Author Archives: tshrop22

Being Retired

After moving from Milwaukee, and renting a small house, I am settling into being an elderly retired person. I have TVs in three locations, each connected to the cable and the recorded shows queue. Two have Blu-Ray players attached. My “Office”, which shares space with my bedroom (where a nap may be had) has computer, printers, and necessary equipment. On the computer are various projects — for the company for which I am still doing some work (which is enjoyable, and more like a hobby), and things that I am writing, and photos to sort, or process, or print. Plus all of the usual stuff, as well.

If I get up to heat up my coffee, or make some more, I may take time to check the mail, or wander into my little workroom, where other projects await my attention. I may rather step outside to see if the flowers or the tomatoes need tending. Or a few steps further to the garage where the velocipede (bicycle to you) is parked.

The point of this ramble is that, at any given moment, I am doing precisely what I choose to do. And that, I think, is the very definition of being retired.


Instrumental Music of the Rock Era

Instrumental music goes back a long way, beginning perhaps several thousand years ago when Ugh and some of his friends sat around banging rocks together because it felt good, and made a neat sound. You hear of lyres and lutes from antiquity, and classical music aplenty from that era, and forward to the guitars of the old southwest, and many a harmonica in one lonely hobo camp or another. The swing music of the ‘40s sort of faded as the decade turned and mellowed to become a part of the music to which I was exposed in my early years.

Somewhat overshadowed in time by rock music, the bands and orchestras of the 50s held on to contribute significantly to the mix of instrumental music with which I came of age. Yes, this list — or rather lists — focuses on the instrumental music of MY time. That is to say from the mid-fifties to the mid-seventies. The later boundary determined because instrumentals have since largely faded from contemporary popular music.

So I have compiled two lists of my favs from this era. Two lists because I believe that combining the two would be long and cumbersome, and because the two together would make for an awkward mix. Most are accurately place as either rock music, or the holdover “Big Band” stuff. In a few cases I had to make a difficult, but hopefully correct choice.

*** Rock Music Instrumentals (in chronological order)

Rebel Rouser,   Duane Eddy
Guitar Boogie Shuffle,   The Virtues
Walk Don’t Run,   The Ventures
Perfidia,   The Ventures
Wheels,   The String-Alongs
Maria Elaina,   Los Indios Tabajares
Cast Your Fate to The Wind,   The Vince Guaraldi Trio (Actually Jazz, but a big favorite)
Waterboy,   The Don Shirley Trio (Same as above)
Telstar,   The Tornadoes
Pipeline,   The Chantays
The Hustle,   Van McCoy (And a little disco to finish it off)

*** And the Big Band list (also in chronological order)

Cherry Pink and Apple Blossom,   White Prez Prado
Quiet Village,   Martin Denny
The Magnificent Seven,   Al Caiola
The Theme from Exodus,   Ferrante and Tiecher
A Wonderland By Night,   Bert Kaempfert
Asia Minor,   Kokomo
Theme from A Summer Place,   Percy Faith
Moon River,   Henry Mancini
Stranger on the Shore,   Mr Acker Bilk
Love Is Blue,   Paul Mauriat
Classical Gas,   Mason Williams
Tubular Bells,   Mike Oldfield (Something scary on which to end)

The Top 20 Rock and Roll Songs

It comes as no great revelation for me to say that when it comes to music, tastes very. It is fair to say that there are as many favorite types of music as there are people to hear them. Large numbers of us come together sometimes to favor one or another performer. Many, many of us like some of the classical composers, and The Beatles, and Paul Simon, and other superstars. Many, many of YOU like artists such as Travis Tritt, Pearl Jam, or Taylor Swift. Even, inexplicably, Miley Cyrus has her fans.

All it really comes down to is that when it comes to music, as with many other things, the only opinion that really matters is your own. So in this age of sharing our opinions on social media, and places such as this, I have decided to generate, over time, some lists of the top things that I like. And being a child of the rock and roll era, I am starting with my list of what I feel to be the top Rock and Roll Songs of, at least, my era (Which started before there was R&R, and continues on).

These listings, and (by extension) my beliefs my generate conversation, additional suggestions, indifference, or scorn. I’ll take what comes. Sub-genres such as Soft Rock, and Folk Rock, ect must wait for another time. In no particular order, here is my list of the best of pure Rock and Roll.

