I*d Rather Be High is setting the midday temperature on the dial.
I*d Rather Be High by David Bowie off The Next Day (2013) is coming through with a slow-burn glide, a soulful / bright pressure lean, and a touch of bright pressure. Skateaway is already changing how the current record reads.
I*d Rather Be High by David Bowie off The Next Day (2013) belongs here because Skateaway by Dire Straits and Bad Time by Grand Funk provide a sharp two-step that keeps the emotional pressure steady after Final Straw by R.E.M. and keeps rock in the grain.. Skateaway is waiting as the answer, so this record is doing more than setting a mood; it is shaping the turn.
I*d Rather Be High comes through with a slow-burn glide and art rock around the edges, giving the sequence a 2010s depth instead of a quick disposable hit. The crowd response around Me And Mrs. Jones by Billy Paul suggests listeners are leaning toward texture and detail, not just impact.
Listen for how Skateaway answers the color and pressure of the current record instead of simply matching its tempo. The real hook is in how the art rock grain keeps glowing even as the transition opens up.
I*d Rather Be High by David Bowie lands here because Skateaway by Dire Straits and Bad Time by Grand Funk provide a sharp two-step that keeps the emotional pressure steady after Final Straw by R.E.M. and keeps rock in the grain.. The art rock edge gives the turn a more precise contour than a plain mood match. Skateaway can step in after it without the handoff feeling pre-chewed.
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. It also leaves a lane for Skateaway to arrive without the segue feeling forced.
Skateaway answers I*d Rather Be High by David Bowie 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. Bad Time can step in after it without the handoff feeling pre-chewed.
On Making Movies (1980), Skateaway shows Dire Straits working in a 1980s 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 I*d Rather Be High without borrowing the same emotional weight. It also leaves a lane for Bad Time to arrive without the segue feeling forced.
Bad Time answers Skateaway by Dire Straits 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 - 1975: Take Two (1991), Bad Time shows Grand Funk 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 Skateaway without borrowing the same emotional weight.
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Mr Rassy is lining up Skateaway by Dire Straits off Making Movies (1980). It hit in 1980, it comes off Making Movies, Rock on the edges. The transition feels clean and alive. Skateaway by Dire Straits and Bad Time by Grand Funk provide a sharp two-step that keeps the emotional pressure steady after Final Straw by R.E.M. and keeps rock in the grain.