{"id":805342,"date":"2020-03-17T06:00:14","date_gmt":"2020-03-17T12:00:14","guid":{"rendered":"https:\/\/www.rollingstone.com\/uncategorized\/uncategorized-news\/pub-crawl-playlist-193945\/"},"modified":"2020-03-17T06:00:14","modified_gmt":"2020-03-17T12:00:14","slug":"rob-sheffields-st-patricks-day-playlist","status":"publish","type":"post","link":"https:\/\/alwaysmountaintime.com\/ksmt\/music-news\/rob-sheffields-st-patricks-day-playlist\/","title":{"rendered":"Rob Sheffield\u2019s St. Patrick\u2019s Day Playlist"},"content":{"rendered":"<div><img decoding=\"async\" src=\"https:\/\/www.rollingstone.com\/wp-content\/uploads\/2018\/06\/rs-141486-rectangle.jpg\" class=\"ff-og-image-inserted\"><\/div>\n<p>In honor of St. Patrick\u2019s Day, let us raise a dirty glass to the spirit of Irish music, wherever in the world it shows up. And like the Irish people themselves, Irish music shows up everywhere, usually a few moments after the bottles get opened. There\u2019s always been plenty of great music on the island, but the really staggering part (apart from all the staggering) is how far that music travels, following the immigrant experience.<\/p>\n<p>You can hear the Celtic heartbeat all over Europe and America, from Bing Crosby to Jack White, from the Smiths to My Bloody Valentine, from House of Pain to Marky Mark and the Funky Bunch. So here\u2019s a pub crawl of a playlist, chasing that spirit down a few of its rowdier rock &amp; roll twists and turns. Because Irish music \u2014 again, like the Irish people \u2014 never knows when to shut up and never will. Slaint\u00e9!<\/p>\n<p><strong>The Clancy Brothers and Tommy Makem, \u201cBrennan On The Moor\u201d (1961)<\/strong><\/p>\n<p><span class=\"embed-youtube\"><iframe loading=\"lazy\" class=\"youtube-player\" type=\"text\/html\" width=\"640\" height=\"360\" src=\"https:\/\/www.youtube.com\/embed\/CkxuWte_iKg?version=3&amp;enablejsapi=1&amp;origin=https:\/\/www.rollingstone.com&amp;rel=1&amp;fs=1&amp;autohide=2&amp;showsearch=0&amp;showinfo=1&amp;iv_load_policy=1&amp;wmode=transparent\" allowfullscreen=\"true\">[embedded content]<\/iframe><\/span><\/p>\n<p>These rogues from the old country changed <a href=\"https:\/\/www.rollingstone.com\/t\/bob-dylan\/\" id=\"auto-tag_bob-dylan\" data-tag=\"bob-dylan\">Bob Dylan<\/a>\u2019s life, as Dylan explains in <em>Chronicles<\/em>. When he arrived in New York in the early Sixties, he\u2019d hang around the White Horse Tavern and listen: \u201cAll through the night they would sing drinking songs, country ballads and rousing rebel songs that would lift the roof. The rebellion songs were a really serious thing. The singer always had a merry light in his eye, had to have it.\u201d<\/p>\n<p><strong>Bob Dylan, \u201cRestless Farewell\u201d (1964)<\/strong><\/p>\n<p> <!-- .l-article-content__pull--left --> <\/p>\n<p><span class=\"embed-youtube\"><iframe loading=\"lazy\" class=\"youtube-player\" type=\"text\/html\" width=\"640\" height=\"360\" src=\"https:\/\/www.youtube.com\/embed\/UYn75BhhCgE?version=3&amp;enablejsapi=1&amp;origin=https:\/\/www.rollingstone.com&amp;rel=1&amp;fs=1&amp;autohide=2&amp;showsearch=0&amp;showinfo=1&amp;iv_load_policy=1&amp;wmode=transparent\" allowfullscreen=\"true\">[embedded content]<\/iframe><\/span><\/p>\n<p>Always an honorary Celt, the man seems to love posing as Irish the way James Joyce loved posing as Jewish, from his early folkie days to the ragged ballads of <em>Modern Times<\/em>. On the <em>Basement Tapes<\/em> sessions, you can hear him sing the living shit out of \u201cThe Auld Triangle.\u201d (As Bono told a Dublin stadium crowd a couple years ago, \u201cBob Dylan knew more verses of this song than any Irishman I ever met.