Session notes from the booth.

Star by David Bowie lands here because Let's Pretend We're Married (7" Mono Promo-Only Edit) by Prince and Higher Ground by Red Hot Chili Peppers provide a fresh emotional arc that extends the feeling of Concerto for Piano and Wind Instruments: Largo. Allegro - Maestoso by Igor Stravinsky without sounding automatic.. The glam rock edge gives the turn a more precise contour than a plain mood match. Let's Pretend We're Married (7" Mono Promo-Only Edit) (2019 Remaster) can step in after it without the handoff feeling pre-chewed.

On The Rise and Fall of Ziggy Stardust and the Spiders From Mars (1972), Star shows David Bowie working in a 1970s pocket with glam 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 glam rock texture in the pocket, especially in the way the arrangement keeps color moving under the lead. It also leaves a lane for Let's Pretend We're Married (7" Mono Promo-Only Edit) (2019 Remaster) to arrive without the segue feeling forced.

Let's Pretend We're Married (7" Mono Promo-Only Edit) (2019 Remaster) answers Star 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. Higher Ground can step in after it without the handoff feeling pre-chewed.

On 1999 Super Deluxe Edition (Remastered 2019) (2019), Let's Pretend We're Married (7" Mono Promo-Only Edit) (2019 Remaster) shows Prince 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 Star without borrowing the same emotional weight. It also leaves a lane for Higher Ground to arrive without the segue feeling forced.

Higher Ground answers Let's Pretend We're Married (7" Mono Promo-Only Edit) (2019 Remaster) by Prince with a related tension instead of a copycat move, so the sequence keeps opening out. The alternative edge gives the turn a more precise contour than a plain mood match.

On Higher Ground (1989), Higher Ground shows Red Hot Chili Peppers working in a 1980s pocket with alternative 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 alternative texture in the pocket, especially in the way the arrangement keeps color moving under the lead. You can hear how it answers Let's Pretend We're Married (7" Mono Promo-Only Edit) (2019 Remaster) without borrowing the same emotional weight.

You Really Got A Hold On Me (2023 Mix) by The Beatles lands here because David Bowie's 'Star' provides a bold lift after Miles Davis' 'Wait Till You See Her', while 'Sambalamento' by Luiz Bonfá offers a fresh turn within the jazz lane.. The rock edge gives the turn a more precise contour than a plain mood match. Star can step in after it without the handoff feeling pre-chewed.

On With the Beatles (1963), You Really Got A Hold On Me (2023 Mix) shows The Beatles working in a 1960s 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. It also leaves a lane for Star to arrive without the segue feeling forced.

Star answers You Really Got A Hold On Me (2023 Mix) by The Beatles with a related tension instead of a copycat move, so the sequence keeps opening out. The glam rock edge gives the turn a more precise contour than a plain mood match. Sambalamento can step in after it without the handoff feeling pre-chewed.

On The Rise and Fall of Ziggy Stardust and the Spiders From Mars (1972), Star shows David Bowie working in a 1970s pocket with glam 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 glam rock texture in the pocket, especially in the way the arrangement keeps color moving under the lead. You can hear how it answers You Really Got A Hold On Me (2023 Mix) without borrowing the same emotional weight. It also leaves a lane for Sambalamento to arrive without the segue feeling forced.

Sambalamento answers Star by David Bowie 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.

On Composer Of Black Orpheus Plays And Sings Bossa Nova (1963), Sambalamento shows Luiz Bonfá working in a 1960s 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 Star without borrowing the same emotional weight.

Let*s Spend the Night Together by David Bowie lands here because Excursions by A Tribe Called Quest keeps the emotional pressure steady after Clap Your Hands and introduces a new era of hip hop.. The glam rock edge gives the turn a more precise contour than a plain mood match. Symphony No.1 in C, Op.21: 3. Menuetto (Allegro molto e vivace) can step in after it without the handoff feeling pre-chewed.

On Aladdin Sane (1973), Let*s Spend the Night Together shows David Bowie working in a 1970s pocket with glam 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 glam rock texture in the pocket, especially in the way the arrangement keeps color moving under the lead. It also leaves a lane for Symphony No.1 in C, Op.21: 3. Menuetto (Allegro molto e vivace) to arrive without the segue feeling forced.

