{"id":8588,"date":"2026-02-05T13:14:59","date_gmt":"2026-02-05T13:14:59","guid":{"rendered":"https:\/\/musictechohio.online\/site\/inside-dylans-self-portrait-sessions-dont-force-bob-anything-76993\/"},"modified":"2026-02-05T13:14:59","modified_gmt":"2026-02-05T13:14:59","slug":"inside-dylans-self-portrait-sessions-dont-force-bob-anything-76993","status":"publish","type":"post","link":"https:\/\/musictechohio.online\/site\/inside-dylans-self-portrait-sessions-dont-force-bob-anything-76993\/","title":{"rendered":"Working with Dylan: \u201cBob\u2019s choices got stranger and stranger\u201d"},"content":{"rendered":"<div>\n<div class=\"post-preview\">\n<p><strong><em>Originally published in Uncut Take 198 [September 2013 issue], we burrow into the sessions Dylan&#8217;s 1970 album, Self Portrait &#8211; which had then been re-issued in expanded form as the Bootleg Series Volume 10: Another Self Portrait. Here, we spoke to three key players on the album sessions and find out details of the Bootleg Series team&#8217;s &#8220;deepest ever archaeological dig&#8221;&#8230;<\/em><\/strong><\/p>\n<\/div>\n<div class=\"post-content google-ld-json\">\n<div class=\"editable-content\">\n<p><strong><em>Originally published in Uncut Take 198 [September 2013 issue], we burrow into the sessions Dylan\u2019s 1970 album, Self Portrait \u2013 which had then been re-issued in expanded form as the Bootleg Series Volume 10: Another Self Portrait. Here, we spoke to three key players on the album sessions and find out details of the Bootleg Series team\u2019s \u201cdeepest ever archaeological dig\u201d\u2026<\/em><\/strong><\/p>\n<figure class=\"wp-block-image\"><img fetchpriority=\"high\" decoding=\"async\" width=\"630\" height=\"400\" src=\"https:\/\/www.uncut.co.uk\/wp-content\/uploads\/2016\/05\/240516selfportait.jpg\" alt=\"\" class=\"wp-image-77005\" srcset=\"https:\/\/www.uncut.co.uk\/wp-content\/uploads\/2016\/05\/240516selfportait.jpg 630w, https:\/\/www.uncut.co.uk\/wp-content\/uploads\/2016\/05\/240516selfportait-400x254.jpg 400w\" sizes=\"(max-width: 630px) 100vw, 630px\"><\/figure>\n<h2 class=\"wp-block-heading\" id=\"h-charlie-mccoy\"><strong>Charlie McCoy<\/strong><\/h2>\n<p><strong>The Nashville studio multi-instrumentalist who played on every Dylan album from Highway 61 Revisited to Self Portrait<\/strong><\/p>\n<p>When Dylan first showed up in Nashville to record <strong>Blonde On Blonde<\/strong>, he hadn\u2019t finished writing the first song. We ended up recording it at 4 o\u2019clock in the morning. And we\u2019d all been there since 2PM the afternoon before. Dylan\u2019s flight was late, and when he arrived he hadn\u2019t wrote the first song he wanted to do. He said, \u201cYou guys just hang loose till I finish it.\u201d So we sat around while he wrote \u201c<strong>Sad-Eyed Lady Of The Lowlands<\/strong>\u201d.<\/p>\n<ul>\n<li><strong>ORDER NOW: <a href=\"https:\/\/magazines.bandlabtechnologies.com\/store\/products,bob-dylan_305.htm\">The Complete Bob Dylan \u2013 a meticulous, left-field guide to Bob\u2019s outstanding output since 1962<\/a><\/strong><\/li>\n<\/ul>\n<p>Dylan seemed a little uncomfortable in Nashville at first, because he was in a strange place, with strange musicians, although he had <strong>Al Kooper<\/strong> and <strong>Robbie Robertson<\/strong> on board with him. But he never said anything to us really, so it was hard to tell just what he was thinking or feeling. But, the next day, we came back to the studio, and from there it was pretty much business as usual then: I mean, he still didn\u2019t say too much, but he started playing his songs, and we started recording them.<\/p>\n<p>But, like I said, he never said <em>anything<\/em>. I was session leader on that record, and when you\u2019re session leader, you\u2019re like the middleman between the artist and the producer. So, Dylan would pick up his guitar and play his song to us, and I\u2019d hear it, and I\u2019d immediately start to get some ideas, and I\u2019d say, \u201cBob, what would you think if we did this, or that\u2026\u201d And he\u2019d have the same answer <em>every time<\/em>: \u201cI dunno, man. Whadda <em>you<\/em> think?