{"id":718,"date":"2026-09-01T11:00:00","date_gmt":"2026-09-01T15:00:00","guid":{"rendered":"https:\/\/realrockrevival.com\/index.php\/2026\/09\/01\/i-was-keen-to-get-a-new-audience-it-took-me-until-album-number-three-before-i-found-an-identity-the-adventure-of-peter-gabriels-first-four-solo-records\/"},"modified":"2026-09-01T11:00:00","modified_gmt":"2026-09-01T15:00:00","slug":"i-was-keen-to-get-a-new-audience-it-took-me-until-album-number-three-before-i-found-an-identity-the-adventure-of-peter-gabriels-first-four-solo-records","status":"publish","type":"post","link":"https:\/\/realrockrevival.com\/index.php\/2026\/09\/01\/i-was-keen-to-get-a-new-audience-it-took-me-until-album-number-three-before-i-found-an-identity-the-adventure-of-peter-gabriels-first-four-solo-records\/","title":{"rendered":"\u201cI was keen to get a new audience. It took me until album number three before I found an identity\u201d: The adventure of Peter Gabriel\u2019s first four solo records"},"content":{"rendered":"
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In 2015, marking the reissue of Peter Gabriel\u2019s first four solo albums, <\/em>Prog looked at how those remarkably different works illustrated his development beyond Genesis and his securing of a unique place in the history of progressive music.<\/em><\/p>\n

In the six years from 1977-1982, Peter Gabriel <\/a>released four albums that were to define him as one of the great pioneers of British rock music and set him on his course to becoming a global superstar. They are the sound of freedom: each album a step further in shaking off his Genesis past<\/a>, in which every decision had to be made by committee. This now was most definitely his very own show.<\/p>\n

With his quartet of self-titled albums, Gabriel brought progressive rock out of the 70s and pre-empted how the genre would move forward. By the time of his third album in 1980, he had struck a template that has lasted him to the present day. He drew on some of the best players possible, and the atmosphere of creativity fostered incredible experimentation.<\/p>\n

With each record you hear his confidence grow. From the first album, where he was being happily taught by studio master Bob Ezrin; to the second, where he was working in partnership with Robert Fripp<\/a>; to his third and fourth, which put him very much in the driving seat, his producers (Steve Lillywhite and David Lord, respectively) absorbing and capturing his ideas.<\/p>\n

After his final show with Genesis in April 1975, Gabriel did exactly what he said he would; he withdrew from the music business and spent more time with his family. It absolutely fascinated the papers that a star \u2013 suddenly about to achieve what he had ostensibly craved \u2013 would turn his back on it at the age of 25 to pursue domestic life. <\/p>\n

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Although he had dabbled in music since leaving the band, by mid 1976, Gabriel was ready to return to the fray. He began casting his net for a producer, liking the idea of using someone outside the UK production system, with different ideas and a wider vision. Todd Rundgren<\/a> was considered; but Ezrin, who had made his name with his productions for Alice Cooper<\/a> and Kiss<\/a> was chosen, partially because of his work on Lou Reed<\/a>\u2019s Berlin<\/em>, his critically lauded, black as pitch 1973 masterpiece.<\/p>\n

Ezrin was to select virtually all of the album\u2019s players, trusted session hands used to working at speed with demanding artists. \u201cI had developed this crew of regulars that I would work with,\u201d the producer said in 2013. \u201cI put them together for when I worked with solo artists who didn\u2019t come with their own band.\u201d<\/p>\n

It was through Ezrin that Gabriel met one of his longest serving and most trusted players \u2013 bassist Tony Levin<\/a>. Gabriel chose two players on the album: one was keyboard player Larry Fast, who had worked with Rick Wakeman<\/a>. The other was his old friend, ex-King Crimson leader Fripp. \u201cHe thrived on the characters,\u201d Ezrin said. \u201cHe negotiated with me, asking if he could have one Brit: I felt we were doing a sports deal, like a football club, needing a striker. I agreed; he said, \u2018Can it be Robert Fripp?\u2019 It was an exciting thing that he brought Robert into the fold, and Robert perfectly rounded out this group of misfits and musical outlaws.\u201d<\/p>\n

