{"id":5370,"date":"2022-05-18T15:40:35","date_gmt":"2022-05-18T14:40:35","guid":{"rendered":"https:\/\/www.shindig-magazine.com\/?p=5370"},"modified":"2022-05-18T15:40:35","modified_gmt":"2022-05-18T14:40:35","slug":"deep-cuts-some-quick-ones-while-theyre-away","status":"publish","type":"post","link":"https:\/\/shindig-magazine.com\/?p=5370","title":{"rendered":"Deep Cuts \u2013 Some Quick Ones, While They\u2019re Away"},"content":{"rendered":"<p><strong>Perhaps it was idiosyncrasies of their material or their untouchability as a performing unit, but THE WHO didn\u2019t attract the abundance of cover versions that peers like the Stones and Kinks did. Beyond a handful of US garage bands, Euro beat acts and Antipodean anomalies, their catalogue remained largely sacrosanct until the late \u201970s powerpop boom and subsequent glut of tribute albums.Allow us to smash our way through 10 exceptions to the rule from the group\u2019s \u201960s\/early \u201970s heyday; from commercial pop arrangements to underground rave-ups and beyond \u2013 as featured in <a href=\"https:\/\/www.silverbackpublishing.rocks\/product\/shindig-issue-127-pre-order-on-sale-5th-may-2022\/\">issue #128<\/a><\/strong><\/p>\n<hr \/>\n<p><iframe loading=\"lazy\" title=\"The Untamed - It&#039;s Not True (1965)\" width=\"640\" height=\"480\" src=\"https:\/\/www.youtube.com\/embed\/fpK2a37EJWA?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><\/p>\n<p style=\"font-weight: 400;\"><strong>It\u2019s Not True<\/strong><\/p>\n<p style=\"font-weight: 400;\"><strong>The Untamed<\/strong><\/p>\n<p style=\"font-weight: 400;\">(A-side, Planet, December 1965)<\/p>\n<p style=\"font-weight: 400;\">Given producer Shel Talmy\u2019s nous when it came to promoting songs written by artists signed to his production company, it\u2019s no surprise that this sprightly Pete Townshend song was foisted upon south coast R&amp;B act The Untamed for their debut single on Talmy\u2019s own Planet label. It\u2019s a super-charged performance that retains the tinkling piano and fuzzed-up power chords of The Who\u2019s own version, released a week earlier on <em>My Generation<\/em>, guaranteeing the single a cache among collectors and connoisseurs of prime mid-60s UK mod-rock.<\/p>\n<p><iframe loading=\"lazy\" title=\"Circles\" width=\"640\" height=\"480\" src=\"https:\/\/www.youtube.com\/embed\/XtDrCOacDsw?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><\/p>\n<p style=\"font-weight: 400;\"><strong>Circles<\/strong><\/p>\n<p style=\"font-weight: 400;\"><strong>The Fleur de Lys<\/strong><\/p>\n<p style=\"font-weight: 400;\">(A-side, Immediate, March 1966)<\/p>\n<p style=\"font-weight: 400;\">Still the daddy! Southampton quartet The Fleur de Lys (sometimes Les Fleur de Lys and Fleur-de-Lys) cut this incendiary version for their second single, released just two weeks after The Who\u2019s own versions (one produced by Shel Talmy, one by the group) had appeared on the B-sides of \u2018A Legal Matter\u2019 and \u2018Substitute\u2019 respectively. The Talmy cut was intended as the follow-up to \u2018My Generation\u2019 but demoted when The Who fled to Reaction Records and instigated the complex contractual wrangles that would plague their 1966 releases. Phil Sawyer\u2019s lead guitar work on the Fleurs\u2019 version remains stunning; undimmed by its ubiquity following myriad appearances on freakbeat and psych comps.<\/p>\n<p><iframe loading=\"lazy\" title=\"The Merseys - So Sad About Us ( The Who )\" width=\"640\" height=\"480\" src=\"https:\/\/www.youtube.com\/embed\/6aufKO1J1_c?