{"id":4587,"date":"2025-08-19T13:30:00","date_gmt":"2025-08-19T13:30:00","guid":{"rendered":"https:\/\/musictechohio.online\/site\/every-garbage-album-ranked\/"},"modified":"2025-08-19T13:30:00","modified_gmt":"2025-08-19T13:30:00","slug":"every-garbage-album-ranked","status":"publish","type":"post","link":"https:\/\/musictechohio.online\/site\/every-garbage-album-ranked\/","title":{"rendered":"Every Garbage Album, Ranked"},"content":{"rendered":"<div>\n<figure><img decoding=\"async\" src=\"https:\/\/static.spin.com\/files\/2025\/08\/GettyImages-1322491709.jpg\" width=\"\" height=\"\" alt=\"Shirley Manson, Duke Erikson, Steve Marker, and Butch Vig of Garbage in 1995. (Credit: Paul Bergen)\"><\/figure>\n<p>Wisconsinite drummer Butch Vig, Nebraskan guitarist Duke Erikson, and Minnesotan guitarist Steve Marker met in the late \u201970s in Madison, Wisconsin. Although Erikson and Vig\u2019s bands Spooner and Fire Town each released a couple of well-received albums, it was really Smart Studios, which Vig and Marker founded in Madison in 1983, that made the Midwestern trio into key players in the burgeoning indie rock scene.<\/p>\n<p>By the mid-\u201990s, Vig was one of alternative rock\u2019s top producers after working on game-changing hits like Nirvana\u2019s <em>Nevermind<\/em> and the Smashing Pumpkins\u2019 <em>Siamese Dream<\/em>. He also worked steadily with Erikson and Marker as a team, remixing singles for acts like Depeche Mode and Nine Inch Nails, and the trio wanted to channel the beat-heavy aesthetic of their remixes into a band. Marker saw the Scottish band Angelfish\u2019s video \u201cSuffocate Me\u201d on MTV\u2019s <em>120 Minutes<\/em>, and sought out Angelfish\u2019s Shirley Manson to be the lead singer of their new project.<\/p>\n<p>More from Spin:<\/p>\n<ul>\n<li>\n\t\t\t<a href=\"https:\/\/www.spin.com\/2025\/08\/shudder-to-think-embarking-on-fall-reunion-tour\/\">Shudder To Think Embarking On Fall Reunion Tour<\/a>\n\t\t<\/li>\n<li>\n\t\t\t<a href=\"https:\/\/www.spin.com\/2025\/08\/the-struts-and-glam\/\">Wham Bam, Thank You Glam!<\/a>\n\t\t<\/li>\n<li>\n\t\t\t<a href=\"https:\/\/www.spin.com\/2025\/08\/the-reinvention-of-deadmau5\/\">The \u2018Reinvention\u2019 of deadmau5<\/a>\n\t\t<\/li>\n<\/ul>\n<figure class=\"wp-block-image aligncenter size-full\"><img loading=\"lazy\" decoding=\"async\" width=\"900\" height=\"1150\" src=\"https:\/\/static.spin.com\/files\/2025\/08\/GettyImages-86137328.jpg\" alt=\" (Credit: Maryanne Bilham Photography\/Redferns)\" class=\"wp-image-470595\" srcset=\"https:\/\/static.spin.com\/files\/2025\/08\/GettyImages-86137328.jpg 900w, https:\/\/static.spin.com\/files\/2025\/08\/GettyImages-86137328-340x434.jpg 340w, https:\/\/static.spin.com\/files\/2025\/08\/GettyImages-86137328-768x981.jpg 768w, https:\/\/static.spin.com\/files\/2025\/08\/GettyImages-86137328-498x636.jpg 498w\" sizes=\"auto, (max-width: 900px) 100vw, 900px\"><figcaption class=\"wp-element-caption\">  (Credit: Maryanne Bilham Photography\/Redferns)<\/figcaption><\/figure>\n<p>With Manson as their charismatic redheaded frontwoman, the three seasoned American producers\/musicians dubbed their new band Garbage, releasing a self-titled debut album on August 15, 1995. Becoming an alternative radio fixture with singles like \u201cOnly Happy When It Rains,\u201d \u201c#1 Crush,\u201d and \u201cSpecial,\u201d Garbage has sold over 17 million albums worldwide, and the band\u2019s eighth proper album <em>Let All That We Imagine Be the Light <\/em>was released in May. With the transatlantic quartet heading out on tour this fall and still going strong after 30 years, here\u2019s a look back at the best and worst of Garbage\u2019s catalog.