Gabriel relocated to Nimbus Studios in Toronto to work. The sessions were conducted in a business-like fashion: \u201cBob was a very forceful individual back then,\u201d Fast noted. \u201cHe actually wore a whistle, like a coach, around his neck while he paced the studio during song rundowns.\u201d With such a pedigree of performer and the high-end producer, it\u2019s little wonder that Gabriel\u2019s debut album is the closest he ever came to becoming a straight down-the-line stadium rocker. From the Genesis-like Moribund The Burgermeister<\/em> to the slamming rock of Down The Dolce Vita<\/em>, the album is rather splendid and sometimes daft.<\/p>\n

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Robert Fripp was keen to get everything fresh. We kept a lot of early takes and kept the production very dry. The second album is more spontaneous<\/p>\n

Peter Gabriel<\/p>\n<\/blockquote>\n<\/div>\n

Gabriel wrote his first solo classic in Solsbury Hill<\/em>, a record that proved he had more than enough commercial nous to go it alone. As he said at the time, \u201cIt\u2019s about being prepared to lose what you have for what you might get, or what you are for what you might be. It\u2019s about letting go.\u201d Its optimism is heartwarming, and its manifesto is clear: To succeed, you have to take risks. <\/p>\n

Here Comes The Flood<\/em> was remarkable. He was fascinated with short wave radio, and was amazed how signal strength became stronger as daylight faded. All of this fed into the tale of barriers in individuals\u2019 thought processes being broken down so anyone can see into other people\u2019s minds; and, as Gabriel said, \u201cthose inclined to concealment would drown in it.\u201d It is a brooding, intense experience that demonstrated the distinctiveness of his writing.<\/p>\n

The sessions finished in Toronto with a riotous meal and prize-giving ceremony at the Napoleon Restaurant. \u201cI gave out gifts to acknowledge everyone\u2019s contribution,\u201d Ezrin said. \u201cPeter was dressed in his white three-piece suite with a black shirt and a hat and he wore his ball-bearing contact lenses behind dark glasses. I gave Tony Levin a tuba, and I gave Fripp a beautiful gold antique pocket watch on a chain.\u201d The assembled players then all sang an a capella version of the album\u2019s barbershop quartet number, Excuse Me<\/em>.<\/p>\n

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\u201cI really wanted the first record to be different from what I\u2019d done with Genesis, so we were trying to do things in different styles,\u201d Gabriel said in 2015. \u201cA bit of barbershop, which Tony Levin helped with; there were more bluesy things; a variety of songs and arrangements that were consciously trying to provide something different than what I\u2019d done before.\u201d<\/p>\n

The album, simply titled Peter Gabriel<\/em>, was released in the UK on February 25, 1977. Hipgnosis designed a heavily-colourised distant and mysterious sleeve that featured Gabriel sitting in Storm Thorgerson<\/a>\u2019s rain-soaked Lancia Flavia. It gave the album its simple, colloquial name of Car<\/em>. With a tag-line of \u2018Expect the unexpected on the new Peter Gabriel album,\u2019 it reached a respectable No. 7 in the UK and No. 38 in the US. Rolling Stone<\/em> said, \u201cThis is an impressively rich debut album. And I still don\u2019t know what to expect from him next.\u201d<\/p>\n

After extensive touring, his second album \u2013 also titled Peter Gabriel<\/em> \u2013 followed in June 1978, with Car<\/em> guitarist Robert Fripp as producer. \u201cI really like Two; it takes a while,\u201d Gabriel\u2019s long-term engineer, Dickie Chappell, says. \u201cI think Peter thought it was made too<\/em> fast. There\u2019s some great songs on there and it has its own atmosphere; it\u2019s very bright, brittle sounding.\u201d <\/p>\n

This album was recorded at the quickest pace of any in his career. As Eric Tamm notes in his biography of Robert Fripp, \u201cIf Peter Gabriel<\/em> 1977 sounds like it was recorded in a heavenly cathedral, Peter Gabriel<\/em> 1978 sounds like it comes out of a dingy garage.\u201d<\/p>\n

The album was to be known as Scratch<\/em> because of its distinctive, Hipgnosis-designed sleeve. Although partially recorded at Relight Studios, Hilvarenbeek in the Netherlands, its sound primarily was that of New York, where the remainder of the album was recorded at the Hit Factory. It\u2019s sparse, harder and emotional. Fewer people were in the studio and the band gelled: Levin, Fripp and Fast were back. Jerry Marotta came in on drums. Among others, Roy Bittan from the E-Street Band added his unmistakable piano lines.<\/p>\n