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><\/p>\n<p style=\"font-weight: 400;\"><strong>So Sad About Us<\/strong><\/p>\n<p style=\"font-weight: 400;\"><strong>The Merseys<\/strong><\/p>\n<p style=\"font-weight: 400;\">(A-side, Fontana, July 1966)<\/p>\n<p style=\"font-weight: 400;\">One of The Who\u2019s best loved and most covered songs, \u2018So Sad About Us\u2019 was gifted to Tony Crane and Billy Kinsley, who shared management with The Who (Kit Lambert and Chris Stamp), as the follow-up to their #4 hit \u2018Sorrow\u2019. With The Who temporarily hamstrung by the ongoing Shel Talmy legal case, Pete Townshend demoed the song at home in mid-1966. The group debuted the song on a BBC radio session on 13th September and cut the <em>A Quick One<\/em> version in November. The Merseys\u2019 ornate version, reportedly produced by Townshend himself and somewhat over-arranged and over-extended by Phil Dennys in full \u201cwall of sound\u201d mode, failed to chart.<\/p>\n<p><iframe loading=\"lazy\" title=\"The Litter &quot;A Legal Matter&quot;\" width=\"640\" height=\"360\" src=\"https:\/\/www.youtube.com\/embed\/npR2J4RSLlI?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><\/p>\n<p style=\"font-weight: 400;\"><strong>Legal Matter<\/strong><\/p>\n<p style=\"font-weight: 400;\"><strong>The Litter<\/strong><\/p>\n<p style=\"font-weight: 400;\">(B-side, Scotty, January 1967)<\/p>\n<p style=\"font-weight: 400;\">Minneapolis toughniks The Litter undoubtedly alienated their supposed 13-year-old girl audience with debut single and now feral garage-punk classic \u2018Action Woman\u2019. Tucked away on its flip is a heavier, slightly re-titled take of\u00a0<em>My Generation<\/em>\u00a0single \u2018A Legal Matter\u2019. While countless garage bands offered lively covers of early Who 45s, few, if any, added much. The Litter\u2019s version benefits incredibly well from the country-ish melody line and adds extra grunt to the guitar. A decent version of \u2018Substitute\u2019 was also included on their 1967 debut LP <em>Distortions,\u00a0<\/em>which tags original instrumental \u2018The Mummy\u2019 onto the end. Proper fans.<\/p>\n<p><iframe loading=\"lazy\" title=\"Pudding - Magic Bus  1967\" width=\"640\" height=\"360\" src=\"https:\/\/www.youtube.com\/embed\/SMSvJNzuRBg?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><\/p>\n<p style=\"font-weight: 400;\"><strong>Magic Bus <\/strong><\/p>\n<p style=\"font-weight: 400;\"><strong>The Pudding<\/strong><\/p>\n<p style=\"font-weight: 400;\">(A-side, Decca, April 1967)<\/p>\n<p style=\"font-weight: 400;\">Unlike contemporaries like Ray Davies and the Marriott\/Lane partnership, Pete Townshend wasn&#8217;t known as a prolific donor of songs. But there are exceptions and this is one such example (see also The Naturals\u2019 \u2018It Was You\u2019 and Oscar\u2019s \u2018Join My Gang\u2019). The Pudding\u2019s take on \u2018Magic Bus\u2019, released almost 18 months before The Who\u2019s Bo Diddley-goes-heavy version, is more restrained yet remains a perfect example of beat music getting a little daring and\u00a0adding tasteful proto-psychedelic and baroque touches. The Pudding itself has remained shrouded in mystery but, if rumours are to be believed, the group was made up of members of Decca acts of the day such as The Overlanders, Hedgehoppers Anonymous and The Settlers.<\/p>\n<p><iframe loading=\"lazy\" title=\"Joey Covington - Boris the spider 1967 (The Who cover)\" width=\"640\" height=\"480\" src=\"https:\/\/www.youtube.com\/embed\/HTk9cxCmnWU?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><\/p>\n<p style=\"font-weight: 400;\"><strong>Boris The Spider<\/strong><\/p>\n<p style=\"font-weight: 400;\"><strong>Joey Covington<\/strong><\/p>\n<p style=\"font-weight: 400;\">(A-side, Original Sound, May 1967)<\/p>\n<p style=\"font-weight: 400;\">Best remembered as the drummer with post-1969 Jefferson Airplane and its Hot Tuna off-shoot, Covington had been a jobbing drummer around his native Pittsburgh from a tender age and joined Dick Clark\u2019s Caravan Of Stars while still in his teens. \u201cDiscovered\u201d by Kim Fowley and marketed as a singing drummer, his inauspicious solo debut was this endearingly lo-fi crash-bang-wallop run through John Entwistle\u2019s signature song, issued in a picture cover bearing full sponsorship from Vox, whose recently patented wah-wah pedal looms large.