{"id":20930,"date":"2014-06-06T00:00:54","date_gmt":"2014-06-06T00:00:54","guid":{"rendered":"http:\/\/www.metalforcesmagazine.com\/site\/?p=20930"},"modified":"2015-06-15T23:57:01","modified_gmt":"2015-06-15T23:57:01","slug":"feature-night-ranger-06-14","status":"publish","type":"post","link":"https:\/\/www.metalforcesmagazine.com\/site\/feature-night-ranger-06-14\/","title":{"rendered":"NIGHT RANGER – Rock Rock Never Stop (June 2014) | Features \/ Interviews @ Metal Forces Magazine"},"content":{"rendered":"

NIGHT RANGER – Rock Rock Never Stop<\/strong><\/span>
\nAnthony Morgan<\/span>
\nJune 2014<\/span><\/p>\n

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Night Ranger (l-r): Joel Hoekstra, Brad Gillis, Jack Blades, Kelly Keagy and Eric Levy<\/em><\/b><\/span><\/div>\n<\/td>\n
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\nAuthoring compositions for June 2014 studio full-length High Road<\/em><\/a>, vocalist \/ drummer Kelly Keagy, vocalist \/ bassist Jack Blades, and guitarist Brad Gillis \u2013 founding members of San Francisco, California-based hard rock outfit Night Ranger \u2013 opted not to pen any material beforehand. High Road<\/em> is Night Ranger\u2019s 11th studio effort overall, early outings not having been written in such fashion.<\/p>\n

\u201cThat was kind of a different idea for us, to actually not have any songs pre-written,\u201d confirms Kelly Keagy. \u201cThe three of us got in a room, and created this music \u2013 we were all there from the beginning. On this album as well as Somewhere In California<\/em> (June 2011), the three of us basically wrote everything. We would just go into the studio, which was our own studio \u2013 we didn\u2019t have to pay for time or anything. We could just set up and jam. We\u2019d just start with a lyric, or just a melody \u2013 we just played out ideas that we had, just random ideas, and then we just started to develop those ideas as it went along. That\u2019s what we did on the last record, too. It had worked so well on Somewhere In California<\/em>, that we thought \u2018Let\u2019s just try this again. Let\u2019s just go in there and be really creative, and just kind of make it up.\u2019 That\u2019s what we did, and then as we developed the songs, or the songs came along… <\/p>\n

\u201cWe had seven or eight ideas, and then we started to look at what the collection looked like. What the statements were gonna be, and what the lyrics and stuff like that were gonna be, and musically and all that. Then we started to look at \u2018Okay. What are we missing here?,\u2019 be it a mid-tempo song, or this kind of a lyric. Usually, when we get to the end of the record, we realise that we need that one song that\u2019s just different from the record, and that\u2019s what happened with the song \u2018High Road\u2019. Colin Blades \u2013 who is Jack\u2019s son \u2013 was around the studio as well, and he had this idea about the song. It wasn\u2019t written; it was just a melodic idea, and some chord changes. <\/p>\n

\u201cIt just kind of sat there for a while, because we were on tour. It took us a while to finish this record, because we were doing so much touring. When we came back to that idea, we realised that it was the perfect thing for it. Jack wrote the first verse and a chorus, and then we put the thing together in one day. It ended up being the first single, did \u2018High Road\u2019. It just felt like it should be a lead single, and so that\u2019s why we chose that song. Plus, it has a really catchy chorus, and it\u2019s pretty rocking. It\u2019s got a great message.\u201d<\/p>\n

Individual endeavours have occupied members somewhat in the past, but this hasn\u2019t been the case so much of late. \u201cWe try to be as creative as possible individually \u2013 outside of the band \u2013 but lately, we haven\u2019t been doing anything else but Night Ranger,\u201d the sticksman concurs. \u201cThe last three or four years, it\u2019s just been a lot of… These two records. We recorded an acoustic live record (24 Strings & A Drummer – Live & Acoustic<\/em>, October 2012), so we\u2019ve been pretty busy with the band. It\u2019s been really fun to kind of be outside, and do some charity work, and stuff outside of the band. I\u2019m part of the Musicians Hall Of Fame in Nashville; I\u2019ve been involved with that just lately, and so that\u2019s been keeping me busy along with Night Ranger. I\u2019m definitely thinking about doing another project, which might be associated with the Musicians Hall Of Fame. It\u2019ll be a little bit different; it might be an album with a collection of songs outside of what Night Ranger does.\u201d<\/p>\n

