{"id":142240,"date":"2023-10-09T10:32:19","date_gmt":"2023-10-09T17:32:19","guid":{"rendered":"https:\/\/acousticguitar.com\/?p=142240"},"modified":"2023-10-12T09:26:58","modified_gmt":"2023-10-12T16:26:58","slug":"john-lennon-a-songwriters-legacy","status":"publish","type":"post","link":"https:\/\/acousticguitar.com\/john-lennon-a-songwriters-legacy\/","title":{"rendered":"John Lennon, A Songwriter\u2019s Legacy"},"content":{"rendered":"\n

This article was originally published in the April 2005 issue of <\/em>Acoustic Guitar magazine<\/em>. You’ll find the music to “Imagine” as well as “Eight Days a Week” and “Blackbird” in our 2005 Digital Archive<\/a>.<\/em><\/p>\n\n\n\n

London, November 4, 1963: In the wake of the number one U.K. hits \u201cPlease Please Me\u201d and \u201cFrom Me to You,\u201d teenage hysteria greets the Beatles just about everywhere they go. But not tonight at the Prince of Wales Theater, where the band performs for a tony audience that includes the Queen Mother herself. In keeping with the venue, Paul McCartney sings the genteel \u201cTill There Was You,\u201d from The Music Man<\/em>, and George Harrison adds a tidy guitar solo. Then John Lennon steps up to the mic. \u201cFor our last number, I\u2019d like to ask for your help,\u201d he says with a smirk. \u201cWill the people in the cheaper seats clap your hands? And the rest of, if you\u2019ll just rattle your jewelry.\u201d With a satisfied \u201cYeah!\u201d Lennon kicks off \u201cTwist and Shout,\u201d leading the call and response with a rocker\u2019s rasp.<\/p>\n\n\n\n

\"John<\/figure>\n\n\n\n

So much about John Lennon is captured in these onstage moments: his rebel streak, his cutting sense of humor, his love of straight-up rock \u2019n\u2019 roll, and the way all these attributes were complemented so beautifully by McCartney and the other Beatles. \u201cThey’re like a four-color separation photo,\u201d says English songwriter Robyn Hitchcock, who was ten years old when Lennon, George Harrison, and Ringo Starr bought estates near his home in the posh suburbs of Weybridge. \u201cIf you take a color photo down to its components, there’s a blue and it’s too much blue and a red and it’s too much red … The solo albums were sort of doomed because you get too much of one flavor.\u201d<\/p>\n\n\n\n

\"Cover<\/a><\/figure>\n\n\n\n

Thirty-five years have passed since the Beatles disbanded, and it’s been almost 25 years since an unhinged fan deprived us of the chance to see what sort of music and mischief John Lennon would have made in middle age and beyond. Yet Lennon’s voice still seems eerily present today, on the ageless Beatles and solo records as well as new releases like Acoustic<\/em>, a set of Lennon demos and concert tapes. Considering the brevity of his life, the scope of Lennon’s music is breathtaking: from the bubblegum bounce of \u201cPlease Please Me\u201d to the orchestral sweep of \u201cStrawberry Fields Forever\u201d (only four years later), the sentimental \u201cIn My Life\u201d to the existential \u201cNowhere Man,\u201d the cathartic screams of \u201cMother\u201d to the utopian visions of \u201cImagine.\u201d What gives this music such vitality and allure, even for those who didn’t grow up with Beatlemania in the \u201960s? Here are some thoughts from contemporary songwriters, as well as firsthand observations from the woman who was at Lennon’s side for much of his musical life.<\/p>\n\n\n\n

The Power of Two<\/strong><\/h3>\n\n\n\n

John Lennon’s emergence as a defining voice of rock was inextricably tied to his partnership with Paul McCartney, something Brian Ritchie of the acoustic rock trio Violent Femmes calls \u201cone of the great flukes of 20th-century music. Most of the other great composers of that period\u2014John Cage, Sun Ra, Bob Dylan, Jimi Hendrix, Brian Wilson, Nick Drake\u2014were unstoppable as individuals. I get the impression that neither Lennon nor McCartney would have succeeded without the other.\u201d<\/p>\n\n\n\n

