Session notes from the booth.

Let It Go by Bangles lands here because Extend the feeling that follows Rock And Roll All Nite by Kiss without sounding automatic.. The pop/rock edge gives the turn a more precise contour than a plain mood match. People of the Sun (Live, Mexico City, Mexico, October 28, 1999) can step in after it without the handoff feeling pre-chewed.

On Gold (1) (2020), Let It Go shows Bangles working in a 2020s pocket with pop/rock in the grain. The cut moves with a steady shoulder-roll, which is why it can hold this turn without flattening it.

Listen for the pop/rock texture in the pocket, especially in the way the arrangement keeps color moving under the lead. It also leaves a lane for People of the Sun (Live, Mexico City, Mexico, October 28, 1999) to arrive without the segue feeling forced.

People of the Sun (Live, Mexico City, Mexico, October 28, 1999) answers Let It Go by Bangles with a related tension instead of a copycat move, so the sequence keeps opening out. The pop, rock edge gives the turn a more precise contour than a plain mood match. Doxy (From The Album Bags'Groove) can step in after it without the handoff feeling pre-chewed.

On The Battle Of Mexico City (2020), People of the Sun (Live, Mexico City, Mexico, October 28, 1999) shows Rage Against The Machine working in a 2020s pocket with pop, rock in the grain. The cut moves with a slow-burn glide, which is why it can hold this turn without flattening it.

Listen for the pop, rock texture in the pocket, especially in the way the arrangement keeps color moving under the lead. You can hear how it answers Let It Go without borrowing the same emotional weight. It also leaves a lane for Doxy (From The Album Bags'Groove) to arrive without the segue feeling forced.

Doxy (From The Album Bags'Groove) answers People of the Sun (Live, Mexico City, Mexico, October 28, 1999) by Rage Against The Machine with a related tension instead of a copycat move, so the sequence keeps opening out. The jazz edge gives the turn a more precise contour than a plain mood match.

On INTEGRAL MILES DAVIS 1951-1956 (2024), Doxy (From The Album Bags'Groove) shows Miles Davis working in a 2020s pocket with jazz in the grain. The cut moves with a steady shoulder-roll, which is why it can hold this turn without flattening it.

Listen for the jazz texture in the pocket, especially in the way the arrangement keeps color moving under the lead. You can hear how it answers People of the Sun (Live, Mexico City, Mexico, October 28, 1999) without borrowing the same emotional weight.

A Clean Break (Let's Work) (Live; 2004 Remaster) by Talking Heads lands here because Bad Girls by Donna Summer keeps the emotional pressure steady after Rock And Roll Hoochie Koo by Rick Derringer and changes the palette without cutting the thread.. The pop, rock edge gives the turn a more precise contour than a plain mood match. Bad Girls can step in after it without the handoff feeling pre-chewed.

On Once in a Lifetime: The Talking Heads Box (2003), A Clean Break (Let's Work) (Live; 2004 Remaster) shows Talking Heads working in a 2000s pocket with pop, rock in the grain. The cut moves with a bright electric charge, which is why it can hold this turn without flattening it. Inside Deep shelf drift, it reads as curation rather than stunt programming.

Listen for the pop, rock texture in the pocket, especially in the way the arrangement keeps color moving under the lead. It also leaves a lane for Bad Girls to arrive without the segue feeling forced.

Bad Girls keeps deep shelf drift honest by sounding like a real choice inside that lane, not a decorative gesture. The classic rock edge gives the turn a more precise contour than a plain mood match. Let It Go can step in after it without the handoff feeling pre-chewed.

On Sounds of the Seventies - '70s Gold (1998), Bad Girls shows Donna Summer working in a 1990s pocket with classic rock in the grain. The cut moves with a slow-burn glide, which is why it can hold this turn without flattening it. Inside Deep shelf drift, it reads as curation rather than stunt programming.

Listen for the classic rock texture in the pocket, especially in the way the arrangement keeps color moving under the lead. You can hear how it answers A Clean Break (Let's Work) (Live; 2004 Remaster) without borrowing the same emotional weight. It also leaves a lane for Let It Go to arrive without the segue feeling forced.

Let It Go keeps deep shelf drift honest by sounding like a real choice inside that lane, not a decorative gesture. The pop/rock edge gives the turn a more precise contour than a plain mood match.

On Gold (1) (2020), Let It Go shows Bangles working in a 2020s pocket with pop/rock in the grain. The cut moves with a steady shoulder-roll, which is why it can hold this turn without flattening it. Inside Deep shelf drift, it reads as curation rather than stunt programming.

Listen for the pop/rock texture in the pocket, especially in the way the arrangement keeps color moving under the lead. You can hear how it answers Bad Girls without borrowing the same emotional weight.