\u201d He was very strange in that way, very hard to read.<\/p>\n<p>When we did <strong>John Wesley Harding<\/strong>, I didn\u2019t have any information prior to going in about what it was going to be like. But Nashville studio musicians, we go to work every day, usually never knowing what we\u2019re going to be doing. We hear the music the first time we walk into the studio. We\u2019re used to that, it\u2019s just the normal way it\u2019s done here.<\/p>\n<p>I noticed that there was a definite shift in the music, though, the style. After <strong>Blonde On Blonde<\/strong>, Dylan had that motorcycle wreck. I don\u2019t know if that has anything to do with anything. But I know that that was a major happening to him in his life, one that had nothing to do with music. <strong>Blonde On Blonde<\/strong> took 39-and-a-half hours of studio time to record. <strong>John Wesley Harding<\/strong> took nine-and-a-half hours. Of course, the band was much, much smaller. Just Dylan, me on bass, and Kenny Buttery on drums. There was steel guitar on a couple tracks, too, but that was it \u2013 there wasn\u2019t much on that record. But as for Dylan himself, there was no change. The same thing: he\u2019d play a song and not say anything.<\/p>\n<figure class=\"wp-block-image size-full\"><img loading=\"lazy\" decoding=\"async\" width=\"1400\" height=\"1050\" src=\"https:\/\/www.uncut.co.uk\/wp-content\/uploads\/2026\/02\/Al-Clayton-Sony-Music-Archives_690003-2.jpg\" alt=\"Bob Dylan, Johnny Cash, Bob Johnson\" class=\"wp-image-153118\" srcset=\"https:\/\/www.uncut.co.uk\/wp-content\/uploads\/2026\/02\/Al-Clayton-Sony-Music-Archives_690003-2.jpg 1400w, https:\/\/www.uncut.co.uk\/wp-content\/uploads\/2026\/02\/Al-Clayton-Sony-Music-Archives_690003-2-300x225.jpg 300w, https:\/\/www.uncut.co.uk\/wp-content\/uploads\/2026\/02\/Al-Clayton-Sony-Music-Archives_690003-2-768x576.jpg 768w, https:\/\/www.uncut.co.uk\/wp-content\/uploads\/2026\/02\/Al-Clayton-Sony-Music-Archives_690003-2-696x522.jpg 696w, https:\/\/www.uncut.co.uk\/wp-content\/uploads\/2026\/02\/Al-Clayton-Sony-Music-Archives_690003-2-1392x1044.jpg 1392w, https:\/\/www.uncut.co.uk\/wp-content\/uploads\/2026\/02\/Al-Clayton-Sony-Music-Archives_690003-2-1068x801.jpg 1068w\" sizes=\"auto, (max-width: 1400px) 100vw, 1400px\"><figcaption class=\"wp-element-caption\">Photo: Al Clayton\/Sony Music Archives<\/figcaption><\/figure>\n<p>The next time round was <strong>Nashville Skyline<\/strong>, which again was a shift, a step into country. John Wesley Harding, especially those last two tracks, seemed a kind of a bridge towards that sound, and Dylan had formed a friendship with <strong>Johnny Cash<\/strong>, so it didn\u2019t really surprise me at all. I think Dylan hesitated about coming to Nashville originally, because it has always been known as the capital of country music. But we were known as a country market, and this was the height of what, in Nashville, we called The Hippy Period: that San Francisco, Haight-Ashbury, whatever it was scene. And, of course, Dylan, 1966, was seen as the champion of that group of people, he was the king of it.<\/p>\n<p>He took a bold step by coming here. But <strong>Nashville Skyline<\/strong> was the last time he came to Nashville to record. <strong>Self Portrait<\/strong>, he wasn\u2019t around. On some of the songs for that, <a href=\"https:\/\/www.uncut.co.uk\/features\/bob-johnston-dont-ever-quit-dont-stop-playing-if-you-do-dont-come-back-70254\" target=\"_blank\" rel=\"noopener noreferrer\">Bob Johnston<\/a> just brought us in recordings of Dylan, just guitar and vocal, and he asked Kenny and me to overdub bass and drums. And that was difficult, because Dylan\u2019s tempos on those tapes really weren\u2019t so steady. It was tough. But we added bass and drums to several songs. Why the record was done that way, I don\u2019t know for certain. I\u2019d have to say, though, that <strong>Self Portrait<\/strong>, it\u2019s just not as vivid in my memory as the sessions when Dylan was there. I can remember songs from the first three records I worked on with him, but at this point, I couldn\u2019t name you one single song from <strong>Self Portrait<\/strong>. I guess on this new version that\u2019s coming out, if they\u2019ve stripped all that stuff away, you\u2019re going to be hearing the same tapes much as Kenny and I heard them, which could be interesting.