As Lennon and McCartney found their songwriting groove in early Beatles tracks like \u201cI Want to Hold Your Hand\u201d and \u201cShe Loves You,\u201d they co-wrote songs \u201cplaying into each other’s noses,\u201d as Lennon put it in the Playboy<\/em> interview he gave shortly before his death. Over the course of time, they worked more and more independently, adding a lyric or bridge to each other\u2019s nearly complete songs, or simply acting as editors and sounding boards. By the time Yoko Ono met Lennon in 1966, she recalls, \u201cJohn finished most of the songs and went to Paul’s place and said, \u2018Well, this is what I wanted. What do you think?\u2019 And vice versa: Paul had songs finished too, and I don’t think there was much to add. I think that Paul respected John and John respected Paul’s space.\u201d<\/p>\n\n\n\n

The essential feature of the Lennon\/McCartney partnership is contrast: Lennon’s rock primitivism (\u201cRevolution,\u201d \u201cCome Together\u201d) versus McCartney’s instrumental sophistication (\u201cBlackbird\u201d) and fluency with Tin Pan Alley song forms (\u201cYesterday\u201d); Lennon’s acerbic wit (\u201cI Am the Walrus\u201d) versus McCartney’s gentle optimism (\u201cLet It Be\u201d); Lennon’s personal outcries (\u201cDon’t Let Me Down\u201d) versus McCartney’s third person storytelling (“Rocky Raccoon”).<\/p>\n\n\n\n

Roots rocker Chris Whitley describes a \u201cwonderfully weird\u201d tension between what he calls Lennon\u2019s agitation and McCartney\u2019s empathy. To singer-songwriter\/ producer Joe Henry, \u201cPaul’s contribution seems to be more deliberately intellectual, as far as songcraft goes, and John\u2019s thing seems to be so much more visceral and emotional, which is probably why they were such a beautiful team.\u201d<\/p>\n\n\n\n

Many co-written Beatles songs, once we tease apart Lennon and McCartney\u2019s individual contributions, provide telling studies in contrast. Inside McCartney\u2019s jaunty \u201cWe Can Work It Out,\u201d we find Lennon’s minor-key bridge, \u201cLife is very short …\u201d  Similarly, Lennon replies sardonically to McCartney\u2019s \u201cGetting Better\u201d: \u201cCan’t get no worse.\u201d And on the magnum opus \u201cA Day in the Life,\u201d Lennon\u2019s \u201cI read the news today\u201d verse travels into McCartney’s \u201cI\u2019d love to turn you on\u201d and \u201cWoke up, fell out of bed\u201d sections and back into Lennon’s plaintive melody. \u201cOn any given tune they co-wrote,\u201d notes Kenny Siegal, of the adventuresome pop\/rock band Johnny Society, \u201cit seemed that what one didn’t bring to the table the other one provided.\u201d<\/p>\n\n\n\n

Lennon himself told Playboy<\/em> that McCartney \u201cprovided a lightness, an optimism, while I would always go for the sadness, the discords, the bluesy notes.\u201d But their roles don’t always fit so neatly into these boxes. On the White Album, for instance, McCartney wrote the raging \u201cHelter Skelter,\u201d and Lennon contributed the Bing Crosby-esque lullaby \u201cGood Night.\u201d Their relationship, McCartney reflects in the authorized biography Paul McCartney: Many Years from Now<\/a><\/em>, was \u201ca four-cornered thing rather than two cornered, it had diagonals, and my hard side could talk to John\u2019s hard side when it was necessary, and our soft edges talked to each other.\u201d<\/p>\n\n\n\n

Striking a Chord<\/strong><\/h3>\n\n\n\n

For songwriters, the deceptively simple, devastatingly effective chord moves in Lennon and McCartney songs are an endless source of wonder. Consider \u201cStrawberry Fields Forever\u201d: The verse concludes with a classic I\u2013vi\u2013IV\u2013V progression (think \u201cStand by Me\u201d), then the chorus jumps off a harmonic cliff, plunging to the v (minor) and VI7 (now major) as we arrive at the place where \u201cnothing is real.\u201d We can analyze all this with Roman numerals, but we feel the trippiness right in the gut.<\/p>\n\n\n\n

