Chords for BOB DAISLEY TALKS ABOUT GARY MOORE
Tempo:
115.35 bpm
Chords used:
A
F#
G
Tuning:Standard Tuning (EADGBE)Capo:+0fret
Start Jamming...
out, you know.
Well, the next player I'd like to ask you about is Gary Moore.
How did you come to be with Gary Moore?
Gary Moore was also on Jet Records.
And I'd seen Gary several times doing gigs either with him or on the same bill, that
sort of thing.
And it was actually Sharon Osbourne that mentioned to Gary when he needed a bass player to do
a session on some tracks on the album at the time was Victims of the Future.
And Sharon suggested me to do some tracks, so I went in and he was really pleased.
And then not long after that he had a live video to do of a [A] gig in Ireland.
Actually I think it was a gig in Dublin and a gig in Belfast and they were going to use
the best of the two shows for his live video release and he asked me to do that then.
And I remember he was very pleased at the end of it, at the end of the second show,
we were all having a drink and it was over.
Because I'd only had I think something like five days to learn 14 songs, rehearse them
and get them right and then be filmed doing them, so there was no room for fuck-ups or whatever.
He was very pleased and he came in and said to me, look, he said if you're ever interested
in having a gig there's one here for you.
So when Ozzy and I fell out the next year in 85, Ozzy and I had a bit of a fallout.
And Gary at the time, I phoned Neil Carter, who was the keyboard player, other guitarist
in the band with Gary, and he said, oh Gary's just got Glenn Hughes in the band from Deep Purple.
And I thought that's not going to work out.
I knew there would be a clash there.
I said, well okay, give me a call in about a month or so when it doesn't work out.
And sure enough I got the call.
It didn't work out and then I went to work with Gary.
What were your observations about him as a player?
Gary?
Oh he's brilliant.
Great player.
I love Gary's playing.
And he's a funny bloke too.
He and I just hit it off really well.
I mean, we'd be in hysterics laughing sometimes.
He's got a great sense of humor.
He's very witty.
He's very quick.
And he's a very clever player.
The old saying of jack of all trades, master of none.
He's jack of all trades and master of all.
No, he's good at every style.
Gary's a great player at every style.
We talked earlier about that recording I heard of him doing a hideaway.
Oh yeah.
It's so powerful.
I think some of Gary's best playing is when he's just messing about.
He tends to sometimes perfect things or over-perfect them a little bit in the studio.
[F#] But when he lets rip and he's not too worried about having it perfect, I think that's his best playing.
That's just me.
How many albums were you [N] on with him?
There's quite a few, wasn't it?
Victims of the Future was the first one.
I did three or four tracks on that.
And then Run for Cover, I think I only played on one track because I was doing other stuff
and then came in at the end of it and then went on the road with him.
And then there was Wild Frontier.
Then there was After the War.
And then there was Still Got the Blues for You.
Some tracks on that.
And After Hours.
So there's quite a few.
Oh, and one of my favourite albums that I played on with Gary was Power of the Blues.
I played on all of that.
And that was 2003 we recorded that.
I went over there to do the album.
Then 2004 we'd just started doing some shows and he got a poisoned finger and the gigs
were pulled and we didn't get a chance really to promote the album properly.
So it kind of died a bit.
But that's one of my favourite Gary Moore albums, Power of the Blues.
Because it wasn't too overplanned or anything.
It had spontaneity.
It was get in the studio, oh this is the song we're doing, let's have a run through, try this, try that.
Okay, let's record it.
At the end of nine days we had all the backing tracks done.
So I remember Gary saying to me, he said, God, the last album, it took us three months to get to this stage.
Was there a lot of improvising in his shows?
No, I wouldn't say a lot of improvising.
A similar sort of thing to Here's the Boundaries.
You can do this and this and this here and it might be a bit different each night.
And some things would go on longer or a bit shorter or whatever.
And it was always the nod and the wink.
And I mean, tune like Still Got the Bluesies, you'd have to do that note perfect, wouldn't it?
Yeah, yeah, yeah.
There was a song we used to do, it was an instrumental called The Loner. Oh, yes.
And some nights if he was into playing it, it would go on and on.
And the intro one night was about four minutes.
And the whole thing ended up about 20 minutes.
But it was fun because it was always a little bit of a challenge as well, you know, of what's going to happen next.