With regards to Night Ranger\u2019s material, songwriting strength has been referenced. \u201cWhen we first got the band together, we always thought that if we wanna do this, then we wanna do it as strong and as positive as possible,\u201d Kelly remembers. \u201cAs far as the songs, the songs have to mean something to us personally, or some sort of situation that we witnessed or something \u2013 the lyrics really have to make sense. We have to really believe in what we\u2019re singing, even if it\u2019s just a fun lyric, a party atmosphere or whatever, or any situation like that. It has to come from us, and we always thought that it should be that way throughout our career. We should always believe in it, and never just settle. That\u2019s why sometimes it takes us a little longer to do records, because we\u2019re not willing to accept second-rate songs. If they\u2019re just fun songs, they still have to be strong musically.\u201d<\/p>\n

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Night Ranger has inevitably written tunes in the past deemed average upon completion, tunes ultimately discarded in favour of better fare. \u201cOn Somewhere In California<\/em> we had a couple of songs that were fun to play, but they just didn\u2019t mean anything, and so we just kind of dropped them,\u201d the percussionist cites. \u201cThere are all sorts of stuff like that, probably from every album. There are at least one or two songs that are left over, and we might come back and revisit the songs. For instance, it\u2019s so funny. <\/p>\n

\u201cOn High Road<\/em>, there was a chorus that we had in 1980 that we always liked, but we could never find a place for on any album that we\u2019ve ever done. When we were in the studio working on one of these tracks, the old chorus of \u2018Hang On\u2019 came up, which is one of the tracks on the record. It fit the music, and it fit the whole idea of the song, and how the song moved along musically. We used that old chorus, and put it in there. We do go back and revisit old songs that have just been thrown out; we\u2019re like \u2018Is there anything we can use musically?\u2019 It\u2019s an interesting process, to be able to actually go back and listen to something, and go \u2018Is that gonna work now?,\u2019 or \u2018Yeah. It\u2019s just too old of an idea, so forget it.\u2019\u201d<\/p>\n

\u2018Interesting\u2019 is how Kelly deems the process of crafting albums. \u201cIt\u2019s kind of a weird thing, because you\u2019re just opening yourself up, and just trying to create something from nothing,\u201d he ponders. \u201cSometimes choruses come though, and sometimes it\u2019s a little bit harder, but we\u2019re always open to a new idea \u2013 it was really nice having Colin Blades come in with that idea, for example. It just works. It\u2019s like \u2018That\u2019s good. Let\u2019s work on that.\u2019\u201d<\/p>\n

\u201cI would go in there, or Jack would, after the music was done. After a lot of the music was written between the three of us, then Jack and I would go in there, and try to sketch out melody ideas for a verse and a chorus, and how this whole thing is gonna roll from verse to chorus like that. We then started to think \u2018What are we gonna write about? What do you wanna sing? What lyrically makes sense in here?\u2019 It\u2019s just one of those long processes. A lot of times, Jack would take a lyric idea, and he\u2019d finish a verse off, or he\u2019d come in and say \u2018I\u2019ve got this verse, what do you think?\u2019 It\u2019s this big, long process that we just move along throughout the weeks and months, and try to sketch out. Answering your question, I think that I was involved in just about every single song.\u201d<\/p>\n

High Road<\/em>\u2019s lyrical meanderings delve into everyday feelings and situations. \u201cWe try to cover all of the bases that Night Ranger would do normally, which would be personal things like relationships between people, and then also it might be…,\u201d the lyricist augments. \u201cWe have a song called \u2018Knock Knock\u2019, which is just kind of a crazy party song about guys showing up at your door at two in the morning, wanting to party. You\u2019re like \u2018Oh, man. I\u2019ve had enough. Okay, I\u2019ll go with you.\u2019 I don\u2019t know if you\u2019ve ever been in that situation where friends show up at your door, but you just go with it, and you have a great time, and so the song\u2019s like that. Then there are songs like \u2018High Road\u2019, which has that great message in it, about \u2018Hey, you\u2019ve gotta be positive. You\u2019ve gotta keep things positive, because there\u2019s enough negativity in the world.\u2019 <\/p>\n