\u201d) He swipes this melody from the folk ballad \u201cThe Parting Glass,\u201d rising after a long night in the pub to bid his comrades farewell.<\/p>\n<p><strong>Them, \u201cFriday\u2019s Child\u201d (1967)<\/strong><\/p>\n<p><span class=\"embed-youtube\"><iframe loading=\"lazy\" class=\"youtube-player\" type=\"text\/html\" width=\"640\" height=\"360\" src=\"https:\/\/www.youtube.com\/embed\/cWnystBO0FM?version=3&amp;enablejsapi=1&amp;origin=https:\/\/www.rollingstone.com&amp;rel=1&amp;fs=1&amp;autohide=2&amp;showsearch=0&amp;showinfo=1&amp;iv_load_policy=1&amp;wmode=transparent\" allowfullscreen=\"true\">[embedded content]<\/iframe><\/span><\/p>\n<p><a href=\"https:\/\/www.rollingstone.com\/t\/van-morrison\/\" id=\"auto-tag_van-morrison\" data-tag=\"van-morrison\">Van Morrison<\/a>\u2019s garage band of Belfast blues punks had a few hits in the Sixties (most famously \u201cGloria\u201d and \u201cMystic Eyes\u201d) but this was the song that really summed them up. An acoustic guitar strums the same seven-note lick over and over, while Van mourns a girl who walked away from him too fast.<\/p>\n<p><strong><a href=\"https:\/\/www.rollingstone.com\/t\/the-beatles\/\" id=\"auto-tag_the-beatles\" data-tag=\"the-beatles\">The Beatles<\/a>, \u201cTwo of Us\u201d (1970)<\/strong><\/p>\n<p><iframe loading=\"lazy\" src=\"https:\/\/player.vimeo.com\/video\/281265758\" width=\"600\" height=\"338\" frameborder=\"0\" webkitallowfullscreen mozallowfullscreen allowfullscreen>[embedded content]<\/iframe><\/p>\n<p>John Lennon and Paul McCartney were both Liverpool Irish boys who got a little carried away with it during their solo careers. (John sang \u201cLuck of the Irish,\u201d Paul did \u201cGive Ireland Back to The Irish\u201d \u2014neither one\u2019s finest moment, that\u2019s for sure, though their hearts were in the right place.) Yet it was always clearly audible in their voices, especially their harmonies, and never more beautifully than in this acoustic duet from <em>Let It Be<\/em>. Also, they sing about \u201cspending someone\u2019s hard-earned pay,\u201d a quintessentially Irish sentiment in itself.<\/p>\n<p><strong>Thin Lizzy, \u201cSouthbound\u201d (1974)<\/strong><\/p>\n<p><span class=\"embed-youtube\"><iframe loading=\"lazy\" class=\"youtube-player\" type=\"text\/html\" width=\"640\" height=\"360\" src=\"https:\/\/www.youtube.com\/embed\/videoseries?list=RD2gPUOPY7Mao&amp;hl=en_US\" allowfullscreen=\"true\">[embedded content]<\/iframe><\/span><\/p>\n<p>Dublin\u2019s finest biker-metal band, featuring the late great Phil Lynott, the only dude in history who could bust out the old \u201cAny girls here with any Irish in them?\u201d joke on his live album and still seem cool. (Their first hit was the folk standard \u201cWhiskey in the Jar,\u201d made famous by the Dubliners; Thin Lizzy\u2019s version inspired covers by everyone from Pulp to Metallica.) This song has none of the bravado Lynott brought to hits like \u201cThe Boys Are Back in Town\u201d \u2014 instead, he dusts himself off after some hard luck and hits the open road for his next adventure. Rest in peace, sir.<\/p>\n<p><strong>Van Morrison, \u201cFair Play\u201d (1974)<\/strong><\/p>\n<p><span class=\"embed-youtube\"><iframe loading=\"lazy\" class=\"youtube-player\" type=\"text\/html\" width=\"640\" height=\"360\" src=\"https:\/\/www.youtube.com\/embed\/Z1vYs5LBC3c?version=3&amp;enablejsapi=1&amp;origin=https:\/\/www.rollingstone.com&amp;rel=1&amp;fs=1&amp;autohide=2&amp;showsearch=0&amp;showinfo=1&amp;iv_load_policy=1&amp;wmode=transparent\" allowfullscreen=\"true\">[embedded content]<\/iframe><\/span><\/p>\n<p>The king of the Gaelic blues singers delivers one of his most gorgeous ballads, a highlight from his poetic \u2014 not to mention utterly incomprehensible \u2014 masterpiece <em>Veedon Fleece<\/em>. He muses upon the blue lakes of County Kerry and gets literary (\u201cTell me, oh Poe \/ Oscar Wilde and Thoreau\u201d) over piano and acoustic guitar.