The late 1960s was a time of experimentation in popular music, with artists from every corner of the industry pushing boundaries, blurring genres, and, most importantly, selling an image as much as a sound. For Herb Alpert & The Tijuana Brass, already one of the most successful instrumental groups of the decade, the release of Carmen 70 under the Ex-Libris label marked a curious shift. This album, unique to European markets, blended the smooth, Latin-inflected brass music Alpert had perfected with an album cover that remains one of the most discussed and analyzed images in music history.
The Music: A Fusion of Styles
Musically, Carmen 70 follows in the footsteps of Alpert’s earlier work, showcasing his signature trumpet sound, the playful yet disciplined arrangements, and a surprising mixture of genres. The album features a diverse selection of tracks, including Latin-inspired numbers like "A Banda" and "Carmen," jazz-infused compositions, and orchestral pop pieces that reflect Alpert’s ability to make brass arrangements feel accessible and engaging.
Though some of the tracks were already present on previous albums released in the U.S., their sequencing and context within Carmen 70 offered a fresh listening experience, particularly for European audiences. The inclusion of “With a Little Help from My Friends,” a Beatles composition, highlights the growing trend at the time of instrumental covers of rock and pop hits, further showcasing Alpert’s ability to adapt the sound of The Tijuana Brass to mainstream tastes.
Historical Context: The Late 1960s and Musical Experimentation
By the time Carmen 70 was released, Herb Alpert had already dominated the charts with albums like Whipped Cream & Other Delights and Going Places. The late '60s were a period of shifting musical tastes, with psychedelic rock, soul, and folk gaining mainstream traction. Instrumental pop acts had to work harder to maintain relevance in a landscape increasingly focused on lyrical storytelling and counterculture movements.
While Alpert's music remained commercially successful, his appeal had always been rooted in an audience that appreciated polished, upbeat, and radio-friendly instrumental compositions. In this sense, Carmen 70 was both an affirmation of his established formula and an attempt to keep up with the more adventurous spirit of the era.
The Album Cover: A Cultural Phenomenon
One of the most striking aspects of Carmen 70 was its album cover—a direct re-use of the now-iconic Whipped Cream & Other Delights cover from 1965. The image, featuring model Dolores Erickson covered in chiffon and shaving cream, had already become one of the most talked-about album covers in history. At the time of the original photo shoot, Erickson was three months pregnant, adding an unexpected layer of intrigue to the visual’s legacy.
The re-use of the cover for Carmen 70 is notable because it suggests an understanding of the image’s power to sell records. By 1970, the original Whipped Cream & Other Delights cover had transcended its status as simple album art; it was a pop culture icon, featured in dorm rooms, magazine articles, and late-night conversations. The decision to repurpose it for a European release suggests that the label recognized its marketing potential, especially in an era when sex appeal was becoming an increasingly dominant force in advertising.
Production and Recording: The Team Behind the Sound
Carmen 70 was produced by Herb Alpert and Jerry Moss, the duo responsible for shaping the distinct Tijuana Brass sound. Their collaboration had already yielded numerous gold and platinum albums, and their approach to production was a blend of meticulous studio craftsmanship and an ear for accessible melodies.
The album was recorded at Gold Star Studios, one of the most famous recording spaces of the era. Known for housing legendary artists like The Beach Boys and Phil Spector, Gold Star’s unique reverb and sonic warmth contributed significantly to the crisp yet rich sound that defined The Tijuana Brass.
Larry Levine, the sound engineer best known for his work with Phil Spector’s Wall of Sound, was also a key player in shaping the album's production. His ability to blend brass instrumentation with pop-friendly sonic textures ensured that the album would feel vibrant, polished, and radio-ready.
Controversies and Criticism
While the music of Carmen 70 stayed true to The Tijuana Brass’s signature style, the album’s cover re-use did raise some eyebrows. Critics and some fans questioned whether repurposing the Whipped Cream & Other Delights imagery was an artistic choice or merely a marketing tactic. Some viewed it as an uninspired cash grab, while others saw it as a clever nod to one of the most famous album covers of all time.
Additionally, The Tijuana Brass had long been subject to debates about authenticity. Though Alpert himself was of Jewish descent and from Los Angeles, his music was steeped in Latin and Mexican influences. The band's name, which suggested an actual Mexican brass ensemble, occasionally drew criticism for cultural appropriation, though Alpert himself had always framed his music as a celebration of the styles that inspired him rather than an attempt at imitation.
Differences from Other Releases
Unlike its American counterpart albums, Carmen 70 was never widely released outside of Europe, making it a unique entry in The Tijuana Brass discography. The tracklist differed slightly from U.S. releases, pulling together selections from various earlier albums rather than being an entirely original composition.
Additionally, the album’s association with the Ex-Libris label—rather than A&M Records, which had been Alpert’s primary label—further set it apart. Ex-Libris was known for issuing special releases tailored to specific European markets, and Carmen 70 followed this tradition by repackaging and recontextualizing The Tijuana Brass’s music for a different audience.