\u201cThen there\u2019s a song called \u2018Don\u2019t Live Here Anymore\u2019, which is the first ballad on the record. It\u2019s about letting go of anger, about forgetting about what you normally do when somebody or something upsets you, and you\u2019re pissed and you\u2019re angry. It\u2019s like \u2018That man don\u2019t live here anymore. I\u2019m just gonna let that go; I\u2019m gonna move on.\u2019 Then there\u2019s the song \u2018Hang On\u2019, which is just a basic situation of when things get tough in the world, and you feel like you just wanna give up. You\u2019ve gotta hang on to that last positive moment, and that\u2019ll get you out of it. <\/p>\n

\u201cThen there\u2019s \u2018Brothers\u2019, which ends the album; \u2018Brothers\u2019 is all about trying to make everybody see that with the way things are in the world, if we can just lean on each other, then we can help each other that way. A lot of this stuff, sometimes it might seem like a fantasy, but that\u2019s just our hope. When you\u2019re writing songs, you always hope that you can do something to inspire people. That\u2019s what we tried to do on this record, and we try to do that on every record. We try to have some songs in there that people are gonna listen to and go \u2018Man, I relate to that song,\u2019 and \u2018Yeah, I think he\u2019s right when he says that I gotta keep going. What else? Suicide isn\u2019t an option,\u2019 or whatever it might be.\u201d<\/p>\n

Age as well as experience is generally reflected in the nature of resultant lyrical content. \u201cInspiration comes from weird places and in weird ways, so you\u2019ve just got to go with it,\u201d Kelly figures. \u201cIt does have to do with how much life you\u2019ve lived, though. We\u2019ve been together for 35 years \u2013 the three of us, namely Brad, Jack, and myself \u2013 so there\u2019s a lot to tap into there. We\u2019ve done a lot of roadwork, and been in a lot of odd situations \u2013 and good situations, too. We try to bring all of those things together into a collection of ideas on an album, and sometimes you hit it, but sometimes you don\u2019t. Like I said, hopefully we\u2019ve captured something. Hopefully somebody happens to hear it, and go \u2018Yeah, I like that\u2019 or \u2018I agree with that.\u2019 That\u2019s what we try to do.\u201d<\/p>\n

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Night Ranger (l-r): Jack Blades, Joel Hoekstra, Brad Gillis, Kelly Keagy and Eric
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Guitarist Joel Hoekstra and keyboardist Eric Levy round out Night Ranger\u2019s line-up, the pair also having made respective contributions towards High Road<\/em>. \u201cJoel and Eric had some good things,\u201d the singer compliments. \u201cJoel came up with the guitar riff for \u2018I\u2019m Coming Home\u2019; he came up with that iconic guitar riff that\u2019s so hooky. We were all jamming together in the studio, and he came up with that. We just started to roll with it, and we ended up having some really great moments in that musically. When we then got to write the lyric, Jack and I were just kind of like mumbling some words, and mumbling some melodies. We came up with that idea of when you\u2019re away from home and your family, and stuff like that. The time comes for you to head back and go back, and it\u2019s that whole excitement of like \u2018Yeah, I\u2019m gonna get home. I\u2019m coming home.\u2019 <\/p>\n

\u201cThat was great, and then Eric came in with this piano, kind of ballad situation. It was the basic hook in the song \u2018Only For You Only\u2019, a ballad that Jack sang \u2013 I usually sing the ballads. While we were writing this thing and Eric had brought this part in, it was so beautiful that we were just really struck by how amazing this piano part was. I was kind of singing it, because I always seem to sing the ballads on the records. I just put my foot down though, and told Jack \u2018Look, you should sing this because for one, I sing all of the ballads.\u2019 I thought that when we were writing it, he had a good handle on it. After lyrics came into it, Jack really had a feel for it, and so I made him do it. That\u2019s kind of how it happens with us; whoever has a good feel, we let them try to do the vocal, and the same thing with the guitar solos. We\u2019re really open to all of those ideas, of letting somebody try something. It\u2019s like a team that way.\u201d<\/p>\n