<\/p>\n<\/p>\n<h2 class=\"wp-block-heading\" id=\"h-9-copy-paste-2024\"><strong>9. <em>Copy\/Paste<\/em> (2024)<\/strong><\/h2>\n<figure class=\"wp-block-image size-large\"><img loading=\"lazy\" decoding=\"async\" width=\"1290\" height=\"1290\" src=\"https:\/\/static.spin.com\/files\/2025\/08\/GARBAGE_COPYPASTE_1LPCOLOUR_4099964106930_RSDBFINDIESON_4ed47aae_thumbnail_4-1290x1290.webp\" alt=\"\" class=\"wp-image-470599\" srcset=\"https:\/\/static.spin.com\/files\/2025\/08\/GARBAGE_COPYPASTE_1LPCOLOUR_4099964106930_RSDBFINDIESON_4ed47aae_thumbnail_4-1290x1290.webp 1290w, https:\/\/static.spin.com\/files\/2025\/08\/GARBAGE_COPYPASTE_1LPCOLOUR_4099964106930_RSDBFINDIESON_4ed47aae_thumbnail_4-340x340.webp 340w, https:\/\/static.spin.com\/files\/2025\/08\/GARBAGE_COPYPASTE_1LPCOLOUR_4099964106930_RSDBFINDIESON_4ed47aae_thumbnail_4-768x768.webp 768w, https:\/\/static.spin.com\/files\/2025\/08\/GARBAGE_COPYPASTE_1LPCOLOUR_4099964106930_RSDBFINDIESON_4ed47aae_thumbnail_4-1536x1536.webp 1536w, https:\/\/static.spin.com\/files\/2025\/08\/GARBAGE_COPYPASTE_1LPCOLOUR_4099964106930_RSDBFINDIESON_4ed47aae_thumbnail_4-498x498.webp 498w, https:\/\/static.spin.com\/files\/2025\/08\/GARBAGE_COPYPASTE_1LPCOLOUR_4099964106930_RSDBFINDIESON_4ed47aae_thumbnail_4-1668x1668.webp 1668w\" sizes=\"auto, (max-width: 1290px) 100vw, 1290px\"><\/figure>\n<p>Garbage has been regularly releasing covers on single B-sides and compilations since the very beginning, and last year the band compiled some of their best covers into a limited Record Store Day release that included one new recording, a rendition of the Psychedelic Furs hit \u201cLove My Way.\u201d Other than Siouxsie and the Banshees\u2019 \u201cCities in Dust\u201d and a duet of Patti Smith\u2019s \u201cBecause the Night\u201d with Marissa Paternoster of Screaming Females, Manson mostly tackles songs that were originally sung by men on <em>Copy\/Paste<\/em>, putting her own distinctive stamp on songs by Tim Buckley and U2. It\u2019s interesting to hear the Jam\u2019s \u201cThe Butterfly Collector\u201d filtered through Garbage\u2019s techno-pop aesthetic, but nobody ever needed a version of Big Star\u2019s swooning acoustic classic \u201cThirteen\u201d with a thumping drum loop.<\/p>\n<\/p>\n<h2 class=\"wp-block-heading\" id=\"h-8-no-gods-no-masters-2021\"><strong>8. <em>No Gods No Masters<\/em> (2021)<\/strong><\/h2>\n<figure class=\"wp-block-image aligncenter size-full\"><img loading=\"lazy\" decoding=\"async\" width=\"1000\" height=\"1000\" src=\"https:\/\/static.spin.com\/files\/2025\/08\/A1zilzuQhRL._UF10001000_QL80_.jpg\" alt=\"\" class=\"wp-image-470600\" srcset=\"https:\/\/static.spin.com\/files\/2025\/08\/A1zilzuQhRL._UF10001000_QL80_.jpg 1000w, https:\/\/static.spin.com\/files\/2025\/08\/A1zilzuQhRL._UF10001000_QL80_-340x340.jpg 340w, https:\/\/static.spin.com\/files\/2025\/08\/A1zilzuQhRL._UF10001000_QL80_-768x768.jpg 768w, https:\/\/static.spin.com\/files\/2025\/08\/A1zilzuQhRL._UF10001000_QL80_-498x498.jpg 498w\" sizes=\"auto, (max-width: 1000px) 100vw, 1000px\"><\/figure>\n<p>Garbage\u2019s seventh album was an ambitious song cycle, with Manson weaving numerology and the seven deadly sins into a fiery set of lyrics that took aim at capitalism, sexism, and organized religion. Unfortunately, the band only occasionally puts together music on \u201cGodhead\u201d and \u201cWolves\u201d that matches the fiery intensity of her words. And \u201cFlipping the Bird,\u201d which sounds like a lost \u201980s college radio hit, is an appealing pivot to a slightly brighter sound. \u201cManson and her crew don\u2019t regard songs as vehicles for self-expression so much as iconographic collages, fan letters to a shared past, and demonstrations of mixing-board flimflammery,\u201d Alfred Soto wrote in the <a href=\"https:\/\/pitchfork.com\/reviews\/albums\/garbage-no-gods-no-masters\/\" target=\"_blank\"><em>Pitchfork<\/em><\/a> review of <em>No Gods No Masters<\/em>.<\/p>\n<\/p>\n<h2 class=\"wp-block-heading\" id=\"h-7-not-your-kind-of-people-2012\"><strong>7. <em>Not Your Kind of People<\/em> (2012)<\/strong><\/h2>\n<figure class=\"wp-block-image aligncenter size-full\"><img loading=\"lazy\" decoding=\"async\" width=\"1000\" height=\"995\" src=\"https:\/\/static.spin.com\/files\/2025\/08\/71E3KhmTSiL._UF10001000_QL80_.jpg\" alt=\"\" class=\"wp-image-470601\" srcset=\"https:\/\/static.spin.com\/files\/2025\/08\/71E3KhmTSiL._UF10001000_QL80_.jpg 1000w, https:\/\/static.spin.com\/files\/2025\/08\/71E3KhmTSiL._UF10001000_QL80_-340x338.jpg 340w, https:\/\/static.spin.com\/files\/2025\/08\/71E3KhmTSiL._UF10001000_QL80_-768x764.jpg 768w, https:\/\/static.spin.com\/files\/2025\/08\/71E3KhmTSiL._UF10001000_QL80_-498x496.jpg 498w\" sizes=\"auto, (max-width: 1000px) 100vw, 1000px\"><\/figure>\n<p>Garbage went on an extended hiatus after releasing the 2007 hits package <em>Absolute Garbage<\/em>, and Manson worked on a solo album that she ultimately never released. Eventually Garbage reconvened, using some of the material Manson had started writing on her own. But the band\u2019s first album for their own label Stunvolume is a little hit-and-miss, and \u201cAutomatic Systematic Habit\u201d and \u201cBlood for Poppies\u201d are some of the most grating, charmless tracks in their catalog. \u201cBattle in Me\u201d has wonderfully jarring moments of silence in its pounding, bombastic chorus, and \u201cI Hate Me\u201d is a noisy, danceable pop song in the classic Garbage tradition, but the rest of <em>Not Your Kind of People<\/em> rarely lives up to that high standard.<\/p>\n<\/p>\n<h2 class=\"wp-block-heading\" id=\"h-6-let-all-that-we-imagine-be-the-light-2025\"><strong>6. <em>Let All That We Imagine Be the Light<\/em> (2025)<\/strong><\/h2>\n<figure class=\"wp-block-image aligncenter size-full\"><img loading=\"lazy\" decoding=\"async\" width=\"1000\" height=\"1000\" src=\"https:\/\/static.spin.com\/files\/2025\/08\/cover-7.jpg\" alt=\"\" class=\"wp-image-470602\" srcset=\"https:\/\/static.spin.com\/files\/2025\/08\/cover-7.jpg 1000w, https:\/\/static.spin.com\/files\/2025\/08\/cover-7-340x340.jpg 340w, https:\/\/static.spin.com\/files\/2025\/08\/cover-7-768x768.jpg 768w, https:\/\/static.spin.com\/files\/2025\/08\/cover-7-498x498.jpg 498w\" sizes=\"auto, (max-width: 1000px) 100vw, 1000px\"><\/figure>\n<p>\u201cChinese Fire Horse\u201d is Manson\u2019s defiant statement as a 58-year-old rock star who\u2019s still great at her job, shouting down anyone that would suggest she\u2019s too old and \u201cshould just retire.\u201d Few long-running bands can make a song in 2025 like \u201cGet Out My Face AKA Bad Kitty\u201d that sounds like they could\u2019ve made it back in 1995. And even if the band\u2019s consistency means that <em>Let All That We Imagine Be the Light <\/em>offers no real surprises, it also rarely disappoints.