Re-Whipped Advance Copy

[JAZZ4JEFF]

Here is the info for "re-whipped" from Shout!

While most people are winding down for the year, we’re already working well into 2006. Wanna know what’s in store for you? Expect a brand-spankin’-new CD from the queen of outlaw country, Jessi Colter. It’s her first album in 20 years! Plus, we’ve revisited Herb Alpert’s iconic Whipped Cream & Other Delights album, adding the word “Rewhipped” to the end. It includes great remixes by the likes of Medeski Martin & Wood, Ozomatli, Thievery Corporation and others. The cover, you ask? Yes, also updated with a new Whipped Cream girl, who you might recognize from the current Guess ad campaign.

 

[Captaindave]

Since I don't recognize any of those names, what does it mean?

 

[LPJim]

Looks like a cover/tribute album. MMW is an improvisational jazz trio. Ozomatli is an 8-to-ten member Latin-rock-rap-jazz ensemble whose first two albums were released by Almo Sounds. These acts have toured together, which was how I caught them a few years ago.
Not sure whether Herb is involved in the new project or if so to what extent.
JB

 

[Steve Sidoruk]

Don't think so, LP Jim. My info (posted previously) from Goldwax at Shout! said that it would have new solos from Herb! It sounds like they must have worked from the multi-track master (remember there was a quad 8 track tape of this album) to be able to do a re-mix. It really sounds to me like it will be more like the rare U.K Herb Alpert C.D. Megamix, done by Dakeyne of the U.K. Especially Thievery Corporation, who has had much success with doing re-mixes of older classic songs.

Steve

 

[Captain Bacardi]

Here's an image of the new cover:




Capt. Bacardi

 

[jimac51]

Remix projects are a lot like tribute projects:more than anything ,you see the merits of the original. This could be a lot of fun,though, and with MM&W on board,there is promise. You know, they could have taken the REWHIPPED concept and still opened the picking list to the entire TJB catalog for both some diversity and for choosing a few titles that were legitimate single hits("Spanish Flea","Tijuana Taxi" spring to mind),but limitations are often the gimmick in a remix project. The white background with what seems to be the original greens looks nice but no Guess cover girl is ever going to replace Dolores Erickson in this 54 year old man's 14 year old memory. Next your going to tell me that Dustin Hoffman grows up to become Kevin Costner in a movie based on "The Graduate"-I'm sorry,there are too many horror pictures out there already. Mac

 

[Numero Cinco]

Here's an image of the new cover:

Capt. Bacardi

Oh, my.

Nothing can equal the original, but this'll do. It'll do nicely.

 

[DAN BOLTON]

Is this by any chance the girl who was in the BEBA video? As I remember, the WHIPPED CREAM cover was featured in it, as well.



Dan

 

[Dave]

Looks like there might be a "story" behind THIS Whipped Cream...Rewhipped Cover Girl, as well--though probably not nearly as dramatic as Dolores'...!!


Dave

 

[Steve Sidoruk]

To see captures of the Whipped Cream girl in Herb's Beba video, click here:
http://www.amcorner.com/gallery/BEBA

 

[manifan]

Well, at least she's not 5 months pregnant...

 

[lswilson99]

Where on the Shout website can the album cover and info be found (I must be going blind in my old age).

Len

 

[Rudy]

Funny that they made a Q8 4-channel tape from a 3-channel master! Gold Star only had three channels back then, and a lot of the tracks were "bounced" for songs like "Taste of Honey" (which is why the hiss level is so high), so I am a bit curious to hear how anything with so few tracks can be remixed.

 

[Mr Bill]

Where on the Shout website can the album cover and info be found (I must be going blind in my old age).

You're right, Len... it is NOT easy to find. (There may BE something to Shout!Factory's lack of promotion after all...) But it is featured in the "newletter" section of the site -- scroll down below the "sign-up" section -- in the "archive" for December:

http://www.shoutfactory.com/newsletter/2005/12/

--Mr Bill

 

[Mr Bill]

...I am a bit curious to hear how anything with so few tracks can be remixed.

Since participants on the project have reported Herb redid many trumpet parts, I think we can expect this to be more a modern revamping of the tunes than a remix of the original tracks. Not quite as new or fresh as Sergio's upcoming remakes with Will.i.am, nor as simple as a remix like the few tracks off Lost Treasures that were obvious remixes. This new project sounds more like what Public Enemy, Notorious BIG and Black Sheep did with Herb tunes with quite a smattering of turntablists and electronica to boot. But unlike the rap examples I mention above, I expect NOT to be disappointed, as Herb had contol over this project...

--Mr Bill

 

[Steven J. Gross]

Awesome

 

[Captain Bacardi]

Where on the Shout website can the album cover and info be found (I must be going blind in my old age).

It wasn't on the website. The photo I posted was sent via e-mail from Shout.



Capt. Bacardi

 

[Mike Blakesley]

participants on the project have reported Herb redid many trumpet parts,

Cool! I hope his pleasant experience finishing the LOST TREASURES tracks will keep him from using the muted trumpet too much.

 

[Numero Cinco]

Funny that they made a Q8 4-channel tape from a 3-channel master! Gold Star only had three channels back then, and a lot of the tracks were "bounced" for songs like "Taste of Honey" (which is why the hiss level is so high), so I am a bit curious to hear how anything with so few tracks can be remixed.