Scores of Lennon songs feature these moments of harmonic vertigo, using nothing fancier than chords that flip between major and minor, modulations into unexpected keys, the occasional augmented or ninth chord. Hitchcock cites \u201cReal Love,\u201d the Lennon-written Beatles track on the posthumous Anthology 2<\/em>. Hitchcock sings the falsetto lines that lead into the chorus, \u201cWhy must we be alone?\/ Why must we be <\/em>alone?\u201d which are accompanied by an uncommon move from D (I) to C9 (bVll9) and back again. \u201cAbsolutely chilling,\u201d says Hitchcock. \u201cIt makes me cry.\u201d<\/p>\n\n\n\n

Lennon, Hitchcock adds, \u201cwould have these odd chords on both guitar and piano, while ostensibly being simple workingman\u2019s John, banging them out. You can see why people from as diverse ends as Brian Wilson and Bob Dylan marveled at it.\u201d<\/p>\n\n\n\n

Henry hears a \u201csense of discovery\u201d in the way Lennon strings together chords in \u201cAcross the Universe.\u201d \u201cThat sounds like a backwards melody to me,\u201d he says. \u201cIt’s like he set up a situation to make a song create itself, as opposed to him orchestrating and driving it.\u201d Another example is the gorgeously off-the-chart \u201cJulia,\u201d which Lennon wrote at the Maharishi Mahesh Yogi\u2019s compound in India, after learning fingerstyle technique from Donovan. \u201cIt’s like somebody playing an instrument they don’t play very well,\u201d says Henry. \u201cEven though John was a really good guitar player, he tricked himself into playing in a much more naive fashion.\u201d The Acoustic collection provides an intimate snapshot of  Lennon the guitarist, laying down songs in unplugged\/unproduced form. Highlights include \u201cWatching the Wheels,\u201d which sounds downright folky compared to the version on Double Fantasy<\/em>, and \u201cReal Love\u201d (a different demo than the one used by the other Beatles on Anthology 2<\/em>). <\/p>\n\n\n\n

When reviewing Lennon’s homemade tapes for a possible Japanese release, Ono discovered that his voice was irreparably drowned out on the piano tracks but the guitar-based demos had a special appeal. She decided to package the CD as a mini guitar songbook, with chord symbols above the lyrics in the liner notes. \u201cWhen John was playing at home,\u201d Ono recalls, \u201cit was a normal thing for me, so I wasn’t that impressed. I was a very lucky girl, you know. But after 20 years or so, looking back and listening to it, I thought, my God, he was brilliant. If I can make this into a good-quality thing, it might inspire the professionals. It might even inspire kids who are just wanting to learn how to play guitar.\u201d In the Beatles, Lennon mostly provided the rhythmic bedrock, punching out those singular changes (often using full barre chords) and freeing Harrison to add ornamentation and texture. On rare occasions Lennon stepped out on lead\u2014notably in \u201cGet Back\u201d\u2014and from the White Album onward, he recorded some beautiful stand-alone accompaniment parts, as on the dreamy fingerstyle \u201cDear Prudence.\u201d<\/p>\n\n\n\n

\u201cLennon was not a flashy guitarist,\u201d says Ritchie, \u201cbut he got the job done, and his tone is better than 99 percent of guitarists.\u201d Hitchcock notes that \u201cPaul could play lead as well as George, which was a constant source of irritation to both of them. John wasn’t technically up there doing the squiggly bits with Paul and George, but he could come up with a melody line on the guitar. I love that harsh stuff on \u2018Well Well Well\u2019 [from Plastic Ono Band<\/em>]. He certainly played for his needs.\u201d<\/p>\n\n\n\n

In a 1970 conversation with Jann Wenner of Rolling Stone<\/em>, Lennon called himself a \u201ccinema verite guitarist\u201d who had no interest in technical perfection. \u201cI’m really very embarrassed about my guitar playing in one way because it’s very poor,\u201d he said. \u201cI can never move, but I can make a guitar speak, you know.\u201d<\/p>\n\n\n\n

