{"id":60123,"date":"2017-07-07T00:00:12","date_gmt":"2017-07-07T00:00:12","guid":{"rendered":"http:\/\/www.metalforcesmagazine.com\/site\/?p=60123"},"modified":"2017-08-23T01:18:16","modified_gmt":"2017-08-23T01:18:16","slug":"feature-riverdogs-07-17","status":"publish","type":"post","link":"https:\/\/www.metalforcesmagazine.com\/site\/feature-riverdogs-07-17\/","title":{"rendered":"RIVERDOGS – The American Dream (July 2017) | Features \/ Interviews @ Metal Forces Magazine"},"content":{"rendered":"

RIVERDOGS – The American Dream<\/strong><\/span>
\nAnthony Morgan<\/span>
\nJuly 2017<\/span><\/p>\n

\n\n\n
\n

Riverdogs (l-r): Marc Danzeisen, Rob Lamothe, Vivian Campbell and Nick Brophy<\/em><\/strong><\/span><\/div>\n<\/td>\n
<\/td>\n<\/tr>\n<\/table>\n<\/div>\n


\nOutside of commitments with Sheffield, England-based hard rock outfit Def Leppard, guitarist Vivian Campbell plies his trade with Last In Line \u2013 Last In Line including founding members of Dio, among other musicians. February 2016 debut full-length studio album Heavy Crown<\/em> arrived through Frontiers, the Italian label hoping to further strengthen its relationship with Vivian.<\/p>\n

\u201cThey approached me shortly after the record was released, and asked me if I would be interested in doing a record with Riverdogs,\u201d he recalls. \u201cThey were big fans of the original Riverdogs record; they wanted to know if we could do an album, if there was interest, that was very similar to the original Riverdogs record in style, substance, and sound. <\/p>\n

\u201cI really enjoyed working with Riverdogs. That first album we made, it\u2019s sort of unfinished business in a way. I think we made a great record, and the record really fell off of a cliff. It never did anything, but it\u2019s gone on to be bit of a cult classic all these decades later, so I really felt we had a point to prove. The fact that Frontiers were also big fans of the original Riverdogs album and wanted something in a similar style kind of gave us a chance to revisit that part of our life and our career. So, I called up the other guys in the band \u2013 Rob Lamothe (vocals and guitars), Nick Brophy (bass), and Marc Danzeisen (drums) \u2013 and I talked it over with them, and everyone was just as enthusiastic to do it. We got together, and California<\/em> (July 2017) is the end result.\u201d<\/p>\n

Riverdog\u2019s self-titled debut studio affair emerged in May 1990. \u201cThere was still a lot of hair metal going on here in LA, and Riverdogs were not like that,\u201d the axeman views. \u201cI mean, yeah, we had a lot of hair like everyone else in rock in those days, but the music we were making was much more organic. It was much more Americana. It was sort of a fusion of Americana and rock meets heavy blues. Kind of like if you imagine Free, but if Paul Kosoff (guitars) and Paul Rodgers (vocals) had moved to southern America for a year and done a record, it would have been influenced that way. The only thing that was comparable to what we were doing back then would have been Jake E. Lee\u2019s band, Badlands, so it was a unique sound. We certainly didn\u2019t sound like a lot of the other acts that were around at the time.\u201d<\/p>\n

Riverdog\u2019s aforementioned self-titled debut jaunt wasn\u2019t originally envisioned with Vivian handling guitar parts. \u201cI kind of fell into being in the band,\u201d he remembers. \u201cWhen I first started working with Riverdogs, I was producing some demos for the band, and they had an original guitar player who wasn\u2019t working out. They weren\u2019t really working well with him, and I was with Whitesnake at the time. I could tell that my tenure with Whitesnake was coming to a close; I could sense that it wasn\u2019t going to be lasting much longer. The Riverdogs, I\u2019d be in the studio with them. At night when the guitar player was gone, they\u2019d ask me \u2018Would you mind doing some guitar parts on this record \u2013 on these demos \u2013 to bolster it?\u2019 I said \u2018Look, I don\u2019t feel comfortable doing that. You have a guitar player in the band \u2013 it\u2019s not my place to step on his toes.\u2019 <\/p>\n

