{"id":1354,"date":"2021-11-08T20:17:56","date_gmt":"2021-11-09T01:17:56","guid":{"rendered":"https:\/\/vinyldialogues.com\/VinylDialoguesBlog\/?p=1354"},"modified":"2021-11-22T22:01:42","modified_gmt":"2021-11-23T03:01:42","slug":"doobie-brothers-share-back-stories-of-their-1970s-songs-and-albums","status":"publish","type":"post","link":"https:\/\/vinyldialogues.com\/VinylDialoguesBlog\/doobie-brothers-share-back-stories-of-their-1970s-songs-and-albums\/","title":{"rendered":"Doobie Brothers share the backstories of their 1970s songs and albums"},"content":{"rendered":"\n

Between recording their second and third albums, the Doobie Brothers had been on a roll. The band\u2019s 1971 debut studio album, self-titled The Doobie Brothers<\/em>, wasn\u2019t met with great success, selling maybe 40,000 to 50,000 copies, according to guitarist Pat Simmons.<\/p>\n\n\n\n

But their second album, Toulouse Street<\/em>, released in 1972, was the band\u2019s entry into the national marketplace, and secured the Doobie Brothers their first major national tour, opening for Marc Bolan and T. Rex.<\/p>\n\n\n\n

<\/p>\n\n\n\n

\"\"
Pat Simmons<\/figcaption><\/figure><\/div>\n\n\n\n

\u201cThat was a big moment for us because we were sort of the new kids on the block and that introduced us to a much larger audience,\u201d said Simmons, one of the original co-founders of the band. \u201cWe had these hits off Toulouse Street<\/em> \u2014 \u2018Listen to the Music,\u2019 Jesus Is Just Alright,\u2019 and \u2018Rockin\u2019 Down the Highway,\u2019 \u2014 that got played quite a lot.\u201d<\/p>\n\n\n\n

Simmons and fellow original Doobie Brothers co-founder Tom Johnston had each written quite a few songs, even prior to recording Toulouse Street<\/em>, that didn\u2019t make the cut for that album, so they were looking forward to getting back into the studio and recording their third album in late 1972.<\/p>\n\n\n\n

One song that didn\u2019t make the cut for Toulouse Street<\/em> was \u201cLong Train Runnin\u2019,\u201d a song that the band had played many times onstage that had no real structure to it. It didn\u2019t have any lyrics, either.<\/p>\n\n\n\n

\u201cTommy would get up and just kind of scat through it and sing the blues. He\u2019d take a guitar solo and I\u2019d take a guitar solo and we\u2019d just play it out as a funky groove, sort of a Latin funk. And we\u2019d just sort of jam along,\u201d said Simmons.<\/p>\n\n\n\n

Producer Ted Templeman would offer direction. He suggested that words be put to the jam before the band recorded it at what was then called Amigo Studios, a division of Warner Brothers, in North Hollywood, California.<\/p>\n\n\n\n

\u201cThe solo itself became a harmonica solo, which was kind of cool,\u201d said Simmons. \u201cWe didn\u2019t have that in the original arrangement, which was a lot of guitars.<\/p>\n\n\n\n

\u201cI sat in with Ted for a while, while the guys were working on the track \u2014 bass drums, guitars \u2014 and then I went into an adjacent space in between the walls and I took my acoustic guitar and I started playing around,\u201d said Simmons. \u201cAnd I came up with my part while the guys were cutting the track. As soon as the track was cut, I went in and laid down my track.\u201d<\/p>\n\n\n\n

Simmons said the song was kind of a straight-ahead, blues-rock tune.<\/p>\n\n\n\n

\u201cIt was something we could all sink our teeth into,\u201d he said. \u201cWe had been playing the tune for the better part of two-and-a-half to three years on and off in our club sets, but we really didn\u2019t have this creative arrangement. It really came to life not only as a studio track, but as a live tune. We got something really cool out of it, and to this day, we still play the track. It\u2019s the highlight of our set, I think.\u201d<\/p>\n\n\n\n

\u201cLong Train Runnin\u2019\u201d peaked at No. 8 on the Billboard Hot 100 in 1973.<\/p>\n\n\n\n

<\/p>\n\n\n\n

\"\"
Tom Johnston<\/figcaption><\/figure><\/div>\n\n\n\n

Another song from The Captain and Me<\/em> that ended up as a Top 20 single \u2014 reaching No. 15 \u2014 was \u201cChina Grove.\u201d<\/p>\n\n\n\n

