{"id":145400,"date":"2024-09-04T06:51:31","date_gmt":"2024-09-04T13:51:31","guid":{"rendered":"https:\/\/acousticguitar.com\/?p=145400"},"modified":"2024-09-04T07:17:55","modified_gmt":"2024-09-04T14:17:55","slug":"approaching-his-80th-birthday-legendary-roots-singer-songwriter-chris-smither-reflects-on-lessons-from-the-stage-studio-and-woodshed","status":"publish","type":"post","link":"https:\/\/acousticguitar.com\/approaching-his-80th-birthday-legendary-roots-singer-songwriter-chris-smither-reflects-on-lessons-from-the-stage-studio-and-woodshed\/","title":{"rendered":"Approaching His 80th Birthday, Legendary Roots Singer-Songwriter Chris Smither Reflects on Lessons from the Stage, Studio, and Woodshed"},"content":{"rendered":"\n<p>Chris Smither has been a force on the American folk and blues scene for over half a century, touring nationally and internationally at a steady pace on the arc of up-and-comer to journeyman to veteran to living legend. His driving rhythmic thumb and tapping feet have anchored audiences in the groove, while his harmonized guitar lines and craggy baritone have articulated a world-weary yet hopeful gravitas.&nbsp;<\/p>\n\n\n\n<p>Smither was raised in New Orleans, where his father was a professor at Tulane University. He attended middle school in Paris and college in Mexico City, and moved to Boston in the \u201960s during the heyday of the folk revival. One of his friends from the Boston folk scene was Bonnie Raitt, whose cover of Smither\u2019s \u201cLove You Like a Man\u201d (gender adapted to \u201cLove Me Like a Man\u201d) became a hit and a longtime staple of her live shows. The loping rhythm of Smither\u2019s guitar part on that song, exactly (and thunderously) mirrored in the percussive lyric \u201cYou better believe me when I tell you\/ I can love you like a, love you like a man,\u201d established his signature strengths as a songwriter from the get-go, launching him on a sometimes rocky but ultimately fruitful path.<\/p>\n\n\n\n<p>Almost six decades later, his 20th release, <em><a href=\"https:\/\/amzn.to\/4cU5G81\">All About the Bones<\/a>,<\/em> is helmed by long-time producer David \u201cGoody\u201d Goodrich, and the release tour will carry Smither through his 80th birthday this November. Smither has been my mentor, road companion, and friend for 30 years. When <em>Acoustic Guitar<\/em> invited me to interview Smither, a neighbor in western Massachusetts, I was delighted to sit down in his study\u2014he is the kind of guy who doesn\u2019t have an office; he has a study\u2014to talk about how his performance and writing have evolved over the years.<\/p>\n\n\n\n<figure class=\"wp-block-embed is-type-video is-provider-youtube wp-block-embed-youtube wp-embed-aspect-16-9 wp-has-aspect-ratio\"><div class=\"wp-block-embed__wrapper\">\n<iframe title=\"Chris Smither - &quot;All About the Bones&quot; (LIVE)\" width=\"1290\" height=\"726\" src=\"https:\/\/www.youtube.com\/embed\/lCVckm6nTT4?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen><\/iframe>\n<\/div><\/figure>\n\n\n\n<p><strong>You\u2019ve said, \u201cMy guitar playing is one-third Mississippi John Hurt, one-third Lightnin\u2019 Hopkins, and one-third me.\u201d How did you make that happen? Did you listen to the records, or did you study with a particular mentor?<\/strong><\/p>\n\n\n\n<p>No, I didn\u2019t study with anybody. I really started out with trying to copy both of them.<\/p>\n\n\n\n<p><strong>From LPs?<\/strong><\/p>\n\n\n\n<p>Oh yeah, you know, it was an endless process of picking the needle up and putting it back two grooves and try to listen to that. And the two of them, they\u2019re very different kind of approaches. Hopkins has that dead thumb blues. He just sort of pedals on an E or an A, depending on what part of the progression he\u2019s in, and does little lead lines against it, whereas Hurt has a syncopated, alternating thumb. But what flipped me out about [Hurt] was that he was playing the melody <em>and<\/em> he was singing it! [<em>Sings<\/em>] \u201cAll you ladies gather round\u2026\u201d&nbsp;<\/p>\n\n\n\n<p>When you combine Hopkins\u2014think of that thumb\u2014and play melody lines but then harmonize the melody line: that\u2019s the part that was me. I realized that it didn\u2019t have to be single notes. It puts a whole other level into play.