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.

This Velvet Glove by Red Hot Chili Peppers lands here because David Bowie's 'Rock ’n’ Roll With Me (Live)' and Miles Davis' 'But Not For Me (From The Album Bags'Groove)' provide a smooth emotional arc after Lee Andrews & The Hearts' 'Tear Drops', maintaining the station's warm gravity mood while offering new energy and perspective.. The 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 Californication (1999), This Velvet Glove shows Red Hot Chili Peppers 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 Rock ’n’ Roll With Me (Live) to arrive without the segue feeling forced.

Rock ’n’ Roll With Me (Live) answers This Velvet Glove by Red Hot Chili Peppers 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. But Not For Me (From The Album Bags'Groove) can step in after it without the handoff feeling pre-chewed.

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 This Velvet Glove without borrowing the same emotional weight. It also leaves a lane for But Not For Me (From The Album Bags'Groove) to arrive without the segue feeling forced.

But Not For Me (From The Album Bags'Groove) answers Rock ’n’ Roll With Me (Live) by David Bowie 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.

On INTEGRAL MILES DAVIS 1951-1956 (2024), But Not For Me (From The Album Bags'Groove) shows Miles Davis working in a 2020s 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 Rock ’n’ Roll With Me (Live) without borrowing the same emotional weight.

Rock *n* Roll With Me (Live) by David Bowie lands here because Concerto for Piano, Violin, Violoncello and Orchestra in C Major “Triple Concerto”, Op. 56: 1. Allegro by Ludwig Van Beethoven states the thesis, and Eternal Flame by Bangles answers it with a fresh turn.. The art rock edge gives the turn a more precise contour than a plain mood match. Concerto for Piano, Violin, Violoncello and Orchestra in C Major “Triple Concerto”, Op. 56: 1. Allegro can step in after it without the handoff feeling pre-chewed.

On Diamond Dogs (1974), Rock *n* Roll With Me (Live) 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. It also leaves a lane for Concerto for Piano, Violin, Violoncello and Orchestra in C Major “Triple Concerto”, Op. 56: 1. Allegro to arrive without the segue feeling forced.

Concerto for Piano, Violin, Violoncello and Orchestra in C Major “Triple Concerto”, Op. 56: 1. Allegro answers Rock *n* Roll With Me (Live) by David Bowie with a related tension instead of a copycat move, so the sequence keeps opening out. The classical edge gives the turn a more precise contour than a plain mood match. Eternal Flame can step in after it without the handoff feeling pre-chewed.

On Triple Concerto / Symphony No. 7 (2020), Concerto for Piano, Violin, Violoncello and Orchestra in C Major “Triple Concerto”, Op. 56: 1. Allegro shows Ludwig Van Beethoven working in a 2020s pocket with classical in the grain. 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: The live performance sets the mood and energy, so a clip from the opening gives listeners the right hit without swallowing the set.. Eternal Flame is waiting on the far side of that seam.

Eternal Flame answers Concerto for Piano, Violin, Violoncello and Orchestra in C Major “Triple Concerto”, Op. 56: 1. Allegro by Ludwig Van Beethoven 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 (2) (2020), Eternal Flame shows Bangles working in a 2020s 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. You can hear how it answers Concerto for Piano, Violin, Violoncello and Orchestra in C Major “Triple Concerto”, Op. 56: 1. Allegro without borrowing the same emotional weight.

Everybody Knows This Is Nowhere (Live) by Red Hot Chili Peppers lands here because Summer Turns To High by R.E.M. states the thesis, and Rock ’n’ Roll With Me (Live) by David Bowie answers it with a fresh turn.. The alternative-rock edge gives the turn a more precise contour than a plain mood match. Summer Turns To High can step in after it without the handoff feeling pre-chewed.

On Rock & Roll Hall Of Fame Covers (EP) (2012), Everybody Knows This Is Nowhere (Live) shows Red Hot Chili Peppers working in a 2010s pocket with alternative-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 alternative-rock texture in the pocket, especially in the way the arrangement keeps color moving under the lead. It also leaves a lane for Summer Turns To High to arrive without the segue feeling forced.

Summer Turns To High answers Everybody Knows This Is Nowhere (Live) by Red Hot Chili Peppers 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. Rock ’n’ Roll With Me (Live) can step in after it without the handoff feeling pre-chewed.

On Reveal (2001), Summer Turns To High shows R.E.M. working in a 2000s 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 Everybody Knows This Is Nowhere (Live) 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 Summer Turns To High by R.E.M. 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 Summer Turns To High 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.