As is the case with previous Night Ranger full-lengths, lead vocal duties are shared between Kelly and Jack Blades. \u201cThe song \u2018High Road\u2019 Jack sings, and he just nailed it so well and so right,\u201d Kelly praises. \u201cThen on the second song \u2018Knock Knock Never Stop\u2019, it definitely sounded good for us as one of those hard rocking party songs, driving on the freeway songs, so that felt right for us to split \u2013 I sing the second verse, and then we sing the chorus together. Then there\u2019s the ballad \u2018Only For You Only\u2019, and Jack sings that. I sing \u2018Don\u2019t Live Here Anymore\u2019. I sing \u2018Brothers\u2019; that seemed like it needed a sweetness to it, so I sang that. There\u2019s a song called \u2018Rollin\u2019 On\u2019, which is a pretty hard rocking song. We kind of split that a little bit too, the choruses and stuff like that. <\/p>\n

\u201cOur thought is to make it interesting. We don\u2019t have just one singer \u2013 we have two \u2013 so let\u2019s have those flavours come in and out of each song, and make it three-dimensional instead of one-dimensional, with guitar players playing and two singers. These days, I think it\u2019s really important to keep the interest of the listener. We\u2019ve got two singers, and we\u2019ve got two great lead guitar players. That\u2019s important, you know.\u201d<\/p>\n

Drums were cut in Nashville with Toby Wright, meanwhile. \u201cI think that on this record, it was interesting,\u201d the drummer observes. \u201cUsually I come up with parts on the spot when we\u2019re writing, and so we record everything, but the kind of drummer I am, I just play. Unfortunately, I don\u2019t sit there and think out every single part in every song. I just get in there, and I kind of let the music speak to me, and then I just feel what needs to be played. I\u2019m a really basic drummer. I try not to get in the way too much, and let the song speak for itself. I just make the power of the music come through with the drums, and just reinforce those grooves and stuff, and just make it simple. <\/p>\n

\u201cI don\u2019t know if you know who Toby Wright is, but he did Alice In Chains back in the 90s. He\u2019s an old friend of ours, and he lives in Nashville now. We had done a lot of the demos out in California, but I live in Nashville like I said. I thought \u2018Well, why don\u2019t I take these tracks \u2013 take the music \u2013 into the studio in Nashville, and cut these drums?\u2019 I went into this really old studio called Sound Emporium in Nashville, an old place from the 60s. It had a really nice, big old room and it had great, great old microphones \u2013 an old collection of mikes \u2013 but Toby got an amazing sound on it, this really big drum sound. We brought the drums in there, cut seven tracks in one day, and went back and cut four more a month later. We had the basic tracks that way.\u201d<\/p>\n

Albeit a drummer, Kelly identifies as a vocalist first and foremost. \u201cI think I\u2019m a singer that plays drums,\u201d he judges. \u201cI did start doing both at the same time when I was a young lad, so I kind of developed both of them. I think a passion though, it gets split in a lot of ways a lot of times. Live, definitely. The energy has to flow naturally, and so sometimes emotionally it gets split up, but I try to do them both justice. I am a meat and potatoes kind of drummer, though. I\u2019m a very simple drummer, so that helps vocally. It helps me to be able to create vocally more interesting things. I\u2019m really a big fan of bluesy type vocals, and r \u2019n\u2019 b. I\u2019m usually the one that does stuff like that, but I definitely look at the challenge of singing and playing drums as one of my biggest challenges.\u201d<\/p>\n

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Stepping behind the drumkit and supplying vocals in tandem \u2013 particularly live \u2013 seems theoretically an impossible task to some, but is one which the vocalist mastered a number of years ago. \u201cIf you learn and you start out in the beginning, then you kind of get that whole how to split up your brain and do it, but it should come naturally,\u201d he explains. \u201cI hit the drums pretty hard, but at the same time. I think I\u2019ve developed a technique to get a big sound out of the drums without having to pound too hard, because when you\u2019re singing, you\u2019ve gotta have enough air to do both.\u201d<\/p>\n

Although drum parts were laid down in Nashville, the majority of lead vocals were recorded in California. \u201cWe recorded most of the lead vocals at Jack\u2019s studio, a studio called Cock And Bottle,\u201d Kelly divulges. \u201cThe name comes from an old English pub sign that Jack had gotten at an antique store somewhere \u2013 we put it up in the studio, and called the studio that. I did a lot of background vocals in my house too, though. The three of us have studios, so we were able to split up some of those duties so that we could get a lot of work done faster. I did some of the vocals at home, at my house, like \u2018I\u2019m Coming Home\u2019. \u2018Don\u2019t Live Here Anymore\u2019, I did it at the studio in California. All of Jack\u2019s vocals were done in California, and a lot of the background stuff was done in California as well. <\/p>\n

