Session notes from the booth.

She*ll Drive the Big Car by David Bowie lands here because Sharp two-step to extend the feeling of First Of May by Bee Gees without sounding automatic. Miles Davis' Song No. 1 (2022 Remaster) and Britney Spears' (You Drive Me) Crazy (The Stop! Remix) provide a fresh turn while maintaining the emotional arc.. The art rock edge gives the turn a more precise contour than a plain mood match. Song No. 1 (2022 Remaster) can step in after it without the handoff feeling pre-chewed.

On Reality (2003), She*ll Drive the Big Car shows David Bowie working in a 2000s 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 Song No. 1 (2022 Remaster) to arrive without the segue feeling forced.

Song No. 1 (2022 Remaster) answers She*ll Drive the Big Car 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. (You Drive Me) Crazy (The Stop! Remix) can step in after it without the handoff feeling pre-chewed.

On Quiet Nights (2022), Song No. 1 (2022 Remaster) 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 She*ll Drive the Big Car without borrowing the same emotional weight. It also leaves a lane for (You Drive Me) Crazy (The Stop! Remix) to arrive without the segue feeling forced.

(You Drive Me) Crazy (The Stop! Remix) answers Song No. 1 (2022 Remaster) by Miles Davis with a related tension instead of a copycat move, so the sequence keeps opening out. The pop edge gives the turn a more precise contour than a plain mood match.

On The Essential Britney Spears (1) (2013), (You Drive Me) Crazy (The Stop! Remix) shows Britney Spears working in a 2010s pocket with pop 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 texture in the pocket, especially in the way the arrangement keeps color moving under the lead. You can hear how it answers Song No. 1 (2022 Remaster) without borrowing the same emotional weight.

Heart Of The City by Nick Lowe lands here because David Bowie's 'She’ll Drive the Big Car' provides a fresh turn after Bee Gees' 'First Of May', maintaining the tender voltage while introducing a new palette.. The rock edge gives the turn a more precise contour than a plain mood match. She’ll Drive the Big Car can step in after it without the handoff feeling pre-chewed.

On Sounds Of The Seventies - Punk And New Wave (1993), Heart Of The City shows Nick Lowe 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. It also leaves a lane for She’ll Drive the Big Car to arrive without the segue feeling forced.

She’ll Drive the Big Car answers Heart Of The City by Nick Lowe 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. Sloop John B (Mono Alternate Mix, Carl Sings First Verse) can step in after it without the handoff feeling pre-chewed.

On Reality (2003), She’ll Drive the Big Car shows David Bowie working in a 2000s 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 Heart Of The City without borrowing the same emotional weight. It also leaves a lane for Sloop John B (Mono Alternate Mix, Carl Sings First Verse) to arrive without the segue feeling forced.

Sloop John B (Mono Alternate Mix, Carl Sings First Verse) answers She’ll Drive the Big Car by David Bowie with a related tension instead of a copycat move, so the sequence keeps opening out. The pop edge gives the turn a more precise contour than a plain mood match.

On Pet Sounds (CD 3) [50th Anniversary Edition] (2016), Sloop John B (Mono Alternate Mix, Carl Sings First Verse) shows The Beach Boys working in a 2010s pocket with pop 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 texture in the pocket, especially in the way the arrangement keeps color moving under the lead. You can hear how it answers She’ll Drive the Big Car without borrowing the same emotional weight.

Waking Up In Vegas by Katy Perry lands here because Kodachrome by Paul Simon states the thesis and Cactus by David Bowie answers it with a fresh turn.. The pop edge gives the turn a more precise contour than a plain mood match. Kodachrome can step in after it without the handoff feeling pre-chewed.

On Essentials (2) (2024), Waking Up In Vegas shows Katy Perry working in a 2020s pocket with pop 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 texture in the pocket, especially in the way the arrangement keeps color moving under the lead. It also leaves a lane for Kodachrome to arrive without the segue feeling forced.

Kodachrome answers Waking Up In Vegas by Katy Perry 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. Cactus can step in after it without the handoff feeling pre-chewed.

On Sounds Of The Seventies - 1973 Take Two (1991), Kodachrome shows Paul Simon 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 Waking Up In Vegas without borrowing the same emotional weight. It also leaves a lane for Cactus to arrive without the segue feeling forced.

Cactus answers Kodachrome by Paul Simon 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), Cactus shows David Bowie working in a 2000s 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 Kodachrome without borrowing the same emotional weight.