{"id":174473,"date":"2007-09-19T10:24:15","date_gmt":"2007-09-19T10:24:15","guid":{"rendered":"https:\/\/siteproxy.ruqli.workers.dev:443\/http\/recordcollectormag.com\/articles\/lady-sings-the-blues"},"modified":"2020-05-21T10:25:39","modified_gmt":"2020-05-21T10:25:39","slug":"lady-sings-the-blues","status":"publish","type":"post","link":"https:\/\/siteproxy.ruqli.workers.dev:443\/https\/recordcollectormag.com\/articles\/lady-sings-the-blues","title":{"rendered":"Lady Sings The Blues"},"content":{"rendered":"

Prolific to a fault in the 70s and 80s, Joan Armatrading has released just three studio albums, including her new release Into The Blues, since her last <\/strong>Record Collector<\/em> appearance in 1992. She’s used the time to pursue other interests, including flying helicopters, breeding horses, singing for Nelson Mandela and being awarded the MBE. She studied for and obtained an Open University degree in history, sitting her finals a day after her 2000 UK tour ended, while the universities of Birmingham, Northampton and Liverpool have all seen fit to award her honorary fellowships.<\/strong><\/p>\n

Her passion for music is clearly as strong as ever it was, though: she even quizzes RC<\/em> about the assertion that maybe music doesn’t mean as much to the middle-aged as it did in our youth (she clearly does not agree). Now in her mid-50s, she feels there’s a lot of life in her yet. The Ivor Novello Award that marked her career achievements in 1996 could turn out to be just a little<\/em> premature.<\/p>\n

Joan’s hoping Into The Blues<\/em> will enjoy better luck than Lovers Speak<\/em>, her first studio effort for eight years, which was highly acclaimed on its March 2003 release. Record label Telstar, to whom she’d recently signed, disappeared not long after, leaving the recording far less publicised than it deserved to be. “Telstar… obviously didn’t do that on purpose,” she reflects, surprisingly benevolently. “Nobody destroys their company on purpose. Unfortunately it affected the artists and I think some of them will never recover.”<\/p>\n

When we talked, she still wasn’t sure who would be putting the new album out. “I have a record label in America, where the record comes out in April. A lot of people have said that I should put out my own records. It’s something for me to think about, but it’s not a big ambition of mine. Maybe one day I will do something like that.”<\/p>\n

Joan has always been something of a reluctant star, who, unlike most singer-songwriters, has never been willing to bare every inch of her soul. There’s an undoubted reserve that will never, ever be penetrated. “It’s important to have privacy,” she insisted in her last RC<\/em> appearance.<\/p>\n

The pattern set by Lovers Speak<\/em>, on which she played everything except drums, has been continued on this album. “The difference was I recorded it totally myself. I got the engineer in when I was recording the drums and I got help with mixing, but all the recording was on my own and that was very different; it was a really nice, relaxed calm. I’ve got a studio, so there’s no pressure on time.” The idea of playing everything herself came up “only because I wanted to. It was one of those things when I thought ‘Wouldn’t it be nice if I did that at some point?’ I did it then, I’ve done it now but it doesn’t mean to say I’m always going to do it.”<\/p>\n

Surprisingly, the St Kitts-born, Birmingham-raised singer-songwriter teamed up with a lyricist, Pam Nestor, for much of her first album – Whatever’s For Us<\/em>, released in 1972 – but 20 years would pass before she’d collaborate again, this time with Graham Lyle. Being mistress of her own destiny, she insists, has always been a top priority. “I’m very lucky because I’ve always been very involved in the production of all my albums; I might not have been credited as coproducer, but I was.”<\/p>\n

Those albums, from 1976’s Joan Armatrading<\/em> to 1995’s What’s Inside<\/em> regularly hit the Top 50, the most successful being Me Myself<\/em> I which reached the Top Five in 1980. Before beginning a fruitful link with Glyn Johns, she enjoyed a working relationship with the late Gus Dudgeon, most famous for his early work with Elton John. “I’m so grateful he was my first producer, because he showed how people can behave in the studio,” she enthuses. “He didn’t say ‘I’m a big-time producer and what you want doesn’t matter’. He appreciated I knew how I wanted the songs to sound, the instrumentation, the parts for people to play. I knew all of that, and Gus was really generous and kind. It was very fortunate for me to hit on somebody like him straight away.”<\/p>\n