\u201cOver the course of the next couple of months, I parted company with Whitesnake and Riverdogs parted company with their original guitar player, so I decided to join the band full-time. I was very impressed by the talent level, particularly by Rob\u2019s writing and singing. I think he\u2019s a world class singer, and certainly a world class writer. I\u2019ve always had a lot of faith in his talents and in the band, so I took a chance. I joined the band. We started writing some more songs, and did some shows around southern California. We were all living in LA at the time, and seven months later we got a record deal. We signed with CBS Records, and they gave us a budget. What happened after that kind of set us back a long time. <\/p>\n

\u201cWe had a very difficult time finding a producer that we were happy to work with and that our record company was happy that we worked with, so we went back and forth on a number of people. About a year passed, and we realised that we were dwindling the recording budget. We really needed to get into the studio and make a record, so we ended up compromising on our choice of producer. We went into the studio, but after about a month, we realised that the situation with the producer was untenable. It wasn\u2019t gonna work, so we ended up getting rid of that producer. We brought in Jeff Glixman to finish the record, and that worked really, really well. We wished we had started the record with Jeff, so Jeff finished up the recording of the record, and he mixed it. <\/p>\n

\n\n\n
\n

Vivian Campbell<\/em><\/strong><\/span><\/div>\n<\/td>\n
<\/td>\n<\/tr>\n<\/table>\n<\/div>\n

\u201cThis took about a year and a half, from when I joined the band to when we got the record out. During that time, CBS Records had been sold to Sony. There had been a whole field of changes throughout the entire record division; a lot of the people that we had started working with were no longer there, or they had been moved to different departments. Most importantly though, there was a new label head who came in, and I remember he took us out to dinner the week the record was actually released. He said \u2018I\u2019m sorry, but I don\u2019t feel like I can get onboard with this record. I don\u2019t hear it, I don\u2019t feel it. I\u2019d like you to start work on your second album.\u2019 <\/p>\n

\u201cWe were just devastated; we were all heartbroken. It had taken 18 months to get to this stage, and we just couldn\u2019t do it. I personally couldn\u2019t do it, because for the 18 months it had taken to get to that stage, I had been the only guy in the band not drawing a salary from the recording budget. I had been paying my mortgage and all of my bills, and I literally couldn\u2019t afford to not work any more. I had to apologise to the other guys, and say \u2018Hey, look. I can\u2019t do this. I need to move on, and get a job that pays my mortgage.\u2019 <\/p>\n

\u201cThe Riverdogs did continue without me. About a year or so after that, I ended up joining Def Leppard, and I\u2019ve been with Leppard for about 25 years. The Riverdogs did continue, though; they made another couple of records with Nick Brophy moving from bass guitar to lead guitar, and that was it. So, it kind of does feel like unfinished business. We kind of got the rug pulled out from under us on the original album. It\u2019s just nice to get a second bite of the cherry, and to come back and have a second stab at it.\u201d<\/p>\n

The composer has occupied the Def Leppard ranks since April 1992, Riverdogs\u2019 output past the May 1990 debut offering not on the man\u2019s radar. \u201cTo be honest, I\u2019m not familiar with them,\u201d he admits. \u201cI honestly don\u2019t know enough about them to have a comment. I know that Nick was originally a guitar player when he first joined Riverdogs, because there was an existing guitar player that I told you about earlier. Nick moved onto bass, so Nick is a great guitar player. He can certainly play the parts that I can play; he doesn\u2019t play them in the same style or maybe with the same ferocity, but he\u2019s a very, very competent guitar player. To be honest though, I\u2019m not familiar enough with the records they made without me to actually pass any comment.\u201d<\/p>\n

Wind the clock forward just over 27 years, and Vivian\u2019s \u2018second stab\u2019 as part of the Riverdogs fold arrives in the form of July 2017\u2019s California<\/em> \u2013 an album written in different circumstances. \u201cWe had very little budget, and consequently very little time to make this record,\u201d Vivian shares. \u201cWe don\u2019t all live in Los Angeles any more \u2013 myself and Marc Danzeisen still live here. Rob lives in Ontario, Canada, which is 3,000 miles from here, and Nick lives in Nashville, Tennessee, which is about 2,000 miles from here, so Nick and Rob would have to fly in to LA. We had very, very little time to make the record, so we literally had two writing sessions with each session being three days. We would write six songs in three days, and then the following two days we would go into Marc\u2019s home studio and cut the demos, so it was done exceptionally quickly. Having said that, I think that there\u2019s enough collective experience within the band, now after all of these years that we\u2019ve all been in the business, that we were able to do this. I don\u2019t think we could\u2019ve made a record under these circumstances 25 or 30 years ago.\u201d<\/p>\n