Symphony No.1 in C, Op.21: 3. Menuetto (Allegro molto e vivace) answers Let*s Spend the Night Together by David Bowie with a related tension instead of a copycat move, so the sequence keeps opening out. The classical / symphony edge gives the turn a more precise contour than a plain mood match. Bombtrack (Live at 1st Avenue, Minneapolis, MN - April 1993) (Live) can step in after it without the handoff feeling pre-chewed.

On Beethoven For All - Symphonies 1- 9 (2012), Symphony No.1 in C, Op.21: 3. Menuetto (Allegro molto e vivace) shows Daniel Barenboim working in a 2010s pocket with classical / symphony 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 classical / symphony texture in the pocket, especially in the way the arrangement keeps color moving under the lead. You can hear how it answers Let*s Spend the Night Together without borrowing the same emotional weight. It also leaves a lane for Bombtrack (Live at 1st Avenue, Minneapolis, MN - April 1993) (Live) to arrive without the segue feeling forced.

Bombtrack (Live at 1st Avenue, Minneapolis, MN - April 1993) (Live) answers Symphony No.1 in C, Op.21: 3. Menuetto (Allegro molto e vivace) by Daniel Barenboim with a related tension instead of a copycat move, so the sequence keeps opening out. The pop, rock, alternatif et indé edge gives the turn a more precise contour than a plain mood match.

On Rage Against The Machine - XX (20th Anniversary Special Edition) (2012), Bombtrack (Live at 1st Avenue, Minneapolis, MN - April 1993) (Live) shows Rage Against The Machine working in a 2010s 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.

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 Symphony No.1 in C, Op.21: 3. Menuetto (Allegro molto e vivace) without borrowing the same emotional weight.

Staring Down The Barrel Of The Middle Distance by R.E.M. lands here because Phantom Limb by The Shins states the thesis, and Let’s Spend the Night Together by David Bowie answers it with a fresh turn.. The rock edge gives the turn a more precise contour than a plain mood match. Phantom Limb can step in after it without the handoff feeling pre-chewed.

On Live At The Olympia (2009), Staring Down The Barrel Of The Middle Distance shows R.E.M. working in a 2000s 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. It also leaves a lane for Phantom Limb to arrive without the segue feeling forced.

Phantom Limb answers Staring Down The Barrel Of The Middle Distance by R.E.M. with a related tension instead of a copycat move, so the sequence keeps opening out. The pop, rock, alternatif et indé edge gives the turn a more precise contour than a plain mood match. Let’s Spend the Night Together can step in after it without the handoff feeling pre-chewed.

On Wincing the Night Away (2007), Phantom Limb shows The Shins working in a 2000s 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.

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 Staring Down The Barrel Of The Middle Distance without borrowing the same emotional weight. It also leaves a lane for Let’s Spend the Night Together to arrive without the segue feeling forced.

Let’s Spend the Night Together answers Phantom Limb by The Shins with a related tension instead of a copycat move, so the sequence keeps opening out. The glam rock edge gives the turn a more precise contour than a plain mood match.

On Aladdin Sane (1973), Let’s Spend the Night Together shows David Bowie working in a 1970s pocket with glam 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 glam rock texture in the pocket, especially in the way the arrangement keeps color moving under the lead. You can hear how it answers Phantom Limb without borrowing the same emotional weight.

Sound and Vision (Moonage Daydream Mix) by David Bowie lands here because Keeps the emotional pressure steady after Don't Talk (Put Your Head On My Shoulder) (Mono) by The Beach Boys and turns the color from 2010s into 2020s.. The glam rock 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 The Rise and Fall of Ziggy Stardust and the Spiders From Mars (1972), Sound and Vision (Moonage Daydream Mix) shows David Bowie working in a 1970s pocket with glam 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 glam rock 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. Summer Deep 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 Sound and Vision (Moonage Daydream Mix) without borrowing the same emotional weight. It also leaves a lane for Summer Deep to arrive without the segue feeling forced.

Summer Deep keeps deep shelf drift honest by sounding like a real choice inside that lane, not a decorative gesture. The glam rock edge gives the turn a more precise contour than a plain mood match.

On T. Rex (1970), Summer Deep shows T. Rex working in a 1970s pocket with glam 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 glam 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.