Session notes from the booth.

Drive (2016 Remaster) by The Cars lands here because Doxy (From The Album Bags'Groove) by Miles Davis keeps the emotional pressure steady after High Hopes by Pink Floyd and turns the color from 2010s into 2020s.. The pop edge gives the turn a more precise contour than a plain mood match. Drive-In Saturday (2013 Remaster) can step in after it without the handoff feeling pre-chewed.

On 80s Radio Hits (3), Drive (2016 Remaster) shows The Cars working in a 0s 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 Drive-In Saturday (2013 Remaster) to arrive without the segue feeling forced.

Drive-In Saturday (2013 Remaster) answers Drive (2016 Remaster) by The Cars 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. New York, New York can step in after it without the handoff feeling pre-chewed.

On Aladdin Sane (2013 Remaster) (1973), Drive-In Saturday (2013 Remaster) shows David Bowie working in a 1970s 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 Drive (2016 Remaster) without borrowing the same emotional weight. It also leaves a lane for New York, New York to arrive without the segue feeling forced.

New York, New York answers Drive-In Saturday (2013 Remaster) by David Bowie with a related tension instead of a copycat move, so the sequence keeps opening out. The pop, rock edge gives the turn a more precise contour than a plain mood match.

On Gold (2001), New York, New York shows Ryan Adams working in a 2000s pocket with pop, 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 pop, rock texture in the pocket, especially in the way the arrangement keeps color moving under the lead. You can hear how it answers Drive-In Saturday (2013 Remaster) without borrowing the same emotional weight.

Roadhouse Blues (Screamin' Ray Daniels a.k.a. Ray Manzarek On Vocals) by The Doors lands here because David Bowie and Toto provide a smooth transition from The Beatles while maintaining the emotional arc.. The pop, rock edge gives the turn a more precise contour than a plain mood match. Chant of the Ever Circling Skeletal Family can step in after it without the handoff feeling pre-chewed.

On Morrison Hotel (1970), Roadhouse Blues (Screamin' Ray Daniels a.k.a. Ray Manzarek On Vocals) shows The Doors working in a 1970s pocket with pop, 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 pop, rock texture in the pocket, especially in the way the arrangement keeps color moving under the lead. It also leaves a lane for Chant of the Ever Circling Skeletal Family to arrive without the segue feeling forced.

Chant of the Ever Circling Skeletal Family answers Roadhouse Blues (Screamin' Ray Daniels a.k.a. Ray Manzarek On Vocals) by The Doors 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. Hold The Line can step in after it without the handoff feeling pre-chewed.

On Diamond Dogs (1974), Chant of the Ever Circling Skeletal Family 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 Roadhouse Blues (Screamin' Ray Daniels a.k.a. Ray Manzarek On Vocals) without borrowing the same emotional weight. It also leaves a lane for Hold The Line to arrive without the segue feeling forced.

Hold The Line answers Chant of the Ever Circling Skeletal Family 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 Toto (1978), Hold The Line shows Toto working in a 1970s 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 Chant of the Ever Circling Skeletal Family without borrowing the same emotional weight.