Waking Up In Vegas is setting the after-hours temperature on the dial.
Waking Up In Vegas by Katy Perry off Essentials (2) (2024) is coming through with a slow-burn glide, a soulful / neon patience lean, and a touch of neon patience. Kodachrome is already changing how the current record reads.
Waking Up In Vegas by Katy Perry off Essentials (2) (2024) belongs here because Kodachrome by Paul Simon states the thesis and Cactus by David Bowie answers it with a fresh turn.. Kodachrome is waiting as the answer, so this record is doing more than setting a mood; it is shaping the turn.
Waking Up In Vegas comes through with a slow-burn glide and pop around the edges, giving the sequence a 2020s depth instead of a quick disposable hit. The crowd response around Me And Mrs. Jones by Billy Paul suggests listeners are leaning toward texture and detail, not just impact.
Listen for how Kodachrome answers the color and pressure of the current record instead of simply matching its tempo. The real hook is in how the pop grain keeps glowing even as the transition opens up.
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.
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Mr Rassy is lining up Kodachrome by Paul Simon off Sounds Of The Seventies - 1973 Take Two (1991). It hit in 1991, it comes off Sounds Of The Seventies - 1973 Take Two, Rock on the edges. The transition feels clean and alive. Kodachrome by Paul Simon states the thesis and Cactus by David Bowie answers it with a fresh turn.