<\/p>\n<\/p>\n<h2 class=\"wp-block-heading\" id=\"h-5-strange-little-birds-2016\"><strong>5. <em>Strange Little Birds<\/em> (2016)<\/strong><\/h2>\n<figure class=\"wp-block-image aligncenter size-full\"><img loading=\"lazy\" decoding=\"async\" width=\"1000\" height=\"1000\" src=\"https:\/\/static.spin.com\/files\/2025\/08\/81vFMZnP9JL._UF10001000_QL80_.jpg\" alt=\"\" class=\"wp-image-470603\" srcset=\"https:\/\/static.spin.com\/files\/2025\/08\/81vFMZnP9JL._UF10001000_QL80_.jpg 1000w, https:\/\/static.spin.com\/files\/2025\/08\/81vFMZnP9JL._UF10001000_QL80_-340x340.jpg 340w, https:\/\/static.spin.com\/files\/2025\/08\/81vFMZnP9JL._UF10001000_QL80_-768x768.jpg 768w, https:\/\/static.spin.com\/files\/2025\/08\/81vFMZnP9JL._UF10001000_QL80_-498x498.jpg 498w\" sizes=\"auto, (max-width: 1000px) 100vw, 1000px\"><\/figure>\n<p><em>Strange Little Birds<\/em> is far from the most immediate Garbage album, but if you enjoy the band\u2019s moodier trip hop excursions, it could very well be your favorite. \u201cNight Drive Loneliness\u201d and \u201cEven Though Our Love is Doomed\u201d feel like a long dark journey that ends when the first chorus of \u201cMagnetized\u201d hits like a bright explosion of melody. Eric Avery served as Garbage\u2019s touring bassist from 2005 to 2022, and <em>Strange Little Birds<\/em> is the only Garbage album that features him on more than half the tracks, with the Jane\u2019s Addiction co-founder making his mark most memorably on the propulsive stadium rocker \u201cSo We Can Stay Alive.\u201d \u201cYou can hear the confidence in their own hooks and their own sounds,\u201d Theon Weber wrote in the <a href=\"https:\/\/www.spin.com\/2016\/06\/review-garbage-strange-little-birds\/\"><em>SPIN<\/em><\/a> review of <em>Strange Little Birds<\/em>.<\/p>\n<\/p>\n<h2 class=\"wp-block-heading\" id=\"h-4-beautiful-garbage-2001\"><strong>4. <em>Beautiful Garbage<\/em> (2001)<\/strong><\/h2>\n<figure class=\"wp-block-image aligncenter size-full\"><img loading=\"lazy\" decoding=\"async\" width=\"1000\" height=\"1000\" src=\"https:\/\/static.spin.com\/files\/2025\/08\/51unJ15FfoL._UF10001000_QL80_.jpg\" alt=\"\" class=\"wp-image-470604\" srcset=\"https:\/\/static.spin.com\/files\/2025\/08\/51unJ15FfoL._UF10001000_QL80_.jpg 1000w, https:\/\/static.spin.com\/files\/2025\/08\/51unJ15FfoL._UF10001000_QL80_-340x340.jpg 340w, https:\/\/static.spin.com\/files\/2025\/08\/51unJ15FfoL._UF10001000_QL80_-768x768.jpg 768w, https:\/\/static.spin.com\/files\/2025\/08\/51unJ15FfoL._UF10001000_QL80_-498x498.jpg 498w\" sizes=\"auto, (max-width: 1000px) 100vw, 1000px\"><\/figure>\n<p>Garbage has always specialized in stirring together cutting edge sounds and nostalgic homages, but the songs on <em>Beautiful Garbage<\/em> seemed to steer hard into either the past or the present. \u201cUnstoppable\u201d and the lead single \u201cAndrogyny\u201d were inspired by the sleek minimalism of mainstream hip-hop\u2014the Neptunes were even enlisted to remix the latter track. And on the other end of the spectrum, the band flirts with \u201960s balladry on the Phil Spector homage \u201cCan\u2019t Cry These Tears\u201d and the haunting theremin melody of \u201cCup of Coffee.