According to Johnston, the band was touring in a Winnebago in 1972 and had just started to get national recognition. While driving through Texas, they passed a road sign that read \u201cChina Grove.\u201d<\/p>\n\n\n\n

\u201cBut I didn\u2019t see it, or if I did, I didn\u2019t remember it,\u201d said Johnston. \u201cWe were headed into San Antonio at the time and my thinking was that I saw the name \u2018China Grove\u2019 without having it really register in the frontal lobe.\u201d<\/p>\n\n\n\n

Johnston wrote the song in early 1973 based on a piano lick by Billy Payne.<\/p>\n\n\n\n

\u201cAnd I made up all these ridiculous lyrics about sheriffs and samurai swords and all that kind of stuff,\u201d said Johnston. \u201cBut at that time, I still believed it was a completely fictional place.\u201d<\/p>\n\n\n\n

In 1975, Johnston got into a cab in Houston, Texas. He and the cabdriver struck up a conversation, and once the cabbie realized that Johnston was a member of the Doobie Brothers, he posed a question.<\/p>\n\n\n\n

\u201cHe said, \u2018What made you write a song about that little old town, China Grove?\u2019 I said, \u2018What town, China Grove? I\u2019ve never heard of a town called China Grove.\u2019 He said, \u2018Yeah, it\u2019s right down there, like the song says, right outside San Antonio.\u2019 That blew me out of the water, it really did,\u201d said Johnston.  \u201cThat was a trip. I thought he was pulling my chain.\u201d<\/p>\n\n\n\n

Although none of the other songs on The Captain and Me<\/em> charted as singles, the hidden gem may be the Simmons-penned song, \u201cSouth City Midnight Lady.\u201d<\/p>\n\n\n\n

Simmons said that the band had a sense that some songs \u2014 like \u201cLong Train Runnin\u2019\u201d and \u201cChina Grove\u201d \u2014 had commercial appeal and the potential to get wide play on the radio. But \u201cSouth City Midnight Lady\u201d was what the band members called an \u201calbum track,\u201d and not a commercial type of song.<\/p>\n\n\n\n

The song is about living in Los Gatos, California, which is at the southern end of the bay area. Simmons was living with his girlfriend at the time and was trying to write a romantic song.<\/p>\n\n\n\n

\u201cI don\u2019t necessarily look at it as that personal, but it probably is,\u201d said Simmons. \u201cI was up all night writing that song. By 4 or 5 in the morning, I was pretty much finished with the song and I had the arrangement idea pretty much together.<\/p>\n\n\n\n

\u201cIt was interesting because a friend of mine showed up in the morning and knocked on my door. It was pretty early, around 7 a.m., and I was surprised that he showed up that early. And he was surprised I was awake that early, but in fact I had been up all night,\u201d said Simmons.<\/p>\n\n\n\n

<\/p>\n\n\n\n

\"\"
John McFee<\/figcaption><\/figure><\/div>\n\n\n\n

\u201cI remember playing the song for him and him liking it and then I think I went to bed. I can\u2019t even remember if my girlfriend liked the song, but I\u2019m sure she thought it was OK.\u201d<\/p>\n\n\n\n

There is one song on Side Two of The Captain and Me <\/em>that seems to be an odd fit. It\u2019s a 48-second guitar instrumental track titled \u201cBusted Down Around O\u2019Connelly Corners.\u201d The song is listed on the record between \u201cEvil Woman\u201d and \u201cUkiah,\u201d but one has to actually look at the record itself to know that the song is there. It\u2019s not listed on the back of the album cover.<\/p>\n\n\n\n

\u201cThat was a tune that a friend of mine had written,\u201d said Simmons. \u201cThere\u2019s actually more to it than what\u2019s on the record.\u201d <\/p>\n\n\n\n

Before he joined the Doobie Brothers, Simmons hung out in southern California perfecting his craft. After playing club gigs, Simmons and his friends would oftentimes head to another friend Mike O\u2019Connelly\u2019s place, in an apartment building on Main Street in Los Gatos to relax, play their guitars, and sing.<\/p>\n\n\n\n