Look at Me<\/strong><\/h3>\n\n\n\n

Just as Lennon\u2019s harmonic sense continually evolved, so did his lyric writing. \u201cHe enjoyed words,\u201d says Hitchcock. \u201cHe was a fan of Lewis Carroll, and he was obviously a big Dylan fan. Dylan liberated him to start putting different lyrics in songs rather than, you know, \u2018diamond ring,\u2019 \u2018my friend,\u2019 \u2018I love you.\u2019 The early Beatles had a vocabulary of about 15 words, but that helped them get going. If they’d come out with \u2018Strawberry Fields\u2019 and \u2018Eleanor Rigby\u2019 to start, they wouldn’t have got anywhere.\u201d<\/p>\n\n\n\n

Looking back at his contributions to the Beatles catalog, Lennon pointed to his most personal writing as his best work: songs like \u201cHelp!\u201d \u201cStrawberry Fields,\u201d and \u201cIn My Life,\u201d which Ritchie calls \u201cone of the loveliest songs in rock.\u201d (\u201cIn My Life\u201d is a rare example of contradiction between Lennon\u2019s and McCartney\u2019s memories of writing Beatles songs: both took credit for the music but agreed the words are Lennon\u2019s.)<\/p>\n\n\n\n

In his solo years, Lennon aimed to further strip away craft and pretense. Plastic Ono Band<\/em>, released in 1970 after the implosion of the Beatles and a trip through Dr. Arthur Janov’s Primal Center, still<\/em> sounds shockingly raw even after decades of singer-songwriters baring their souls for therapy and art.<\/p>\n\n\n\n

\"John<\/figure>\n\n\n\n

Lennon’s writing on Plastic Ono Band<\/em> and its tamer follow-up, Imagine<\/em>, \u201chad more to do with his own self-discovery than expressing a very smart idea,\u201d says Henry. \u201cIt’s not clever wordplay. It\u2019s more like biting into an idea and spitting it out.\u201d In those songs, he adds, Lennon \u201cstarts to sound like he’s not conscious of influence. They’re not genre pieces, like some of the early Beatles\u2014pieces here\u2019s our western song, here’s our take on the blues.\u201d<\/p>\n\n\n\n

Six songs from Plastic Ono Band<\/em> appear on Acoustic<\/em>, including the little gem \u201cLove\u201d and the melancholy \u201cLook at Me.\u201d Ono has a particular fondness for \u201cWorking Class Hero,\u201d in which Lennon addresses would-be followers with a characteristic mix of sympathy, mockery, and cynicism. Ono says, \u201cI just love that idea, and I think that song really typifies what the Beatles did, which was to create a revolution in the hierarchy of, OK, first the queen and then the aristocrats and all that. They toppled it, you know?\u201d<\/p>\n\n\n\n

At times he resented the lofty pedestal on which the Beatles were placed (to the point of declaring \u201cI don’t believe in Beatles,\u201d in the song \u201cGod\u201d), but Lennon also recognized that he stood in a unique position to broadcast messages to the world. He had a knack for distilling an idea down to a catchphrase or slogan, and he was ready to step up to the mic and just say it: \u201cAll you need is love.\u201d \u201cPower to the people.\u201d \u201cGive peace a chance.\u201d<\/p>\n\n\n\n

Studio Surrealism<\/strong><\/h3>\n\n\n\n

Lennon and the Beatles straddled tectonic shifts in how rock bands make music in yet another realm: the recording studio. In the early days, they knocked out studio tracks like the bar band they were, but in the mid-\u201960s on Rubber Soul<\/em> and Revolver<\/em>, a new universe of recording possibilities began to emerge.<\/p>\n\n\n\n

The band took a radical step into alternate-reality recording with Lennon\u2019s one-chord incantation \u201cTomorrow Never Knows,\u201d which Ritchie calls \u201cone of the first pop songs which used sounds and noise, rather than chords and notes, as the main building blocks.\u201d Lennon\u2019s voice warbled through a Leslie speaker, and engineers faded McCartney\u2019s tape loops in and out on five different machines.<\/p>\n\n\n\n

\u201cSome of my favorite songs in the world aren’t songs at all,\u201d Whitley says of \u201cTomorrow.\u201d \u201cIt’s like [Jimi Hendrix’s] Are You Experienced?-<\/em>totally fundamental groove-blues-rock-psychedelic surrealism.\u201d<\/p>\n\n\n\n