<\/p>\n<p><strong>Stiff Little Fingers, \u201cSuspect Device\u201d (1978)<\/strong><\/p>\n<p><span class=\"embed-youtube\"><iframe loading=\"lazy\" class=\"youtube-player\" type=\"text\/html\" width=\"640\" height=\"360\" src=\"https:\/\/www.youtube.com\/embed\/RBYoNYuUVk0?version=3&amp;enablejsapi=1&amp;origin=https:\/\/www.rollingstone.com&amp;rel=1&amp;fs=1&amp;autohide=2&amp;showsearch=0&amp;showinfo=1&amp;iv_load_policy=1&amp;wmode=transparent\" allowfullscreen=\"true\">[embedded content]<\/iframe><\/span><\/p>\n<p>Punk rock from Belfast, with Jake Burns yowling about political rage and all the inflammable material boiling over in his brain. One of the most powerful Clash tribute records ever made.<\/p>\n<p><strong><a href=\"https:\/\/www.rollingstone.com\/t\/u2\/\" id=\"auto-tag_u2\" data-tag=\"u2\">U2<\/a>, \u201cGloria\u201d (1981)<\/strong><\/p>\n<p><span class=\"embed-youtube\"><iframe loading=\"lazy\" class=\"youtube-player\" type=\"text\/html\" width=\"640\" height=\"360\" src=\"https:\/\/www.youtube.com\/embed\/ybYgP48X2DY?version=3&amp;enablejsapi=1&amp;origin=https:\/\/www.rollingstone.com&amp;rel=1&amp;fs=1&amp;autohide=2&amp;showsearch=0&amp;showinfo=1&amp;iv_load_policy=1&amp;wmode=transparent\" allowfullscreen=\"true\">[embedded content]<\/iframe><\/span><\/p>\n<p>Long before <em>The Joshua Tree<\/em> or <em>Achtung Baby<\/em> or even <em>War<\/em>, this was the song that blew the brainpans of early U2 fans. That guitar! That bass solo! Bono wailing in Latin about God! How could any band get better than this? And in all honesty I couldn\u2019t swear they\u2019ve ever topped it. MTV played it a few times a day, which wasn\u2019t nearly enough. Bonus points for the video, filmed on a barge in Dublin\u2019s Grand Canal Basin, with a bunch of extremely local-looking fans on hand to show where this band came from.<\/p>\n<p><strong><a href=\"https:\/\/www.rollingstone.com\/t\/the-pogues\/\" id=\"auto-tag_the-pogues\" data-tag=\"the-pogues\">The Pogues<\/a>, \u201cThe Auld Triangle\u201d (1984)<\/strong><\/p>\n<p><span class=\"embed-youtube\"><iframe loading=\"lazy\" class=\"youtube-player\" type=\"text\/html\" width=\"640\" height=\"360\" src=\"https:\/\/www.youtube.com\/embed\/HpnUKZKdKYQ?version=3&amp;enablejsapi=1&amp;origin=https:\/\/www.rollingstone.com&amp;rel=1&amp;fs=1&amp;autohide=2&amp;showsearch=0&amp;showinfo=1&amp;iv_load_policy=1&amp;wmode=transparent\" allowfullscreen=\"true\">[embedded content]<\/iframe><\/span><\/p>\n<p>An old Brendan Behan prison ballad, about lost men dying behind bars, crying over girls who forgot them years ago, choking on voices that have gone unheard so long they\u2019re barely human. Nobody\u2019s ever made the song sound as lonesome as the Pogues, with accordion, tin whistle and Shane MacGowan\u2019s spewed-up-in-church voice.<\/p>\n<p><strong>The Dogmatics, \u201cThayer Street\u201d (1986)<\/strong><\/p>\n<p><span class=\"embed-youtube\"><iframe loading=\"lazy\" class=\"youtube-player\" type=\"text\/html\" width=\"640\" height=\"360\" src=\"https:\/\/www.youtube.com\/embed\/x_QakUvlcgM?version=3&amp;enablejsapi=1&amp;origin=https:\/\/www.rollingstone.com&amp;rel=1&amp;fs=1&amp;autohide=2&amp;showsearch=0&amp;showinfo=1&amp;iv_load_policy=1&amp;wmode=transparent\" allowfullscreen=\"true\">[embedded content]<\/iframe><\/span><\/p>\n<p>A much-beloved hardcore band from Boston, specializing in Replacements-style odes to beer, girls and Catholic school, with Jerry Lahane on vocals and the O\u2019Halloran twins (Peter and Paul) on bass and guitar. It ended tragically when Paul O\u2019Halloran was killed in a motorcycle crash; he was buried with his bass. But they left a few great songs behind, including this ode to city squalor.