<\/p>\n\n\n\n<p><strong>One tune of yours that immediately leaps to mind is \u201cLeave the Light On.\u201d The entire thing is harmonized.<\/strong><\/p>\n\n\n\n<p>It is harmonized below the [melody] line.&nbsp;<\/p>\n\n\n\n<p><strong>There\u2019s the hard edge of the blues, and then the bright, soft edge of the blues, and John Hurt was very much on the soft edge of it all.<\/strong><\/p>\n\n\n\n<p>John Hurt didn\u2019t even think of himself as a blues player. In fact, most of those guys didn\u2019t think of themselves as blues players. If you asked him about it, he\u2019d say, \u201cI\u2019m a songwriter.\u201d It was the people who ran record companies that turned him into a blues player. They\u2019d said, \u201cOh, you\u2019re the blues.\u201d \u201cOkay. I\u2019ll be a blues singer.\u201d<\/p>\n\n\n\n<p><strong>Who were your strongest influences in terms of songwriting?<\/strong><\/p>\n\n\n\n<p>The two guys that that sort of woke me up were Randy Newman and Paul Simon, for two entirely different reasons. Paul Simon, because he, to my ear, understands the intrinsic value of the sound of words. Just the way they fit in your mouth. When you\u2019re saying it, you don\u2019t care what it means. And Randy is just the consummate&#8230; I always compare him to Matthew Brady, the Civil War photographer. He just paints the picture. You can\u2019t take your eyes off of it. And it\u2019s so clear! The whole thing just projects. [Listening to Newman\u2019s] \u201cSo Long Dad\u201d\u2014you just go, \u201cOh, my God. It\u2019s real. He didn\u2019t leave a single thing out!\u201d<\/p>\n\n\n\n<p><strong>What was the live concert that made you think, this is my calling?<\/strong><\/p>\n\n\n\n<p>When I was 18 or 19 at Tulane University, I went to a Julian Bream concert. He was a wonderful guitar player, but it was the performance. I mean, he just sat there! And the way he communicated was just captivating. It wasn\u2019t what he was playing, but the way he just talked about it. He was so comfortable, you hardly noticed when he stopped talking and started playing. It was all seamless, just so transporting.&nbsp;<\/p>\n\n\n\n<figure class=\"wp-block-image size-large\"><img data-recalc-dims=\"1\" fetchpriority=\"high\" decoding=\"async\" width=\"768\" height=\"1024\" src=\"https:\/\/i0.wp.com\/acousticguitar.com\/wp-content\/uploads\/2024\/07\/Smither-Mulvey-credit-Carol-Young-3.jpg?resize=768%2C1024&#038;ssl=1\" alt=\"Peter Mulvey and Chris Smither\" class=\"wp-image-145407\" srcset=\"https:\/\/i0.wp.com\/acousticguitar.com\/wp-content\/uploads\/2024\/07\/Smither-Mulvey-credit-Carol-Young-3.jpg?resize=768%2C1024&amp;ssl=1 768w, https:\/\/i0.wp.com\/acousticguitar.com\/wp-content\/uploads\/2024\/07\/Smither-Mulvey-credit-Carol-Young-3.jpg?resize=375%2C500&amp;ssl=1 375w, https:\/\/i0.wp.com\/acousticguitar.com\/wp-content\/uploads\/2024\/07\/Smither-Mulvey-credit-Carol-Young-3.jpg?resize=225%2C300&amp;ssl=1 225w, https:\/\/i0.wp.com\/acousticguitar.com\/wp-content\/uploads\/2024\/07\/Smither-Mulvey-credit-Carol-Young-3.jpg?resize=1152%2C1536&amp;ssl=1 1152w, https:\/\/i0.wp.com\/acousticguitar.com\/wp-content\/uploads\/2024\/07\/Smither-Mulvey-credit-Carol-Young-3.jpg?w=1200&amp;ssl=1 1200w\" sizes=\"(max-width: 768px) 100vw, 768px\" \/><figcaption class=\"wp-element-caption\">Peter Mulvey and Chris Smither. Photo: Carol Young<\/figcaption><\/figure>\n\n\n\n<p><strong>Do you remember a single piece of music from that show?