<\/p>\n<p><iframe loading=\"lazy\" title=\"Jennifer Warnes - We&#039;re Not Gonna Take It (from Tommy) (1969)\" width=\"640\" height=\"480\" src=\"https:\/\/www.youtube.com\/embed\/koxMyl6O6JA?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><\/p>\n<p style=\"font-weight: 400;\"><strong>We\u2019re Not Gonna Take It <\/strong><\/p>\n<p style=\"font-weight: 400;\"><strong>Jennifer<\/strong><\/p>\n<p style=\"font-weight: 400;\">(From <em>See Me, Feel Me, Touch Me, Heal Me!,<\/em> Parrot, 1969)<\/p>\n<p style=\"font-weight: 400;\">Having gained rave reviews in the LA production of <em>Hair<\/em>, the young Jennifer Warnes was signed to London Records subsidy Parrott. Her second album opens with a brace of songs from <em>Hair<\/em> but closing Side One is a gutsy take of <em>Tommy<\/em>\u2019s epic closer that also gave the album its title. It starts in a near hush before brassy bombast and a raw soul-rock delivery tear the roof off. The track was arranged by Al Capps, who certainly saw great promise in its potential, re-recording it with Sunday league vocal harmony band The Mother Love for their Epic album <em>Carousel Of Dreams<\/em> the following year.<\/p>\n<p style=\"font-weight: 400;\"><img loading=\"lazy\" decoding=\"async\" class=\"aligncenter wp-image-5371\" src=\"https:\/\/www.shindig-magazine.com\/wp-content\/uploads\/2022\/05\/havens-300x295.jpg\" alt=\"\" width=\"350\" height=\"344\" srcset=\"https:\/\/shindig-magazine.com\/wp-content\/uploads\/2022\/05\/havens-300x295.jpg 300w, https:\/\/shindig-magazine.com\/wp-content\/uploads\/2022\/05\/havens-24x24.jpg 24w, https:\/\/shindig-magazine.com\/wp-content\/uploads\/2022\/05\/havens-48x48.jpg 48w, https:\/\/shindig-magazine.com\/wp-content\/uploads\/2022\/05\/havens.jpg 599w\" sizes=\"auto, (max-width: 350px) 100vw, 350px\" \/><\/p>\n<p style=\"font-weight: 400;\"><strong>Tommy<\/strong><\/p>\n<p style=\"font-weight: 400;\"><strong>Richie Havens<\/strong><\/p>\n<p style=\"font-weight: 400;\">(From <em>The Great Blind Degree<\/em>, Stormy Forest, 1971)<\/p>\n<p style=\"font-weight: 400;\">One of the great unsung pop interpreters of the era, Richie Havens tackled numerous Beatles, Bee Gees and Donovan songs on his late \u201960s\/early \u201970s albums. Quite how he ended up covering <em>Tommy<\/em> throwaway \u201cTommy, Can You Hear Me?\u2019 is anybody\u2019s guess, but it seems likely that an association with The Who that led to Havens performing in the 1972 London stage adaptation of the musical (alongside Sandy Denny, Rod Stewart, Steve Winwood, Merry Clayton and, um, Peter Sellers) was already established when he cut it for his eighth album in five years. And could the album title be a nod to the source?<\/p>\n<p><iframe loading=\"lazy\" title=\"LABELLE - WE WON&#039;T GET FOOLED AGAIN\" width=\"640\" height=\"360\" src=\"https:\/\/www.youtube.com\/embed\/RbzJAMLlzKY?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><\/p>\n<p style=\"font-weight: 400;\"><strong>Won&#8217;t Get Fooled Again <\/strong><\/p>\n<p style=\"font-weight: 400;\"><strong>LaBelle<\/strong><\/p>\n<p style=\"font-weight: 400;\">(From <em>Moon Shadow<\/em>, Warner Bros, 1972)<\/p>\n<p style=\"font-weight: 400;\">By opening their sophomore album album with a version of The Who\u2019s then-recent Transatlantic hit LaBelle turned the song into a statement of radical intent; a paean to the unsettled times in which they were living. Patti and her girls take the projected\u00a0closing track for Townshend\u2019s <em>Lifehouse<\/em> project to another level. These ladies sound like they mean business. This blast was recorded \u00a0just a year after their collaboration with Laura Nyro on <em>Gonna Take A Miracle<\/em>, which sounds tame by comparison. On their next album LaBelle would be covering Gil Scott-Heron, but choosing The Who\u2019s song here goes to show what a respected, socially-charged lyricist Townshend was. Heavy Soul and then some.<\/p>\n<p><iframe loading=\"lazy\" title=\"Yvonne Elliman - I Can&#039;t Explain\" width=\"640\" height=\"480\" src=\"https:\/\/www.youtube.com\/embed\/JNG73Tn8WCM?