<\/p>\n<p><strong>Gang Green, \u201cAlcohol\u201d (1986)<\/strong><\/p>\n<p><span class=\"embed-youtube\"><iframe loading=\"lazy\" class=\"youtube-player\" type=\"text\/html\" width=\"640\" height=\"360\" src=\"https:\/\/www.youtube.com\/embed\/H1oHgM2ZNNI?version=3&amp;enablejsapi=1&amp;origin=https:\/\/www.rollingstone.com&amp;rel=1&amp;fs=1&amp;autohide=2&amp;showsearch=0&amp;showinfo=1&amp;iv_load_policy=1&amp;wmode=transparent\" allowfullscreen=\"true\">[embedded content]<\/iframe><\/span><\/p>\n<p>For connoisseurs of moronic skate-punk thrash only. \u201cWe\u2019re gonna die when the sun comes up\u201d rhymes with \u201cWe\u2019re gonna drink until we throw up,\u201d which is as clever as this two-minute beer bong of a song gets.<\/p>\n<p><strong>The Pogues, \u201cThe Body of an American\u201d (1986)<\/strong><\/p>\n<p><span class=\"embed-youtube\"><iframe loading=\"lazy\" class=\"youtube-player\" type=\"text\/html\" width=\"640\" height=\"360\" src=\"https:\/\/www.youtube.com\/embed\/q97IfBOIR5Q?version=3&amp;enablejsapi=1&amp;origin=https:\/\/www.rollingstone.com&amp;rel=1&amp;fs=1&amp;autohide=2&amp;showsearch=0&amp;showinfo=1&amp;iv_load_policy=1&amp;wmode=transparent\" allowfullscreen=\"true\">[embedded content]<\/iframe><\/span><\/p>\n<p>I saw them in 1987 at Toad\u2019s Place in New Haven, where (what luck) an Irish football team was in town that night, shouting \u201cGive us a song, Shane!\u201d and demonstrating their ardor by mauling everyone in sight, definitely including me. The Pogues began with this one, and by the first chorus I was already drenched in Guinness and sweat and God knows how much of Shane\u2019s demon slobber. Great fucking night.<\/p>\n<p><strong><a href=\"https:\/\/www.rollingstone.com\/t\/elvis-costello\/\" id=\"auto-tag_elvis-costello\" data-tag=\"elvis-costello\">Elvis Costello<\/a>, \u201cCrimes of Paris\u201d (1986)<\/strong><\/p>\n<p><span class=\"embed-youtube\"><iframe loading=\"lazy\" class=\"youtube-player\" type=\"text\/html\" width=\"640\" height=\"360\" src=\"https:\/\/www.youtube.com\/embed\/t6xTTAVFINw?version=3&amp;enablejsapi=1&amp;origin=https:\/\/www.rollingstone.com&amp;rel=1&amp;fs=1&amp;autohide=2&amp;showsearch=0&amp;showinfo=1&amp;iv_load_policy=1&amp;wmode=transparent\" allowfullscreen=\"true\">[embedded content]<\/iframe><\/span><\/p>\n<p>Born Declan McManus, given to wearing his Claddagh ring on album covers, Elvis really went mega-Irish after he produced the Pogues\u2019 1985 classic <em>Rum, Sodomy and the Lash<\/em>. For one thing, he married the bassist, Cait O\u2019Riordan, and then he made a couple Pogues records of his own, including this acoustic stomp.<\/p>\n<p><strong><a href=\"https:\/\/www.rollingstone.com\/t\/oasis\/\" id=\"auto-tag_oasis\" data-tag=\"oasis\">Oasis<\/a>, \u201cFade Away\u201d (1994)<\/strong><\/p>\n<p><span class=\"embed-youtube\"><iframe loading=\"lazy\" class=\"youtube-player\" type=\"text\/html\" width=\"640\" height=\"360\" src=\"https:\/\/www.youtube.com\/embed\/iFvkms978U0?version=3&amp;enablejsapi=1&amp;origin=https:\/\/www.rollingstone.com&amp;rel=1&amp;fs=1&amp;autohide=2&amp;showsearch=0&amp;showinfo=1&amp;iv_load_policy=1&amp;wmode=transparent\" allowfullscreen=\"true\">[embedded content]<\/iframe><\/span><\/p>\n<p>Even if the Gallagher brothers didn\u2019t have the trace of the old sod in their pub-punk sing-along anthems, they\u2019d belong on this list just for the way they couldn\u2019t get through a set without punching each other senseless in a cider-scented haze. Best of luck with those solo careers, boys.