\u201cThere\u2019s probably about three songs I did in my studio that I sang, so we split some of that stuff up. Drums were done in Nashville, but what we did is we put the songs together and then the arrangements, and recorded them that way. Everybody had their own version of it though, their own copy, and then we could embellish them. We came up with an idea, but we went into the studio in California and put it down. Over the course of touring like eight months, we could keep working, and not have to wait until we got out to California.\u201d<\/p>\n

Nowadays, Night Ranger self-produces its full-lengths. \u201cWe started doing that just out of need,\u201d the sticksman reckons. \u201cIt\u2019s just that when we made a record, we didn\u2019t want to have to wait for a producer to be available. Eventually we just started producing them, and started to enjoy the process of producing, making the decisions and choices ourselves. A lot of times, when you have a producer \u2013 an outside person that\u2019s not involved with the band \u2013 a lot of times maybe they don\u2019t get what we\u2019re trying to portray in a song. <\/p>\n

\u201cIf you then look at it the other way too, a lot of times a producer is good to have \u2013 an outside ear that can maybe suggest some things that you wouldn\u2019t think about. There are some benefits to having a producer, but I think that out of need in the last 15 years, we\u2019ve just decided to do it ourselves. We\u2019ve done so much work in the studio, and all of us have produced things outside \u2013 our solo careers, and stuff like that. I think that we kind of got it, though; we kind of got the idea now.\u201d<\/p>\n

Engineering duties for High Road<\/em> fell to Anthony Fox. \u201cAnthony Fox is a big part of this thing,\u201d Kelly lauds. \u201cHe engineered the last record, too. He would come in at the end of the record, and he\u2019d cut the vocals. He would help us produce the vocals, and get the right performances. He would then really just saturate himself with the songs over those ten days or so. He would then be ready to mix the songs, because he could really tell where everything was. He could find all of those bit parts that were in there; he could hear them come up, like little overdub parts that we wanted to come out. It was really great having Anthony in there; he\u2019s such a great asset to this project. We look forward to working with him again, because he\u2019s got such a great ear \u2013 he\u2019s an amazing engineer. <\/p>\n

\u201cAlso having Toby Wright there when we were cutting the drums in Nashville early on, it kind of set the bar for the sound of this record \u2013 the drums and the vocals, all those big sounds. Basically, he cut the drums, so he set the bar of \u2018Okay, this is how big the record is gonna be, so now the guitars have to come up to this level, and the vocals and the background vocals. The sounds have to be this brilliant to compete with what we\u2019ve created with the drums.\u2019 Those two guys \u2013 Anthony Fox and Toby Wright \u2013 were very important to this project.\u201d<\/p>\n

\u2018Knock Knock Never Stop\u2019 concludes High Road<\/em>\u2019s pair of lead compositions. \u201cThat was a jam idea where the three of us were in the studio, and just started to come up with a riff,\u201d the percussionist discloses. \u201cI think Brad probably came up with an idea on the guitar part. We just started to jam on it and expand on it, and that\u2019s how it came together. We just basically get in there, musically mess around, and jam and play grooves. Once we have a single part \u2013 like say if we have a verse \u2013 then it\u2019s like \u2018Where can this go now? What kind of chord changes can we do to go into this pre-chorus and a chorus?\u2019 We just start to expand on it, and so it just starts to go out from there.\u201d<\/p>\n