Hotel California,  The Eagles

My Back Pages  (Live- from Bob Dylan’s 30th anniversary, at Madison Square Garden) Bob Dylan, George Harrison, Neil Young, Eric Clapton, Tom Petty, Roger McGuinn

Running On Empty,   Jackson Brown

Don’t Look Back,   Boston

Journey to the Center of the Mind,  The Amboy Dukes (Ted Nugent)

The Night has a Thousand Eyes,  Bobby Vee

Runaway,  Del Shannon

Somebody To Love, Jefferson Airplane

Pleasant Valley Sunday,  The Monkees

Crossroads,   Cream

Only You Know and I Know,   Delaney, and Bonnie, and Friends (I know, it’s kind of blues, but it’s my list)

Up Around the Bend,   Creedence Clearwater Revival

Wild Night,  Van Morrison

I’m Just a Singer (In a Rock ‘n’ Roll Band),  The Moody Blues

Karn Evil 9,  (Short Version)  Emerson, Lake, and Palmer

Crazy On You,   Heart

The Fire Inside,  Bob Seger

The Time Warp,  The Rocky Horror Picture Show

Such a Woman, Tycoon

Rock ‘n’ Roll Fantasy,   Bad Company

Drivers Seat,   Sniff & The Tears

Find Another Fool,   Quarterflash

Saturated,   Casey Chambers

Still Haven’t Found What I’m Looking For,   U2

This list was meant to be (20). I actually ended up with (24). I could have added a few more, and could not figure out what to cut.

A Thought for the Times

I have said it often enough, that when I was young I was a poor student. Somewhat closer to the actual truth is that I was poor at being a student, which in the 1950s and 60s academic environment in which I existed amounted to the same thing. I didn’t like school much, and so I didn’t try hard. This led to the inevitable consequences.

Being a time when gold stars and trophies were not awarded for doing nothing, and feelings were not spared, I was subjected to ridicule by teachers (in the guise of motivation) and no small amount of teasing from my peers. But I managed to get through it all, to some degree, with psyche and self-esteem intact.

And I did manage to learn a few things along the way. Among the things I learned, a few have stayed with me. Before the days of televised football Sunday afternoon was TV’s intellectual hour, and there was a program in the 1950s which started each show with the statement “I disagree with what you are saying, but I will defend to the death your right to say it”, and then go on to some political jibberjabber. But I remembered the opening and learned it to be one of the founding principles of the country.

Another recollection, oddly enough, is that I heard or was told that on Sunday afternoon anyone, literally anyone, could stand on a soapbox at Hyde Park Corner and say whatever they pleased about the Queen. Passersby could stop, listen, and nod in agreement, or jeer. Or they could continue on, shaking their head in displeasure, or amusement. Or they could simply go on their way, and ignore the spectacle altogether.

Some of the things that were, and occasionally are, said about the Queen displease me. Of the world’s great personages, I count Elizabeth II as one of my favorites. But it doesn’t bother me that much, and I’m sure HRH, if she pays attention at all, just takes it in stride.

For one of the other things I learned when I was young is the saying “Sticks and stones may break my bones, but words can never hurt me”.

Something today’s young people, and a surprising number of adults as well, should bear in mind.

‘Angel On My Shoulder’

We all have that little music player in our head. Of course we do, it’s often how we entertain ourselves when we’re not on Facebook or watching Game of Thrones. It’s mostly a benefit. But it can occasionally be a negative, as well. That is, when it won’t turn off when you want it to. Everyone I know, and thus I’ll extrapolate to everyone, complains now and then of “having that song stuck in my head”.

Some personal examples. In 1979 when I was traveling from Milwaukee to Eastern Pennsylvania on a weekly basis, the two hour flight from Philadelphia, or from Allentown — through DC — on Friday evenings were occasionally filled with what was considered that year by the “experts” to be song of the year. “My Sharona”, a song which I loathed, then and still. Similarly, as the calendar turned to 1980 I was occasionally burdened by endless personal repetitions of Donna Summer singing “On the Radio”.

In more recent times, while I love Paul Simon’s “Graceland” album, I like hearing it not so much over and over in my head, or every time I wake up in the middle of the night, as age and nature insist that I do with increasing frequency.

But a while ago, I found a remedy. If I consciously play, in my head, a song from 1961, “Angel On My Shoulder”, sung by Shelby Flint — a big favorite of mine, then and still — it seems to never stick in my head, but instead serves as a sort of eraser, turning off the music player until my mind is otherwise occupied. I don’t know why this is, but I am grateful, and as I employed it again last night to turn off Paul Simon, yet again, it occurred to me to share it.

