An Exquisite Blend of Latin Brass, Timeless Melodies, and an Iconic Album Cover
The album cover of this album "Carmen 70" is the same cover as "Whipped Cream & Other Delights" and the album cover alone is considered a classic pop culture icon. It featured model Dolores Erickson wearing chiffon and shaving cream. The picture was taken at a time when Erickson was three months pregnant.
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.
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.
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.
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.
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.
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.
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.
Dolores Erickson was born in 1935 in Washington state. She began her career as a fashion model in the 1950s and was signed to the Ford Modeling Agency, one of the most prestigious agencies at the time. She worked in both print and runway modeling, appearing in various advertisements and magazine spreads.
In addition to modeling, Erickson also had minor acting roles in Hollywood, appearing in a few films and television shows, though her most significant impact was in the world of photography and album covers.
The Whipped Cream & Other Delights cover, photographed by Peter Whorf, features Dolores Erickson draped in what appears to be whipped cream, though in reality, it was shaving cream with dabs of actual whipped cream for texture. The image was meant to be sensual yet playful, in line with the lighthearted, sophisticated music of Herb Alpert & The Tijuana Brass.
At the time of the photoshoot, Erickson was three months pregnant, though this fact was unknown to the public for decades. She posed on a backdrop covered in a white sheet, with mounds of shaving cream carefully applied to create the illusion of being clothed in nothing but whipped cream. Her expression—part seductive, part innocent—added to the cover’s mystique.
After stepping away from modeling, Dolores Erickson transitioned into a career in art and painting. She became a successful fine artist, focusing on landscapes and abstract works. She also occasionally made appearances at music and pop culture conventions, speaking about her experience as the face of Whipped Cream & Other Delights.
Even today, her image remains one of the most enduring symbols of 1960s album art and pop culture aesthetics.
Music Genre: Mexico Themed Brass Music |
Album Production Information: The album: "Herb Alpert & The Tjuana Brass - Carmen 70 Ex-Libris " was produced by: Herb Alpert and Jerry Moss Sound/Recording Engineer(s): Larry Levine This album was recorded at: Gold Star studio |
Record Label & Catalognr: Ex-Libris Grammoclub XL 171 034 (17103) |
Record Format: 12" LP Vinyl Stereo Gramophone Record Total Album (Cover+Record) weight: 230 gram |
Year & Country: Made in Austria |
Complete Track-listing of the album "Herb Alpert & The Tjuana Brass - Carmen 70 Ex-Libris " |
The detailed tracklist of this record "Herb Alpert & The Tjuana Brass - Carmen 70 Ex-Libris " is:
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Album Front Cover Photo of "Herb Alpert & The Tjuana Brass - Carmen 70 Ex-Libris " |
![]() The album cover for "Carmen 70" by Herb Alpert's Tijuana Brass presents a striking and provocative image. A woman, partially covered in thick white foam resembling whipped cream, poses seductively against a deep green background. She wears what appears to be a strapless gown, with the foam forming a voluminous skirt cascading around her. The foam clings to her bare shoulders and arms, emphasizing her form. She holds a single pink rose delicately in her right hand, the petals contrasting against the stark white of the foam. With her left hand, she lifts a finger to her lips, licking off a small amount of foam. Her expression is both playful and alluring, with dark eyes gazing directly at the viewer. Her long, dark hair flows over her shoulders, and a dollop of foam rests atop her head like a whimsical decoration. Small beads of foam cling to her skin, adding texture and dimension to the composition. The typography on the cover is bold and distinctive. The album title, "Carmen 70," is displayed in an ornate, stylized green and yellow font on the right side, framed within a yellow-bordered box. Above it, the artist's name, "Herb Alpert's Tijuana Brass," appears in large, white retro-style lettering. Below the title, a short list of featured songs is printed in yellow. In the lower right corner, the A&M Records logo is prominently displayed in yellow and green, alongside the "Ex Libris" logo, indicating this special edition release. The deep green background provides a dramatic contrast, making the white foam, the model, and the text elements stand out vividly. |