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Night Ranger (l-r): Joel Hoekstra, Brad Gillis, Jack Blades, Kelly Keagy and Eric
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The other lead composition in question is High Road<\/em>\u2019s title track of course, music videos having been filmed for both \u2018High Road\u2019 and \u2018Knock Knock Never Stop\u2019. \u201cI think that we wanted to have \u2018High Road\u2019 be the first single,\u201d Kelly recalls. \u201cWe wanted to musically have it be palatable to listen to, but to have that message be the point \u2013 that chorus, that vocal message \u2013 so that one was recorded really quickly, once we had a handle on the song. We knew exactly what everybody was gonna play, so we cut that thing in one day. We cut it in one day, sang everything, came back a week later, and was ready to mix at that point. On the two videos, we did those in about six hours. They\u2019re just simple performance videos \u2013 we didn\u2019t really wanna get too elaborate visually. We wanted it to just be \u2018Okay, here\u2019s the band. You haven\u2019t seen the band in awhile, so here we are.\u2019 We\u2019re just performing that song in a barn in Petaluma, California, and just made it seem real natural. Cool and just simple, that\u2019s what that was.\u201d<\/p>\n

Critiquing High Road<\/em> against past Night Ranger efforts, Kelly naturally views the outing in a favourable light. \u201cI think that this record is probably one of our best, because lyrically and musically I think we did a lot of great things,\u201d the wordsmith estimates. \u201cI think over the course of 35 years, it\u2019s really hard to keep trying and to do new ideas, and not make them seem like we\u2019re just repeating. I think that\u2019s our biggest gripe about making records, that we can\u2019t just repeat but it\u2019s still gotta sound like Night Ranger. I think that everything we do is always gonna sound like Night Ranger when we play together, so we want to keep that going. It sounds like we\u2019re moving ahead and moving forward though, because we just feel like if we don\u2019t keep moving forward, there\u2019s just no point in making records any more. We might as well just keep playing live. A lot of bands decide to do that because they don\u2019t have much to say any more, but I feel like we still have energy to write and record records, and so we\u2019re just gonna keep doing it.\u201d<\/p>\n

High Road<\/em>\u2019s cover artwork pays homage to past Night Ranger cover artworks. \u201cWith the artwork, we wanted to have some little tidbits in there from every single album we\u2019ve ever done,\u201d Kelly tells. \u201cThere are little bits in the album cover that have to do with every single album; there\u2019s a picture, some sort of icon, or logo from every album. It\u2019s all stuck around there somewhere. We wanted to give our fans a little treat, and so we thought it would be interesting to do a play on every single piece of art that we\u2019ve done for our albums. We wanted to put it all throughout the cover; we just wanted to make it interesting, and come up with different ideas for it.\u201d<\/p>\n

High Road<\/em> was released on June 6th, 2014 in Europe (excluding the United Kingdom), on the 9th in the United Kingdom, and subsequently on the 10th in North America, all via Frontiers Music Srl.<\/p>\n

Interview published in June 2014.<\/em><\/p>\n","protected":false},"excerpt":{"rendered":"

NIGHT RANGER – Rock Rock Never Stop Anthony Morgan June 2014 Night Ranger (l-r): Joel Hoekstra, Brad Gillis, Jack Blades, Kelly Keagy and Eric Levy Authoring compositions for June 2014 studio full-length High Road, vocalist \/ drummer Kelly Keagy, vocalist \/ bassist Jack Blades, and guitarist Brad Gillis \u2013 founding members of San Francisco, California-based […]<\/p>\n","protected":false},"author":1,"featured_media":0,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[1242],"tags":[],"class_list":["post-20930","post","type-post","status-publish","format-standard","hentry","category-night-ranger"],"_links":{"self":[{"href":"https:\/\/www.metalforcesmagazine.com\/site\/wp-json\/wp\/v2\/posts\/20930","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.metalforcesmagazine.com\/site\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/www.metalforcesmagazine.com\/site\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/www.metalforcesmagazine.com\/site\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/www.metalforcesmagazine.com\/site\/wp-json\/wp\/v2\/comments?post=20930"}],"version-history":[{"count":18,"href":"https:\/\/www.metalforcesmagazine.com\/site\/wp-json\/wp\/v2\/posts\/20930\/revisions"}],"predecessor-version":[{"id":21530,"href":"https:\/\/www.metalforcesmagazine.com\/site\/wp-json\/wp\/v2\/posts\/20930\/revisions\/21530"}],"wp:attachment":[{"href":"https:\/\/www.metalforcesmagazine.com\/site\/wp-json\/wp\/v2\/media?parent=20930"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.metalforcesmagazine.com\/site\/wp-json\/wp\/v2\/categories?post=20930"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.metalforcesmagazine.com\/site\/wp-json\/wp\/v2\/tags?post=20930"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}