It was fairly obscure even in 1961, and never rose high on the charts, but it has stayed with me all of these years. So here it is.

Albatross (Two)

The more I read the lines of the Judy Collins song “Albatross”, the more obvious the meeting seems to be. To me. Some may read this explanation and say, “well duh, of course that’s what it means”. Some may find something altogether different. What follows is what I, myself, believe to be the meaning of what I have called one of the saddest songs ever written.

In its opening lines, the song sets the stage for what seems to be a wedding. The guests, the steeple bells, the flowers, the veils. But within, I sense a somber note. Reading (or hearing) these lines one could just as easily envision of a funeral. The mourners, the steeple bells, the flowers, the veils.

After some consideration, I believe the author — Judy Blue Eyes herself — is equating death with that saddest of wedding circumstances, the common tragedy of hopefully past centuries — that of a young woman with dreams of her own, and hope for a bright and shining life, condemned to a loveless, arranged marriage to a wealthy older man, who offers to his prize little more than survival.

Her own insignificance in all of this is demonstrated as those attending the event impute their own beliefs on who she is, or was. Young men ask and answer their own questions, her own feelings are not considered, whether because they lack importance, or because death has rendered her mute.

But back to the wedding. The routine of her existence provides her a place to be, but also separates her from the broader society. She holds herself captive behind an almost opaque barrier. The colors of the day is an archaic reference to the wedding bouquet, and as the crowd gathers she tosses the bouquet, and in doing so casts away her former life, and with it her hopes and dreams.

The next verse defines the dream. The Prince who rides to save her, to shatter the barrier, and deliver her and bring her the life for which she has so longed.

Guests come for a couple of days and go away, not to be seen again. Her view of the world at large is increasingly oblique. What hope she retains fades as the tragedy of her existence becomes who, and all, that she is.

The iron wheels of course could be either a wedding carriage, or a funeral cortege. But the iron bells seem not to be wedding bells at all, but are instead calling her away, alone in death. The final lines repeat, and reinforce the chorus. But now we hear — so I believe — the voice of the husband, calling her away to the living death of her new life. “Come away, alone. With me”.


For many years I have been fascinated by the Judy Collins song “Albatross”, which I have come to believe is one of the saddest songs ever written. The song appeared on Collins’ 1967 album “Wildflowers” and is one of the first which she herself wrote.

I have at various times prowled the internet to learn the meaning of the song lyrics, perhaps an explanation by Collins herself. But all I have discovered are a few on what are mostly obscure poetry blogs, or the ramblings of (ex?) hippies.

These comments are universally shallow, totally inane, and wrong. So, after thinking I should do so for some time, I am concocting my own inane comments which I will offer here shortly. (It’s great to be retired) The lyrics themselves follow:

Albatross by Judy Collins

The lady comes to the gate, dressed in lavender and leather
Looking North to the sea she finds the weather fine
She hears the steeple bells ringing through the orchard
All the way from town
She watches seagulls fly
Silver on the ocean stitching through the waves
The edges of the sky

Many people wander up the hills
From all around you
Making up your memories and thinking they have found you
They cover you with veils of wonder as if you were a bride
Young men holding violets are curious to know if you have cried
And tell you why
And ask you why
Any way you answer

Lace around the collars of the blouses of the ladies
Flowers from a Spanish friend of the family
The embroid’ry of your life holds you in
And keeps you out but you survive
Imprisoned in your bones
Behind the isinglass windows of your eyes

And in the night the iron wheels rolling through the rain
Down the hills through the long grass to the sea
And in the dark the hard bells ringing with pain
Come away alone

Even now by the gate, with your long hair blowing
And the colors of the day that lie along your arms
You must barter your life to make sure you are living
And the crowd that has come
You give them the colors
And the bells, and wind, and the dream

Will there never be a prince who rides along the sea and the mountains
Scattering the sand and foam into amethyst fountains
Riding up the hills from the beach in the long summer grass
Holding the sun in his hands and shattering the isinglass?

Day and night and day again and people come and go away forever
While the shining summer sea dances in the glass of your mirror
While you search the waves for love and your visions for a sign
The knot of tears around your throat is crystallizing into your design

And in the night the iron wheels rolling through the rain
Down the hills through the long grass to the sea
And in the dark the hard bells ringing with pain
Come away alone
Come away alone
With me.