<\/p>\n<p><strong>Shane MacGowan and Sinead O\u2019Connor, \u201cHaunted\u201d (1995)<\/strong><\/p>\n<p><span class=\"embed-youtube\"><iframe loading=\"lazy\" class=\"youtube-player\" type=\"text\/html\" width=\"640\" height=\"360\" src=\"https:\/\/www.youtube.com\/embed\/Dur9YC0PwDE?version=3&amp;enablejsapi=1&amp;origin=https:\/\/www.rollingstone.com&amp;rel=1&amp;fs=1&amp;autohide=2&amp;showsearch=0&amp;showinfo=1&amp;iv_load_policy=1&amp;wmode=transparent\" allowfullscreen=\"true\">[embedded content]<\/iframe><\/span><\/p>\n<p>When Shane played New York solo in late 1995, his roadie introduced him as \u201ca guy who\u2019s not gonna be around much longer\u2026because he\u2019s playing Philadelphia tomorrow!\u201d A fine joke, but wouldn\u2019t you know, Shane\u2019s still kicking (and making music); no doubt he\u2019ll live long enough to bury all his roadies. He gets a boost here from Sinead, who always sounds best when she isn\u2019t selling one of her own songs. A few years later, she turned Shane in to the cops for doing drugs, which somehow makes this duet seem more romantic.<\/p>\n<p><strong><a href=\"https:\/\/www.rollingstone.com\/t\/the-hold-steady\/\" id=\"auto-tag_the-hold-steady\" data-tag=\"the-hold-steady\">The Hold Steady<\/a>, \u201cChicago Seemed Tired Last Night\u201d (2005)<\/strong><\/p>\n<p><span class=\"embed-youtube\"><iframe loading=\"lazy\" class=\"youtube-player\" type=\"text\/html\" width=\"640\" height=\"360\" src=\"https:\/\/www.youtube.com\/embed\/cDZ_yjuxxog?version=3&amp;enablejsapi=1&amp;origin=https:\/\/www.rollingstone.com&amp;rel=1&amp;fs=1&amp;autohide=2&amp;showsearch=0&amp;showinfo=1&amp;iv_load_policy=1&amp;wmode=transparent\" allowfullscreen=\"true\">[embedded content]<\/iframe><\/span><\/p>\n<p>Craig Finn\u2019s hard-luck stories always have a touch of Celtic dread about them, especially this fantasy where he parties with the greatest of Irish poets: \u201cI met William Butler Yeats \/ Sunday night dance party, summer 1988.\u201d The last line \u2013 \u201cThey had cigarettes where they were supposed to be eyes!\u201d \u2013 may or may not be an allusion to one of Yeats\u2019 finest poems, \u201cCuchulain Comforted,\u201d written on his deathbed in 1939. But either way, a scary ending to a scary song.<\/p>\n<p><strong><a href=\"https:\/\/www.rollingstone.com\/t\/lcd-soundsystem\/\" id=\"auto-tag_lcd-soundsystem\" data-tag=\"lcd-soundsystem\">LCD Soundsystem<\/a>, \u201cAll My Friends\u201d (2007)<\/strong><\/p>\n<p><span class=\"embed-youtube\"><iframe loading=\"lazy\" class=\"youtube-player\" type=\"text\/html\" width=\"640\" height=\"360\" src=\"https:\/\/www.youtube.com\/embed\/YzzENZqqlcM?version=3&amp;enablejsapi=1&amp;origin=https:\/\/www.rollingstone.com&amp;rel=1&amp;fs=1&amp;autohide=2&amp;showsearch=0&amp;showinfo=1&amp;iv_load_policy=1&amp;wmode=transparent\" allowfullscreen=\"true\">[embedded content]<\/iframe><\/span><\/p>\n<p>James Murphy emotes like a typical Irish guy \u2014 he keeps going strong until 4 a.m., but then he sobs sentimentally about all the friends he\u2019s left behind in his travels over the years and how much he misses them and now the bartender is desperately trying to ease him out the door but all Murphy wants is to call everyone back for one more round. Three minutes into the song, the sun\u2019s coming up and the bartender\u2019s passed out cold, but those drums kick in and you know Murphy is just getting started.