<\/p>\n<figure class=\"wp-block-image\"><img loading=\"lazy\" decoding=\"async\" width=\"630\" height=\"400\" src=\"https:\/\/keyassets.timeincuk.net\/inspirewp\/live\/wp-content\/uploads\/sites\/28\/2016\/05\/240516_New_Morning.jpg\" alt=\"240516_New_Morning\" class=\"wp-image-77004\" srcset=\"https:\/\/www.uncut.co.uk\/wp-content\/uploads\/2016\/05\/240516_New_Morning.jpg 630w, https:\/\/www.uncut.co.uk\/wp-content\/uploads\/2016\/05\/240516_New_Morning-400x254.jpg 400w\" sizes=\"auto, (max-width: 630px) 100vw, 630px\"><\/figure>\n<h2 class=\"wp-block-heading\" id=\"h-david-bromberg\"><strong>David Bromberg<\/strong><\/h2>\n<p><strong>Virtuoso guitarist and multi-instrumentalist who studied his craft with the Rev. Gary Davis, Bromberg was a key figure in the Self Portrait sessions and New Morning<\/strong><\/p>\n<p>The <strong>Self Portrait<\/strong> sessions were the first time I played with Dylan. At first, when I got a phone call from him \u2013 he called me himself \u2013 I thought it was a joke, somebody playing a trick. But I realised fairly swiftly that it actually was Bob Dylan on the phone. He\u2019d come to various clubs in the Village where I was playing guitar for <strong>Jerry Jeff Walker<\/strong>, and I\u2019d always assumed he was only there to hear Jerry Jeff. But I guess he was listening to me, too.<\/p>\n<p>The way he put it to me was that he wanted me to help him \u201ctry out a studio.\u201d It became clear to me pretty quickly that we weren\u2019t just trying out a studio \u2013 we were recording. But I was too much in the moment to worry about what was going to happen in the future. So \u201ctrying out the studio\u201d turned out to be making <strong>Self Portrait<\/strong> and then <strong>New Morning<\/strong>.<\/p>\n<p>Most of what I remember is that it was just Bob and me in there. For several days straight, maybe even a couple of weeks, just the two of us, sitting across from each other playing and trying things. I had some really nasty cold thing going on all through that \u2013 I had a fever, and I\u2019d work all day, come home and fall asleep in my clothes, wake up, take a shower and then head back into the studio and do it all over again. The songs that I did with him, as much as I can recall, were mostly folk songs. I\u2019m not sure I remember seeing any <em>Sing Out<\/em> magazines, but <em>Sing Out<\/em> published a couple of songbooks, and I remember that Bob had one or two of those. But he knew those songs. He might have referred to the <em>Sing Out<\/em> books just to get a lyric here and there, but he knew those songs. Bob, as we all know, came up through the folk clubs, and he was really <em>great<\/em> at singing this music.<\/p>\n<p>There was not a whole lot of discussion or direction. I think he liked how I played, and wanted to see what I\u2019d come up with. Then he listened to the results, and what he really liked he used, and what he didn\u2019t, he saved.<\/p>\n<p><strong>New Morning<\/strong> was quite different. There were quite a few musicians in the studio, a whole group. <strong>Russ Kunkel<\/strong> was on that, playing drums, and playing with him was a big thing for me, because I was always a huge fan of the way he plays. Of course, Bob doesn\u2019t pick any losers. <strong>Ron Cornelius<\/strong>, was there, a fine guitar player. Ron played electric on that record, and I played acoustic and dobro.