But usually it was fairly disciplined.
Did you get to write with him at all?
No, not really.
No, he's pretty self-sufficient, Gary, with music and his lyrics and his song ideas.
He's a good writer as well as a good player.
You know, it occurs to me like Still Got the Bluesies is the same chord progression as Autumn Leaves.
Oh, yeah.
Yes, yeah.
So I expect he's, when I noticed that.
Well, there's a similarity between a few of those.
There's The Loner, there's Parisian Walkway.
Which is Blue Bossa.
Yeah.
Yeah, I noticed that.
So he must have a knowledge of the standards.
Oh, yeah, yeah, yeah.
Did you ever get to play any standards with him?
Isn't there a Santana song called Europe or something?
Europa, yeah.
Europa, is it?
Yeah.
And that's very similar to Parisian Walkways.
Yeah, yeah.
Yeah, I suppose grab the chord progression and do stuff on top.
Yeah.
What was your highlight of playing with him?
[A]
Probably the, I'd always had a lot of respect for him as a player.
And players like that for me sometimes had a little bit of, I felt a little bit intimidated, you know.
But getting into the camp and then being a part of it, that was a nice feeling.
Because I had a lot of respect for Gary and his playing.
You know, I think he's up there with the best.
And you did get to play with The Beatle?
I did.
Yeah.
George Harrison, yeah.
George was a mate of Gary's.
Oh, okay.
And they both lived down at Henley.
Right.
[G] Henley on Thames, outside of London.
And Gary and George became very good mates.
Yeah.
George came to one of our shows one night and stood on my side of the stage for the whole gig.
I think it was Ian Pace and John Lord from Deep Purple and George Harrison all standing together on my side of the stage.
About sort of, I don't know, three or four metres away.
And I thought, oh, fucking hell.
They're all standing there doing the, but after a while I just forgot about them and it just went well.
But George wrote a song for the Blues album, I think it was called That Kind of Woman.
And he played guitar on it and he could really, he can really hear it's a George Harrison song.
Yeah.
And although we did our parts separately, [F#] it was nice to be on a track with The Beatle in the song that George wrote [N] for that album.
Well, the next player I'd like to ask you about is Gary Moore.
How did you come to be with Gary Moore?
Gary Moore was also on Jet Records.
And I'd seen Gary several times doing gigs either with him or on the same bill, that
sort of thing.
And it was actually Sharon Osbourne that mentioned to Gary when he needed a bass player to do
a session on some tracks on the album at the time was Victims of the Future.
And Sharon suggested me to do some tracks, so I went in and he was really pleased.
And then not long after that he had a live video to do of a [A] gig in Ireland.
Actually I think it was a gig in Dublin and a gig in Belfast and they were going to use
the best of the two shows for his live video release and he asked me to do that then.
And I remember he was very pleased at the end of it, at the end of the second show,
we were all having a drink and it was over.
Because I'd only had I think something like five days to learn 14 songs, rehearse them
and get them right and then be filmed doing them, so there was no room for fuck-ups or whatever.
He was very pleased and he came in and said to me, look, he said if you're ever interested
in having a gig there's one here for you.
So when Ozzy and I fell out the next year in 85, Ozzy and I had a bit of a fallout.
And Gary at the time, I phoned Neil Carter, who was the keyboard player, other guitarist
in the band with Gary, and he said, oh Gary's just got Glenn Hughes in the band from Deep Purple.
And I thought that's not going to work out.
I knew there would be a clash there.
I said, well okay, give me a call in about a month or so when it doesn't work out.
And sure enough I got the call.
It didn't work out and then I went to work with Gary.
What were your observations about him as a player?
Gary?
Oh he's brilliant.
Great player.
I love Gary's playing.
And he's a funny bloke too.
He and I just hit it off really well.
I mean, we'd be in hysterics laughing sometimes.
He's got a great sense of humor.
He's very witty.
He's very quick.
And he's a very clever player.
The old saying of jack of all trades, master of none.
He's jack of all trades and master of all.
No, he's good at every style.
Gary's a great player at every style.
We talked earlier about that recording I heard of him doing a hideaway.
Oh yeah.
It's so powerful.
I think some of Gary's best playing is when he's just messing about.
He tends to sometimes perfect things or over-perfect them a little bit in the studio.