The new 13-track album reflects the blues genre in Joan’s own way rather than covering classic 12-bar material. “They’re all songs I’ve written,” she confirms, pointing out that “throughout the different records there’s been blues-influenced songs. Going back to the Joan Armatrading<\/em> album there’s Tall In The Saddle and later, on What’s Inside<\/em>, there’s Love To Love, and they’re just two. I’ve always liked playing blues guitar but I’ve never done an album that’s just that.<\/p>\n

“I was a little bit worried,” she continues, “because the music I’ve done to date is eclectic – It’s tinged with jazz or blues or pop or rock, and the albums reflect that. This one is just blues. All kinds of blues, but just blues. Blues is the root of modern music, I think, and in the end, I have to touch on it at some point.”<\/p>\n

With her career now spanning four decades, Armatrading admits it would have been hard to envisage such longevity back in the early 70s. “I certainly didn’t go into it with a plan,” she smiles. “Music is what I absolutely love to do, so it didn’t occur to me to think about doing something else. And if I’d had to, I would still be writing… writing is paramount.” Even so, recent years have seen Joan take some low-key sideways steps into the media, as when, at the end of 2006, she was the surprise choice to front a Radio 4 series on Irish music.<\/p>\n

Unlike two Radio 2 shows on Caribbean music Joan had presented the previous March, there was no obvious connection except for the fact she finds the Celtic genre “very evocative, very emotional. Someone like Sinead O’Connor can sing a traditional song a cappella that can move you to tears. I also love the different instrumentation, the pipes, so it was interesting to go and find out a bit about the history. I interviewed and met people like Mary Black and an amazing keyboard player, Michael O’Sullivan.”<\/p>\n

Armatrading is equally fascinated by the current crop of overnight stars produced by reality TV music shows. And far from being dismissive of the process, as might be expected from someone who has paid her dues, she has high hopes of the latest X Factor winner. “Leona [Lewis] is amazing<\/em>, she’s definitely a proper artist. People talk about her and say she’s like Whitney Houston and Mariah Carey and I think those two women are proper singers. Even if you hear a pinch of the two of them (in Leona), you hear an individual, you hear her. As long as care is taken and she gets into a bit of the music she wants as well, I can see her being around for a long time. She can sing just about any song she wants to!”<\/p>\n

So why not ring her up and offer her a couple of yours? “I don’t think I’ve ever done that in my life! So I shouldn’t think that’s going to happen now. Fortunately people do sing my songs and they listen to the albums, which is great.”<\/p>\n

In terms of cover versions of existing compositions, Joan’s The Weakness In Me has attracted most interest, thanks perhaps to appearing on the soundtrack of 1999’s Taming Of The Shrew remake 10 Things I Hate About You. <\/em>Her favourite comes from Melissa Etheridge, but otherwise it’s a case of the more obscure the artist and song the better. “There are all kinds of rap songs that have used samples of my music, and some of them are really good. Sometimes they choose songs that are not so well known. It’s nice, because that’s what the songs are there for – to do whatever they want with.”<\/p>\n

To much of the public, Joan Armatrading’s career can inevitably be summed up in the four minutes that was her 1976 hit Love And Affection. “I think that happens to everybody, even The Beatles. as great as they are, people will reference one song in particular, probably Yesterday, even though their body of work is huge. You just have to take it in your stride.” She’s currently touring with a four-piece band, and the drummer doubles on sax, “so he’ll be playing drums apart from on the middle section of one song.”<\/p>\n

In terms of songs she’s recorded since we last met her in 1992, Joan recommends Lost The Love from What’s Inside<\/em> as one she’s most proud of. But she agrees that a piano ballad called In These Times, the standout track from Lovers Speak<\/em>, is undoubtedly the most thought-provoking and relevant of her recent compositions given the current state of the world. Perhaps surprisingly, it sees the steadfastly single Joan taking on the persona of a mother.<\/p>\n

