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.