For the technologically incompetent among us, can you translate that into simpler terms? I'd really like to understand what you're talking about, and how the engineers pull off these marvels.

 

[Mike Blakesley]

It's just that today's music is recorded on equipment that uses 24 or more channels or "tracks" of sound. Meaning you could have 24 people singing and each could have his own track, thereby making it easy to control the volume and sound quality of each singer. (or replace a singer's vocals altogether without altering the other vocals.)

TJB records were made in the early days of stereo on 3-tracks. One track held the rhythm section (drums, bass, marimba) and the second track held guitar, piano and such, while the third track was used for the lead instruments. Therefore it's really hard to isolate any one sound for a remix, since you only have the three tracks to work with. Modern technology is pretty amazing though, so it'll be interesting to see what they come up with.

 

[Vinylalbumcovers]

Funny that they made a Q8 4-channel tape from a 3-channel master! Gold Star only had three channels back then, and a lot of the tracks were "bounced" for songs like "Taste of Honey" (which is why the hiss level is so high), so I am a bit curious to hear how anything with so few tracks can be remixed.

For the technologically incompetent among us, can you translate that into simpler terms? I'd really like to understand what you're talking about, and how the engineers pull off these marvels.

I gotcha. Rudy is saying that the remixing options are limited because there are only 3 tracks with which to remix. In a typical recording made at the height of analog technology (which is 2 inch/24-track tape, you get this kind of layout.

Tracks 1-6 (or more) - Drums
Track 7 - Bass
Track 8 (and 9 if we're talking stereo) - Guitar
Track 10 (and 11 for stereo) - Piano or keyboard

...and so on and so forth

Back at GoldStar, they didn't have 24 tracks. They had 3 maybe 4 at the end. With only 4 tracks, instruments can't "live" alone. They have to share track space with each other. You might end up with something like this:

Track 1 - All drums, bass, guitar, piano
Track 2 - Trumpet
Track 3 - The rest of the brass
Track 4 - etc.

When people do remixes, they take what they want to use and add other electronic elements to it to give it an updated sound. When things are mixed together this way, it's quite difficult to do that. Make sense?

Ed

 

[TonyCurrie]

As for "bouncing"....

Using a three-track machine, you'd start with percussion/bass on track 3. with a solo trumpet on track 1. Then you'd play that back over headphones while Herb played the second trumpet part, recording both of these on track 2. Then track 2 would be played through headphones while Herb played a third part, all of this being recorded back on to track 1.... and so on, bouncing back and forth between tracks 1 and 2. Hence the term 'bouncing'.

 

[Mike Blakesley]

...and hence all the hiss on those early records. Thanks Tony. I knew it was something like that but didn't have it exactly.

 

[Numero Cinco]

At last: a small light dawns in my benighted mind. Thanks, fellows.

Let me see if I follow the "bouncing" business. Hypothetically extending Rudy's breakdown—

Track 1 - All drums, bass, guitar, piano
Track 2 - Trumpet
Track 3 - The rest of the brass
Track 4 - etc.

—for a song like "And the Angels Sing," Herb and Larry might have laid down:

Track 1 – Bass, snare with brushes, guitar, piano;
Track 2 – Lead Trumpet (Herb's listening to Track 1 with headphones);
Track 3 – Marimba (maybe Julius is listening to both Tracks 1 and 2)
Track 4 (if available at the time) – Strings (listening to Track 1, or whatever).

With headphones on, listening to Tracks 1 and 2, Herb plays 2nd trumpet part. This is applied to Track 2. Tape hiss creeps in.

With headphones on, listening to Tracks 1 and 4, flutist whistles in his doodles onto Track 3. Still more tape hiss creeps in.

With headphones on, listening to Tracks 1 and 4, Julius taps his glockenspiel, again onto Track 3. By now the hiss on #3 is as almost as loud as the bells.

With headphones on, listening to Track 1, Tommy the Tuba oompahs in heaven's basement, laid onto Track 4. Herb listens to Tommy's track laid in, doesn't like it, dumps the track. (Tommy's cashed his check; he doesn't care either way.) So we're back to only strings on Track 4.

So—hypothetically—we now have the four original tracks, plus three derivative tracks laid in with their attendant hiss. Those seven tracks are mixed together, giving us a fourth (or is it a third?) generation of hiss accompanying the finished product.

Well, maybe it's finished. By the time the West Coast tracks have gone to press, Herb decides afterward he doesn't like the glockenspiel. Too precious, or whatever. Has Larry lift the glockenspiel from the tapes for the East Coast pressing.

Do I correctly assume that something like the latter explains how we got two different versions of "Brasilia": one without and (the vastly superior) one with Bob's trombone in the intro?

Finally: I infer from what you all are saying is that there's no way with today's technology to mask out any single instrument from among the two or more that may have generated a single track at the time of original taping. Right?

 

[TonyCurrie]

Absolutely correct. Filtering at particular frequencies can mask bits of some instruments*, but if something's on the 3 or 4 track it's practically impossible to get rid of it.

*For those well-versed in this stuff, it isn't of course the basic frequencies that are the biggest problem, it's the harmonics which often shift phase in the process!