“I wrote that when I was watching the television and people were talking about war. When soldiers go to war, the mothers are sad because she thinks ‘I didn’t bring my child up to be killed; I wanted him to get married, have kids, get a great job and give me pleasure as I grow old, watching the grandchildren grow up.’ The fathers think the same thing, except with a bit of pride that their son is a protector. You can sometimes think there is no hope in the world, as conflict is everywhere you look. So I wrote the song to say there is hope.”<\/p>\n

As she heads out on a rare tour, Joan Armatrading is hoping to find that music is just as important to middleaged people (as most of her fans also are) as when her journey started. “It might be that you don’t close the doors, take the phone off the hook, sit and wallow in it. But you can bet that, when they’re driving in their car, they’ll take a bit of music with them – or at least listen to the radio.<\/p>\n

“I’m 56 now, and even at 70, 80, 90, people still want music. I know somebody who’s 95 and what he wanted for his birthday was music. It’s definitely important. I think of music as being like breathing, it’s something that we seem to have to have. It’s unlike every other thing. It’s not like art, where everybody can draw but everybody doesn’t get drawn to drawing. But everybody gets drawn to music. Whether you whistle, hum a tune… we communicate through music. So it’s absolutely still important.”<\/p>\n

MUDDY JOAN!<\/h3>\n

Surprisingly for someone who’s just recorded a blues-influenced album, Joan Armatrading’s record collection contains very few examples of the genre. “I’m probably the worst person to talk to,” she laughs, “because I don’t buy a lot of music so I haven’t got a lot of blues stuff in my collection. But my absolute favourite blues person is Muddy Waters, and in one of the songs I reference him. Then one of my other favourites is Stevie Ray Vaughan.<\/p>\n

“I do have Muddy Waters’ Electric Mud<\/em>, and it’s an album he says he was forced to make because people wanted him to be like Jimi Hendrix and the music of that time [1968]. He clearly didn’t like it very much. But I think it’s absolutely brilliant. I just love the way he plays. The way he sings is great all the time, but he is playing quite differently on that.”<\/p>\n","protected":false},"excerpt":{"rendered":"