<\/p>\n<p>In 1992, I produced another set of sessions with Bob in Chicago, and the great majority of those songs haven\u2019t been heard yet, although a couple turned up on the <strong>Bootleg Series<\/strong> record <a href=\"https:\/\/www.uncut.co.uk\/features\/life-with-bob-dylan-1989-2006-30130\" target=\"_blank\" rel=\"noopener noreferrer\">Tell Tale Signs<\/a>. On those sessions, I would have loved to have done some tunes that Bob wrote \u2013 but he didn\u2019t want to do those. And, in fact, he did a few tunes that I had written. In a strange way, I was almost relieved that they didn\u2019t come out, because people would have accused me of forcing Bob to do my songs. But let me just tell you: you don\u2019t force Bob to do anything.<\/p>\n<p>Recording sessions are all different. Bob has his own way of doing things, and it\u2019s one that requires the musicians to be intuitive. And, in a musical sense, that\u2019s one of my strengths. In a more prosaic sense, it\u2019s one of my weaknesses: you know, if we\u2019re going to do something, and I\u2019m not told what we\u2019re doing, I generally won\u2019t figure it out. But when it comes to music, even if I haven\u2019t been told where we\u2019re going, I <em>will<\/em> figure it out. I\u2019ll see ahead. And that\u2019s kind of what\u2019s required on Bob\u2019s sessions. Perhaps the most important aspect of the process with Bob is that, Bob is very careful not to exhaust the material. And, as a result, there\u2019s a spontaneity that\u2019s present in all of his work. You\u2019ll do a song once or twice, and that\u2019s it: you\u2019ve either got it or you don\u2019t.<\/p>\n<figure class=\"wp-block-image\"><img loading=\"lazy\" decoding=\"async\" width=\"630\" height=\"400\" src=\"https:\/\/keyassets.timeincuk.net\/inspirewp\/live\/wp-content\/uploads\/sites\/28\/2016\/05\/240516dylanjwh.jpg\" alt=\"240516dylanjwh\" class=\"wp-image-76996\" srcset=\"https:\/\/www.uncut.co.uk\/wp-content\/uploads\/2016\/05\/240516dylanjwh.jpg 630w, https:\/\/www.uncut.co.uk\/wp-content\/uploads\/2016\/05\/240516dylanjwh-400x254.jpg 400w\" sizes=\"auto, (max-width: 630px) 100vw, 630px\"><\/figure>\n<h2 class=\"wp-block-heading\" id=\"h-al-kooper-nbsp\"><strong>Al Kooper\u00a0<\/strong><\/h2>\n<p><strong>Along with David Bromberg, one of Dylan\u2019s favourite sidemen <\/strong><\/p>\n<p>I\u2019d played on <strong>Highway 61 Revisited<\/strong> and <strong>Blonde On Blonde<\/strong>, but I\u2019d left while Bob was doing <strong>John Wesley Harding<\/strong> and <strong>Nashville Skyline<\/strong> .Then I came back for what became <strong>Self Portrait<\/strong>.<\/p>\n<p>From 1968 to 1972, I was a staff producer at Columbia Records in New York, so I was easy to contact. They just booked me for, I think it was five days of recording with Bob, like a Monday-Friday. There was Bob, <strong>David Bromberg<\/strong> and me. In some cases it was just the three of us, in others there was drums and bass in with us. It gets a little mixed up in my memory, because New Mornin happened very, very soon after <strong>Self Portrait<\/strong>, and I worked very closely on that album, probably as much as I had worked on <strong>Blonde On Blonde<\/strong>.<\/p>\n<p>I remember us doing a lot of stuff that didn\u2019t end up on <strong>Self Portrait<\/strong>. The first day I walked in to the studio, Bob had like a *pile* of <em>Sing Out<\/em> magazines, you know the folk music journal, just a bunch of them, and he was going through them, songs that he\u2019d known in the past, and he was using the magazine to remind himself of them. So we were doing stuff pulled from <em>Sing Out<\/em> magazine, at least for a couple of days: \u201cDays Of 49\u201d, that kind of thing. As the week went on, Bob\u2019s choices got stranger and stranger. It got to the point where we did \u201cCome A Little Closer\u201d by <strong>Jay And The Americans<\/strong>.