The majority of California<\/em>\u2019s tracks originated from a riff authored by the axe-slinger. \u201cIt was mostly just a jam kind of thing,\u201d he discloses. \u201cThey\u2019d say to me \u2018Viv, have you got a riff?\u2019 I\u2019d start playing something, and we\u2019d piece it together. Rob did bring in a couple of songs that he had started with his son Zander. \u2018American Dream\u2019 and \u2018The Revolution Starts Tonight\u2019 were those two ideas; Rob came to us with the basic outline of those songs, and we just had a go at making them Riverdogs songs. Everything except \u2018American Dream\u2019 and \u2018The Revolution Starts Tonight\u2019 pretty much started from a guitar idea of mine. They were very, very collaborative; I\u2019m not saying I came in with songs, but I would start the ball rolling with the guitar riff and we\u2019d make it into a song within a couple of hours. We really, really wrote quickly on this record.\u201d<\/p>\n

Albeit using Riverdogs\u2019 May 1990 self-titled debut foray as a template, Vivian never revisited the platter in preparation. \u201cI didn\u2019t listen to it, although Nick Brophy is not only a talented musician and a bass player, but for many years he has also been a professional recording engineer, producer, and mixer in Nashville,\u201d he commends. \u201cNick went to great lengths to study the sound of the original Riverdogs record, and even talked at length with Jeff Glixman on the phone a couple of times to pick his brain about how to approach recording and mixing the record. I did go to the locker and pull out all of the original amps and guitars that I used on the first Riverdogs record, so to that extent, yeah, we did try to make it as close as possible sonically to the original record.\u201d<\/p>\n

Using the May 1990 self-titled debut LP as a framework, California<\/em> nevertheless avoids simply rehashing its earliest predecessor. \u201cThe only thing that we tried to copy was the intensity, and the style, and the sonics of the record,\u201d the musician pinpoints. \u201cI mean, the songs are totally different, although to an extent it is a concept record. A lot of the lyrical themes on the California<\/em> album are extensions of the lyrical themes from the original record. Rob wrote the lyrics on the record; he told us before we had written any songs, that he had this idea to continue the themes and the stories from the characters. Not all of them are connected, but there is a bit of a thread to the album in that many of the songs on California<\/em> are chapter two of the stories Rob told on the original Riverdogs album. <\/p>\n

\u201cIf you listen to the original Riverdogs album, almost every song included a character and tells a story. I\u2019m not saying every song on the California<\/em> record is an extension of those, but many of them are. Even the name of the album, California<\/em>, there\u2019s certain references in the songs to the late 80s and certain places in southern California that we are familiar with. It\u2019s kind of autobiographical in a way, hence the title California<\/em>.\u201d<\/p>\n

\n\n\n
<\/td>\n\n

<\/span><\/div>\n<\/td>\n
<\/td>\n<\/tr>\n<\/table>\n<\/div>\n

Musical differences exist between California<\/em> and Riverdogs\u2019 May 1990 self-titled debut. \u201cThe major differences I hear between California<\/em> and the debut Riverdogs album is that there\u2019s less acoustic guitar on the California<\/em> album,\u201d Vivian highlights. \u201cThat\u2019s mostly because back in the late 80s when I first joined the band and when we first met, Rob was writing pretty much on acoustic guitar and we tried to marry the acoustic and the Americana sound to my naturally heavy style of guitar playing, like really heavy hard rock, heavy blues. <\/p>\n

\u201cOn this record, when we were writing the songs Rob was playing electric guitar but with a hollow body and a cleaner sort of a sound. In recent years, I think that\u2019s what he has sort of gravitated more towards. There are a couple of songs on California<\/em> where acoustic is prevalent, but I would say there is a lot less acoustic sound than what was on the debut record. To my ears, that\u2019s the main sonic difference. There\u2019s a load of electric guitar; I did a lot of guitar parts on the California<\/em> album as I did on the debut Riverdogs album, and that was also part of the template we were following \u2013 that we wanted it to be very guitar-intense.\u201d<\/p>\n

