MINT! SHRINK 1968 >> PSYCHEDELIC MONSTER "TIME HAS COME" CHAMBERS BROTHERS Psych
Sold Date:
February 4, 2018
Start Date:
February 3, 2018
Final Price:
$85.00
(USD)
Bid Count:
11
Seller Feedback:
18261
Buyer Feedback:
9
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~ MINT ... SHRINK...FINAL COPY! ~
ORIGINAL 1967 FIRST PRESS
11+ MINUTE PsYcHeDeLiA MONSTER!
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The CHAMBERS BROTHERS
Time Has Come Today
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\ USA - 360 Sound - COLUMBIA - CS 95222
A 50 YEARS OLD ORIGINAL COPY,
GUARANTEED , UNDERESTIMATED PSYCHEDELIC SOUNDS within!!!
... with scarce "TIME HAS COME TODAY" sticker ...
This is a 1967 original 360 Sound Columbia first pressing, a great great collectible especially in MINT condition:::
STILL IN ORIGINAL FACTORY CELLOPHANE
" .....I been loved and put aside i been crushed by tumbling tide And my soul has been psychedeliasized Time has come today.
LISTEN!
Chambers Brothers - Time Has Come Today (Live extended version) - YouTube
Video will open in a new window
[isdntekvideo] The closing track on that record, an 11+ minute rock-soul-psychedelic freak-out called “Time Has Come Today,” got heavy, heavy airplay on the first wave of “underground” FM rock stations, which were no longer bound by the restrictions of AM pop or R&B radio. And an edited version of the song released in the summer of 1968 was a bona fide hit single, played on AM and FM stations all over the country. Though it never cracked the Top 10 nationally (it did in several markets), it sat at Number 11 for an impressive five weeks, The Time Has Come album rocketed all the way up to Number 4, and the Chambers Brothers were transformed into concert headliners.in early August 1967, the band went into Columbia New York’s Studio E with David Rubinson and engineer Fred Catero and cut the epic psychedelic version of “Time Has Come Today” that would appear on The Time Has Come, completely live—trippy sound effects included—in just one take. Studio E was “smallish, probably 20-by-30, but it sounded great,” Rubinson says. “I worked there a lot in those days. At the heart of control room was what Catero calls “a wonderful-sounding” custom Columbia 12-input console “with rotary knobs, instead of faders, and fantastic pre’s and EQs—all tube—that were in a rack behind; there were no electronics in the board itself; it was more like a control surface.” Catero doesn’t recall specific mic choices he might have made, but believes “it was probably a lot of Neumanns; they had a great collection.” The session was recorded to 8-track one-inch Ampex, with three mics on Brian Keenan’s drums mixed down to mono and placed on the left side of stereo spread, one channel each for guitars and bass, and four for the vocals (one of them also handling the famous cowbell). Rubinson and Catero did some pre-production before tape started rolling, knowing that the middle part of the song could become a sonic playground for them, but there was no rehearsal per se, and when they launched into the song, all the band members wearing headphones, they had no idea what was about to happen. As the song unfolded, Rubinson and Catero started messing with reverb and echo, creating hallucinatory effects amid booming fuzz guitar leads. “You’d take the signal from the microphone,” he explains, “and as you were feeding it to the 8-track, you were also feeding it to another tape machine, which had a slight delay, called tape reverb, then you would send that signal off the playback head to an echo chamber. The speed at which you ran the tape machine determined how long it was between the original and the delay. Then, if you take that signal and you feed it back to the tape machine again, it starts a loop, so you’re going: input, record head, playback head, echo chamber, output from the echo chamber, back to the record head, back to the playback head, back to the echo chamber and so on. And instead of getting one repeat you start getting multiple repeats. So the cowbell would go ‘tick-ck-ck-ck, tock-ck-ck-ck,’ and you could regulate how much and how fast the reinsertion of the original signal was. Eventually you have this sound refolding on itself over and over, and ultimately it turns into white noise.” As the effects started coming the through the band’s headphones, they reacted spontaneously with their own screams, shouts and laughs “and I reacted to what they did with the speed of the tape machine. Also, if I flicked the tape, it would go in and out of phase and make these weird sounds, and it just got crazier and crazier. But from having seen them live so much, I knew exactly when the crazy part was going to end—Brian was going to play this big drum fill and it was going to come back to ‘Now the time has come…’ so I was able to shut everything off exactly on cue. We grabbed lightning in the bottle—boom! When they finished, they were screaming and yelling and came running into the booth and we played it back and it felt so good.” Rubinson was so excited he had Clive Davis come down to the studio at midnight to hear the track, and that is what finally convinced Davis to commit to putting out a whole Chambers Brothers album. Rubinson made an edited single version of the song, eliminating the long psychedelic section, “but an engineer at KFRC in San Francisco made his own edit, which was frankly better than mine, and [Columbia released] a second single based on the KFRC edit and it swept the country, beginning in San Francisco, where it was a Number One record.” Between the single and the album version, “Time Has Come Today” was inescapable in the summer and fall of 1968.
All Strung Out over You (2:30)
People Get Ready (3:52)
I Can’t Stand It (2:42)
Romeo and Juliet (4:32)
In the Midnight Hour (5:32)
So Tired (4:05)
Uptown (2:56)
Please Don’t Leave Me (3:00)
What the World Needs Now Is Love (3:20)
Time Has Come Today (11:06)
Time has come today young hearts can go
Their way can't put it off another day
I don't care what others say they say we
Don't listen anyway time has come today, hey
The room has changed today I have no place to stay
I'm thinking about the subway my love has blown away
My tears have come and gone oh, Lord I got to run
I got no home no, I have no home
Now the time has come nowhere (place) to run
Might get burned up by the sun but I'll have my fun
I've been loved, pushed (put) aside I've been crushed
By tumbling tide and my soul has been psychedelicized
Now the time has come there are things to realize
Time has come today Time has come today
CONDITION: The cover: TOP COPY, all solid MINT
still in factory cellophane with scarce TIME HAS COME TODAY sticker on outer cellophane ...looks great, final collection copy ...still with fresh original colors,
no split seams, no bends, and no writing ... 50 years ago...
The vinyl: Clean and glossy over both sides, rated: M- TOP COPY expect very clean & enjoyable audio...NO distracting surface problems ... both 360 Sound Columbia labels are clean
A cool addition to anyone's music library!
SEE: SELLERS OTher items for similar cool sounds for "head" people...
EFFICIENT/CAREFUL GRADING
All imperfections are noted both cover & record
NOTE: All Items backed by money back guarantee! IF you have a problem PLEASE let us solve for you BEFORE leaving ANY negative feedback. Thanks! GRADING SCALE: M, M-, EX, VG++,VG+, VG, VG- M Completely clean, no marks M- Carefully used, looks clean, plays clean, shiny gloss, no marks EX Faint scuff or superficial mark, near M-, high gloss, plays clean VG++ Glossy with minimal scuffing or light mark playing very nice, clean VG+ a bit more scuff or markls still plays well with very minimal surface at worse VG more marks/scratches only minor, nothing deep, no loud clicks or pops this grade is abused by many, VG here does not mean "trashed" VG- surface noise present, will not have skips or jumps ALL PAYMENTS SHOULD BE MADE WITHIN 5 DAYS Of AUCTIONS END BIDDERS PLEASE = Do Not Bid If You Are Not Serious About Following Through The Transaction! ALL ITEMS GUARANTEED FOR WINNING BID - LESS SHIPPING!
