Session notes from the booth.

Tron Legacy (End Titles) by Daft Punk lands here because Everybody’s Got Something to Hide Except Me and My Monkey by The Beatles states the thesis, and You Can't Change That by Ray Parker Jr. And Raydio answers it with a fresh turn.. The film, bandes originales de films edge gives the turn a more precise contour than a plain mood match. Everybody’s Got Something to Hide Except Me and My Monkey can step in after it without the handoff feeling pre-chewed.

On TRON: Legacy - The Complete Edition (2020), Tron Legacy (End Titles) shows Daft Punk working in a 2020s pocket with film, bandes originales de films in the grain. The cut moves with a bright electric charge, which is why it can hold this turn without flattening it.

Listen for the film, bandes originales de films texture in the pocket, especially in the way the arrangement keeps color moving under the lead. It also leaves a lane for Everybody’s Got Something to Hide Except Me and My Monkey to arrive without the segue feeling forced.

Everybody’s Got Something to Hide Except Me and My Monkey answers Tron Legacy (End Titles) by Daft Punk 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. You Can't Change That can step in after it without the handoff feeling pre-chewed.

On The Beatles (1968), Everybody’s Got Something to Hide Except Me and My Monkey 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 Tron Legacy (End Titles) without borrowing the same emotional weight. It also leaves a lane for You Can't Change That to arrive without the segue feeling forced.

You Can't Change That answers Everybody’s Got Something to Hide Except Me and My Monkey by The Beatles 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 Sounds Of The Seventies - 1979: Take Two (1991), You Can't Change That shows Ray Parker Jr. And Raydio working in a 1990s pocket with 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 rock texture in the pocket, especially in the way the arrangement keeps color moving under the lead. You can hear how it answers Everybody’s Got Something to Hide Except Me and My Monkey without borrowing the same emotional weight.

C.L.U. by Daft Punk lands here because People of the Sun (Live, Mexico City, Mexico, October 28, 1999) by Rage Against The Machine and Houses in Motion (Live at Werchterpark Festival, Belgium) by Talking Heads provide a sharp two-step that deepens and lands the emotional arc after I Want To Be The Boy To Warm Your Mother's Heart (Live at The Aragon Ballroom, July 2, 2003) by The White Stripes.. The electronic / leftfield 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 Tron: Legacy (Original Motion Picture Soundtrack) (18), C.L.U. shows Daft Punk working in a 10s pocket with electronic / leftfield 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 electronic / leftfield 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 C.L.U. by Daft Punk 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. Houses in Motion (Live at Werchterpark Festival, Belgium) 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 C.L.U. without borrowing the same emotional weight. It also leaves a lane for Houses in Motion (Live at Werchterpark Festival, Belgium) to arrive without the segue feeling forced.

Houses in Motion (Live at Werchterpark Festival, Belgium) 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 pop / rock edge gives the turn a more precise contour than a plain mood match.

On Radio Waves 1978-1983: Psycho Killers, Vol. 2 (Live) (2016), Houses in Motion (Live at Werchterpark Festival, Belgium) shows Talking Heads working in a 2010s 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 People of the Sun (Live, Mexico City, Mexico, October 28, 1999) without borrowing the same emotional weight.

The Fool on the Hill by The Beatles lands here because C.L.U. by Daft Punk keeps the emotional pressure steady after Cover Me by Björk and maintains electronic / leftfield in the grain. The risk level matches the hour's appetite for surprise, ensuring a dynamic and engaging playlist.. The rock edge gives the turn a more precise contour than a plain mood match. C.L.U. can step in after it without the handoff feeling pre-chewed.

On Magical Mystery Tour (1967), The Fool on the Hill 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. Inside House pocket, it reads as curation rather than stunt programming.

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

C.L.U. keeps house pocket honest by sounding like a real choice inside that lane, not a decorative gesture. The electronic / leftfield edge gives the turn a more precise contour than a plain mood match. The Modern Things can step in after it without the handoff feeling pre-chewed.

On Tron: Legacy (Original Motion Picture Soundtrack) (18), C.L.U. shows Daft Punk working in a 10s pocket with electronic / leftfield in the grain. The cut moves with a steady shoulder-roll, which is why it can hold this turn without flattening it. Inside House pocket, it reads as curation rather than stunt programming.

Listen for the electronic / leftfield texture in the pocket, especially in the way the arrangement keeps color moving under the lead. You can hear how it answers The Fool on the Hill without borrowing the same emotional weight. It also leaves a lane for The Modern Things to arrive without the segue feeling forced.

The Modern Things keeps house pocket honest by sounding like a real choice inside that lane, not a decorative gesture. The electronic / leftfield edge gives the turn a more precise contour than a plain mood match.

On Post (1995), The Modern Things shows Björk working in a 1990s pocket with electronic / leftfield in the grain. The cut moves with a steady shoulder-roll, which is why it can hold this turn without flattening it. Inside House pocket, it reads as curation rather than stunt programming.

Listen for the electronic / leftfield texture in the pocket, especially in the way the arrangement keeps color moving under the lead. You can hear how it answers C.L.U. without borrowing the same emotional weight.

Loose Lucy by Grateful Dead lands here because it keeps the forward motion / loose magnetism pull alive without sanding off the grain that makes this hour interesting. The folk rock / country rock / psychedelic rock edge gives the turn a more precise contour than a plain mood match. Sea of Simulation can step in after it without the handoff feeling pre-chewed.