<\/p>\n<figure class=\"wp-block-image\"><img loading=\"lazy\" decoding=\"async\" width=\"630\" height=\"400\" src=\"https:\/\/keyassets.timeincuk.net\/inspirewp\/live\/wp-content\/uploads\/sites\/28\/2016\/05\/240516nashville.jpg\" alt=\"240516nashville\" class=\"wp-image-76995\" srcset=\"https:\/\/www.uncut.co.uk\/wp-content\/uploads\/2016\/05\/240516nashville.jpg 630w, https:\/\/www.uncut.co.uk\/wp-content\/uploads\/2016\/05\/240516nashville-400x254.jpg 400w\" sizes=\"auto, (max-width: 630px) 100vw, 630px\"><\/figure>\n<p>When we did <strong>New Morning<\/strong>, though, he was doing his songs again. And he had a definite, stronger thing going on. You know: he didn\u2019t have to learn the songs, he wrote them. New Morning was very similar to <strong>Blonde On Blonde<\/strong>, in some ways, with the way I worked with Bob and acted as bandleader \u2013 and then, in the middle of the record, Bob Johnston just disappeared, and so for the second half of the record, I was actually producing it. I also had some arrangement ideas. Not that Bob always agreed with them. On the song \u201cNew Morning\u201d itself, I did an arrangement where I put a horn section on there, and in \u201cSign On The Window,\u201d I added strings, a piccolo, and a harp. I asked Bob\u2019s permission, and he said fine, and then I went and did it all while he wasn\u2019t there, because it didn\u2019t need to take up his time. But when I played them back for him, he didn\u2019t like them \u2013 he didn\u2019t throw the whole thing out, he kept like one little part of each of them on the record. But then he told me he was going to erase all the rest of these parts, wipe the tapes. I asked if I could make a mix of it before he did that, because I had done a lot of work on it, and I wanted to keep a copy of it, just for myself. So he said yeah, but the way it worked, I had to mix it right there and then, in front of everybody, and do it fast.<\/p>\n<p>On this new record that\u2019s coming out now, they\u2019ve included those sweetened versions of \u201cNew Morning\u201d and \u201cSign In The Window\u201d. I had kept my tapes of those personal mixes for like 40 years, and when I heard about this new set, I sent them to <strong>Jeff Rosen<\/strong>, Dylan\u2019s manager, and Jeff said, \u201cWell, I don\u2019t like the mix.\u201d And I said, \u201cYeah, it was a rush, but it\u2019s all there is, because Bob erased all the parts afterwards.\u201d And Jeff said, \u201cNo he didn\u2019t. All the parts are still here. Do you want to remix it properly?\u201d So that was great news to hear, and I went and did that. I spent quite some time doing that, and those are now on the new set.<\/p>\n<figure class=\"wp-block-image\"><img loading=\"lazy\" decoding=\"async\" width=\"604\" height=\"388\" src=\"https:\/\/keyassets.timeincuk.net\/inspirewp\/live\/wp-content\/uploads\/sites\/28\/2016\/05\/dylanproduct160713w.jpg\" alt=\"dylanproduct160713w\" class=\"wp-image-76999\" srcset=\"https:\/\/www.uncut.co.uk\/wp-content\/uploads\/2016\/05\/dylanproduct160713w.jpg 604w, https:\/\/www.uncut.co.uk\/wp-content\/uploads\/2016\/05\/dylanproduct160713w-400x257.jpg 400w\" sizes=\"auto, (max-width: 604px) 100vw, 604px\"><\/figure>\n<h2 class=\"wp-block-heading\" id=\"h-steve-berkowitz-nbsp\"><strong>Steve Berkowitz\u00a0<\/strong><\/h2>\n<p><strong>A Bootleg Series veteran, on the restoration of the Isle Of Wight concert tapes<\/strong><\/p>\n<p>With the new version we\u2019ve done of the <strong>Isle Of Wight<\/strong> concert, the first thing you have to remember is the circumstances of the original recording. It\u2019s 1969. There are no cell phones. Basically, you\u2019ve got a couple of guys stuck in a truck, hundreds of yards away from the stage. It had to have been madness. They\u2019ve been awake for three days straight, and they\u2019re recoding with no tangible connection to the stage or the board or what\u2019s going on. You know: how many people are playing, where are the microphones, who else is set up at the same time, what time do they play, how long do they play for, are they gonna move around, when\u2019s the guitar solo coming\u2026? It\u2019s a true testament to <strong>Glyn Johns<\/strong> and <strong>Elliott Mazer<\/strong> who did the original recording that they got it at all.