Start Whipped cream dating game theme herb alpert

Whipped cream dating game theme herb alpert

Success: Alpert's friend Sol Lake had written an instrumental entitled "Twinkle Star," which the trumpeter began to record in his studio, overdubbing his horn with very slight delay in order to create the illusion of a full brass section.

No such luck, but tucked in between Barbara Streisand and John Denver was a copy of . Almost forty years later it's a bit surprising that his blend of Dixieland, pop, mariachi, and just about everything else caught on like it did.

After the local trumpet star rejected it, Henry Hildebrand, A&M Records’ distributor in New Orleans, played the “Whipped Cream” demo over the phone for Alpert. Timing plays such an important part in the success I’ve had. It either makes it or it don’t.’ It’s not about technique. Did your experience at RCA influence your approach to making music and also leading A&M Records, the label whose artists included the Police, Peter Frampton, the Neville Brothers, Aaron Neville, the Carpenters, Sheryl Crow, Janet Jackson, Sergio Mendes & Brasil ’66, Cat Stevens and Supertramp? You also met and performed with New Orleans native and jazz great Louis Armstrong.

“Whipped Cream” became the title track for the hit 1965 album Alpert and his wife, former Brasil ’66 singer Lani Hall, live in Southern California on a six-acre estate above the Pacific Ocean. We know the basic forms of the songs we play, but within that context the guys are free to play whatever they want. You can be prepared, but if your timing is wrong, it’s not going to happen. I wasn’t crazy about the way the major label treated me. The two of you performed a duet of “Mame” for a 1967 episode of TV’s The Kraft Music Hall. You visited New Orleans in 1968 to film your TV special The Beat of the Brass.

Alpert, Hall and their three-piece band have been performing together for the past 11 years. There are a lot of great musicians out there struggling. All artists should be looking for their own voices. And then when I heard Les Paul multitrack his guitar on recordings, I tried that with the trumpet. After I released ‘The Lonely Bull,’ the record that started A&M in 1962, a lady in Germany wrote a letter to me. Alpert, for sending me on a vicarious trip to Tijuana.’ I realized that music was visual for her, that it took her someplace. I want to make music that transports people.’ Before you developed the Tijuana Brass concept, you and your songwriting partner at the time, Lou Adler (future founder of the Dunhill and Ode record labels), wrote “Wonderful World” and “Only Sixteen” for Sam Cooke. While you were here, you and the Tijuana Brass rode a float in the Krewe of Rex parade on Mardi Gras day. Playing with the Preservation Hall Jazz Band, that was an experience all by itself.