&nbsp;<\/strong><\/p>\n\n\n\n<p>I don\u2019t<em>.<\/em> I just remember his presence and how much I liked him. And that was a thing that took a long time for me to incorporate. I wasn\u2019t even conscious of what it was that I liked, and it took me an awfully long time to understand performance. Because when I first started, it was something I didn\u2019t want anything to do with. I was one of these people who would say, \u201cI\u2019m gonna sit up on stage, and I\u2019m gonna play, and if you can\u2019t get it just from what I\u2019m doing&#8230;\u201d<\/p>\n\n\n\n<p><strong>You didn\u2019t talk much in your shows.<\/strong><\/p>\n\n\n\n<p>I just played. I think there was a degree of arrogance, but I didn\u2019t understand how much of it was rooted in fear. I mean, there\u2019s always the uncertainty, the abject fear.<\/p>\n\n\n\n<p><strong>Awkward self-consciousness. My guess is you just weren\u2019t getting the result you wanted\u2014you wanted to communicate.<\/strong><\/p>\n\n\n\n<p>It takes a long, long time. I shouldn\u2019t say that categorically, because there are people who are natural-born performers of one sort or another.&nbsp;<\/p>\n\n\n\n<p>There\u2019s all kinds of performance. People will sit up there and hit you over the head with everything they got, right? I aimed for a certain amount of comfort. I realized early that one of the things that makes performer look uncomfortable is looking at their left hand when they play. And I thought to myself, Doc Watson doesn\u2019t have to watch what he\u2019s doing. Why do I have to? I\u2019d consciously play without ever looking down. For the most part, if you can, stay focused on your audience. It generates a comfort level within the audience that then bounces back to you, so that you feel more comfortable.<\/p>\n\n\n\n<p><strong>At first you\u2019re worrying about whether the audience likes you, but you learn to focus on them.<\/strong><\/p>\n\n\n\n<p>Yes, that\u2019s totally true. And not only do you focus on them in that sense, but also\u2014and this took me a long, long time to learn\u2014this is not an adversarial situation. They want you to be good! And they will hold you up for a certain amount of time until you are. All you have to do is fulfill that expectation. It\u2019s not \u201cShow me\u201d at all. It\u2019s \u201cYou can do this! Come on! Yeah!\u201d<\/p>\n\n\n\n<p><strong>As for your guitar playing, between your thumb and tapping your feet, that\u2019s the rhythm section. That\u2019s the sound you built. I\u2019m presuming you wanted that engine running underneath, because the content of your songs up top, the payload, is highly intellectual. It has to do with consciousness, ethics and goodness, absent some superstitious belief. You didn\u2019t sit down and say, \u201cAlright, this is heavy stuff. I better anchor it with some rock and roll.\u201d&nbsp;<\/strong><\/p>\n\n\n\n<p>No, it wasn\u2019t that. It was simply that what I really wanted to do was just rock and roll. But I didn\u2019t want a band, because I didn\u2019t want anybody to find out how little I knew! And that\u2019s what Lightnin\u2019 Hopkins did for me. I was living in Mexico City at the time, and I was already playing a lot of guitar and singing all these Joan Baez and Bob Dylan songs and such. My roommate played me Lightnin\u2019 Hopkins, and I loved it, because it was one man rock and roll. It was perfect for me.&nbsp;<\/p>\n\n\n\n<p>When I got up to the Northeast, I realized that I was going to have to write more songs, because nobody was going to get anywhere just doing covers. So what am I going to talk about? I\u2019m not going to talk about getting behind the mule and plowing, right? I\u2019m not going to talk about juke joints and roadhouses. I\u2019m the son of a university professor; what do I talk about?<\/p>\n\n\n\n<p><strong>Let\u2019s talk a bit about recording. David \u201cGoody\u201d Goodrich has produced all your records for over ten years now.