While often celebrated for his instrumental prowess, particularly on the trumpet, Herb Alpert has also ventured into vocals throughout his illustrious career. It’s interesting to consider his vocal contributions beyond the hits and instrumental fame. Personal taste plays a significant role in music appreciation, and when it comes to Herb Alpert Songs with vocals, preferences can vary widely. This exploration delves into a personal perspective on Herb Alpert’s vocal tracks, highlighting some favorites and less favored tunes, judged not by mainstream popularity, but by enduring personal enjoyment over time.
One standout track, surprisingly from a less commercially successful album, is “No Time For Time” from WILD ROMANCE. This song encapsulates a particular charm, making it a top pick despite its album’s overall reception. It’s acknowledged that musical tastes are subjective and generational differences can influence preferences, which is perfectly acceptable when discussing personal favorites within Herb Alpert songs.
In the realm of Herb Alpert’s Spanish vocals, “Noche De Amor” from the album of the same name, and “Quiereme Tal Como Soy” from FANDANGO emerge as strong contenders for second place in personal rankings. Following closely is “I Get It From You” from MAGIC MAN, further showcasing the appeal of his voice in Spanish. The duets with Lani Hall, Herb Alpert’s wife, also deserve mention, particularly “Pillow” from KEEP YOUR EYE ON ME and the beautiful “Come What May” from Lani Hall’s album BLUSH. These collaborations add another layer to the appreciation of Herb Alpert songs with vocals.
However, not all of Herb Alpert’s vocal endeavors resonate equally. His earlier vocal works are described as somewhat “wimpy” in personal opinion. While acknowledging the massive hit “This Guy’s in Love with You,” some earlier tracks fall short in comparison to his later, more robust vocal performances. Despite this general sentiment, there are exceptions. “Save The Sunlight” from YOU SMILE is inexplicably enjoyable, and the unique rendition of “Summertime” from the Summertime album is also appreciated for its quirkiness.
Conversely, some songs are less favored. “Without Her” from WARM is cited as jarring due to drastic volume changes from the orchestra, making it an unpleasant listening experience. Similarly, “I Belong” from CONEY ISLAND is considered one of his weakest vocal performances. Even “The Christmas Song” is critiqued for a choir backing that detracts from the track, highlighting a general dislike for choir arrangements in this personal perspective on Herb Alpert songs.
The shift in sound during the 1980s is noted as a turning point. The stronger sound, characterized by heavier bass tracks and more elaborate percussion in a more upbeat musical landscape, seemed to complement Herb Alpert’s voice. This sonic evolution arguably made his voice sound “tougher,” although “tougher” might not be the conventional descriptor for Herb Alpert’s singing style. Recognizing that he isn’t a trained vocalist, the change in musical arrangements provided a beneficial backdrop for his vocal performances. This enhanced musicality is what elevates ballads like “No Time For Time,” making it such an enduring favorite within Herb Alpert songs for this particular listener.
In conclusion, personal preference heavily influences the appreciation of Herb Alpert songs, particularly when focusing on his vocal performances. While early works may be considered less impactful, later tracks, especially those from the 80s onwards, alongside his Spanish language songs and duets with Lani Hall, showcase a more appealing and enduring vocal style in Herb Alpert’s diverse musical catalog.
