Session notes from the booth.

Cactus by David Bowie lands here because it keeps the soulful / restless glow pull alive without sanding off the grain that makes this hour interesting. The art rock edge gives the turn a more precise contour than a plain mood match. You can step in after it without the handoff feeling pre-chewed.

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. It also leaves a lane for You to arrive without the segue feeling forced.

You answers Cactus by David Bowie with a related tension instead of a copycat move, so the sequence keeps opening out. Loaded CD1 can step in after it without the handoff feeling pre-chewed.

On PAblo HONEY (1993), You shows Radiohead working in a 1990s pocket. The cut moves with a candlelit drift, which is why it can hold this turn without flattening it.

Listen for the arrangement hinge where the rhythm section and the lead line stop shadowing each other and start pulling against each other. You can hear how it answers Cactus without borrowing the same emotional weight. It also leaves a lane for Loaded CD1 to arrive without the segue feeling forced.

Loaded CD1 answers You by Radiohead with a related tension instead of a copycat move, so the sequence keeps opening out.

Loaded CD1 comes off CD1, where Velvet Underground leans into a more tactile side of the catalog. The cut moves with a slow-burn glide, which is why it can hold this turn without flattening it.

This one is airing as a clipped passage, so listen for the section Mr Rassy chose to stand in for the whole piece. The choice was deliberate: Mr Rassy kept the strongest passage of the long-form piece in the set instead of taking the full side..

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.