&nbsp; Most producers embellish, but over time, I think he\u2019s said, \u201cWell, why don\u2019t we break open the thing you\u2019re doing?\u201d<\/strong><\/p>\n\n\n\n<p>My playing has really expanded. Probably as long as 20 years ago, he said, \u201cPlay me a major scale.\u201d So I did. \u201cNow play me a minor scale.\u201d And I managed to get through it, but I couldn\u2019t rip it off. And he said, \u201cGet to the point where you can do a minor scale as fast as you can do a major scale. It\u2019ll make all the difference.\u201d He was right. It changed me and opened up all kinds of things.&nbsp;<\/p>\n\n\n\n<p>[As a producer] he says, \u201cI want to put you at the center of things. Everything else is peripheral.\u201d But what he did was change the setting. He contributed to changing me in such a way that I was more open to the peripherals. So it\u2019s gotten to the point now where he says, \u201cYou want to try something?\u201d and I don\u2019t even question. I say, \u201cOf course, I\u2019ll try it.\u201d I might not like it, but I\u2019m not going to say no!<\/p>\n\n\n\n<p><strong>The core of your new record,<em> All About the Bones<\/em>, is you and Goodrich, with Zak Trojano on drums. BettySoo sings and plays accordion, and Chris Cheek plays saxophone.<\/strong><\/p>\n\n\n\n<p>BettySoo sings, and it\u2019s the most intimate thing in the world. There\u2019s a quality to her voice and to the harmonies that just gives me the shivers. And her accordion touches, there are places where you don\u2019t know whether it\u2019s an accordion or an organ.&nbsp;<\/p>\n\n\n\n<p>Chris Cheek is amazing. I knew nothing about him, except that Goody came up and said, \u201cWe\u2019ve got a world-class saxophone player, one of the two or three best.\u201d I had no idea what was going to happen.<\/p>\n\n\n\n<figure class=\"wp-block-image size-large\"><img data-recalc-dims=\"1\" decoding=\"async\" width=\"683\" height=\"1024\" src=\"https:\/\/i0.wp.com\/acousticguitar.com\/wp-content\/uploads\/2024\/07\/Chris-Smither-photo-Hugh-OConnor.jpg?resize=683%2C1024&#038;ssl=1\" alt=\"Chris Smither\" class=\"wp-image-145406\" srcset=\"https:\/\/i0.wp.com\/acousticguitar.com\/wp-content\/uploads\/2024\/07\/Chris-Smither-photo-Hugh-OConnor.jpg?resize=683%2C1024&amp;ssl=1 683w, https:\/\/i0.wp.com\/acousticguitar.com\/wp-content\/uploads\/2024\/07\/Chris-Smither-photo-Hugh-OConnor.jpg?resize=333%2C500&amp;ssl=1 333w, https:\/\/i0.wp.com\/acousticguitar.com\/wp-content\/uploads\/2024\/07\/Chris-Smither-photo-Hugh-OConnor.jpg?resize=768%2C1152&amp;ssl=1 768w, https:\/\/i0.wp.com\/acousticguitar.com\/wp-content\/uploads\/2024\/07\/Chris-Smither-photo-Hugh-OConnor.jpg?resize=200%2C300&amp;ssl=1 200w, https:\/\/i0.wp.com\/acousticguitar.com\/wp-content\/uploads\/2024\/07\/Chris-Smither-photo-Hugh-OConnor.jpg?resize=1024%2C1536&amp;ssl=1 1024w, https:\/\/i0.wp.com\/acousticguitar.com\/wp-content\/uploads\/2024\/07\/Chris-Smither-photo-Hugh-OConnor.jpg?w=1200&amp;ssl=1 1200w\" sizes=\"(max-width: 683px) 100vw, 683px\" \/><figcaption class=\"wp-element-caption\">Chris Smither. Photo: Hugh O&#8217;Connor<\/figcaption><\/figure>\n\n\n\n<p><strong>You\u2019ve been a parent now for 20 years. I\u2019m sure you\u2019ve noticed that kids are listening to what you say\u2014and also watching what you do. You have a lot to say in your songs, but I think that the audience keeps coming back because they can also sense that you are walking the walk.<\/strong><\/p>\n\n\n\n<p>Yes, I understand. It goes back to what we were saying a few minutes ago. There\u2019s all kinds of performance and all kinds of ways to approach it which are effective in their own way. Rock and roll is a kind of a joyful bombast. But my approach to performance\u2014and again it took me so long to come to it\u2014I realized that I don\u2019t want to sing at people. I try to individualize the audience, because what I want them to feel is that I\u2019m confiding in them. I\u2019m not lecturing. I want them to have a sense of almost as though someone were coming up to you and saying, \u201cListen: I wouldn\u2019t say this to just anybody. I got something to tell you.