On From the Mars Hotel (1974), Loose Lucy shows Grateful Dead working in a 1970s pocket with folk rock / country rock / psychedelic rock in the grain. The cut moves with a steady shoulder-roll, which is why it can hold this turn without flattening it. Inside 10s pressure, it reads as curation rather than stunt programming.

Listen for the folk rock / country rock / psychedelic rock texture in the pocket, especially in the way the arrangement keeps color moving under the lead. It also leaves a lane for Sea of Simulation to arrive without the segue feeling forced.

Sea of Simulation keeps 10s pressure honest by sounding like a real choice inside that lane, not a decorative gesture. The electronic / leftfield edge gives the turn a more precise contour than a plain mood match. Echoes Of Mine can step in after it without the handoff feeling pre-chewed.

On Tron: Legacy (Original Motion Picture Soundtrack) (18), Sea of Simulation shows Daft Punk working in a 10s pocket with electronic / leftfield in the grain. The cut moves with a slow-burn glide, which is why it can hold this turn without flattening it. Inside 10s pressure, it reads as curation rather than stunt programming.

Listen for the electronic / leftfield texture in the pocket, especially in the way the arrangement keeps color moving under the lead. You can hear how it answers Loose Lucy without borrowing the same emotional weight. It also leaves a lane for Echoes Of Mine to arrive without the segue feeling forced.

Echoes Of Mine keeps 10s pressure honest by sounding like a real choice inside that lane, not a decorative gesture. The electronic / rock edge gives the turn a more precise contour than a plain mood match.

On Hurry Up, We're Dreaming. (18), Echoes Of Mine shows M83 working in a 10s pocket with electronic / rock in the grain. The cut moves with a steady shoulder-roll, which is why it can hold this turn without flattening it. Inside 10s pressure, it reads as curation rather than stunt programming.

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

The Game Has Changed by Daft Punk lands here because Keeps the emotional pressure steady after Rise & Shine by The Cardigans and turns the color from 2020s into 2010s.. The electronic / leftfield edge gives the turn a more precise contour than a plain mood match. I Want To Be The Boy To Warm Your Mother's Heart (Live at The Aragon Ballroom, July 2, 2003) can step in after it without the handoff feeling pre-chewed.

On Tron: Legacy (Original Motion Picture Soundtrack) (18), The Game Has Changed shows Daft Punk working in a 10s pocket with electronic / leftfield 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 electronic / leftfield texture in the pocket, especially in the way the arrangement keeps color moving under the lead. It also leaves a lane for I Want To Be The Boy To Warm Your Mother's Heart (Live at The Aragon Ballroom, July 2, 2003) to arrive without the segue feeling forced.

I Want To Be The Boy To Warm Your Mother's Heart (Live at The Aragon Ballroom, July 2, 2003) keeps deep shelf drift honest by sounding like a real choice inside that lane, not a decorative gesture. The pop, rock, alternatif et indé edge gives the turn a more precise contour than a plain mood match. Houses in Motion (Live at Werchterpark Festival, Belgium) can step in after it without the handoff feeling pre-chewed.

On Elephant (2023), I Want To Be The Boy To Warm Your Mother's Heart (Live at The Aragon Ballroom, July 2, 2003) shows The White Stripes working in a 2020s pocket with pop, rock, alternatif et indé 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 pop, rock, alternatif et indé texture in the pocket, especially in the way the arrangement keeps color moving under the lead. You can hear how it answers The Game Has Changed without borrowing the same emotional weight. It also leaves a lane for Houses in Motion (Live at Werchterpark Festival, Belgium) to arrive without the segue feeling forced.

Houses in Motion (Live at Werchterpark Festival, Belgium) 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 Radio Waves 1978-1983: Psycho Killers, Vol. 2 (Live) (2016), Houses in Motion (Live at Werchterpark Festival, Belgium) shows Talking Heads working in a 2010s 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 I Want To Be The Boy To Warm Your Mother's Heart (Live at The Aragon Ballroom, July 2, 2003) without borrowing the same emotional weight.

Rock and Roll by Heart lands here because it keeps the tender voltage / open-window lift pull alive without sanding off the grain that makes this hour interesting. The rock edge gives the turn a more precise contour than a plain mood match. Sunrise Prelude can step in after it without the handoff feeling pre-chewed.

On Greatest Hits / Live (1980), Rock and Roll shows Heart working in a 1980s 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. Inside Deep shelf drift, it reads as curation rather than stunt programming.

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

Sunrise Prelude keeps deep shelf drift honest by sounding like a real choice inside that lane, not a decorative gesture. The electronic / leftfield edge gives the turn a more precise contour than a plain mood match. Rock ’n’ Roll Singer can step in after it without the handoff feeling pre-chewed.

On Tron: Legacy (Original Motion Picture Soundtrack) (18), Sunrise Prelude shows Daft Punk working in a 10s pocket with electronic / leftfield 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 electronic / leftfield texture in the pocket, especially in the way the arrangement keeps color moving under the lead. You can hear how it answers Rock and Roll without borrowing the same emotional weight. It also leaves a lane for Rock ’n’ Roll Singer to arrive without the segue feeling forced.

Rock ’n’ Roll Singer keeps deep shelf drift honest by sounding like a real choice inside that lane, not a decorative gesture. The hard rock edge gives the turn a more precise contour than a plain mood match.

On High Voltage (International Version) (2003), Rock ’n’ Roll Singer shows Ac/Dc working in a 2000s pocket with hard 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 hard rock texture in the pocket, especially in the way the arrangement keeps color moving under the lead. You can hear how it answers Sunrise Prelude without borrowing the same emotional weight.