it and I’m always going to stay here if I live to 99. The Brits have a content way about them that we just don’t see too often in the States. And it's positively heartwarming.

05 “Alone Again Or” | Love

I don’t love the Brian Maclean written “Alone Again” (later retitled “Alone Again Or” by Arthur Lee) exclusively for the mariachi horn break, but if it wasn’t there, the song would surely rank a bit lower on this mixtape. I’ll come clean on that. I do love a song that doesn’t sound like anything else from the time and the arrangement of this song qualifies. We all know what to expect now, but imagine hearing it back in 1967. It’s a mind-blower. Although the sound of the track was famously inspired by Brian’s mom, a flamenco dancer, it was mostly about futilely waiting for a girlfriend to show up. Read another way, my way, I hear it almost as the Introverts National Anthem. You’ll be out doing whatever you want whenever you want with whomever you want (People are the greatest fun!) and I’ll be in the comfort of my own home, alone, and loving it.

04 “Here Comes My Baby” | Cat Stevens

Few songs make me feel as happy as this one. First, I love Cat’s voice in general. There's a pleasing texture to it that makes any song sound like it's coming straight from the heart. Second, this is just a joyous song with a cheery intro, one that approximates the feeling of seeing your baby from across the room, park, airport, you name it. I'm a closet fan of Instagram videos where they show stone-faced individuals in crowded settings light up upon the sighting of a familiar face. The transition between being alone in a crowd to being together in a crowd is magical. This song puts that feeling to music.

03 “When Something is Wrong with My Baby” | Sam & Dave

The original Blues Brothers, Sam & Dave had an absolutely epic 1967, cutting about three or four soul classics that would all rank high on this list if I allowed more than one song from a single artist. I mean, how is “Soul Man” not the choice? It’s only one of the most iconic singles in soul music history, the clear choice if you want a sweat-soaked corker to represent the year. Then there’s “Soothe Me,” a vigorous soul workout that captured Double Dynamite’s onstage chemistry (even though they couldn't stand each other most of the time). Absolutely unforgivable on my part to leave it out. I could go on, but obviously I ended up with the undeniably moving “When Something is Wrong with My Baby” (Next line: Something is wrong with me). In my mind, it is right up there with the greatest love songs ever written and one of the best vocals ever recorded. It’s right up there in the same league with Otis Redding’s “I’ve Been Loving You Too Long (To Stop Now),” Lorraine Ellison’s “Stay With Me,” and even Aretha’s “I Never Loved a Man (The Way I Loved You)”. If soul music is supposed to, in theory, drill down to the deepest recesses of your being to find what you really need in life, this epitomizes that desire.  

02 “Penny Lane” | The Beatles

I’m a Paul guy. Not the cool pick (John) or the contrarian choice (George) or the ludicrous option (Ringo), but I stand by it. I’m also not as enamored with Sgt. Pepper’s as many are, which doesn’t mean I don’t love it on its own merits, but I must say I’d rather play either track on the double-A-side single that combines John's “Strawberry Fields Forever” w/ Paul's “Penny Lane” over any song on that record with the possible exception of “A Day in the Life.” No big pronouncement either, of course, as you can’t go too far wrong picking a Beatles song from 1967. Of the two singles, “Penny Lane” is one of those magical songs for me; it leans a bit toward those classic Kinks songs in that it presents a series of old black and white photographs in living color. Taken during a more innocent time with amusing characters and images "peppered" throughout. Its chorus sends me into an afternoon reverie whenever I hear it (even when it's not the afternoon!). Same for “Strawberry,” but I like that Paul’s song retains the clarity and crispness of an early Beatles classic without layering a psychedelic haze over the whole affair. As Paul says, Penny Lane is in my ears and in my eyes. It has been for decades now.

01 “I Never Loved a Man (The Way I Love You)” | Aretha Franklin

This has been my #1 “Fly on the Wall" track for a long, long time now. Which means: A song I wish I would’ve been in the studio to witness as it was recorded. Yes, there are probably a million of those tracks fans of one band or another would pick (Elvis doing "That's All Right" at Sun, The Stones at Villa Nellcote for Exile on Main Street), but seeing Aretha at the piano down in Alabama recording with the Swampers at FAME Studios in Muscle Shoals would’ve been an amazing moment to behold. Famously, the band was jumping up and down after they recorded the song, knowing they had just been a part of a soul masterpiece. These guys played on a lot of songs back then and they knew a magical moment when they heard one. It’s such a brilliant track because it starts with Aretha solo and takes off from there leaving everyone, including Aretha, trying to catch their breath by the end. Imagine the greatest singer of all-time delivering one of the greatest songs of all time right before your very eyes! That's what makes it so great.

You're a no-good heartbreaker, a liar, and you're a cheat...

What a riveting way to begin a song. If you weren't paying attention before, you are now. I'm amazed anyone could keep their cool long enough to play their instruments alongside her. I'd forget what I was doing and just watch. Like a fly on the wall.

_____________________

Let's get out of the impossible 60s, shall we? Off to the very possible 21st century next.

Cheers,

Pickled Priest