\u201d That\u2019s how I want it to feel\u2014that I\u2019m talking right to you.<\/p>\n\n\n\n<p><strong>You\u2019ve told me about this guy who comes up to you every couple years at one of your shows, and says\u2026<\/strong><\/p>\n\n\n\n<p>\u201cYou continue to tell me the story of my life.\u201d<\/p>\n\n\n\n<p><strong>In singing what you know, you tell someone about themselves.<\/strong><\/p>\n\n\n\n<p>That would be the hope.&nbsp;<\/p>\n\n\n\n<p><strong>Your publishing company is called Homunculus Music. The homunculus is a medieval idea. What is it again, exactly?<\/strong><\/p>\n\n\n\n<p>In Latin, homunculus literally means \u201clittle man.\u201d It appears in lots of different guises. If you think of the mind within the mind, there\u2019s a Cartesian concept of the man in your mind that\u2019s pulling all the little levers. He\u2019s the homunculus. I just liked it. One of my earliest songs was called \u201cHomunculus.\u201d It starts, \u201cThere\u2019s a man that lives inside my mind\/With eyes that see at the end of time.\u201d<\/p>\n\n\n\n<p><strong>There\u2019s an old saying: the way you do anything is the way you do everything. I\u2019m beginning to see that with you: the way you play guitar is the way you talk about philosophy, is the way you communicate with an audience. Are you experiencing that from the inside? Is it all beginning to rhyme that way?&nbsp;<\/strong><\/p>\n\n\n\n<p>I\u2019m more comfortable. We spend our whole lives trying to build a viable construct, a framework within which we can comprehend the world. And at some point during everyone\u2019s life, they discover that, \u201cOh, crap, I got it wrong. I\u2019ve got to tear most of this down and start all over again.\u201d Or at least halfway down and start all over again. And then finally, if you\u2019re lucky, you get to a point where, oh my God, \u201cI think this is gonna hold together until the end!\u201d&nbsp;<\/p>\n\n\n\n<p>And that\u2019s where I\u2019ve gotten. I\u2019ve gotten to that point where I say, \u201cI think I have a model that I can live with that won\u2019t betray me.\u201d And it has a lot to do with getting rid of pretense and pride. A little humility, and the realization that you\u2019ve got to leave space for the stuff you don\u2019t know.<\/p>\n\n\n\n<p><strong>And then you take that room to room to room to room, with a guitar. People pick up on it.<\/strong><\/p>\n\n\n\n<p>And that\u2019s the job. <\/p>\n\n\n\n<hr class=\"wp-block-separator has-alpha-channel-opacity\"\/>\n\n\n\n<h3 class=\"wp-block-heading\"><strong>What He Plays&nbsp;<\/strong><\/h3>\n\n\n\n<p>Chris Smither plays custom Collings 0002H 12-fret cutaways, built with Sitka spruce and East Indian rosewood, both at home and on the road. He uses bronze Elixir strings, original coating, light gauge but substituting a .013 for the high E, and plays with a Golden Gate thumbpick and two Jim Dunlop brass fingerpicks.<\/p>\n\n\n\n<p>For amplification, he uses Fishman undersaddle pickups and an L.R. Baggs Para Acoustic DI. Under his feet is a piece of particle board with an attached PZM condenser mic.<\/p>\n\n\n\n<p>\u201cAfter years of consideration I\u2019ve come to the conclusion that, within limits, gear is more important as a topic of conversation than as a way of making music,\u201d Smither notes. \u201cIt\u2019s just not that important.