Prolific to a fault in the 70s and 80s, Joan Armatrading has released just three studio albums, including her new release Into The Blues, since her last Record Collector appearance in 1992. She’s used the time to pursue other interests, including flying helicopters, breeding horses, singing for Nelson Mandela and being awarded the MBE. She st\u2026<\/p>\n","protected":false},"author":1,"featured_media":0,"comment_status":"closed","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"apple_news_api_created_at":"","apple_news_api_id":"","apple_news_api_modified_at":"","apple_news_api_revision":"","apple_news_api_share_url":"","apple_news_cover_media_provider":"image","apple_news_coverimage":0,"apple_news_coverimage_caption":"","apple_news_cover_video_id":0,"apple_news_cover_video_url":"","apple_news_cover_embedwebvideo_url":"","apple_news_is_hidden":"","apple_news_is_paid":"","apple_news_is_preview":"","apple_news_is_sponsored":"","apple_news_maturity_rating":"","apple_news_metadata":"\"\"","apple_news_pullquote":"","apple_news_pullquote_position":"","apple_news_slug":"","apple_news_sections":[],"apple_news_suppress_video_url":false,"apple_news_use_image_component":false,"footnotes":""},"categories":[14],"tags":[59],"issue":[9587],"class_list":["post-174473","post","type-post","status-publish","format-standard","hentry","category-articles","tag-joan-armatrading","issue-may-2007"],"apple_news_notices":[],"yoast_head":"\nLady Sings The Blues - Record Collector Magazine<\/title>\n<meta name=\"description\" content=\"Prolific to a fault in the 70s and 80s, Joan Armatrading has released just three studio albums, including her new release Into The Blues, since her last\" \/>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/siteproxy.ruqli.workers.dev:443\/https\/recordcollectormag.com\/articles\/lady-sings-the-blues\" \/>\n<meta name=\"twitter:label1\" content=\"Written by\" \/>\n\t<meta name=\"twitter:data1\" content=\"editor\" \/>\n\t<meta name=\"twitter:label2\" content=\"Est. reading time\" \/>\n\t<meta name=\"twitter:data2\" content=\"11 minutes\" \/>\n<script type=\"application\/ld+json\" class=\"yoast-schema-graph\">{\"@context\":\"https:\/\/siteproxy.ruqli.workers.dev:443\/https\/schema.org\",\"@graph\":[{\"@type\":\"Article\",\"@id\":\"https:\/\/siteproxy.ruqli.workers.dev:443\/https\/recordcollectormag.com\/articles\/lady-sings-the-blues#article\",\"isPartOf\":{\"@id\":\"https:\/\/siteproxy.ruqli.workers.dev:443\/https\/recordcollectormag.com\/articles\/lady-sings-the-blues\"},\"author\":{\"name\":\"editor\",\"@id\":\"https:\/\/siteproxy.ruqli.workers.dev:443\/https\/recordcollectormag.com\/#\/schema\/person\/7d2cec1dbffeca82d9aaed4cff7e230d\"},\"headline\":\"Lady Sings The Blues\",\"datePublished\":\"2007-09-19T10:24:15+00:00\",\"dateModified\":\"2020-05-21T10:25:39+00:00\",\"mainEntityOfPage\":{\"@id\":\"https:\/\/siteproxy.ruqli.workers.dev:443\/https\/recordcollectormag.com\/articles\/lady-sings-the-blues\"},\"wordCount\":2132,\"publisher\":{\"@id\":\"https:\/\/siteproxy.ruqli.workers.dev:443\/https\/recordcollectormag.com\/#organization\"},\"keywords\":[\"Joan Armatrading\"],\"articleSection\":[\"Articles\"],\"inLanguage\":\"en-US\"},{\"@type\":\"WebPage\",\"@id\":\"https:\/\/siteproxy.ruqli.workers.dev:443\/https\/recordcollectormag.com\/articles\/lady-sings-the-blues\",\"url\":\"https:\/\/siteproxy.ruqli.workers.dev:443\/https\/recordcollectormag.com\/articles\/lady-sings-the-blues\",\"name\":\"Lady Sings The Blues - Record Collector