Then came \u201cStrawberry Fields Forever,\u201d recorded in late 1966, shortly after the band quit touring. Lennon wrote the song on guitar (as documented in a fascinating demo sequence on Anthology 2<\/em>), but it became something entirely new in the Abbey Road studio, with touches of Mellotron (a tape-replay keyboard), surmandal (Indian harp), and strings, and producer George Martin\u2019s deft editing together of two takes with different tempos and keys. The psychedelic extravaganza \u201cA Day in the Life\u201d followed just a few months later.<\/p>\n\n\n\n

Joe Henry, who coproduced Ani DiFranco\u2019s newest CD, Knuckle Down<\/em>, contrasts the baroque constructions of Sgt. Pepper\u2019s<\/em> and Magical Mystery Tour <\/em>with the bare-bones approach of Lennon\u2019s early solo albums. With those Beatles albums, he says, \u201cIt’s hard to separate the recordings from the songs themselves, because it’s almost like the studio helped create the songs. Plastic Ono Band<\/em>, Imagine<\/em>, those records sound more like you get some good musicians in a room and everybody has to hang on, because John is taking the song down the field and you get a couple takes to get onboard or else you’ve missed it.\u201d<\/p>\n\n\n\n

For Lennon, the studio was a place for experimentation but not for songwriting, says Ono. \u201cI\u2019ve heard from some producers, \u2018That band, they just come in and they only have one [vocal] line and say, \u201cWhat are we going to do about this?\u2019\u201d John was never like that. He might change a few words or something, but he had the whole song finished before he went into the studio.\u201d<\/p>\n\n\n\n

\"John
Lennon in 1974, photo by Tony Barnard, Los Angeles Times. Courtesy of UCLA archives<\/em><\/figcaption><\/figure>\n\n\n\n

Come Together<\/strong><\/h3>\n\n\n\n

Ono\u2019s voice softens when she’s asked about musical ambitions that Lennon never had a chance to realize. \u201cWe were going to go on doing all sorts of things,\u201d she reflects. \u201cThat’s all lost, you know. It’s neither here nor there.\u201d And what sort of music does she imagine he might be making today? \u201cI think he would have gone into more complex music that’s more avant-garde. I\u2019m sure that he would have been very interested in computers, the Internet, and all that\u2014he would have jumped on it. New expression, new communication.\u201d<\/p>\n\n\n\n

As we approach what would have been John Lennon’s 65th birthday, a steady stream of new releases and events preserves the illusion that Lennon and the Beatles play on. In 2004 came The Capitol Albums<\/em>, Vol. 1, a collection of the US versions of early Beatles albums (in both mono and stereo); Lennon’s Acoustic<\/em> and the remastered\/remixed Rock \u2018n\u2019 Roll<\/em>; Ringo Starr’s coffee-table book Postcards from the Boys<\/em>; a Lennon art exhibit titled \u201cWhen I’m Sixty-Four\u201d; and more. A tribute musical, Lennon<\/em>, debuts this spring on Broadway. There\u2019s enough music and memorabilia to occupy the most obsessed fans, but the songwriters I spoke with find something less tangible\u2014and more powerful\u2014in Lennon\u2019s legacy.<\/p>\n\n\n\n

\u201cI feel his spirit,\u201d says Hitchcock. \u201cA corny thing to say, but I draw a lot of strength from him.\u201d Whitley takes inspiration as much from Lennon\u2019s audacity as from his songs. \u201cHis creativity is so let loose,\u201d says Whitley, \u201clike he’s not scared of being trite.\u201d To Henry, Lennon\u2019s music is a lesson in \u201cbeing liberated from the constraints of a preconceived idea.\u201d Kenny Siegal, who was in elementary school when Lennon died, reflects, \u201cI\u2019m not the kind of guy who knows how to play their tunes around the fire-too busy writing my own, which those guys would probably applaud.\u201d He still sees John Lennon as a hero, but adds, \u201cYou know … I don’t think he would have wanted people to carry his voice more than their own.\u201d <\/p>\n\n\n\n