<\/p>\n<p>Their tapes have all the information on there, albeit kind of distorted, and sometimes without a direct microphone on anything, and with tremendous leakage from microphone to microphone. But the tapes themselves were in good shape, eight channels. So, in the new mix, we\u2019ve tried to bring back in something of the size and scope of what was happening. For one reason or another, any time I\u2019ve heard material from this concert in the past, the mix sounded small, close together, almost like a form of <strong>Basement Tapes<\/strong>, as if they were closed in together in a small space. But this was a huge open-air event, with tremendous anticipation, and, even at the time, some historic notoriety, because this was Dylan returning to the stage after three years away.<\/p>\n<p>So we\u2019ve tried to bring that back \u2013 make it live, make it as big as it was again, and have it feel like it\u2019s out there, in this place, in the middle of hundreds of thousands of people, with excitement and energy bristling, both on stage and in the audience. The tapes are still kind of distorted in parts \u2013 but that\u2019s okay. When you hear it now, it brings back the excitement and the tension of that moment. You know: Bob and <strong>The Band<\/strong> are playing, and they\u2019ve got <strong>The Beatles<\/strong> sitting right there in front of them.<\/p>\n<p>A personal favourite moment is the version they do of \u201cHighway 61\u201d. It sounds pretty clear that there are only overhead microphones over <strong>Levon Helm<\/strong>. And Levon sounds like he\u2019s having a pretty good time: he\u2019s hollering along with Bob, and you can really hear him \u2013 and I don\u2019t think he even had a vocal mic at that time. I think it\u2019s just these overheads are picking him up, because he\u2019s singing it, screaming out so loud. It has fantastic life to it. And any distortion or bleeding makes no difference, because those guys are just rocking. It\u2019s thrilling.<\/p>\n<p>I should add that we\u2019ve mixed everything both completely analogue and digital, and, for the people who care, I think the vinyl LP\u2019s that come from this will be pretty great. They\u2019re made like records were made, from tape and analogue mixes. We wanted to be faithful to the period \u2013 1969-71 \u2013 and we thought that the record should sound and feel and be of the dimension of its time. They\u2019re pretty special.<\/p>\n<\/div>\n<\/div>\n<p>The post <a href=\"https:\/\/www.uncut.co.uk\/features\/inside-dylans-self-portrait-sessions-dont-force-bob-anything-76993\/\">Working with Dylan: \u201cBob\u2019s choices got stranger and stranger\u201d<\/a> appeared first on <a href=\"https:\/\/www.uncut.co.uk\/\">UNCUT<\/a>.<\/p>\n<\/div>\n<div style=\"margin-top: 0px; margin-bottom: 0px;\" class=\"sharethis-inline-share-buttons\" ><\/div>","protected":false},"excerpt":{"rendered":"<p>Originally published in Uncut Take 198 [September 2013 issue], we burrow into the sessions Dylan&#8217;s 1970 album, Self Portrait &#8211; which had then been re-issued in expanded form as the&hellip;<\/p>\n","protected":false},"author":1,"featured_media":0,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[380,31,35],"tags":[],"class_list":["post-8588","post","type-post","status-publish","format-standard","hentry","category-bob-dylan","category-features","category-interviews"],"_links":{"self":[{"href":"https:\/\/musictechohio.online\/site\/wp-json\/wp\/v2\/posts\/8588","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=8588"}],"version-history":[{"count":0,"href":"https:\/\/musictechohio.online\/site\/wp-json\/wp\/v2\/posts\/8588\/revisions"}],"wp:attachment":[{"href":"https:\/\/musictechohio.online\/site\/wp-json\/wp\/v2\/media?parent=8588"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/musictechohio.online\/site\/wp-json\/wp\/v2\/categories?post=8588"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/musictechohio.online\/site\/wp-json\/wp\/v2\/tags?post=8588"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}