Magazine\",\"isPartOf\":{\"@id\":\"https:\/\/siteproxy.ruqli.workers.dev:443\/https\/recordcollectormag.com\/#website\"},\"datePublished\":\"2007-09-19T10:24:15+00:00\",\"dateModified\":\"2020-05-21T10:25:39+00:00\",\"description\":\"Prolific to a fault in the 70s and 80s, Joan Armatrading has released just three studio albums, including her new release Into The Blues, since her last\",\"breadcrumb\":{\"@id\":\"https:\/\/siteproxy.ruqli.workers.dev:443\/https\/recordcollectormag.com\/articles\/lady-sings-the-blues#breadcrumb\"},\"inLanguage\":\"en-US\",\"potentialAction\":[{\"@type\":\"ReadAction\",\"target\":[\"https:\/\/siteproxy.ruqli.workers.dev:443\/https\/recordcollectormag.com\/articles\/lady-sings-the-blues\"]}]},{\"@type\":\"BreadcrumbList\",\"@id\":\"https:\/\/siteproxy.ruqli.workers.dev:443\/https\/recordcollectormag.com\/articles\/lady-sings-the-blues#breadcrumb\",\"itemListElement\":[{\"@type\":\"ListItem\",\"position\":1,\"name\":\"Home\",\"item\":\"https:\/\/siteproxy.ruqli.workers.dev:443\/https\/recordcollectormag.com\/\"},{\"@type\":\"ListItem\",\"position\":2,\"name\":\"Lady Sings The Blues\"}]},{\"@type\":\"WebSite\",\"@id\":\"https:\/\/siteproxy.ruqli.workers.dev:443\/https\/recordcollectormag.com\/#website\",\"url\":\"https:\/\/siteproxy.ruqli.workers.dev:443\/https\/recordcollectormag.com\/\",\"name\":\"Record Collector Magazine\",\"description\":\"Serious About Music\",\"publisher\":{\"@id\":\"https:\/\/siteproxy.ruqli.workers.dev:443\/https\/recordcollectormag.com\/#organization\"},\"potentialAction\":[{\"@type\":\"SearchAction\",\"target\":{\"@type\":\"EntryPoint\",\"urlTemplate\":\"https:\/\/siteproxy.ruqli.workers.dev:443\/https\/recordcollectormag.com\/?s={search_term_string}\"},\"query-input\":{\"@type\":\"PropertyValueSpecification\",\"valueRequired\":true,\"valueName\":\"search_term_string\"}}],\"inLanguage\":\"en-US\"},{\"@type\":\"Organization\",\"@id\":\"https:\/\/siteproxy.ruqli.workers.dev:443\/https\/recordcollectormag.com\/#organization\",\"name\":\"Record Collector\",\"url\":\"https:\/\/siteproxy.ruqli.workers.dev:443\/https\/recordcollectormag.com\/\",\"logo\":{\"@type\":\"ImageObject\",\"inLanguage\":\"en-US\",\"@id\":\"https:\/\/siteproxy.ruqli.workers.dev:443\/https\/recordcollectormag.com\/#\/schema\/logo\/image\/\",\"url\":\"https:\/\/siteproxy.ruqli.workers.dev:443\/https\/cdn.recordcollectormag.com\/wp-content\/uploads\/2020\/10\/logo1.png\",\"contentUrl\":\"https:\/\/siteproxy.ruqli.workers.dev:443\/https\/cdn.recordcollectormag.com\/wp-content\/uploads\/2020\/10\/logo1.png\",\"width\":285,\"height\":100,\"caption\":\"Record Collector\"},\"image\":{\"@id\":\"https:\/\/siteproxy.ruqli.workers.dev:443\/https\/recordcollectormag.com\/#\/schema\/logo\/image\/\"},\"sameAs\":[\"https:\/\/siteproxy.ruqli.workers.dev:443\/https\/www.facebook.com\/Record-Collector-Magazine-308921382567867\",\"https:\/\/siteproxy.ruqli.workers.dev:443\/https\/x.com\/RecCollMag\",\"https:\/\/siteproxy.ruqli.workers.dev:443\/https\/www.instagram.com\/recordcollectormag\/\"]},{\"@type\":\"Person\",\"@id\":\"https:\/\/siteproxy.ruqli.workers.dev:443\/https\/recordcollectormag.com\/#\/schema\/person\/7d2cec1dbffeca82d9aaed4cff7e230d\",\"name\":\"editor\",\"image\":{\"@type\":\"ImageObject\",\"inLanguage\":\"en-US\",\"@id\":\"https:\/\/siteproxy.ruqli.workers.dev:443\/https\/recordcollectormag.com\/#\/schema\/person\/image\/\",\"url\":\"https:\/\/siteproxy.ruqli.workers.dev:443\/https\/secure.gravatar.com\/avatar\/85e855d414d90661e402540ea1fe31f5f326f533565d30a336e9e247b54c427e?s=96&d=mm&r=g\",\"contentUrl\":\"https:\/\/siteproxy.ruqli.workers.dev:443\/https\/secure.gravatar.com\/avatar\/85e855d414d90661e402540ea1fe31f5f326f533565d30a336e9e247b54c427e?s=96&d=mm&r=g\",\"caption\":\"editor\"}}]}<\/script>\n<!