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\"Fripp<\/p>\n<\/div>\n<\/div>

Fripp and Gabriel are snapped for the Scratch promo card. <\/span>(Image credit: PETER-GABRIEL LTD)<\/span><\/figcaption><\/figure>\n

\u201cRobert was very keen to get everything fresh,\u201d Gabriel said in 1978. \u201cWe kept a lot of early takes and kept the production very dry. The second album is more spontaneous.\u201d It\u2019s the Peter Gabriel album that few seem to know. Standout moments include the sea of synthetics that introduce On The Air<\/em>. Its five and a half minutes are neatly answered by the two-and-a-half minutes of D.I.Y.<\/em>; with its crisp snare snap and acoustic guitars, it\u2019s another plea for independence, chiming with the \u2018do it yourself\u2019 ethos of the New Wave movement.<\/p>\n

White Shadow<\/em> is subversive AOR, it arrives with all of Fripp\u2019s floating ambience based on Fast\u2019s swathes of synthesizers. Exposure<\/em> is one of the album\u2019s highlights. Introduced by Fripp\u2019s unmistakable guitar, it is a dense, brooding funk that appears from nowhere and seems to linger forever.<\/p>\n

Scratch<\/em> was released in June 1978. Sounds<\/em> concluded, \u201cThis new Peter Gabriel album is absolutely it. It hasn\u2019t left my turntable yet and doesn\u2019t look like it\u2019s going to. It couldn\u2019t happen to a finer artist. Just listen.\u201d The to-the-bone subject matter and experimental playing demonstrated Gabriel\u2019s growing confidence. Writing in the NME<\/em>, Nick Kent said: \u201ccloser to the root of the album, there\u2019s a purity of strength to the songs individual enough to mark Gabriel out as a man whose creative zenith is close at hand.\u201d<\/p>\n

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Steve Lillywhite and Hugh Padgham provided a very good balance in coordinating and capturing Peter\u2019s creativity without impressing their own obvious stamp on it<\/p>\n

Larry Fast<\/p>\n<\/blockquote>\n<\/div>\n

The album\u2019s supporting tour saw Gabriel and his band dressed in worker\u2019s fluorescents and guesting at high profile festival gigs with The Stranglers<\/a> and The Boomtown Rats. Gabriel shaved off his hair. He was stripped clean, a symbolic shearing of the lamb. \u201cPeople react to a shaved head differently to how they do to a soft hairy one,\u201d he said, with some understatement.<\/p>\n

\u201cI tried to do a lot of things to separate me from Genesis,\u201d he told Uncut<\/em> in 2012. \u201cSometimes you\u2019d see people leave bands and do watered-down versions of what the band had done. I was determined not to do that. I was keen to get a new audience. It took me until album number three before I found an identity.\u201d<\/p>\n

\u201cIt all starts to come into focus on the third album,\u201d Dickie Chappell notes. \u201cIt\u2019s my favourite\u2026 there is something about the arrangements and the harmonies used; the sound is pretty nuts.\u201d<\/p>\n

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Produced by Steve Lillywhite, it features notable contributions from Kate Bush<\/a>, Phil Collins<\/a>, Paul Weller<\/a>, Fripp, Dave Gregory and future Gabriel stalwart David Rhodes. Recording began in earnest when, after demoing tracks and ideas in Bath, Gabriel located to The Townhouse in London. His choice of producer Lillywhite and engineer Hugh Padgham was pivotal \u2013 bringing in a young team meant that ideas could easily flow.<\/p>\n

\u201cSteve and Hugh provided a very good balance in coordinating and capturing Peter\u2019s creativity without impressing their own obvious stamp on it,\u201d Fast says. The album featured a considerable amount of innovation. Intruder<\/em> was Gabriel at his most sonically adventurous. He was determined not to have any cymbals on the album, finding them too splashy and detracting from the core rhythm. Gabriel\u2019s motto when recording the album was simple: no middle ground.<\/p>\n