\u201d <em>\u2014PM <\/em><\/p>\n\n\n\n<div>\n<a href=\"https:\/\/store.acousticguitar.com\/products\/no-348-sep-oct-2024\" name=\"magazine\"><img data-recalc-dims=\"1\" decoding=\"async\" style=\"width: 150px; height: 198px; margin: 0px 20px 10px 0px;\" src=\"https:\/\/i0.wp.com\/acousticguitar.com\/wp-content\/uploads\/2024\/07\/001_348_Cover-150px.jpg?w=1290&#038;ssl=1\" alt=\"Acoustic Guitar magazine cover for issue 348\"><\/a>\n<p style=\"font-family: sans-serif; margin: 0px 0px 15px 0px;\">This article originally appeared in the <a href=\"https:\/\/store.acousticguitar.com\/products\/no-348-sep-oct-2024\">September\/October 2024<\/a> issue of <em>Acoustic Guitar<\/em> magazine.<\/p>\n<\/div>\n\n\n\n<figure class=\"wp-block-embed is-type-video is-provider-youtube wp-block-embed-youtube wp-embed-aspect-16-9 wp-has-aspect-ratio\"><div class=\"wp-block-embed__wrapper\">\n<iframe title=\"Roots Legend Chris Smither | Acoustic Guitar Sessions\" width=\"1290\" height=\"726\" src=\"https:\/\/www.youtube.com\/embed\/ta-HaLHwsPo?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen><\/iframe>\n<\/div><\/figure>\n","protected":false},"excerpt":{"rendered":"<p>When Acoustic Guitar invited me to interview Smither, I was delighted to sit down in his study to talk about how his performance and writing have evolved over the years.<\/p>\n","protected":false},"author":5,"featured_media":145404,"comment_status":"open","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"advanced_seo_description":"When Acoustic Guitar invited me to interview Smither, I was delighted to sit down in his study to talk about how his performance and writing have evolved over the years.","jetpack_seo_html_title":"","jetpack_seo_noindex":false,"_jetpack_memberships_contains_paid_content":false,"footnotes":"","jetpack_publicize_message":"","jetpack_publicize_feature_enabled":true,"jetpack_social_post_already_shared":false,"jetpack_social_options":{"image_generator_settings":{"template":"highway","enabled":false},"version":2}},"categories":[1693],"tags":[1951],"ppma_author":[1953],"class_list":["post-145400","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-songwriters","tag-september-october-2024"],"blocksy_meta":[],"jetpack_publicize_connections":[],"jetpack_sharing_enabled":true,"jetpack_featured_media_url":"https:\/\/i0.wp.com\/acousticguitar.com\/wp-content\/uploads\/2024\/07\/Chris-Smither-photo-Jo-Chattman-4.jpg?fit=1200%2C826&ssl=1","authors":[{"term_id":1953,"user_id":0,"is_guest":1,"slug":"peter-mulvey","display_name":"Peter Mulvey","avatar_url":{"url":"https:\/\/acousticguitar.com\/wp-content\/uploads\/2024\/09\/peter-mulvey.jpg","url2x":"https:\/\/acousticguitar.com\/wp-content\/uploads\/2024\/09\/peter-mulvey.jpg"},"user_url":"","last_name":"","first_name":"","job_title":"","description":""}],"_links":{"self":[{"href":"https:\/\/acousticguitar.com\/wp-json\/wp\/v2\/posts\/145400","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/acousticguitar.com\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/acousticguitar.com\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/acousticguitar.com\/wp-json\/wp\/v2\/users\/5"}],"replies":[{"embeddable":true,"href":"https:\/\/acousticguitar.com\/wp-json\/wp\/v2\/comments?post=145400"}],"version-history":[{"count":5,"href":"https:\/\/acousticguitar.com\/wp-json\/wp\/v2\/posts\/145400\/revisions"}],"predecessor-version":[{"id":145834,"href":"https:\/\/acousticguitar.com\/wp-json\/wp\/v2\/posts\/145400\/revisions\/145834"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/acousticguitar.com\/wp-json\/wp\/v2\/media\/145404"}],"wp:attachment":[{"href":"https:\/\/acousticguitar.com\/wp-json\/wp\/v2\/media?parent=145400"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/acousticguitar.com\/wp-json\/wp\/v2\/categories?post=145400"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/acousticguitar.com\/wp-json\/wp\/v2\/tags?post=145400"},{"taxonomy":"author","embeddable":true,"href":"https:\/\/acousticguitar.com\/wp-json\/wp\/v2\/ppma_author?post=145400"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}