\u201d<\/p>\n<\/p>\n<h2 class=\"wp-block-heading\" id=\"h-3-bleed-like-me-2005\"><strong>3. <em>Bleed Like Me<\/em> (2005)<\/strong><\/h2>\n<figure class=\"wp-block-image aligncenter size-full\"><img loading=\"lazy\" decoding=\"async\" width=\"1000\" height=\"1000\" src=\"https:\/\/static.spin.com\/files\/2025\/08\/81ohjtKS2kL._UF10001000_QL80_.jpg\" alt=\"\" class=\"wp-image-470605\" srcset=\"https:\/\/static.spin.com\/files\/2025\/08\/81ohjtKS2kL._UF10001000_QL80_.jpg 1000w, https:\/\/static.spin.com\/files\/2025\/08\/81ohjtKS2kL._UF10001000_QL80_-340x340.jpg 340w, https:\/\/static.spin.com\/files\/2025\/08\/81ohjtKS2kL._UF10001000_QL80_-768x768.jpg 768w, https:\/\/static.spin.com\/files\/2025\/08\/81ohjtKS2kL._UF10001000_QL80_-498x498.jpg 498w\" sizes=\"auto, (max-width: 1000px) 100vw, 1000px\"><\/figure>\n<p>Matt Walker (Filter, The Smashing Pumpkins) played drums for Garbage on a 2002 tour when Vig was sidelined by an ear infection. And on the band\u2019s next studio album, Vig focused more on guitar and production, with Dave Grohl drumming on the bombastic opening track \u201cBad Boyfriend\u201d and Walker keeping time on the majority of the other songs. Rebounding from radio\u2019s cool reception to <em>Beautiful Garbage<\/em>, with the hit \u201cWhy Do You Love Me,\u201d <em>Bleed Like Me<\/em> is both Garbage\u2019s hardest-rocking album and their highest-charting effort in the U.S., peaking at No. 4 on the <em>Billboard<\/em> 200.\u00a0\u00a0<\/p>\n<\/p>\n<h2 class=\"wp-block-heading\" id=\"h-2-garbage-1995\"><strong>2. <em>Garbage<\/em> (1995)<\/strong><\/h2>\n<figure class=\"wp-block-image aligncenter size-full\"><img loading=\"lazy\" decoding=\"async\" width=\"1000\" height=\"997\" src=\"https:\/\/static.spin.com\/files\/2025\/08\/51XjCkJ5sAL._UF10001000_QL80_.jpg\" alt=\"\" class=\"wp-image-470606\" srcset=\"https:\/\/static.spin.com\/files\/2025\/08\/51XjCkJ5sAL._UF10001000_QL80_.jpg 1000w, https:\/\/static.spin.com\/files\/2025\/08\/51XjCkJ5sAL._UF10001000_QL80_-340x339.jpg 340w, https:\/\/static.spin.com\/files\/2025\/08\/51XjCkJ5sAL._UF10001000_QL80_-768x766.jpg 768w, https:\/\/static.spin.com\/files\/2025\/08\/51XjCkJ5sAL._UF10001000_QL80_-498x497.jpg 498w\" sizes=\"auto, (max-width: 1000px) 100vw, 1000px\"><\/figure>\n<p>By the mid-\u201990s, so-called alternative rock had effectively become the mainstream, but most of the post-grunge and punk pop bands on the radio seemed vaguely embarrassed about their platinum plaques, self-consciously touting their indie cred and lack of rock star artifice. The members of Garbage all had years of underground experience in less successful bands, but the band\u2019s self-titled debut was an unapologetic collection of shiny hooks, pushed over the top by a frontwoman who actually seemed comfortable in the spotlight. <em>Garbage<\/em> wasn\u2019t an overnight sensation\u2014the fourth single, \u201cStupid Girl,\u201d became the album\u2019s biggest hit almost exactly a year after its release. But in their brazen pursuit of the pleasure of bubblegum melodies and state-of-the-art soundscapes, Garbage went against the grain and had to work to win over skeptics, one hit at a time. \u201cGarbage screw around with dance pulses and guitar tones, pop concision and 12-inch madness, highly flown confessions and teenage thrills,\u201d James Hunter wrote in the <a href=\"https:\/\/web.archive.org\/web\/20081206023021\/http:\/\/www.rollingstone.com\/reviews\/album\/87242\/review\/5941124\/garbage\" target=\"_blank\"><em>Rolling Stone<\/em><\/a> review of <em>Garbage<\/em>.