[F#] But when he lets rip and he's not too worried about having it perfect, I think that's his best playing.
That's just me.
How many albums were you [N] on with him?
There's quite a few, wasn't it?
Victims of the Future was the first one.
I did three or four tracks on that.
And then Run for Cover, I think I only played on one track because I was doing other stuff
and then came in at the end of it and then went on the road with him.
And then there was Wild Frontier.
Then there was After the War.
And then there was Still Got the Blues for You.
Some tracks on that.
And After Hours.
So there's quite a few.
Oh, and one of my favourite albums that I played on with Gary was Power of the Blues.
I played on all of that.
And that was 2003 we recorded that.
I went over there to do the album.
Then 2004 we'd just started doing some shows and he got a poisoned finger and the gigs
were pulled and we didn't get a chance really to promote the album properly.
So it kind of died a bit.
But that's one of my favourite Gary Moore albums, Power of the Blues.
Because it wasn't too overplanned or anything.
It had spontaneity.
It was get in the studio, oh this is the song we're doing, let's have a run through, try this, try that.
Okay, let's record it.
At the end of nine days we had all the backing tracks done.
So I remember Gary saying to me, he said, God, the last album, it took us three months to get to this stage.
Was there a lot of improvising in his shows?
No, I wouldn't say a lot of improvising.
A similar sort of thing to Here's the Boundaries.
You can do this and this and this here and it might be a bit different each night.
And some things would go on longer or a bit shorter or whatever.
And it was always the nod and the wink.
And I mean, tune like Still Got the Bluesies, you'd have to do that note perfect, wouldn't it?
Yeah, yeah, yeah.
There was a song we used to do, it was an instrumental called The Loner. Oh, yes.
And some nights if he was into playing it, it would go on and on.
And the intro one night was about four minutes.
And the whole thing ended up about 20 minutes.
But it was fun because it was always a little bit of a challenge as well, you know, of what's going to happen next.
But usually it was fairly disciplined.
Did you get to write with him at all?
No, not really.
No, he's pretty self-sufficient, Gary, with music and his lyrics and his song ideas.
He's a good writer as well as a good player.
You know, it occurs to me like Still Got the Bluesies is the same chord progression as Autumn Leaves.
Oh, yeah.
Yes, yeah.
So I expect he's, when I noticed that.
Well, there's a similarity between a few of those.
There's The Loner, there's Parisian Walkway.
Which is Blue Bossa.
Yeah.
Yeah, I noticed that.
So he must have a knowledge of the standards.
Oh, yeah, yeah, yeah.
Did you ever get to play any standards with him?
Isn't there a Santana song called Europe or something?
Europa, yeah.
Europa, is it?
Yeah.
And that's very similar to Parisian Walkways.
Yeah, yeah.
Yeah, I suppose grab the chord progression and do stuff on top.
Yeah.
What was your highlight of playing with him?
[A]
Probably the, I'd always had a lot of respect for him as a player.
And players like that for me sometimes had a little bit of, I felt a little bit intimidated, you know.
But getting into the camp and then being a part of it, that was a nice feeling.
Because I had a lot of respect for Gary and his playing.
You know, I think he's up there with the best.
And you did get to play with The Beatle?
I did.
Yeah.
George Harrison, yeah.
George was a mate of Gary's.
Oh, okay.
And they both lived down at Henley.
Right.
[G] Henley on Thames, outside of London.
And Gary and George became very good mates.
Yeah.
George came to one of our shows one night and stood on my side of the stage for the whole gig.
I think it was Ian Pace and John Lord from Deep Purple and George Harrison all standing together on my side of the stage.
About sort of, I don't know, three or four metres away.
And I thought, oh, fucking hell.
They're all standing there doing the, but after a while I just forgot about them and it just went well.
But George wrote a song for the Blues album, I think it was called That Kind of Woman.
And he played guitar on it and he could really, he can really hear it's a George Harrison song.
Yeah.
And although we did our parts separately, [F#] it was nice to be on a track with The Beatle in the song that George wrote [N] for that album.
Key:
A
F#
G
A
F#
G
A
F#
out, you know.
Well, the next player I'd like to ask you about is Gary Moore.
How did you come to be with Gary Moore?
_ _ Gary Moore was also on Jet Records.
And I'd seen Gary several times doing gigs either with him or on the same bill, that
sort of thing.