The performer\u2019s guitar work within the Riverdogs camp does not bear specific hallmarks in comparison to his outside offerings. \u201cNot really, no \u2013 certainly not consciously on my behalf,\u201d he argues. \u201cI just play like I play. It\u2019s really whether there\u2019s enough room in that particular band to come throughout. Riverdogs is definitely more blues-influenced than Def Leppard or Last In Line, so I suppose of everything, I get a chance to channel my inner Paul Kosoff when I do that, or go back to my original roots \u2013 that is Rory Gallagher, who was my first guitar hero. Obviously when I play with Last In Line, it\u2019s much more of a heavy metal approach. It\u2019s much, much more aggressive playing in that band, and then with Def Leppard, the focus is on the vocals. <\/p>\n

\u201cWe\u2019re a very vocal-oriented band; the guitar parts are more a part of the song, as opposed to a vehicle for guitar solos. With Def Leppard, the guitar solos are always very concise. They\u2019re very subservient to the song, which fits the nature of the band, so it\u2019s a different kind of thing. I don\u2019t deliberately… Or I\u2019m certainly not aware of any different hats I put on as far as playing guitar-intense in Def Leppard, Last In Line, or Riverdogs. I just pick up my guitar and play to suit the song, regardless of who the band is.\u201d<\/p>\n

As referenced, Rory Gallagher was an early influence upon Vivian. \u201cThe first album that I ever had was Live In Europe<\/em> from (May) 1972, and the first concert that I ever saw was by Rory Gallagher,\u201d he augments. \u201cIndeed, the second and the third concerts were by Rory Gallagher, because I grew up in Belfast. In the 70s, we didn\u2019t get a lot of acts come over there. Rory was the only one who would come to the city every year, and play the Ulster Hall. Rory was the first guitar player where I dropped the needle on the album, and actually tried to figure out what he was playing. I\u2019m entirely self-taught, and Rory was my first major influence, and I draw a lot of my physical style from him and from that influence. <\/p>\n

\u201cIn later years, the only other guitar player who influenced me more than Rory Gallagher would\u2019ve been Gary Moore, who was probably the most influential guitar player for me. Gary, again, was a guitar player who could play a multitude of styles. When I first heard Gary play, a friend of mine played me Colosseum II. It was Jon Hiseman\u2019s Colosseum, and that was jazz fusion. Even then I wasn\u2019t a huge fan of jazz fusion, I was totally blown away by the intensity that Gary Moore brought to his playing. It didn\u2019t matter what style of music it was; if it was jazz, or if it was hard rock with Thin Lizzy, or if it was blues-influenced with his solo career. Gary Moore always played on a pin; he was always full-on, 100% committed to what he was doing, and that\u2019s what appealed to me more than anything else, was Gary\u2019s style. That was the biggest influence that I drew from him. He played like he meant it, and I\u2019d like to think that I bring that same kind of approach to my playing. <\/p>\n

\u201cI do think that guitar players are capable of playing in more than one style. Music to me, I always make the equation that it\u2019s kind of like food. I love Indian food, but I wouldn\u2019t want to eat it seven days a week. Variety is what it\u2019s all about, and it keeps it fresh and it keeps it interesting. As a guitar player, I like to be able to work with these different genres and in these different capacities. As a musician, I love to do different things. In Def Leppard, the greatest challenge for me is to sing. We all sing in every song, and it\u2019s really, really challenging because we\u2019re doing it live, and we do it really, really well. <\/p>\n

\u201cThen when I step into a band like Riverdogs and Last In Line, the challenge becomes much more guitar-focused. I feel very fortunate as a musician that I can exercise all of these different muscles, and continue to grow as a creative person. That\u2019s why I started doing this in the first place, was to keep exercising that creative muscle. Otherwise, I believe you become stagnant and become jaded about it. Several years ago, I really kind of rediscovered my passion for guitar playing. I don\u2019t want to ever let that slip. I\u2019ve kind of got to keep moving, and keep busy. There\u2019s a saying here in the States: \u2018An object in motion stays in motion.\u2019 So yeah, I wanna remain in motion for a while.\u201d<\/p>\n

\n\n\n
\n

Riverdogs (l-r): Marc Danzeisen, Nick Brophy, Rob Lamothe and Vivian Campbell<\/em><\/strong><\/span><\/div>\n<\/td>\n
<\/td>\n<\/tr>\n<\/table>\n<\/div>\n

