Session notes from the booth.

Suck My Kiss (Live) by Red Hot Chili Peppers lands here because To extend the feeling that follows Want Ads by Honey Cone without sounding automatic.. The rock edge gives the turn a more precise contour than a plain mood match. Be My Wife can step in after it without the handoff feeling pre-chewed.

On Suck My Kiss (Australia CD5) (1992), Suck My Kiss (Live) shows Red Hot Chili Peppers working in a 1990s pocket with rock 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 rock texture in the pocket, especially in the way the arrangement keeps color moving under the lead. It also leaves a lane for Be My Wife to arrive without the segue feeling forced.

Be My Wife answers Suck My Kiss (Live) by Red Hot Chili Peppers 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. Low can step in after it without the handoff feeling pre-chewed.

On Low (1977), Be My Wife 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. You can hear how it answers Suck My Kiss (Live) without borrowing the same emotional weight. It also leaves a lane for Low to arrive without the segue feeling forced.

Low answers Be My Wife 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.

On Out Of Time (1991), Low shows R.E.M. 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 Be My Wife without borrowing the same emotional weight.

I Want To Be The Boy To Warm Your Mother's Heart (Live at The Aragon Ballroom, July 2, 2003) by The White Stripes lands here because Speed of Life by David Bowie keeps the emotional pressure steady and transitions from 1990s rock to 1970s art rock, maintaining the station's mood.. The pop, rock, alternatif et indé edge gives the turn a more precise contour than a plain mood match. Speed of Life 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 steady shoulder-roll, which is why it can hold this turn without flattening it.

Listen for the pop, rock, alternatif et indé texture in the pocket, especially in the way the arrangement keeps color moving under the lead. It also leaves a lane for Speed of Life to arrive without the segue feeling forced.

Speed of Life answers I Want To Be The Boy To Warm Your Mother's Heart (Live at The Aragon Ballroom, July 2, 2003) by The White Stripes 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. Piece of My Heart can step in after it without the handoff feeling pre-chewed.

On Low (1977), Speed of Life 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. 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. It also leaves a lane for Piece of My Heart to arrive without the segue feeling forced.

Piece of My Heart answers Speed of Life 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.

On Cheap Thrills (1968), Piece of My Heart shows Big Brother & the Holding Company 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 Speed of Life without borrowing the same emotional weight.

Rock *n* Roll With Me (Live) by David Bowie lands here because Dial the Number (Unreleased Version) by Stevie Nicks and Me In Honey by R.E.M. create a strong arc that deepens the feeling established by Here Comes the Sun by The Beatles, while maintaining rock in the grain.. The art rock edge gives the turn a more precise contour than a plain mood match. Dial the Number (Unreleased Version) 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 Dial the Number (Unreleased Version) to arrive without the segue feeling forced.

Dial the Number (Unreleased Version) 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 rock edge gives the turn a more precise contour than a plain mood match. Me In Honey can step in after it without the handoff feeling pre-chewed.

On The Wild Heart (Deluxe Edition) (2016), Dial the Number (Unreleased Version) shows Stevie Nicks working in a 2010s 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 Rock *n* Roll With Me (Live) without borrowing the same emotional weight. It also leaves a lane for Me In Honey to arrive without the segue feeling forced.

Me In Honey answers Dial the Number (Unreleased Version) by Stevie Nicks 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 Out Of Time (1991), Me In Honey shows R.E.M. working in a 1990s pocket with rock in the grain. The cut moves with a candlelit drift, 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 Dial the Number (Unreleased Version) without borrowing the same emotional weight.