Eternal Flame by Bangles lands here because Roll Out The Barrel (Live) by Neil Young & The Santa Monica Flyers keeps the emotional pressure steady after After The Gold Rush (Live) by Neil Young & Crazy Horse and keeps country/folk/rock in the grain.. The pop/rock edge gives the turn a more precise contour than a plain mood match. Roll Out The Barrel (Live) can step in after it without the handoff feeling pre-chewed.

On Gold (2) (2020), Eternal Flame shows Bangles working in a 2020s pocket with pop/rock in the grain. The cut moves with a steady shoulder-roll, which is why it can hold this turn without flattening it.

Listen for the pop/rock texture in the pocket, especially in the way the arrangement keeps color moving under the lead. It also leaves a lane for Roll Out The Barrel (Live) to arrive without the segue feeling forced.

Roll Out The Barrel (Live) answers Eternal Flame by Bangles with a related tension instead of a copycat move, so the sequence keeps opening out. The country/folk/rock edge gives the turn a more precise contour than a plain mood match. Honey Pie can step in after it without the handoff feeling pre-chewed.

On Archives, Vol. II: 1972–1976 (4) (2021), Roll Out The Barrel (Live) shows Neil Young & The Santa Monica Flyers working in a 2020s pocket with country/folk/rock in the grain. The cut moves with a slow-burn glide, which is why it can hold this turn without flattening it.

Listen for the country/folk/rock texture in the pocket, especially in the way the arrangement keeps color moving under the lead. You can hear how it answers Eternal Flame without borrowing the same emotional weight. It also leaves a lane for Honey Pie to arrive without the segue feeling forced.

Honey Pie answers Roll Out The Barrel (Live) by Neil Young & The Santa Monica Flyers with a related tension instead of a copycat move, so the sequence keeps opening out. The rock edge gives the turn a more precise contour than a plain mood match.

On The Beatles (1968), Honey Pie shows The Beatles working in a 1960s pocket with rock in the grain. The cut moves with a slow-burn glide, which is why it can hold this turn without flattening it.

Listen for the rock texture in the pocket, especially in the way the arrangement keeps color moving under the lead. You can hear how it answers Roll Out The Barrel (Live) without borrowing the same emotional weight.

Rock *n* Roll With Me (Live) by David Bowie lands here because Concerto for Piano, Violin, Violoncello and Orchestra in C Major “Triple Concerto”, Op. 56: 1. Allegro by Ludwig Van Beethoven states the thesis, and Eternal Flame by Bangles answers it with a fresh turn.. The art rock edge gives the turn a more precise contour than a plain mood match. Concerto for Piano, Violin, Violoncello and Orchestra in C Major “Triple Concerto”, Op. 56: 1. Allegro can step in after it without the handoff feeling pre-chewed.

On Diamond Dogs (1974), Rock *n* Roll With Me (Live) shows David Bowie working in a 1970s pocket with art rock in the grain. The cut moves with a slow-burn glide, which is why it can hold this turn without flattening it.

Listen for the art rock texture in the pocket, especially in the way the arrangement keeps color moving under the lead. It also leaves a lane for Concerto for Piano, Violin, Violoncello and Orchestra in C Major “Triple Concerto”, Op. 56: 1. Allegro to arrive without the segue feeling forced.

Concerto for Piano, Violin, Violoncello and Orchestra in C Major “Triple Concerto”, Op. 56: 1. Allegro answers Rock *n* Roll With Me (Live) by David Bowie with a related tension instead of a copycat move, so the sequence keeps opening out. The classical edge gives the turn a more precise contour than a plain mood match. Eternal Flame can step in after it without the handoff feeling pre-chewed.

On Triple Concerto / Symphony No. 7 (2020), Concerto for Piano, Violin, Violoncello and Orchestra in C Major “Triple Concerto”, Op. 56: 1. Allegro shows Ludwig Van Beethoven working in a 2020s pocket with classical in the grain. The cut moves with a slow-burn glide, which is why it can hold this turn without flattening it.

This one is airing as a clipped passage, so listen for the section Mr Rassy chose to stand in for the whole piece. The choice was deliberate: The live performance sets the mood and energy, so a clip from the opening gives listeners the right hit without swallowing the set.. Eternal Flame is waiting on the far side of that seam.

Eternal Flame answers Concerto for Piano, Violin, Violoncello and Orchestra in C Major “Triple Concerto”, Op. 56: 1. Allegro by Ludwig Van Beethoven with a related tension instead of a copycat move, so the sequence keeps opening out. The pop/rock edge gives the turn a more precise contour than a plain mood match.

On Gold (2) (2020), Eternal Flame shows Bangles working in a 2020s pocket with pop/rock in the grain. The cut moves with a steady shoulder-roll, which is why it can hold this turn without flattening it.

Listen for the pop/rock texture in the pocket, especially in the way the arrangement keeps color moving under the lead. You can hear how it answers Concerto for Piano, Violin, Violoncello and Orchestra in C Major “Triple Concerto”, Op. 56: 1. Allegro without borrowing the same emotional weight.