\u201cWe\u2019d sit around and somebody would play a song and the rest of us would sing along. It was kind of like a poor man\u2019s Bluebird Cafe,\u201d said Simmons, referring to the famous club in Nashville, Tennessee, that attracts singers and songwriters to its intimate setting.<\/p>\n\n\n\n

They\u2019d hang out at Mike\u2019s place so much that they started referring to the apartment building as \u201cO\u2019Connelly Corners.\u201d <\/p>\n\n\n\n

\u201cOne time Mike had walked outside the apartment building and was getting in the car to go someplace,\u201d said Simmons. \u201cHe had a joint on him or something, and the cops arrested him.\u201d And that was the inspiration for the song \u201cBusted Down Around O\u2019Connelly Corners,\u201d written by James Earl Luft.<\/p>\n\n\n\n

By the time the Doobie Brothers were recording The Captain and Me<\/em>, producer Ted Templeman had become a big fan of Simmons\u2019 \u201ctraditional ragtime guitar picking.\u201d <\/p>\n\n\n\n

\u201cSo Ted said, \u2018Hey, Pat, you got something else you can put on this album,\u2019\u201d recalled Simmons. <\/p>\n\n\n\n

And that\u2019s how the first 48 seconds of \u201cBusted Down Around O\u2019Connelly Corners\u201d made it onto Side Two of The Captain and Me<\/em>.<\/p>\n\n\n\n

Album covers of that era were oftentimes considered works of art that complemented the songs on the album, and The Captain and Me<\/em> is no different.<\/p>\n\n\n\n

Simmons said the band members used to sit around and conceptualize ideas for album covers. Doobie Brothers drummer John Hartman was always an idea guy, according to Simmons.<\/p>\n\n\n\n

\u201cHe was a little eccentric and he liked to come up with crazy concepts, musically and visually,\u201d said Simmons. \u201cWe were brainstorming one time \u2014 we used to sit around and smoke \u2026  something \u2026 well into the night.<\/p>\n\n\n\n

\u201cWe had several ideas floating around and we came up with the idea of the coach and the outfits \u2014 sort of the Old English or early American formal wear, that really didn\u2019t mean anything. We just thought, \u2018What would that be like?\u2019\u201d<\/p>\n\n\n\n

Luckily, the Doobie Brothers were under contract to Warner Brothers, a company that, in addition to producing music, also produced films. <\/p>\n\n\n\n

Hearing about the band members\u2019 idea of dressing in old formal wear, Templeman\u2019s production assistant, Venita Brazier, went to Warner Brothers\u2019 costume department. Armed with the sizes of each band member, she found the appropriate coats, shirts, hats \u2014 everything the Doobie Brothers needed for the photo shoot.<\/p>\n\n\n\n

Not only did Brazier gather the clothes, but she also got hold of the coach, the horses, and, along with the band\u2019s then-manager Bruce Cohn, scouted the perfect location for the photo session: Interstate 5 on the way out of Los Angeles, a stretch called \u201cThe Grapevine\u201d on the southern end of the San Joaquin Valley.<\/p>\n\n\n\n

A few years earlier, an earthquake had knocked down parts of the freeway, and Brazier had somehow secured permission from the proper authorities to use a not-yet-repaired section of the fallen freeway for The Captain and Me <\/em>photo shoot.<\/em><\/p>\n\n\n\n

\u201cWe thought it was a unique spot, so we got up next to the highest part of the freeway that was being rebuilt,\u201d said Simmons. \u201cHandlers from Warner Brothers brought out the horses and the carriage. It was probably the most expensive album cover ever.<\/p>\n\n\n\n

\u201cWe shot it in one day. It worked real well, though,\u201d said Simmons. \u201cTommy had written this song called \u2018The Captain and Me,\u2019 which was kind of a poetic, obtuse song. So we looked through the titles of the songs and we thought that it definitely worked in terms of this obscure reference to the captain. Who is the captain? I don\u2019t know. But it worked with the visual somehow and with how it all went down. It was kind of like these guys came in a time machine and landed on the freeway.\u201d<\/p>\n\n\n\n

Nearly 50 years after the release of The Captain and Me<\/em>, Simmons called it \u201ca moment in time when we were hitting on all cylinders.\u201d <\/p>\n\n\n\n

\u201cThere are a lot of great tracks on that record that we still enjoy playing live,\u201d he said. \u201cAt some point, songs from all our albums are incorporated as we go along into our shows now. But that record always seems to have certain songs that always turn up in the set, simply because they\u2019re more iconic or they\u2019re what people expect to hear.<\/p>\n\n\n\n