And it was actually Sharon Osbourne _ _ that mentioned to Gary when he needed a bass player to do
a session on some tracks on the album at the time was Victims of the Future.
_ _ And Sharon suggested me to do some tracks, so I went in and he was really pleased.
And then not long after that _ he had a live _ video to do _ _ of a [A] gig in Ireland.
Actually I think it was _ a gig in Dublin and a gig in Belfast and they were going to use
the best of the two shows for his live video release and he asked me to do that then.
And I remember he was very pleased at the end of it, at the end of the second show,
we were all having a drink and it was over.
Because I'd only had I think something like five days to learn 14 songs, rehearse them
and get them right and then be filmed doing them, so there was no room for _ _ fuck-ups or whatever.
He was very pleased and he came in and said to me, look, he said if you're ever interested
in having a gig there's one here for you.
_ So when Ozzy and I fell out the next year in 85, Ozzy and I had a bit of a fallout. _
And Gary at the time, I phoned Neil Carter, who was the keyboard player, other guitarist
in the band with Gary, and he said, oh Gary's just got Glenn Hughes in the band from Deep Purple.
And I thought that's not going to work out.
I knew there would be a clash there.
I said, well okay, give me a call in about a month or so when it doesn't work out.
And sure enough I got the call.
It didn't work out and then I went to work with Gary.
What were your observations about him as a player?
Gary?
Oh he's brilliant.
_ Great player.
I love Gary's playing.
_ And he's a funny bloke too.
He and I just hit it off really well.
I mean, we'd be in hysterics laughing sometimes.
He's got a great sense of humor.
He's very witty.
He's very quick. _ _
_ And he's a very clever player. _ _
The old saying of jack of all trades, master of none.
He's jack of all trades and master of all.
No, he's good at every style.
Gary's a great player at every style. _ _
We talked earlier about that recording I heard of him doing a hideaway.
Oh yeah.
It's so powerful. _ _
_ I think some of Gary's best playing is when he's just messing about.
_ He tends to sometimes perfect things or over-perfect them a little bit in the studio.
[F#] _ But when he lets rip and he's not too worried about having it perfect, I think that's his best playing.
That's just me.
How many albums were you [N] on with him?
There's quite a few, wasn't it?
Victims of the Future was the first one.
I did three or four tracks on that.
And then Run for Cover, I think I only played on one track because I was doing other stuff
and then came in at the end of it and then went on the road with him.
And then there was Wild Frontier.
Then there was After the War. _
_ And then there was Still Got the Blues for You.
Some tracks on that.
_ _ _ And After Hours.
So there's quite a few.
_ Oh, and one of my favourite albums that I played on with Gary was Power of the Blues.
I played on all of that.
And that was _ _ 2003 we recorded that.
_ I went over there to do the album.
Then 2004 we'd just started doing some shows and he got a poisoned finger and the gigs
were pulled and we didn't get a chance really to promote the album properly.
So it kind of died a bit.
But that's one of my favourite Gary Moore albums, Power of the Blues.
Because _ it wasn't _ too _ _ _ _ overplanned or anything.
It had spontaneity.
_ It was get in the studio, oh this is the song we're doing, let's have a run through, try this, try that.
Okay, let's record it.
At the end of nine days we had all the backing tracks done.
So I remember Gary saying to me, he said, God, the last album, it took us three months to get to this stage.
_ _ Was there a lot of improvising in his shows?
No, _ _ _ I wouldn't say a lot of improvising.
A similar sort of thing to Here's the Boundaries.
You can do this and this and this here and it might be a bit different each night.
And some things would go on longer or a bit shorter or whatever.
And it was always the nod and the wink. _
And I mean, tune like Still Got the Bluesies, you'd have to do that note perfect, wouldn't it?
Yeah, yeah, yeah.
There was a _ song we used to do, it was an instrumental called The Loner. Oh, yes.
And some nights if he was into playing it, it would go on and on.
And the intro one night was about four minutes. _ _
And the whole thing ended up about 20 minutes.
But it was _ fun because it was always a little bit of a challenge as well, you know, of what's going to happen next.
But usually it was fairly disciplined.
Did you get to write with him at all?
No, not really.
No, he's pretty self-sufficient, Gary, with music and his lyrics and his song ideas.
He's a good writer as well as a good player.