The loud, aggressive drum sound of Intruder<\/em> \u2013 played by Collins and recorded by Padgham \u2013 is the first thing the listener hears. The pair\u2019s experimentation at Gabriel\u2019s insistence set a template for the 80s pop to follow. \u201cI remember Phil coming in to the rehearsals for Duke<\/em> with a tape of the drum loop they\u2019d done,\u201d Gabriel\u2019s ex-Genesis bandmate Tony Banks<\/a> recalls. \u201cWith the gated reverb. Phil played it to us, and he told us Peter was writing a song on top of it. I thought it was fantastic.\u201d The record had a cavernous vacancy that could at once be filled with eerie otherworldly noises, most often Gabriel\u2019s vocal tics, or random percussion.<\/p>\n

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Ahmet Ertegun suggested that Peter might have had some sort of a breakdown during the writing of Melt<\/p>\n

Gail Colson<\/p>\n<\/blockquote>\n<\/div>\n

If the opening wasn\u2019t strange enough in itself, the record swooped into No Self Control<\/em>, an unrelenting view of schizophrenia and paranoia. Gabriel\u2019s maniacal spoken-sung whisper is supported by the track\u2019s insistent backing vocals, provided by his new friend and collaborator, Bush, who was also to add vocals to Games Without Frontiers<\/em>.<\/p>\n

I Don\u2019t Remember<\/em> demonstrated how the new toy, the Fairlight CMI synthesiser, could be incorporated into conventional rock, adding the sounds of bricks banging together and milk bottles smashing, adding to the otherworldliness of its sound. Gabriel was one of the first musicians in the UK to use a Fairlight, which, within a matter of years, would completely transform the way music was made. <\/p>\n

The synth \u2013 invented in Australia and costing \u00a310,000 \u2013 could sample natural sounds and play them back at a variety of pitches and tones. Gabriel invested in Fairlight and persuaded his cousin, Stephen Paine, to come in with him, establishing the company Syco Systems to import and distribute the instruments in the UK.<\/p>\n

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\u201cPeter was like the Remington guy,\u201d Chappell laughs. \u201cIt was a revolution in sound; hip hop wouldn\u2019t have been hip hop without the samples; it led to producer technology; So Melt<\/em> (and 4<\/em>) are a bit of a landmark in the way that people then went on to make music.\u201d<\/p>\n

Melt<\/em> is full of highlights \u2013 Family Snapshot<\/em> is one of his most emotional performances; And Through The Wire<\/em> has a power pop edge thanks to Paul Weller\u2019s guitar chords. Games Without Frontiers<\/em> was chosen as the album\u2019s lead single. Gabriel was inspired by the daftness of primetime BBC TV programme It\u2019s A Knockout<\/em>. <\/p>\n

Allegedly, French President Charles De Gaulle commented that a fun competition between everyday people of France and Germany would lead to greater understanding between the countries, inspiring the programme. Gabriel thought the symbolism of the show was ripe for exploring, demonstrating that all of this jollity cloaked simmering resentment. One of the best assessments of the futility of aggrandising nationalism ever to reach the UK Top Five, the song offered
a fine example of Gabriel\u2019s new sonic landscape. He could experiment and still deliver one of the biggest hits of his career.<\/p>\n

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And then there\u2019s Biko <\/em>\u2013 the track that marked the true beginning of the next phase of his career. Finding rock rhythms limiting, he hit upon this hypnotic African-inspired pattern. But it was the subject matter that really was a departure. He had noted in his diary the death of student activist Stephen Biko at the hands of the South African police in September 1977. Like many white liberals with an awareness of events in South Africa, Gabriel was shocked by the brutality and the subsequent cover-up by police, and decided to capture his thoughts in song. <\/p>\n

He was acutely aware of his lack of authenticity to become a champion of causes in far off countries \u2013 but that in no way blunted his passion and sincerity for the subject. But the lyrical content would have meant nothing without the remarkable musical setting he and his team put together to support it. With its portentous opening drum rhythm (inspired by the theme music to the Stanley Baker film Dingaka<\/em>) and drone guitar played by Rhodes, this was very different to anything Gabriel had recorded to date. It was probably the ultimate expression of the album\u2019s \u2018no middle ground\u2019 policy. Biko<\/em> set him on a course that would see Gabriel become one of the most impassioned campaigners for civil rights in popular music.<\/p>\n

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On Melt the Fairlight was the icing on the cake. On the fourth album it was the cake on many tracks<\/p>\n