\u201cAnd we enjoy playing them because there\u2019s that moment of connection, to see the recognition on people\u2019s faces. That really means a lot to us as performers,\u201d said Simmons.<\/p>\n\n\n\n

Things began to change for the Doobie Brothers by the end of 1974. Life on the road had taken its toll on Johnston and by the spring of 1975, his health was so precarious that he was hospitalized with a bleeding ulcer.<\/p>\n\n\n\n

Jeff \u201cSkunk\u201d Baxter, co-lead guitarist for Steely Dan until Donald Fagen and Walter Becker decided to quit touring in 1974, had joined the Doobies that same year as third lead guitarist. <\/p>\n\n\n\n

Baxter had already been working with the Doobies off and on for a few years, contributing a steel pedal guitar on \u201cSouth City Midnight Lady\u201d for the Captain and Me<\/em> album and on the band\u2019s first No. 1 hit, \u201cBlack Water,\u201d written by Simmons for the What Once Were Vices Are Now Habits<\/em> album in 1974. <\/p>\n\n\n\n

When Johnston fell ill and couldn\u2019t tour with band, it was Baxter who recommended that fellow Steely Dan songwriter and keyboardist Michael McDonald join the group.<\/p>\n\n\n\n

\u201cWhen I joined, I thought it was going to be a two- to six-month gig. I thought I\u2019d better save my money because I wasn\u2019t going to make this much money for a while,\u201d said McDonald. \u201cThat\u2019s how I lived as musician back then. If I was making a good payday for a while, I didn\u2019t spend it all. I was living pretty much hand-to-mouth.\u201d<\/p>\n\n\n\n

According to McDonald, nobody knew what was going to come next for the Doobie Brothers. But with the absence of Johnston and the addition of McDonald, the band was changing.<\/p>\n\n\n\n

McDonald credits Baxter with playing an integral part in that change. <\/p>\n\n\n\n

\u201cJeff was a big part of bringing me not only into the band but of the music changing,\u201d said McDonald. \u201cThe arrangements of our songs and his guitar style and jazz influences brought a lot to the band and to my songs.\u201d<\/p>\n\n\n\n

More importantly, McDonald said, was that Simmons and the rest of the guys in the band were on board with the band\u2019s change of musical direction.<\/p>\n\n\n\n

\u201cOne of the biggest components in all of this was really the absence of Tommy because he was such a huge influence in the direction of the band up to that point,\u201d said McDonald. \u201cJust by the virtue of him taking a hiatus and being gone from the next recording, that left a big hole, for better or worse. But it was a  collective effort to try and fill that void that was responsible for the band changing.\u201d<\/p>\n\n\n\n

Johnston hadn\u2019t actually quit the band at that point; he just needed to get off the road and away from it for a while. Warner Brothers was leery about the next album, Takin\u2019 It To The Streets<\/em>, released in March 1976, which would be the first album to feature McDonald on lead vocals and take the band in a completely different direction.<\/p>\n\n\n\n

<\/p>\n\n\n\n

\"\"
Michael McDonald<\/figcaption><\/figure><\/div>\n\n\n\n

But the title track, written by McDonald and with him on lead vocals, went to No. 13 on the U.S. Billboard Hot 100 singles chart, and another McDonald-penned song, \u201cIt Keeps You Runnin\u2019\u201d made it to No. 37 on the same chart. The strength those two songs propelled the album to No. 8 on the Billboard Pop Albums chart.<\/p>\n\n\n\n

McDonald said that the idea behind \u201cIt Keeps You Runnin\u2019\u201d \u2014 that love can be a traumatic experience \u2014 was one that he had written and rewritten many times.<\/p>\n\n\n\n

\u201cEvery time you go through it, it reshapes you in a different way. There\u2019s post-traumatic growth and post-traumatic stress that comes from love,\u201d said McDonald. \u201cIt\u2019s kind of finding that balance between the two as you go on in your life. Learning to be a little more accepting of love on its own terms with each time. And at the same time, not gaining an overall phobia of the thing to where you avoid it at all costs. It\u2019s just kind of learning how to ease back into something that you know has consequences. You don\u2019t want to get too pessimistic about it as you go through life.\u201d<\/p>\n\n\n\n