You know, it occurs to me like Still Got the Bluesies is the same chord progression as Autumn Leaves.
Oh, yeah.
Yes, yeah.
So I expect he's, when I noticed that.
Well, there's a similarity between a few of those.
There's The Loner, there's Parisian Walkway.
Which is Blue Bossa.
Yeah.
Yeah, I noticed that.
So he must have a knowledge of the standards.
Oh, yeah, yeah, yeah.
Did you ever get to play any standards with him?
Isn't there a _ Santana song called Europe or something?
Europa, yeah.
Europa, is it?
Yeah.
And that's very similar to Parisian Walkways.
Yeah, yeah.
Yeah, I suppose grab the chord progression and do stuff on top.
Yeah.
What was your highlight of playing with him? _
_ _ [A] _ _ _ _ _ _
_ _ _ _ Probably the, _ _ _ _ I'd always had a lot of respect for him as a player.
And _ players like that for me sometimes had a little bit of, _ I felt a little bit intimidated, you know.
But getting into the camp and then being a part of it, that was a nice feeling.
Because I had a lot of respect for Gary and his playing.
_ You know, I think he's up there with the best.
_ And you did get to play with The Beatle?
I did.
Yeah.
George Harrison, yeah.
George was a mate of Gary's.
Oh, okay.
And they both lived down at Henley.
Right.
_ [G] Henley on Thames, outside of London.
And Gary and George became very good mates.
Yeah.
George came to one of our shows one night and stood on my side of the stage for the whole gig.
I think it was Ian Pace and John Lord from Deep Purple and George Harrison all standing together on my side of the stage.
About sort of, I don't know, three or four metres away.
And I thought, oh, fucking hell. _ _ _
They're all standing there doing the, but after a while I just forgot about them and it just went well.
But George wrote a song for the Blues album, I think it was called That Kind of Woman.
And he played guitar on it and he could really, he can really hear it's a George Harrison song.
Yeah.
And although we did our parts separately, [F#] it was nice to be on a track with The Beatle in the song that George wrote [N] for that album.
Well, the next player I'd like to ask you about is Gary Moore.
How did you come to be with Gary Moore?
_ _ Gary Moore was also on Jet Records.
And I'd seen Gary several times doing gigs either with him or on the same bill, that
sort of thing.
And it was actually Sharon Osbourne _ _ that mentioned to Gary when he needed a bass player to do
a session on some tracks on the album at the time was Victims of the Future.
_ _ And Sharon suggested me to do some tracks, so I went in and he was really pleased.
And then not long after that _ he had a live _ video to do _ _ of a [A] gig in Ireland.
Actually I think it was _ a gig in Dublin and a gig in Belfast and they were going to use
the best of the two shows for his live video release and he asked me to do that then.
And I remember he was very pleased at the end of it, at the end of the second show,
we were all having a drink and it was over.
Because I'd only had I think something like five days to learn 14 songs, rehearse them
and get them right and then be filmed doing them, so there was no room for _ _ fuck-ups or whatever.
He was very pleased and he came in and said to me, look, he said if you're ever interested
in having a gig there's one here for you.
_ So when Ozzy and I fell out the next year in 85, Ozzy and I had a bit of a fallout. _
And Gary at the time, I phoned Neil Carter, who was the keyboard player, other guitarist
in the band with Gary, and he said, oh Gary's just got Glenn Hughes in the band from Deep Purple.
And I thought that's not going to work out.
I knew there would be a clash there.
I said, well okay, give me a call in about a month or so when it doesn't work out.
And sure enough I got the call.
It didn't work out and then I went to work with Gary.
What were your observations about him as a player?
Gary?
Oh he's brilliant.
_ Great player.
I love Gary's playing.
_ And he's a funny bloke too.
He and I just hit it off really well.
I mean, we'd be in hysterics laughing sometimes.
He's got a great sense of humor.
He's very witty.
He's very quick. _ _
_ And he's a very clever player. _ _
The old saying of jack of all trades, master of none.
He's jack of all trades and master of all.
No, he's good at every style.
Gary's a great player at every style. _ _
We talked earlier about that recording I heard of him doing a hideaway.
Oh yeah.
It's so powerful. _ _
_ I think some of Gary's best playing is when he's just messing about.
_ He tends to sometimes perfect things or over-perfect them a little bit in the studio.