Larry Fast<\/p>\n<\/blockquote>\n<\/div>\n

The album was released on May 30 1980. For its distinctive sleeve, Hipgnosis created one of Gabriel\u2019s most enduring and disturbing images, manipulating the images from a Polaroid camera when the ink was still wet. It produced strange, wayward and distorted pictures: Gabriel\u2019s face was melting in front of his audience. He looked like a cross between a bizarre candle and a relief map of high ground. As a result, the album picked up its colloquial title, Melt<\/em>. <\/p>\n

The lean and gripping release was rapturously received. It went to No. 1 in the UK in June, where it remained for two weeks, giving Gabriel his first chart-topper. In the US, the album was infamously rejected by Atlantic, \u201cAhmet Ertegun suggested that Peter might have had some sort of a breakdown during the writing of it,\u201d Gabriel\u2019s then-manager Gail Colson said. Dave Marsh, writing in Rolling Stone<\/em>, said on the album\u2019s eventual release via Mercury in September 1980: \u201cLucid and driven, Peter Gabriel\u2019s third solo album sticks in the mind like the haunted heroes of the best film noirs<\/em>.\u201d<\/p>\n

In mid 1980, Gabriel retreated to Bath and began work on his next album with producer David Lord. A considerable amount of money was spent on equipping the studio at Gabriel\u2019s home, Ashcombe House, aka \u2018Shabby Road.\u2019 He allowed TV cameras to capture his work in progress. Little did they know that the album would take 16 months to complete. The result was aired on October 31, 1982; Gabriel was elevated to the august band of musicians who were featured on the Melvyn Bragg-fronted prestigious UK arts programme The South Bank Show<\/em>. The documentary caught Gabriel\u2019s methodically painstaking processes on camera.<\/p>\n

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\u201cDavid Lord came from a classical background and had the same high standards for audio excellence,\u201d recalls Fast, who returned for his fourth album with Gabriel. \u201cBut he continued to let Peter take his own creative lead while quietly corralling the bits together as the ideas took form. On Melt<\/em> the Fairlight was the icing on the cake. On the fourth album it was<\/em> the cake on many tracks.\u201d<\/p>\n

It was a painstaking, detailed approach. Ideas were constantly being worked out; Lord and Gabriel were left with 27 16-minute tapes, and over seven hours of material. There were multiple versions of 18 separate songs, several of which were running at over 10 minutes in length. Gabriel, Lord and Fast then spent three further months piecing everything together.<\/p>\n

The subject matter was mature and intense: The Rhythm Of The Heat<\/em> was one of the first ideas that Gabriel brought into the sessions. He\u2019d read Carl Jung\u2019s book Symbols And The Interpretation Of Dreams<\/em>. To understand the native psyche, Jung joined a group of drummers and dancers in Africa and became overwhelmed with fear. Gabriel was fascinated \u2013 in the song\u2019s frantic, hypnotic rhythms, he attempts to capture this accelerating panic.<\/p>\n

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Car is Peter unsure of how to make a record; Robert Fripp gave Peter more control with record two; Melt is \u2018I know what I\u2019m doing now\u2019 and Security is hitting maturity<\/p>\n

Dickie Chappell<\/p>\n<\/blockquote>\n<\/div>\n

San Jacinto<\/em> looked at the clash of cultures around the Native American and the world in which they live. Shock The Monkey<\/em> sounds hit parade after all that \u2013 and indeed, it gave Gabriel his first US Top 40 single, propelled by its strange, otherworldly video, directed by then-hot video director Brian Grant. After a slow build, Lay Your Hands On Me<\/em> gives way to an impassioned plea for intimacy. Evoking a dream-like rapture, the beautiful ambiguity of the lyric is bolstered by the Biko-like drumming onslaught and mass vocals.<\/p>\n

There was a great deal going on in Gabriel\u2019s world around the release of Security<\/em> \u2013 he had instigated the first WOMAD Festival in July 1982, an artistic triumph and a financial disaster. When his old bandmates in Genesis heard of Gabriel\u2019s predicament, they proposed a one-off reunion concert, Six Of The Best<\/em>, at Milton Keynes Bowl that October (which was of course to prove a great, if very wet, success).<\/p>\n