\"John<\/figure>\n\n\n\n

What They Played<\/h4>\n\n\n\n

\u201cGeorge Harrison was really the gearhead,\u201d says Andy Babiuk, author of the encyclopedic book Beatles Gear<\/a><\/em> (Backbeat). \u201cLennon and McCartney were really songwriters\u2014the instruments themselves were strictly tools.\u201d During the Beatles years, John Lennon played four main guitars: a 1962 Gibson J-160E (stolen in 1963 and replaced with a nearly identical model, which Lennon stripped and refinished twice; a 1967 Martin D-28 that featured prominently in the writing and recording of the White Album; a Rickenbacker 325 (one from 1958 and a second from 1964); and a 1965 Epiphone Casino (also painted and then stripped). Babiuk notes that Lennon got the acoustic-electric J-160E specifically to plug into a Vox AC-30 on stage and that it’s the only instrument used on nearly every Beatles record. <\/p>\n\n\n\n

Lennon had no particular favorite guitar in his later years, says Yoko Ono. \u201cHe was interested in jumping from one to another. He liked all sorts of guitars really.\u201d The photos on Acoustic<\/em> show, among other things, an Ovation and a circa-1977 custom Yamaha with a dragon inlay designed by Ono.<\/p>\n","protected":false},"excerpt":{"rendered":"

What gives this music such vitality and allure, even for those who didn’t grow up with Beatlemania in the 1960s?<\/p>\n","protected":false},"author":5,"featured_media":142243,"comment_status":"open","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"advanced_seo_description":"What gives this music such vitality and allure, even for those who didn't grow up with Beatlemania in the \u201960s?","jetpack_seo_html_title":"","jetpack_seo_noindex":false,"footnotes":"","jetpack_publicize_message":"","jetpack_publicize_feature_enabled":false,"jetpack_social_post_already_shared":true,"jetpack_social_options":{"image_generator_settings":{"template":"highway","enabled":false}}},"categories":[1696],"tags":[],"ppma_author":[1559],"blocksy_meta":[],"jetpack_publicize_connections":[],"jetpack_sharing_enabled":true,"jetpack_featured_media_url":"https:\/\/i0.wp.com\/acousticguitar.com\/wp-content\/uploads\/2023\/10\/John_Lennon_1974.jpg?fit=900%2C748&ssl=1","authors":[{"term_id":1559,"user_id":0,"is_guest":1,"slug":"jeffrey-pepper-rodgers","display_name":"Jeffrey Pepper Rodgers","avatar_url":{"url":"https:\/\/acousticguitar.com\/wp-content\/uploads\/2023\/06\/About-Us-8.jpg","url2x":"https:\/\/acousticguitar.com\/wp-content\/uploads\/2023\/06\/About-Us-8.jpg"},"user_url":"https:\/\/www.jeffreypepperrodgers.com\/","last_name":"","first_name":"","description":"Jeffrey Pepper Rodgers, founding editor of Acoustic Guitar<\/em>, is a grand prize winner of the John Lennon Songwriting Contest and author of The Complete Singer-Songwriter<\/em><\/a>, Beyond Strumming<\/em><\/a>, and other books and videos for musicians. In addition to his ongoing work with AG<\/em>, he offers live workshops for guitarists and songwriters, plus video lessons, song charts, and tab, on Patreon<\/a>.\r\n"}],"_links":{"self":[{"href":"https:\/\/acousticguitar.com\/wp-json\/wp\/v2\/posts\/142240"}],"collection":[{"href":"https:\/\/acousticguitar.com\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/acousticguitar.com\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/acousticguitar.com\/wp-json\/wp\/v2\/users\/5"}],"replies":[{"embeddable":true,"href":"https:\/\/acousticguitar.com\/wp-json\/wp\/v2\/comments?post=142240"}],"version-history":[{"count":5,"href":"https:\/\/acousticguitar.com\/wp-json\/wp\/v2\/posts\/142240\/revisions"}],"predecessor-version":[{"id":142335,"href":"https:\/\/acousticguitar.com\/wp-json\/wp\/v2\/posts\/142240\/revisions\/142335"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/acousticguitar.com\/wp-json\/wp\/v2\/media\/142243"}],"wp:attachment":[{"href":"https:\/\/acousticguitar.com\/wp-json\/wp\/v2\/media?parent=142240"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/acousticguitar.com\/wp-json\/wp\/v2\/categories?post=142240"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/acousticguitar.com\/wp-json\/wp\/v2\/tags?post=142240"},{"taxonomy":"author","embeddable":true,"href":"https:\/\/acousticguitar.com\/wp-json\/wp\/v2\/ppma_author?post=142240"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}