Session notes from the booth.

Happiness Is a Warm Gun by The Beatles lands here because Keeps the emotional pressure steady after Crazy Love by Van Morrison and changes the palette without cutting the thread.. The rock edge gives the turn a more precise contour than a plain mood match. The Good Life can step in after it without the handoff feeling pre-chewed.

On The Beatles (1968), Happiness Is a Warm Gun 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. It also leaves a lane for The Good Life to arrive without the segue feeling forced.

The Good Life answers Happiness Is a Warm Gun 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. I’d Rather Be High can step in after it without the handoff feeling pre-chewed.

On Pinkerton (1996), The Good Life shows Weezer working in a 1990s 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 Happiness Is a Warm Gun without borrowing the same emotional weight. It also leaves a lane for I’d Rather Be High to arrive without the segue feeling forced.

I’d Rather Be High answers The Good Life by Weezer with a related tension instead of a copycat move, so the sequence keeps opening out. The art rock edge gives the turn a more precise contour than a plain mood match.

On The Next Day (2013), I’d Rather Be High shows David Bowie working in a 2010s 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. You can hear how it answers The Good Life without borrowing the same emotional weight.

Draggin' The Line by Tommy James lands here because keeps the emotional pressure steady after Slow Burn by David Bowie and keeps art rock in the grain.. The 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 Sounds Of The Seventies - 1971: Take Two (1990), Draggin' The Line shows Tommy James working in a 1990s 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. It also leaves a lane for Honey Pie to arrive without the segue feeling forced.

Honey Pie answers Draggin' The Line by Tommy James 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. Wild Eyed Boy From Freecloud can step in after it without the handoff feeling pre-chewed.

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 Draggin' The Line without borrowing the same emotional weight. It also leaves a lane for Wild Eyed Boy From Freecloud to arrive without the segue feeling forced.

Wild Eyed Boy From Freecloud answers Honey Pie by The Beatles with a related tension instead of a copycat move, so the sequence keeps opening out. The art rock edge gives the turn a more precise contour than a plain mood match.

On Man of Words/Man of Music (1969), Wild Eyed Boy From Freecloud shows David Bowie working in a 1960s pocket with art 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 art rock texture in the pocket, especially in the way the arrangement keeps color moving under the lead. You can hear how it answers Honey Pie without borrowing the same emotional weight.

Show And Tell by Al Wilson lands here because Miles Ahead (Mono Master) by Miles Davis & Gil Evans states the thesis, and Slow Burn by David Bowie answers it with a fresh turn.. The rock edge gives the turn a more precise contour than a plain mood match. Miles Ahead (Mono Master) can step in after it without the handoff feeling pre-chewed.

On Sounds Of The Seventies - 1974 (1990), Show And Tell shows Al Wilson working in a 1990s 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. It also leaves a lane for Miles Ahead (Mono Master) to arrive without the segue feeling forced.

Miles Ahead (Mono Master) answers Show And Tell by Al Wilson 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. Slow Burn can step in after it without the handoff feeling pre-chewed.

On The Complete Columbia Studio Recordings [Disc 6] (2004), Miles Ahead (Mono Master) shows Miles Davis & Gil Evans working in a 2000s pocket with jazz 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 jazz texture in the pocket, especially in the way the arrangement keeps color moving under the lead. You can hear how it answers Show And Tell without borrowing the same emotional weight. It also leaves a lane for Slow Burn to arrive without the segue feeling forced.

Slow Burn answers Miles Ahead (Mono Master) by Miles Davis & Gil Evans with a related tension instead of a copycat move, so the sequence keeps opening out. The art rock edge gives the turn a more precise contour than a plain mood match.

On Heathen (2002), Slow Burn shows David Bowie working in a 2000s pocket with art 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 art rock texture in the pocket, especially in the way the arrangement keeps color moving under the lead. You can hear how it answers Miles Ahead (Mono Master) without borrowing the same emotional weight.