The idea for \u201cTakin\u2019It To The Streets\u201d came to McDonald as he was driving through Southern California on the way to a gig. <\/p>\n\n\n\n

\u201cI just heard the intro in my head and I knew that it had something to do with a gospel kind of feeling track,\u201d he said. \u201cI couldn\u2019t wait to get to the gig so I could figure out on the piano what it was.\u201d<\/p>\n\n\n\n

Once at the gig, McDonald set up his piano as fast as he could, plugged everything in and then just sat there for a moment, looking for the chord that he was hearing in his head.<\/p>\n\n\n\n

\u201cI just picked at it long enough to where the guitar player said to me, \u2018Hey, we gotta start.\u2019 I was lost in looking for this elusive melodic rhythmic song,\u201d he said. \u201cBasically the song kind of happened in those couple of minutes. The rest of the song was pretty simple. It was just trying to figure out what that intro meant and where it was going musically.\u201d<\/p>\n\n\n\n

The lyrics for \u201cTakin\u2019 It To The Streets,\u201d followed soon thereafter. McDonald had been talking to his sister, who was a college student at the time.<\/p>\n\n\n\n

\u201cShe was in a social economics class or something, and she was a typical college student, and the weight of the world\u2019s problems were solvable by those as smart as college students,\u201d said McDonald. \u201cWe talked about how in the inner city, the bottom was dropping out for people and they were falling through the cracks. So when I sat down to finish the song once I got home to my apartment that night, it just seemed like that was a natural marriage of ideas and melody.\u201d<\/p>\n\n\n\n

McDonald and the Doobies didn\u2019t recapture the magic again until December 1978, when the band released its eighth studio album, Minute by Minute<\/em>.<\/p>\n\n\n\n

It would be the band\u2019s first album without any contribution from Johnston, and the last album to feature Baxter and John Hartman as members of the group.<\/p>\n\n\n\n

But it provided the Doobies with their second No. 1 single, \u201cWhat a Fool Believes,\u201d sung by McDonald and co-written by McDonald and Kenny Loggins; and the title track, co-written by McDonald and Lester Abrams, that reached No. 14 on the U.S. Billboard Hot 100 singles chart. <\/p>\n\n\n\n

The album itself would get to No. 1 on the Billboard Pop Albums chart in 1979, spending 87 weeks there. In the spring of 1979, the album was the best-selling record in the U.S. for five consecutive weeks and was eventually certified 3x platinum by the Recording Industry Association of America.
The Minute by Minute<\/em> album would also win a Grammy for \u201cBest Pop Vocal Performance by a Duo or Group\u201d; and \u201cWhat A Fool Believes\u201d earned the band three Grammys, including Song of the Year and Record of the Year.<\/p>\n\n\n\n

McDonald and Loggins had never written together \u2014 in fact they had never even met \u2014 before collaborating on \u201cWhat A Fool Believes.\u201d<\/p>\n\n\n\n

Doobies bassist Tiran Porter had run into Loggins during his travels and Loggins told Porter he was interested in writing with McDonald. So Porter passed along Loggins\u2019 phone number to McDonald.<\/p>\n\n\n\n

\u201cI called Kenny and we made a date to get together,\u201d said McDonald. \u201cI had never met the guy and I was kind of nervous. He was coming to my house and my sister came over to clean up because it was usually pretty trashed and because she decided she was going to meet Kenny Loggins and thought that at the very least, I shouldn\u2019t have my dirty laundry in a pile in the living room.\u201d<\/p>\n\n\n\n

While his sister was hustling around cleaning the place and doing the laundry, McDonald was sitting at his piano playing around with a riff and verse that had been in his head for a while but hadn\u2019t gone anywhere.<\/p>\n\n\n\n

\u201cI knew there was something to it, but I just never had the wherewithal to finish the song,\u201d said McDonald. \u201cI had played the riff for producer Ted Templeman a few times and he said it was something that I should finish.\u201d<\/p>\n\n\n\n

McDonald was doodling with that riff when Loggins rang the doorbell.<\/p>\n\n\n\n

\u201cHe had driven down from Santa Barbara. When I opened the door, and before I could say anything, Kenny said, \u2018You were just playing something on the piano. Is that something new?\u2019 And I said, \u2018Yeah, I was thinking about playing it for you.\u2019 And he said, \u2018That\u2019s the one I want to work on,\u2019\u201d said McDonald. <\/p>\n\n\n\n