<\/p>\n<p><strong><a href=\"https:\/\/www.rollingstone.com\/t\/the-dropkick-murphys\/\" id=\"auto-tag_the-dropkick-murphys\" data-tag=\"the-dropkick-murphys\">The Dropkick Murphys<\/a>, \u201cTake \u2018Em Down\u201d (2011)<\/strong><\/p>\n<p><span class=\"embed-youtube\"><iframe loading=\"lazy\" class=\"youtube-player\" type=\"text\/html\" width=\"640\" height=\"360\" src=\"https:\/\/www.youtube.com\/embed\/p6kDkd2CcM4?version=3&amp;enablejsapi=1&amp;origin=https:\/\/www.rollingstone.com&amp;rel=1&amp;fs=1&amp;autohide=2&amp;showsearch=0&amp;showinfo=1&amp;iv_load_policy=1&amp;wmode=transparent\" allowfullscreen=\"true\">[embedded content]<\/iframe><\/span><\/p>\n<p>A brand new fight song dedicated to the Wisconsin union workers, currently battling for their right to organize just as their parents and grandparents had to. These long-running punks turn it into a Clash-style solidarity anthem, chanting, \u201cTake the bastards down\u201d over banjo, harmonica and hand-claps. A timely reminder that oppression never ceases \u2013 and neither does the spirit to fight it.<\/p>\n<p><em>This list was originally published on March 17, 2011.<\/em><\/p>\n<div class=\"pmc-contextual-player\">\n<h3> Popular on Rolling Stone <\/h3>\n<\/p><\/div>\n<p> <a href=\"https:\/\/www.rollingstone.com\/music\/music-news\/st-patricks-day-playlist-193945\/\" target=\"_blank\" rel=\"noopener noreferrer\">via:: Rolling Stone<\/a><\/p>\n","protected":false},"excerpt":{"rendered":"<p>In honor of St. Patrick\u2019s Day, let us raise a dirty glass to the spirit of Irish music, wherever in the world it shows up. And like the Irish people themselves, Irish music shows up everywhere, usually a few moments after the bottles get opened. There\u2019s always been plenty of great music on the island, [&hellip;]<\/p>\n","protected":false},"author":2,"featured_media":0,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"footnotes":""},"categories":[98],"tags":[],"class_list":{"0":"post-805342","1":"post","2":"type-post","3":"status-publish","4":"format-standard","6":"category-music-news"},"acf":[],"publishpress_future_action":{"enabled":false,"date":"2026-07-19 03:04:45","action":"change-status","newStatus":"draft","terms":[],"taxonomy":"category","extraData":[]},"publishpress_future_workflow_manual_trigger":{"enabledWorkflows":[]},"distributor_meta":false,"distributor_terms":false,"distributor_media":false,"distributor_original_site_name":"KSMT The Mountain","distributor_original_site_url":"https:\/\/alwaysmountaintime.com\/ksmt","push-errors":false,"_links":{"self":[{"href":"https:\/\/alwaysmountaintime.com\/ksmt\/wp-json\/wp\/v2\/posts\/805342","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/alwaysmountaintime.com\/ksmt\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/alwaysmountaintime.com\/ksmt\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/alwaysmountaintime.com\/ksmt\/wp-json\/wp\/v2\/users\/2"}],"replies":[{"embeddable":true,"href":"https:\/\/alwaysmountaintime.com\/ksmt\/wp-json\/wp\/v2\/comments?post=805342"}],"version-history":[{"count":0,"href":"https:\/\/alwaysmountaintime.com\/ksmt\/wp-json\/wp\/v2\/posts\/805342\/revisions"}],"wp:attachment":[{"href":"https:\/\/alwaysmountaintime.com\/ksmt\/wp-json\/wp\/v2\/media?parent=805342"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/alwaysmountaintime.com\/ksmt\/wp-json\/wp\/v2\/categories?post=805342"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/alwaysmountaintime.com\/ksmt\/wp-json\/wp\/v2\/tags?post=805342"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}