[F#] _ But when he lets rip and he's not too worried about having it perfect, I think that's his best playing.
That's just me.
How many albums were you [N] on with him?
There's quite a few, wasn't it?
Victims of the Future was the first one.
I did three or four tracks on that.
And then Run for Cover, I think I only played on one track because I was doing other stuff
and then came in at the end of it and then went on the road with him.
And then there was Wild Frontier.
Then there was After the War. _
_ And then there was Still Got the Blues for You.
Some tracks on that.
_ _ _ And After Hours.
So there's quite a few.
_ Oh, and one of my favourite albums that I played on with Gary was Power of the Blues.
I played on all of that.
And that was _ _ 2003 we recorded that.
_ I went over there to do the album.
Then 2004 we'd just started doing some shows and he got a poisoned finger and the gigs
were pulled and we didn't get a chance really to promote the album properly.
So it kind of died a bit.
But that's one of my favourite Gary Moore albums, Power of the Blues.
Because _ it wasn't _ too _ _ _ _ overplanned or anything.
It had spontaneity.
_ It was get in the studio, oh this is the song we're doing, let's have a run through, try this, try that.
Okay, let's record it.
At the end of nine days we had all the backing tracks done.
So I remember Gary saying to me, he said, God, the last album, it took us three months to get to this stage.
_ _ Was there a lot of improvising in his shows?
No, _ _ _ I wouldn't say a lot of improvising.
A similar sort of thing to Here's the Boundaries.
You can do this and this and this here and it might be a bit different each night.
And some things would go on longer or a bit shorter or whatever.
And it was always the nod and the wink. _
And I mean, tune like Still Got the Bluesies, you'd have to do that note perfect, wouldn't it?
Yeah, yeah, yeah.
There was a _ song we used to do, it was an instrumental called The Loner. Oh, yes.
And some nights if he was into playing it, it would go on and on.
And the intro one night was about four minutes. _ _
And the whole thing ended up about 20 minutes.
But it was _ fun because it was always a little bit of a challenge as well, you know, of what's going to happen next.
But usually it was fairly disciplined.
Did you get to write with him at all?
No, not really.
No, he's pretty self-sufficient, Gary, with music and his lyrics and his song ideas.
He's a good writer as well as a good player.
You know, it occurs to me like Still Got the Bluesies is the same chord progression as Autumn Leaves.
Oh, yeah.
Yes, yeah.
So I expect he's, when I noticed that.
Well, there's a similarity between a few of those.
There's The Loner, there's Parisian Walkway.
Which is Blue Bossa.
Yeah.
Yeah, I noticed that.
So he must have a knowledge of the standards.
Oh, yeah, yeah, yeah.
Did you ever get to play any standards with him?
Isn't there a _ Santana song called Europe or something?
Europa, yeah.
Europa, is it?
Yeah.
And that's very similar to Parisian Walkways.
Yeah, yeah.
Yeah, I suppose grab the chord progression and do stuff on top.
Yeah.
What was your highlight of playing with him? _
_ _ [A] _ _ _ _ _ _
_ _ _ _ Probably the, _ _ _ _ I'd always had a lot of respect for him as a player.
And _ players like that for me sometimes had a little bit of, _ I felt a little bit intimidated, you know.
But getting into the camp and then being a part of it, that was a nice feeling.
Because I had a lot of respect for Gary and his playing.
_ You know, I think he's up there with the best.
_ And you did get to play with The Beatle?
I did.
Yeah.
George Harrison, yeah.
George was a mate of Gary's.
Oh, okay.
And they both lived down at Henley.
Right.
_ [G] Henley on Thames, outside of London.
And Gary and George became very good mates.
Yeah.
George came to one of our shows one night and stood on my side of the stage for the whole gig.
I think it was Ian Pace and John Lord from Deep Purple and George Harrison all standing together on my side of the stage.
About sort of, I don't know, three or four metres away.
And I thought, oh, fucking hell. _ _ _
They're all standing there doing the, but after a while I just forgot about them and it just went well.
But George wrote a song for the Blues album, I think it was called That Kind of Woman.
And he played guitar on it and he could really, he can really hear it's a George Harrison song.
Yeah.
And although we did our parts separately, [F#] it was nice to be on a track with The Beatle in the song that George wrote [N] for that album.