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><\/p>\n<p style=\"font-weight: 400;\"><strong>I Can\u2019t Explain<\/strong><\/p>\n<p style=\"font-weight: 400;\"><strong>Yvonne Elliman<\/strong><\/p>\n<p style=\"font-weight: 400;\">(A-side, Purple, September 1973)<\/p>\n<p style=\"font-weight: 400;\">Hawaiian Elliman landed a starring role in the London production of <em>Jesus Christ Superstar<\/em> in 1970, reprising her role for the \u201973 film adaptation. Her concurrent musical career found her recording Dave Mason, Gilbert O\u2019Sullivan and Stephen Stills songs to critical, if not commercial success. This red-hot soul-rock take on The Who\u2019s \u201965 debut, released on Deep Purple\u2019s prolific and eclectic Purple label, features Townshend himself on lead guitar, alongside an all-star cast including Caleb Quaye, Michael Giles and John Gustafson. Three years later she hit Top Fives around the world with <em>Saturday Night Fever<\/em>\u2019s Bee Gees-penned \u2018If I Can\u2019t Have You\u2019<\/p>\n<p style=\"font-weight: 400;\">FURTHER INVESTIGATION:<\/p>\n<p><iframe loading=\"lazy\" title=\"Harry Stoneham - Let&#039;s See Action\" width=\"640\" height=\"480\" src=\"https:\/\/www.youtube.com\/embed\/YPRo7-F8Fuw?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><\/p>\n<p style=\"font-weight: 400;\">Those early Who anthems attracted a handful of covers from the US garage scene. Cue Oscar &amp; The Majestics, King-Beezz (\u2018I Can\u2019t Explain\u2019), The Bards, The Rovin\u2019 Kind (\u2018My Generation\u2019), The Trojans, The Last Words (\u2018The Kids Are Alright\u2019), The X-Treems, Rain (\u2018Substitute\u2019). Notable outliers during this time-frame include Lord Sitar\u2019s 1968 run at \u2018I Can See For Miles\u2019, Joe Renzetti &amp; Tony Luisi\u2019s electronic redux <em>Electric Tommy (The World\u2019s First Rock Opera) <\/em>in \u201971, The New Seekers\u2019 hit medley of \u2018Pinball Wizard\/See Me Feel Me\u2019 in \u201972 and Harry Stoneham\u2019s Hammond-heavy supermarket muzak reading of \u2018Let\u2019s See Action\u2019.<\/p>\n<p style=\"font-weight: 400;\">\n<p style=\"font-weight: 400;\">Contributors: Rhys Jones, Jon \u2018Mojo\u2019 Mills, Andy Morten, Simon Norfolk<\/p>\n<p style=\"font-weight: 400;\"><em>The Who\u2019s<\/em> My Generation <em>and<\/em> A Quick One <em>half-speed masters are out on 6th May on UMC<\/em><\/p>\n<p>Subscribe to <i>Shindig!<\/i>\u00a0<a href=\"https:\/\/www.silverbackpublishing.rocks\/product\/subscription\/\">here<\/a> to read many more articles like this in our 100 page monthly print magazine<\/p>\n<span class=\"synved-social-container synved-social-container-share\"><a class=\"synved-social-button synved-social-button-share synved-social-size-24 synved-social-resolution-single synved-social-provider-facebook nolightbox\" data-provider=\"facebook\" target=\"_blank\" rel=\"nofollow\" title=\"Share on Facebook\" href=\"http:\/\/www.facebook.com\/sharer.php?u=https%3A%2F%2Fshindig-magazine.com%2Findex.php%3Frest_route%3D%252Fwp%252Fv2%252Fposts%252F5370&#038;t=Deep%20Cuts%20%E2%80%93%20Some%20Quick%20Ones%2C%20While%20They%E2%80%99re%20Away&#038;s=100&#038;p&#091;url&#093;=https%3A%2F%2Fshindig-magazine.com%2Findex.php%3Frest_route%3D%252Fwp%252Fv2%252Fposts%252F5370&#038;p&#091;images&#093;&#091;0&#093;=https%3A%2F%2Fshindig-magazine.com%2Fwp-content%2Fuploads%2F2022%2F05%2Fcovington.jpg&#038;p&#091;title&#093;=Deep%20Cuts%20%E2%80%93%20Some%20Quick%20Ones%2C%20While%20They%E2%80%99re%20Away\" style=\"font-size: 0px;width:24px;height:24px;margin:0;margin-bottom:5px;margin-right:5px\"><img loading=\"lazy\" decoding=\"async\" alt=\"Facebook\" title=\"Share on Facebook\" class=\"synved-share-image synved-social-image synved-social-image-share\" width=\"24\" height=\"24\" style=\"display: inline;width:24px;height:24px;margin: 0;padding: 0;border: none;box-shadow: none\" src=\"https:\/\/shindig-magazine.com\/wp-content\/plugins\/social-media-feather\/synved-social\/image\/social\/regular\/48x48\/facebook.png\" \/><\/a><a class=\"synved-social-button synved-social-button-share synved-social-size-24 synved-social-resolution-single synved-social-provider-twitter nolightbox\" data-provider=\"twitter\" target=\"_blank\" rel=\"nofollow\" title=\"Share on Twitter\" href=\"http:\/\/twitter.com\/share?url=https%3A%2F%2Fshindig-magazine.com%2Findex.php%3Frest_route%3D%252Fwp%252Fv2%252Fposts%252F5370&#038;text=New%20post%20on%20our%20site\" style=\"font-size: 0px;width:24px;height:24px;margin:0;margin-bottom:5px;margin-right:5px\"><img loading=\"lazy\" decoding=\"async\" alt=\"twitter\" title=\"Share on Twitter\" class=\"synved-share-image synved-social-image synved-social-image-share\" width=\"24\" height=\"24\" style=\"display: inline;width:24px;height:24px;margin: 0;padding: 0;border: none;box-shadow: none\" src=\"https:\/\/shindig-magazine.com\/wp-content\/plugins\/social-media-feather\/synved-social\/image\/social\/regular\/48x48\/twitter.png\" \/><\/a><a class=\"synved-social-button synved-social-button-share synved-social-size-24 synved-social-resolution-single synved-social-provider-mail nolightbox\" data-provider=\"mail\" rel=\"nofollow\" title=\"Share by email\" href=\"mailto:?subject=Deep%20Cuts%20%E2%80%93%20Some%20Quick%20Ones%2C%20While%20They%E2%80%99re%20Away&#038;body=New%20post%20on%20our%20site:%20https%3A%2F%2Fshindig-magazine.com%2Findex.php%3Frest_route%3D%252Fwp%252Fv2%252Fposts%252F5370\" style=\"font-size: 0px;width:24px;height:24px;margin:0;margin-bottom:5px;margin-right:5px\"><img loading=\"lazy\" decoding=\"async\" alt=\"mail\" title=\"Share by email\" class=\"synved-share-image synved-social-image synved-social-image-share\" width=\"24\" height=\"24\" style=\"display: inline;width:24px;height:24px;margin: 0;padding: 0;border: none;box-shadow: none\" src=\"https:\/\/shindig-magazine.com\/wp-content\/plugins\/social-media-feather\/synved-social\/image\/social\/regular\/48x48\/mail.png\" \/><\/a><\/span>","protected":false},"excerpt":{"rendered":"<p>Perhaps it was idiosyncrasies of their material or their untouchability as a performing unit, but THE WHO didn\u2019t attract the abundance of cover versions that peers like the Stones and Kinks did. Beyond a handful of US garage bands, Euro beat acts and Antipodean anomalies, their catalogue remained largely sacrosanct until the late \u201970s powerpop [&hellip;]<\/p>\n","protected":false},"author":2,"featured_media":5372,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[28,1009,7],"tags":[906,1013,1012],"class_list":["post-5370","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-features","category-magazine","category-music-videos","tag-deep-cuts","tag-issue-127","tag-the-who"],"aioseo_notices":[],"_links":{"self":[{"href":"https:\/\/shindig-magazine.com\/index.php?rest_route=\/wp\/v2\/posts\/5370","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/shindig-magazine.com\/index.php?rest_route=\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/shindig-magazine.com\/index.php?rest_route=\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/shindig-magazine.com\/index.php?rest_route=\/wp\/v2\/users\/2"}],"replies":[{"embeddable":true,"href":"https:\/\/shindig-magazine.com\/index.php?rest_route=%2Fwp%2Fv2%2Fcomments&post=5370"}],"version-history":[{"count":-4,"href":"https:\/\/shindig-magazine.com\/index.php?rest_route=\/wp\/v2\/posts\/5370\/revisions"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/shindig-magazine.com\/index.php?rest_route=\/wp\/v2\/media\/5372"}],"wp:attachment":[{"href":"https:\/\/shindig-magazine.com\/index.php?rest_route=%2Fwp%2Fv2%2Fmedia&parent=5370"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/shindig-magazine.com\/index.php?rest_route=%2Fwp%2Fv2%2Fcategories&post=5370"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/shindig-magazine.com\/index.php?rest_route=%2Fwp%2Fv2%2Ftags&post=5370"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}