-- \/ Yoast SEO Premium plugin. -->","yoast_head_json":{"title":"Lady Sings The Blues - Record Collector Magazine","description":"Prolific to a fault in the 70s and 80s, Joan Armatrading has released just three studio albums, including her new release Into The Blues, since her last","robots":{"index":"index","follow":"follow","max-snippet":"max-snippet:-1","max-image-preview":"max-image-preview:large","max-video-preview":"max-video-preview:-1"},"canonical":"https:\/\/siteproxy.ruqli.workers.dev:443\/https\/recordcollectormag.com\/articles\/lady-sings-the-blues","twitter_misc":{"Written by":"editor","Est. reading time":"11 minutes"},"schema":{"@context":"https:\/\/siteproxy.ruqli.workers.dev:443\/https\/schema.org","@graph":[{"@type":"Article","@id":"https:\/\/siteproxy.ruqli.workers.dev:443\/https\/recordcollectormag.com\/articles\/lady-sings-the-blues#article","isPartOf":{"@id":"https:\/\/siteproxy.ruqli.workers.dev:443\/https\/recordcollectormag.com\/articles\/lady-sings-the-blues"},"author":{"name":"editor","@id":"https:\/\/siteproxy.ruqli.workers.dev:443\/https\/recordcollectormag.com\/#\/schema\/person\/7d2cec1dbffeca82d9aaed4cff7e230d"},"headline":"Lady Sings The Blues","datePublished":"2007-09-19T10:24:15+00:00","dateModified":"2020-05-21T10:25:39+00:00","mainEntityOfPage":{"@id":"https:\/\/siteproxy.ruqli.workers.dev:443\/https\/recordcollectormag.com\/articles\/lady-sings-the-blues"},"wordCount":2132,"publisher":{"@id":"https:\/\/siteproxy.ruqli.workers.dev:443\/https\/recordcollectormag.com\/#organization"},"keywords":["Joan Armatrading"],"articleSection":["Articles"],"inLanguage":"en-US"},{"@type":"WebPage","@id":"https:\/\/siteproxy.ruqli.workers.dev:443\/https\/recordcollectormag.com\/articles\/lady-sings-the-blues","url":"https:\/\/siteproxy.ruqli.workers.dev:443\/https\/recordcollectormag.com\/articles\/lady-sings-the-blues","name":"Lady Sings The Blues - Record Collector Magazine","isPartOf":{"@id":"https:\/\/siteproxy.ruqli.workers.dev:443\/https\/recordcollectormag.com\/#website"},"datePublished":"2007-09-19T10:24:15+00:00","dateModified":"2020-05-21T10:25:39+00:00","description":"Prolific to a fault in the 70s and 80s, Joan Armatrading has released just three studio albums, including her new release Into The Blues, since her last","breadcrumb":{"@id":"https:\/\/siteproxy.ruqli.workers.dev:443\/https\/recordcollectormag.com\/articles\/lady-sings-the-blues#breadcrumb"},"inLanguage":"en-US","potentialAction":[{"@type":"ReadAction","target":["https:\/\/siteproxy.ruqli.workers.dev:443\/https\/recordcollectormag.com\/articles\/lady-sings-the-blues"]}]},{"@type":"BreadcrumbList","@id":"https:\/\/siteproxy.ruqli.workers.dev:443\/https\/recordcollectormag.com\/articles\/lady-sings-the-blues#breadcrumb","itemListElement":[{"@type":"ListItem","position":1,"name":"Home","item":"https:\/\/siteproxy.ruqli.workers.dev:443\/https\/recordcollectormag.com\/"},{"@type":"ListItem","position":2,"name":"Lady Sings The Blues"}]},{"@type":"WebSite","@id":"https:\/\/siteproxy.ruqli.workers.dev:443\/https\/recordcollectormag.com\/#website","url":"https:\/\/siteproxy.ruqli.workers.dev:443\/https\/recordcollectormag.com\/","name":"Record Collector Magazine","description":"Serious About