Over the next two days, the two worked on the song. They came up with the bridge and chorus and the rest of the lyrics. <\/p>\n\n\n\n

\u201cWe got as far as the bridge on the first day and we weren\u2019t sure what to do in the chorus,\u201d said McDonald. \u201cWe stumbled into the chorus on the next day and the key change and that seemed to work. The rest of the lyric idea just kind of unraveled for us from there.\u201d<\/p>\n\n\n\n

The original Doobie Brothers would dissolve in 1982 and McDonald would go on to a successful solo career and continue to write with Loggins as well as collaborate with other artists. <\/p>\n\n\n\n

The Doobie Brothers would re-establish themselves in 1987 and today have a full touring schedule with original members Johnston and Simmons and multi-instrumentalist John McFee, who originally joined the band in 1979. The band, elected to the Rock and Roll Hall of Fame in 2020, celebrated it\u2019s 50th anniversary with a tour that stretched over 2021 and 2022, delayed a bit because of the pandemic. McDonald rejoined the band for the anniversary tour.<\/p>\n\n\n\n

McDonald fondly recalls his time with the Doobie Brothers the first time around, though.<\/p>\n\n\n\n

\u201cIt was just an opportunity, a door that opened rather suddenly with the Doobies. Those guys were so open to anything I had to offer and it caught me by surprise, really. I did not expect that having come from another situation with Steely Dan, where Don [Fagen] and Walter [Becker] were the sole source of all the material,\u201d said McDonald. \u201cI learned a great deal from them, however. That was probably my whole songwriting education in a way. I grew up writing songs, but it was a real crash course to learn a different approach to arrangement, chords, melody, working with Donald and Walter.<\/p>\n\n\n\n

\u201cSo when I came to the Doobies, it was very fortuitous for me to have come from that gig, with all these kind of fresh ideas on how to write a song, what a song structure could be. And then all of a sudden to be surprised at how open \u2014 everybody from the producer [Ted Templeman] to the band members \u2014 and generous they were in allowing me to participate in the writing.\u201d <\/p>\n\n\n\n

<\/p>\n\n\n\n

\"\"
The Doobie Brothers<\/figcaption><\/figure>\n\n\n\n

<\/p>\n","protected":false},"excerpt":{"rendered":"

Between recording their second and third albums, the Doobie Brothers had been on a roll. The band\u2019s 1971 debut studio album, self-titled The Doobie Brothers, wasn\u2019t met with great success, selling maybe 40,000 to 50,000 copies, according to guitarist Pat Simmons. But their second album, Toulouse Street, released in 1972, was the band\u2019s entry into […]<\/p>\n","protected":false},"author":104,"featured_media":1356,"comment_status":"open","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[6],"tags":[],"class_list":["post-1354","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-tvdbook"],"_links":{"self":[{"href":"https:\/\/vinyldialogues.com\/VinylDialoguesBlog\/wp-json\/wp\/v2\/posts\/1354"}],"collection":[{"href":"https:\/\/vinyldialogues.com\/VinylDialoguesBlog\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/vinyldialogues.com\/VinylDialoguesBlog\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/vinyldialogues.com\/VinylDialoguesBlog\/wp-json\/wp\/v2\/users\/104"}],"replies":[{"embeddable":true,"href":"https:\/\/vinyldialogues.com\/VinylDialoguesBlog\/wp-json\/wp\/v2\/comments?post=1354"}],"version-history":[{"count":7,"href":"https:\/\/vinyldialogues.com\/VinylDialoguesBlog\/wp-json\/wp\/v2\/posts\/1354\/revisions"}],"predecessor-version":[{"id":1370,"href":"https:\/\/vinyldialogues.com\/VinylDialoguesBlog\/wp-json\/wp\/v2\/posts\/1354\/revisions\/1370"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/vinyldialogues.com\/VinylDialoguesBlog\/wp-json\/wp\/v2\/media\/1356"}],"wp:attachment":[{"href":"https:\/\/vinyldialogues.com\/VinylDialoguesBlog\/wp-json\/wp\/v2\/media?parent=1354"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/vinyldialogues.com\/VinylDialoguesBlog\/wp-json\/wp\/v2\/categories?post=1354"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/vinyldialogues.com\/VinylDialoguesBlog\/wp-json\/wp\/v2\/tags?post=1354"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}