Albeit rediscovering his passion for the instrument several years prior, the guitarist had never lost that passion per se. \u201cNo, not at all,\u201d he cautions. \u201cI\u2019ve always had a passion for it, but I\u2019ve kind of learnt how to pace myself. I think I took it a little bit too seriously for a few years. I don\u2019t believe you can approach playing an instrument as purely a mechanical exercise; if your head isn\u2019t in it, your heart\u2019s not gonna be in it. I actually find I play better when I step away from the instrument at times. Like I said, it\u2019s like food. If you eat Indian food three meals a day, seven days a week, you\u2019re gonna tire of it really soon. I like to pace myself. There was a period of time where I would focus on playing guitar too much and I think it was to my detriment, because I was only focused on the mechanical aspect of the instrument and not enough on the emotional aspect.\u201d<\/p>\n

A follow-up to Def Leppard\u2019s October 2015 self-titled full-length is a possibility. \u201cI\u2019m sure there will be,\u201d Vivian muses. \u201cWe\u2019re always writing songs. We just finished a couple of months of touring here in the States. We\u2019ll get to it, but with Leppard, we\u2019re not known as exactly being quick when it comes to making records, so it might be a while.\u201d<\/p>\n

As to which musical styles Def Leppard wish to pursue on future material, the axeman contends that \u201cDef Leppard doesn\u2019t necessarily pursue styles. We kind of make Def Leppard records at our own pace, so whenever the mood takes us, we\u2019ll get in the studio and we\u2019ll make another record, and it\u2019ll sound like Def Leppard.\u201d<\/p>\n

Writing sessions have significantly progressed with respect to the follow-up to Last In Line\u2019s February 2016 debut effort Heavy Crown<\/em>. \u201cWe\u2019re about 60% written for the new Last In Line record,\u201d Vivian updates. \u201cIt sounds absolutely amazing; to me, it\u2019s better than the Heavy Crown<\/em> album. We go into the studio on 11th of September, again with Jeff Pilson (Dokken \/ Foreigner), and we\u2019re super-excited about that.\u201d<\/p>\n

A release date has yet to be pencilled in. \u201cThat\u2019s up to the record company,\u201d the songwriter figures. \u201cThis is the difficult part of being in multiple bands. You don\u2019t want to just release a record and not be able to do anything to promote it, so I\u2019ve got to look at the schedule. We\u2019ll deliver the album to our label by December, or maybe January at the latest. It\u2019s up to them to decide when it\u2019s released.\u201d<\/p>\n

Album number two from Last In Line will not necessarily deviate from the musical style established via Heavy Crown<\/em>. \u201cIt\u2019s going to be very similar, obviously,\u201d Vivian divulges. \u201cI mean, that\u2019s the sound of the band. I would say the songs are a little bit more intricate, and some of the arrangements are a bit more riffy. We\u2019re finding our feet as songwriters; we\u2019re really getting to know Andrew Freeman, and how he writes. I would say it\u2019s more riffy, more intricate, and a little bit more interesting perhaps \u2013 some great hooks. We haven\u2019t written all of the album yet; like I said, we\u2019re about 60% there, but it sounds great. It sound really, really exciting. I\u2019m very pleased with the direction it\u2019s heading in.\u201d<\/p>\n

The as-yet-untitled record will be bereft of the bass contributions of Jimmy Bain (ex-Rainbow), who died on January 23rd, 2016 at the age of 68 due to complications from lung cancer \u2013 several weeks prior to the release of Heavy Crown<\/em>. Replacing is former Ozzy Osbourne member Phil Soussan, whose appointment was confirmed on April 11th of that year. \u201cLosing Jimmy was a huge blow to the band, and obviously it does change the dynamic in terms of songwriting,\u201d the axe-slinger laments. \u201cJimmy, Vinny (Appice, drums) and I worked very, very easily together, when it came to writing especially. <\/p>\n

\u201cWe could just go in and knock out a song like no-one\u2019s business, so yeah, it\u2019s been a little bit different. Phil Soussan is about as close as we can get in terms of style and sound to someone like Jimmy. Phil has been great to work with. We were able to do a bunch of shows with Phil before we attempted the creative process, and the writing stage. I\u2019m happy to say that so far, so good. He\u2019s been onboard with it, and we\u2019re all very pleased with how he has integrated into the band. We all miss Jimmy, though.\u201d<\/p>\n

On June 10th, 2013, Vivian revealed that he had been diagnosed with Hodgkin\u2019s lymphoma. Four years later in 2017, the guitarist\u2019s health is a topic of conversation among fans. \u201cIt\u2019s the least of my concerns, to be honest, but then again, it always was the least of my concerns \u2013 even when it was at its worst,\u201d he tells. \u201cOne thing I can tell you is cancer is not gonna kill me. It\u2019s either gonna be fast cars, or angry women, or too much red wine. I refuse to capitulate to cancer. I\u2019ve always refused to give in to that fucking disease, and I continue my life. I\u2019ve been very fortunate that for the last couple of years, I\u2019ve progressed from doing chemotherapy and doing stem cell transplants and all that nonsense. <\/p>\n