Music","publisher":{"@id":"https:\/\/siteproxy.ruqli.workers.dev:443\/https\/recordcollectormag.com\/#organization"},"potentialAction":[{"@type":"SearchAction","target":{"@type":"EntryPoint","urlTemplate":"https:\/\/siteproxy.ruqli.workers.dev:443\/https\/recordcollectormag.com\/?s={search_term_string}"},"query-input":{"@type":"PropertyValueSpecification","valueRequired":true,"valueName":"search_term_string"}}],"inLanguage":"en-US"},{"@type":"Organization","@id":"https:\/\/siteproxy.ruqli.workers.dev:443\/https\/recordcollectormag.com\/#organization","name":"Record Collector","url":"https:\/\/siteproxy.ruqli.workers.dev:443\/https\/recordcollectormag.com\/","logo":{"@type":"ImageObject","inLanguage":"en-US","@id":"https:\/\/siteproxy.ruqli.workers.dev:443\/https\/recordcollectormag.com\/#\/schema\/logo\/image\/","url":"https:\/\/siteproxy.ruqli.workers.dev:443\/https\/cdn.recordcollectormag.com\/wp-content\/uploads\/2020\/10\/logo1.png","contentUrl":"https:\/\/siteproxy.ruqli.workers.dev:443\/https\/cdn.recordcollectormag.com\/wp-content\/uploads\/2020\/10\/logo1.png","width":285,"height":100,"caption":"Record Collector"},"image":{"@id":"https:\/\/siteproxy.ruqli.workers.dev:443\/https\/recordcollectormag.com\/#\/schema\/logo\/image\/"},"sameAs":["https:\/\/siteproxy.ruqli.workers.dev:443\/https\/www.facebook.com\/Record-Collector-Magazine-308921382567867","https:\/\/siteproxy.ruqli.workers.dev:443\/https\/x.com\/RecCollMag","https:\/\/siteproxy.ruqli.workers.dev:443\/https\/www.instagram.com\/recordcollectormag\/"]},{"@type":"Person","@id":"https:\/\/siteproxy.ruqli.workers.dev:443\/https\/recordcollectormag.com\/#\/schema\/person\/7d2cec1dbffeca82d9aaed4cff7e230d","name":"editor","image":{"@type":"ImageObject","inLanguage":"en-US","@id":"https:\/\/siteproxy.ruqli.workers.dev:443\/https\/recordcollectormag.com\/#\/schema\/person\/image\/","url":"https:\/\/siteproxy.ruqli.workers.dev:443\/https\/secure.gravatar.com\/avatar\/85e855d414d90661e402540ea1fe31f5f326f533565d30a336e9e247b54c427e?s=96&d=mm&r=g","contentUrl":"https:\/\/siteproxy.ruqli.workers.dev:443\/https\/secure.gravatar.com\/avatar\/85e855d414d90661e402540ea1fe31f5f326f533565d30a336e9e247b54c427e?s=96&d=mm&r=g","caption":"editor"}}]}},"_links":{"self":[{"href":"https:\/\/siteproxy.ruqli.workers.dev:443\/https\/recordcollectormag.com\/wp-json\/wp\/v2\/posts\/174473","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/siteproxy.ruqli.workers.dev:443\/https\/recordcollectormag.com\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/siteproxy.ruqli.workers.dev:443\/https\/recordcollectormag.com\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/siteproxy.ruqli.workers.dev:443\/https\/recordcollectormag.com\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/siteproxy.ruqli.workers.dev:443\/https\/recordcollectormag.com\/wp-json\/wp\/v2\/comments?post=174473"}],"version-history":[{"count":0,"href":"https:\/\/siteproxy.ruqli.workers.dev:443\/https\/recordcollectormag.com\/wp-json\/wp\/v2\/posts\/174473\/revisions"}],"wp:attachment":[{"href":"https:\/\/siteproxy.ruqli.workers.dev:443\/https\/recordcollectormag.com\/wp-json\/wp\/v2\/media?parent=174473"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/siteproxy.ruqli.workers.dev:443\/https\/recordcollectormag.com\/wp-json\/wp\/v2\/categories?post=174473"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/siteproxy.ruqli.workers.dev:443\/https\/recordcollectormag.com\/wp-json\/wp\/v2\/tags?post=174473"},{"taxonomy":"issue","embeddable":true,"href":"https:\/\/siteproxy.ruqli.workers.dev:443\/https\/recordcollectormag.com\/wp-json\/wp\/v2\/issue?post=174473"}],"curies":[{"name":"wp","href":"https:\/\/siteproxy.ruqli.workers.dev:443\/https\/api.w.org\/{rel}","templated":true}]}}