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.

I*d Rather Be High by David Bowie lands here because Skateaway by Dire Straits and Bad Time by Grand Funk provide a sharp two-step that keeps the emotional pressure steady after Final Straw by R.E.M. and keeps rock in the grain.. The art rock edge gives the turn a more precise contour than a plain mood match. Skateaway can step in after it without the handoff feeling pre-chewed.

On The Next Day (2013), I*d Rather Be High shows David Bowie working in a 2010s 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 Skateaway to arrive without the segue feeling forced.

Skateaway answers I*d Rather Be High 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. Bad Time can step in after it without the handoff feeling pre-chewed.

On Making Movies (1980), Skateaway shows Dire Straits working in a 1980s 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. You can hear how it answers I*d Rather Be High without borrowing the same emotional weight. It also leaves a lane for Bad Time to arrive without the segue feeling forced.

Bad Time answers Skateaway by Dire Straits 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 Sounds Of The Seventies - 1975: Take Two (1991), Bad Time shows Grand Funk 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. You can hear how it answers Skateaway without borrowing the same emotional weight.

Happiness Is a Warm Gun by The Beatles lands here because Keeps the emotional pressure steady after Crazy Love by Van Morrison and changes the palette without cutting the thread.. The rock edge gives the turn a more precise contour than a plain mood match. The Good Life can step in after it without the handoff feeling pre-chewed.

On The Beatles (1968), Happiness Is a Warm Gun shows The Beatles working in a 1960s 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 The Good Life to arrive without the segue feeling forced.

The Good Life answers Happiness Is a Warm Gun by The Beatles 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. I’d Rather Be High can step in after it without the handoff feeling pre-chewed.

On Pinkerton (1996), The Good Life shows Weezer 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 Happiness Is a Warm Gun without borrowing the same emotional weight. It also leaves a lane for I’d Rather Be High to arrive without the segue feeling forced.

I’d Rather Be High answers The Good Life by Weezer 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 The Next Day (2013), I’d Rather Be High shows David Bowie working in a 2010s 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 The Good Life without borrowing the same emotional weight.

Draggin' The Line by Tommy James lands here because keeps the emotional pressure steady after Slow Burn by David Bowie and keeps art rock in the grain.. The rock edge gives the turn a more precise contour than a plain mood match. Honey Pie can step in after it without the handoff feeling pre-chewed.

On Sounds Of The Seventies - 1971: Take Two (1990), Draggin' The Line shows Tommy James 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 Honey Pie to arrive without the segue feeling forced.

Honey Pie answers Draggin' The Line by Tommy James 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. Wild Eyed Boy From Freecloud can step in after it without the handoff feeling pre-chewed.

On The Beatles (1968), Honey Pie shows The Beatles working in a 1960s 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 Draggin' The Line without borrowing the same emotional weight. It also leaves a lane for Wild Eyed Boy From Freecloud to arrive without the segue feeling forced.

Wild Eyed Boy From Freecloud answers Honey Pie by The Beatles 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 Man of Words/Man of Music (1969), Wild Eyed Boy From Freecloud shows David Bowie working in a 1960s pocket with art 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 art rock texture in the pocket, especially in the way the arrangement keeps color moving under the lead. You can hear how it answers Honey Pie without borrowing the same emotional weight.

Show And Tell by Al Wilson lands here because Miles Ahead (Mono Master) by Miles Davis & Gil Evans states the thesis, and Slow Burn by David Bowie answers it with a fresh turn.. The rock edge gives the turn a more precise contour than a plain mood match. Miles Ahead (Mono Master) can step in after it without the handoff feeling pre-chewed.

On Sounds Of The Seventies - 1974 (1990), Show And Tell shows Al Wilson 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 Miles Ahead (Mono Master) to arrive without the segue feeling forced.

Miles Ahead (Mono Master) answers Show And Tell by Al Wilson 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. Slow Burn can step in after it without the handoff feeling pre-chewed.

On The Complete Columbia Studio Recordings [Disc 6] (2004), Miles Ahead (Mono Master) shows Miles Davis & Gil Evans working in a 2000s 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 Show And Tell without borrowing the same emotional weight. It also leaves a lane for Slow Burn to arrive without the segue feeling forced.

Slow Burn answers Miles Ahead (Mono Master) by Miles Davis & Gil Evans 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), Slow Burn shows David Bowie working in a 2000s pocket with art 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 art rock texture in the pocket, especially in the way the arrangement keeps color moving under the lead. You can hear how it answers Miles Ahead (Mono Master) 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.

Drive-In Saturday (2013 Remaster) by David Bowie lands here because Drive-In Saturday (2013 Remaster) by David Bowie and Slide by Slave provide a fresh emotional arc after Me And Mrs. Jones by Billy Paul, keeping the hour feeling authored.. The rock edge gives the turn a more precise contour than a plain mood match. Slide 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. It also leaves a lane for Slide to arrive without the segue feeling forced.

Slide 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 soul, funk, r&b edge gives the turn a more precise contour than a plain mood match.

On Slave (1977), Slide shows Slave working in a 1970s pocket with soul, funk, r&b 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 soul, funk, r&b 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.

Drive-In Saturday (2013 Remaster) by David Bowie lands here because Drive-In Saturday by David Bowie and Slide by Slave provide a sharp two-step that keeps the emotional pressure steady after Me And Mrs. Jones.. The rock edge gives the turn a more precise contour than a plain mood match. Slide 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. It also leaves a lane for Slide to arrive without the segue feeling forced.

Slide 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 soul, funk, r&b edge gives the turn a more precise contour than a plain mood match.

On Slave (1977), Slide shows Slave working in a 1970s pocket with soul, funk, r&b 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 soul, funk, r&b 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.