\u201cI was very fortunate that I was able to participate in a clinical trial for a new drug called pembrolizumab; I\u2019m fortunate that I\u2019m one of the few people \u2013 maybe 20-30% of people \u2013 that it actually works for. For the last two years, I\u2019ve been getting an infusion of that for about once a month, and with very, very minimal side effects; no hair loss, minimal nausea, or tiredness, or whatever. I\u2019ve been able to continue my life and my work. To be honest, the hardest thing about all of it has been scheduling the travel, and having to fly back to LA for once a month, from Singapore, or London, or New York, or wherever I happen to be to get an infusion. <\/p>\n

\u201cIt\u2019s the least of my concerns. It\u2019s like going to the dentist to me, now. It\u2019s just routine maintenance, and my doctors are happy enough for me to continue this treatment for the foreseeable future, which is fine by me. Like I said, the hardest part is the scheduling and the travel. It allows me to continue my work, and that\u2019s a big, big part of dealing with it for me. If I wasn\u2019t able to work, this disease would kill me, and of that I\u2019m certain. As I said before though, as long as I can keep working, it makes me happy.\u201d<\/p>\n

The musician\u2019s hefty musical slate is a source of relief, as given his Hodgkin\u2019s lymphoma diagnosis, it would be worrisome if we did not hear from him for several months.\u201cI do think that that\u2019s people\u2019s natural instincts,\u201d he remarks. \u201cWith a cancer diagnosis, you have to put everything in your life on hold and just focus on that 100%. That really depends on the nature of the cancer though, and the severity of it \u2013 what stage your cancer is at. I was very fortunate; I caught my cancer reasonably early, and Hodgkin\u2019s lymphoma is not as severe as stage four lung cancer or brain cancer. It\u2019s nothing like that. There were a couple of years where it was pretty rough, but now I\u2019m at a stage where I can manage it and continue working. <\/p>\n

\u201cI\u2019m glad that I never really put my sole focus on my recovery and stopped working, because I do think for me at least \u2013 everyone thinks and feels differently \u2013 that would have been a death sentence. I had a hard time convincing some of the people I work with that it was better for me, and I realised that they had my best interests at heart. They wanted me to stay at home and convalesce, but that\u2019s not how I roll. Fuck the cancer; I\u2019ve got a big middle finger for it.\u201d<\/p>\n

California<\/em> was released on July 7th, 2017 via Frontiers Music Srl.<\/p>\n

Interview published in July 2017. All promotional photographs by Kelsey Danzeisen.<\/em><\/p>\n","protected":false},"excerpt":{"rendered":"

RIVERDOGS – The American Dream Anthony Morgan July 2017 Riverdogs (l-r): Marc Danzeisen, Rob Lamothe, Vivian Campbell and Nick Brophy Outside of commitments with Sheffield, England-based hard rock outfit Def Leppard, guitarist Vivian Campbell plies his trade with Last In Line \u2013 Last In Line including founding members of Dio, among other musicians. February 2016 […]<\/p>\n","protected":false},"author":1,"featured_media":0,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[23,3607],"tags":[],"class_list":["post-60123","post","type-post","status-publish","format-standard","hentry","category-features","category-riverdogs"],"_links":{"self":[{"href":"https:\/\/www.metalforcesmagazine.com\/site\/wp-json\/wp\/v2\/posts\/60123","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=60123"}],"version-history":[{"count":5,"href":"https:\/\/www.metalforcesmagazine.com\/site\/wp-json\/wp\/v2\/posts\/60123\/revisions"}],"predecessor-version":[{"id":60164,"href":"https:\/\/www.metalforcesmagazine.com\/site\/wp-json\/wp\/v2\/posts\/60123\/revisions\/60164"}],"wp:attachment":[{"href":"https:\/\/www.metalforcesmagazine.com\/site\/wp-json\/wp\/v2\/media?parent=60123"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.metalforcesmagazine.com\/site\/wp-json\/wp\/v2\/categories?post=60123"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.metalforcesmagazine.com\/site\/wp-json\/wp\/v2\/tags?post=60123"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}