<\/p>\n<\/p>\n<h2 class=\"wp-block-heading\" id=\"h-1-version-2-0-1998\"><strong>1. <em>Version 2.0<\/em> (1998)<\/strong><\/h2>\n<figure class=\"wp-block-image aligncenter size-full\"><img loading=\"lazy\" decoding=\"async\" width=\"1000\" height=\"991\" src=\"https:\/\/static.spin.com\/files\/2025\/08\/71oENgw1ayL._UF10001000_QL80_.jpg\" alt=\"\" class=\"wp-image-470607\" srcset=\"https:\/\/static.spin.com\/files\/2025\/08\/71oENgw1ayL._UF10001000_QL80_.jpg 1000w, https:\/\/static.spin.com\/files\/2025\/08\/71oENgw1ayL._UF10001000_QL80_-340x337.jpg 340w, https:\/\/static.spin.com\/files\/2025\/08\/71oENgw1ayL._UF10001000_QL80_-768x761.jpg 768w, https:\/\/static.spin.com\/files\/2025\/08\/71oENgw1ayL._UF10001000_QL80_-498x494.jpg 498w\" sizes=\"auto, (max-width: 1000px) 100vw, 1000px\"><\/figure>\n<p>Using the language of tech in music is old hat now, but Garbage\u2019s second album was ahead of the curve with a title that sounded more like a software update than a sequel or follow-up, leaning into the band\u2019s image as a calculating corporation of mercenary hitmakers. The crunching percussion of industrial rock, the seasick guitar tremors of shoegaze, and the brooding intelligence of past indie rock femme fatales from Siouxsie Sioux to PJ Harvey are all thrown into the band\u2019s Pro Tools blender on <em>Version 2.0<\/em>. But Manson\u2019s snarl is distinctive enough that \u201cWhen I Grow Up\u201d and \u201cI Think I\u2019m Paranoid\u201d could only have come from Garbage, not one of their C-list contemporaries like Republica or the Sneaker Pimps. Like its predecessor, <em>Version 2.0<\/em> camped out on the charts for a year with four hit singles, but this time Garbage also became an underdog nominee for the Grammy for Album of the Year, going up against Madonna, Sheryl Crow, Shania Twain, and a victorious Lauryn Hill.\u00a0<\/p>\n<p>To see our running list of the top 100 greatest rock stars of all time, <a href=\"https:\/\/www.spin.com\/2021\/07\/the-greatest-rock-stars-of-all-time\/?utm_source=yahoo&amp;utm_medium=bottomlink&amp;utm_campaign=yahoolink\">click here<\/a>.<\/p>\n<\/div>\n<div style=\"margin-top: 0px; margin-bottom: 0px;\" class=\"sharethis-inline-share-buttons\" ><\/div>","protected":false},"excerpt":{"rendered":"<p>Wisconsinite drummer Butch Vig, Nebraskan guitarist Duke Erikson, and Minnesotan guitarist Steve Marker met in the late \u201970s in Madison, Wisconsin. Although Erikson and Vig\u2019s bands Spooner and Fire Town&hellip;<\/p>\n","protected":false},"author":1,"featured_media":0,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[31,1276,65,24,3382],"tags":[],"class_list":["post-4587","post","type-post","status-publish","format-standard","hentry","category-features","category-garbage","category-lists","category-pushly","category-shirley-manson"],"_links":{"self":[{"href":"https:\/\/musictechohio.online\/site\/wp-json\/wp\/v2\/posts\/4587","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/musictechohio.online\/site\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/musictechohio.online\/site\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/musictechohio.online\/site\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/musictechohio.online\/site\/wp-json\/wp\/v2\/comments?post=4587"}],"version-history":[{"count":0,"href":"https:\/\/musictechohio.online\/site\/wp-json\/wp\/v2\/posts\/4587\/revisions"}],"wp:attachment":[{"href":"https:\/\/musictechohio.online\/site\/wp-json\/wp\/v2\/media?parent=4587"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/musictechohio.online\/site\/wp-json\/wp\/v2\/categories?post=4587"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/musictechohio.online\/site\/wp-json\/wp\/v2\/tags?post=4587"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}