Session notes from the booth.

This Velvet Glove by Red Hot Chili Peppers lands here because David Bowie's 'Rock ’n’ Roll With Me (Live)' and Miles Davis' 'But Not For Me (From The Album Bags'Groove)' provide a smooth emotional arc after Lee Andrews & The Hearts' 'Tear Drops', maintaining the station's warm gravity mood while offering new energy and perspective.. The rock edge gives the turn a more precise contour than a plain mood match. Rock ’n’ Roll With Me (Live) can step in after it without the handoff feeling pre-chewed.

On Californication (1999), This Velvet Glove shows Red Hot Chili Peppers 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 Rock ’n’ Roll With Me (Live) to arrive without the segue feeling forced.

Rock ’n’ Roll With Me (Live) answers This Velvet Glove 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. But Not For Me (From The Album Bags'Groove) can step in after it without the handoff feeling pre-chewed.

On Moonage Daydream: A Film by Brett Morgen (2022), Rock ’n’ Roll With Me (Live) shows David Bowie working in a 2020s 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 This Velvet Glove without borrowing the same emotional weight. It also leaves a lane for But Not For Me (From The Album Bags'Groove) to arrive without the segue feeling forced.

But Not For Me (From The Album Bags'Groove) 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 jazz edge gives the turn a more precise contour than a plain mood match.

On INTEGRAL MILES DAVIS 1951-1956 (2024), But Not For Me (From The Album Bags'Groove) shows Miles Davis working in a 2020s 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 Rock ’n’ Roll With Me (Live) without borrowing the same emotional weight.

Wide Open Space (Remastered) by Mansun lands here because keeps the emotional pressure steady after Everybody Knows This Is Nowhere (Live) by Red Hot Chili Peppers and changes the palette without cutting the thread. Jazz is a real lane in this library, which helps the choice feel rooted instead of random. Compared with the last few turns, it changes the sentence enough to keep the hour feeling authored.. The pop, rock, alternatif et indé edge gives the turn a more precise contour than a plain mood match. Bags' Groove (Take 1) can step in after it without the handoff feeling pre-chewed.

On Attack of the Grey Lantern (1996), Wide Open Space (Remastered) shows Mansun working in a 1990s 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. It also leaves a lane for Bags' Groove (Take 1) to arrive without the segue feeling forced.

Bags' Groove (Take 1) answers Wide Open Space (Remastered) by Mansun 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. Rock ’n’ Roll With Me can step in after it without the handoff feeling pre-chewed.

On Bags' Groove (2016), Bags' Groove (Take 1) shows Kenny Clarke working in a 2010s 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 Wide Open Space (Remastered) without borrowing the same emotional weight. It also leaves a lane for Rock ’n’ Roll With Me to arrive without the segue feeling forced.

Rock ’n’ Roll With Me answers Bags' Groove (Take 1) by Kenny Clarke 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 Diamond Dogs (1974), Rock ’n’ Roll With Me 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 Bags' Groove (Take 1) without borrowing the same emotional weight.