Session notes from the booth.

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 David Bowie keeps the emotional pressure steady after Thank You Friends by Big Star and turns the color from 1990s into 2020s.. The pop, rock, alternatif et indé edge gives the turn a more precise contour than a plain mood match. Fooled Around and Fell in Love 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 Fooled Around and Fell in Love to arrive without the segue feeling forced.

Fooled Around and Fell in Love 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 classic 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 Sounds of the Seventies - '70s Gold (1998), Fooled Around and Fell in Love shows Elvin Bishop working in a 1990s pocket with classic 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 classic 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 Rock ’n’ Roll With Me (Live) to arrive without the segue feeling forced.

Rock ’n’ Roll With Me (Live) answers Fooled Around and Fell in Love by Elvin Bishop 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 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 Fooled Around and Fell in Love 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.

Let Me Be Mine by Spoon lands here because Keeps the emotional pressure steady after Figure It Out by Royal Blood and turns the color from 2010s into 1990s.. The pop, rock, alternatif et indé edge gives the turn a more precise contour than a plain mood match. Scentless Apprentice (Album Version) can step in after it without the handoff feeling pre-chewed.

On They Want My Soul (2024), Let Me Be Mine shows Spoon 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.

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 Scentless Apprentice (Album Version) to arrive without the segue feeling forced.

Scentless Apprentice (Album Version) answers Let Me Be Mine by Spoon 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. Battle for Britain (The Letter) can step in after it without the handoff feeling pre-chewed.

On In Utero (HD Remastered) (1993), Scentless Apprentice (Album Version) shows Nirvana 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. You can hear how it answers Let Me Be Mine without borrowing the same emotional weight. It also leaves a lane for Battle for Britain (The Letter) to arrive without the segue feeling forced.

Battle for Britain (The Letter) answers Scentless Apprentice (Album Version) by Nirvana 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 Earthling (1997), Battle for Britain (The Letter) shows David Bowie working in a 1990s 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 Scentless Apprentice (Album Version) without borrowing the same emotional weight.