Security<\/em> (as it was titled in the States at the request his new label boss David Geffen) was released in September 1982. Reviews were mixed. NME<\/em>\u2019s Gavin Martin wrote, \u201cWhat is it that makes Gabriel and his ilk think that to address misery and depression the artist must sound miserable and depressed?\u201d Yet Richard Cook as part of his NME<\/em> interview with Gabriel at the time said saliently, \u201cIt is Gabriel\u2019s first step at repositioning the heroic pretensions of rock.\u201d <\/p>\n

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\"Peter<\/p>\n<\/div>\n<\/div>

Peter Gabriel during the Shock The Monkey shoot <\/span>(Image credit: \u00a9 Peter Gabriel)<\/span><\/figcaption><\/figure>\n

\u201cThe third album was brilliant, and I thought the fourth album was probably slightly better,\u201d Tony Banks was to say. \u201cIn terms of composition it was wonderful. San Jacinto<\/em> is probably my favourite of Pete\u2019s tracks. I would have been a big fan of Pete\u2019s even if I hadn\u2019t known him.\u201d<\/p>\n

The tour to support Security<\/em> was large, and helped build Gabriel\u2019s fanbase in the States. Characteristically cryptic, the shows were entitled Playtime 1988<\/em>, and they finally found the balance between his rejection of his Genesis persona on his early tours, and greater theatricality. The show was engaging and melodramatic. Working with Levin, Rhodes, Fast and Marotta, the band settled into the North American tour, riding on the wave of goodwill that the success of Shock The Monkey<\/em> had provided. It was to be the final tour on which Gabriel hid behind any mask or make-up \u2013 within two years, Peter Saville would be supervising clean-cut photoshoots for him, and So<\/em><\/a> was just around the corner.<\/p>\n

The first four Gabriel albums are the foundations on which his solo career rests: \u201cCar<\/em> is Peter unsure of how to make a record,\u201d Dickie Chappell says. \u201cBob came along and took Peter under his wing and guided him through; Robert gave Peter more control with record two; Melt<\/em> is \u2018I know what I\u2019m doing now\u2019 and Security<\/em> is hitting maturity. There was definitely a different process happening then. Now Peter divides his time between music, human rights and technology; he\u2019s definitely in a different chapter.\u201d <\/p>\n

Between 1977 and 1982, Gabriel set a high benchmark. Never have four consecutive albums by the same artist had such different atmospheres. Today, Car<\/em>, Scratch<\/em>, Melt<\/em> and Security<\/em> still sound contemporary and all still invite the listener to expect the unexpected \u2013 a sharp reminder of a different time.<\/p>\n<\/article>","protected":false},"excerpt":{"rendered":"

In 2015, marking the reissue of Peter Gabriel\u2019s first four solo albums, Prog looked at how those remarkably different works illustrated his development beyond Genesis and his securing of a unique place in the history of progressive music. In the six years from 1977-1982, Peter Gabriel released four albums that were to define him as […]<\/p>\n","protected":false},"author":1,"featured_media":719,"comment_status":"","ping_status":"","sticky":false,"template":"","format":"standard","meta":{"footnotes":"","jetpack_publicize_message":"","jetpack_publicize_feature_enabled":true,"jetpack_social_post_already_shared":true,"jetpack_social_options":{"image_generator_settings":{"template":"highway","default_image_id":0,"font":"","enabled":false},"version":2}},"categories":[1],"tags":[],"class_list":["post-718","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-blog"],"jetpack_publicize_connections":[],"_links":{"self":[{"href":"https:\/\/realrockrevival.com\/index.php\/wp-json\/wp\/v2\/posts\/718","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/realrockrevival.com\/index.php\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/realrockrevival.com\/index.php\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/realrockrevival.com\/index.php\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/realrockrevival.com\/index.php\/wp-json\/wp\/v2\/comments?post=718"}],"version-history":[{"count":0,"href":"https:\/\/realrockrevival.com\/index.php\/wp-json\/wp\/v2\/posts\/718\/revisions"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/realrockrevival.com\/index.php\/wp-json\/wp\/v2\/media\/719"}],"wp:attachment":[{"href":"https:\/\/realrockrevival.com\/index.php\/wp-json\/wp\/v2\/media?parent=718"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/realrockrevival.com\/index.php\/wp-json\/wp\/v2\/categories?post=718"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/realrockrevival.com\/index.php\/wp-json\/wp\/v2\/tags?post=718"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}