Album Back Cover Photo of "Herb Alpert & The Tjuana Brass - Carmen 70 Ex-Libris " |
![]() The back cover of "Carmen 70" by Herb Alpert's Tijuana Brass features a solid green background with a structured layout combining typography, imagery, and production details. The album title, "Carmen 70," is prominently displayed in the upper right section in bold green and yellow stylized lettering with ornate flourishes, mirroring the front cover’s typography. A black-and-white close-up portrait of Herb Alpert occupies the lower right portion of the cover. He has an intense, contemplative expression, his gaze directed toward the camera. His dark, slightly disheveled hair and serious demeanor contrast with the vibrant green background. He is dressed in a dark jacket with a collared shirt underneath, and the blurred background suggests an outdoor or candid setting. On the left side, the complete tracklist for the album is printed in black text. It is divided into two sections, "Seite 1" (Side 1) and "Seite 2" (Side 2), indicating its European release. The track names include:
Below the tracklist, the album’s production credits are displayed in a smaller font. It states that the album was arranged by Herb Alpert, engineered by Larry Levine, and recorded at the renowned Gold Star Studios. The production was overseen by Herb Alpert and Jerry Moss, co-founders of A&M Records. In the lower-left corner, the "Ex Libris" and "A&M Records" logos are printed in yellow against the green background. A blue rectangular label at the bottom notes that the album is in "Stereo mono abspielbar 33⅓ T," indicating compatibility with both stereo and mono turntables at 33⅓ RPM. |
Enlarged & Zoomed photo of "Herb Alpert & The Tjuana Brass - Carmen 70 Ex-Libris " Record's Label |
![]() This close-up image captures the label of Side A from the vinyl record "Carmen 70" by Herb Alpert & The Tijuana Brass. The label is a deep blue color with white text and features a clean yet detailed layout of album information, production credits, and branding. The upper portion prominently displays "exlibris grammoclub" in bold white lettering along the outer edge, curving around the circular label. Just below, the album title "Carmen 70" is printed in uppercase, followed by the tracklist for Side A:
In the middle left section, the A&M Records logo is clearly printed in white, accompanied by the "BIEM" rights organization marking. To the right, a small circle containing "ST 33" denotes the record's stereo format and 33 1/3 RPM playback speed. Below this, the catalog number "XL 171 034 A" is printed in bold. Additional text at the bottom credits the album’s production team: "Arranged by Herb Alpert," with engineering by "Larry Levine" and recording at "Gold Star Studios." The album was produced by "Herb Alpert & Jerry Moss," and the cover was designed by "Peter Whorf Graphics." The spindle hole in the center is surrounded by a slight wear pattern, indicating usage. The clean, professional design of the label ensures all information is easily readable while maintaining the classic aesthetic of vinyl records. |
![]() This close-up image displays the label of Side B from the vinyl record "Carmen 70" by Herb Alpert & The Tijuana Brass. The label is vibrant blue with white text and features a structured design that includes branding, track information, and production credits. Around the outer edge, "exlibris grammoclub" is printed in bold white uppercase letters, curving along the label's circular shape. Below this, the album title "Carmen 70" is prominently displayed in uppercase. The tracklist for Side B is printed in clear, evenly spaced text:
The left side of the label features the "A&M Records" logo in white, along with the "BIEM" rights organization marking. To the right, the "ST 33" logo is displayed, indicating the record’s stereo format and standard 33 1/3 RPM playback speed. Below this, the catalog number "XL 171 034 B" is clearly printed. Production credits are listed at the bottom, stating that the album was arranged by "Herb Alpert," engineered by "Larry Levine," and recorded at "Gold Star Studios." It was produced by "Herb Alpert & Jerry Moss," with cover design credited to "Peter Whorf Graphics." The central spindle hole, positioned within the text layout, shows signs of slight wear from repeated use. The overall design of the label maintains a professional and legible appearance, reinforcing the album's vintage aesthetic. |