Session notes from the booth.

I Heard It Through the Grapevine (Live) by Marvin Gaye lands here because A Place In My Heart by Social Distortion keeps the emotional pressure steady after Suck My Kiss (Live) by Red Hot Chili Peppers and changes the palette without cutting the thread. It's part of the station's grain, which helps the choice feel rooted instead of random.. The soul, funk, r&b edge gives the turn a more precise contour than a plain mood match. A Place In My Heart can step in after it without the handoff feeling pre-chewed.

On The Marvin Gaye Collection (2014), I Heard It Through the Grapevine (Live) shows Marvin Gaye working in a 2010s pocket with soul, funk, r&b in the grain. The cut moves with a bright electric charge, 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. It also leaves a lane for A Place In My Heart to arrive without the segue feeling forced.

A Place In My Heart answers I Heard It Through the Grapevine (Live) by Marvin Gaye with a related tension instead of a copycat move, so the sequence keeps opening out. The punk rock edge gives the turn a more precise contour than a plain mood match. Want Ads can step in after it without the handoff feeling pre-chewed.

On Social Distortion (1990), A Place In My Heart shows Social Distortion working in a 1990s pocket with punk 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 punk rock texture in the pocket, especially in the way the arrangement keeps color moving under the lead. You can hear how it answers I Heard It Through the Grapevine (Live) without borrowing the same emotional weight. It also leaves a lane for Want Ads to arrive without the segue feeling forced.

Want Ads answers A Place In My Heart by Social Distortion 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 - Seventies Generation (1992), Want Ads shows Honey Cone working in a 1990s pocket with rock in the grain. The cut moves with a bright electric charge, 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 A Place In My Heart without borrowing the same emotional weight.

New York Kiss (Home Demo) by Spoon lands here because To maintain an emotional arc and keep the station's mood consistent with the hour.. The pop, rock, alternatif et indé edge gives the turn a more precise contour than a plain mood match. A Clean Break (Let's Work) (Live; 2004 Remaster) can step in after it without the handoff feeling pre-chewed.

On They Want My Soul (2024), New York Kiss (Home Demo) shows Spoon working in a 2020s pocket with pop, rock, alternatif et indé in the grain. The cut moves with a bright electric charge, 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 A Clean Break (Let's Work) (Live; 2004 Remaster) to arrive without the segue feeling forced.

A Clean Break (Let's Work) (Live; 2004 Remaster) answers New York Kiss (Home Demo) by Spoon with a related tension instead of a copycat move, so the sequence keeps opening out. The alternative / indie rock edge gives the turn a more precise contour than a plain mood match. I Heard It Through the Grapevine (Live) can step in after it without the handoff feeling pre-chewed.

On The Name of This Band Is Talking Heads (Expanded 2004 Remaster) (2004), A Clean Break (Let's Work) (Live; 2004 Remaster) shows Talking Heads working in a 2000s pocket with alternative / indie 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 / indie rock texture in the pocket, especially in the way the arrangement keeps color moving under the lead. You can hear how it answers New York Kiss (Home Demo) without borrowing the same emotional weight. It also leaves a lane for I Heard It Through the Grapevine (Live) to arrive without the segue feeling forced.

I Heard It Through the Grapevine (Live) answers A Clean Break (Let's Work) (Live; 2004 Remaster) by Talking Heads 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 Live in Tokyo 1979 (2025), I Heard It Through the Grapevine (Live) shows Marvin Gaye working in a 2020s pocket with soul, funk, r&b 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 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 A Clean Break (Let's Work) (Live; 2004 Remaster) without borrowing the same emotional weight.

Honey Pie by The Beatles lands here because Extend the feeling that follows Outlier (Band Demo) by Spoon without sounding automatic.. The rock edge gives the turn a more precise contour than a plain mood match. New York Kiss (Home Demo) 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 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. It also leaves a lane for New York Kiss (Home Demo) to arrive without the segue feeling forced.

New York Kiss (Home Demo) answers Honey Pie by The Beatles 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. I Heard It Through the Grapevine (Live) can step in after it without the handoff feeling pre-chewed.

On They Want My Soul (2024), New York Kiss (Home Demo) shows Spoon working in a 2020s pocket with pop, rock, alternatif et indé 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, 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 Honey Pie without borrowing the same emotional weight. It also leaves a lane for I Heard It Through the Grapevine (Live) to arrive without the segue feeling forced.

I Heard It Through the Grapevine (Live) answers New York Kiss (Home Demo) by Spoon 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 Live in Tokyo 1979 (2025), I Heard It Through the Grapevine (Live) shows Marvin Gaye working in a 2020s pocket with soul, funk, r&b 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 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 New York Kiss (Home Demo) without borrowing the same emotional weight.

Inner City Blues (Makes Me Wanna Holler) (Live) by Marvin Gaye lands here because Keeps the emotional pressure steady and maintains the soulful, funk, R&B essence of Marvin Gaye's set.. The soul, funk, r&b edge gives the turn a more precise contour than a plain mood match. Whatta Man can step in after it without the handoff feeling pre-chewed.

On Live in Tokyo 1979 (2025), Inner City Blues (Makes Me Wanna Holler) (Live) shows Marvin Gaye working in a 2020s pocket with soul, funk, r&b 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 soul, funk, r&b texture in the pocket, especially in the way the arrangement keeps color moving under the lead. It also leaves a lane for Whatta Man to arrive without the segue feeling forced.

Whatta Man answers Inner City Blues (Makes Me Wanna Holler) (Live) by Marvin Gaye 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. Suck My Kiss (Live) can step in after it without the handoff feeling pre-chewed.

On Very Necessary (1993), Whatta Man shows Salt-N-Pepa working in a 1990s pocket with soul, funk, r&b 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 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 Inner City Blues (Makes Me Wanna Holler) (Live) without borrowing the same emotional weight. It also leaves a lane for Suck My Kiss (Live) to arrive without the segue feeling forced.

Suck My Kiss (Live) answers Whatta Man by Salt-N-Pepa 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 Soul To Squeeze (CD2) (1993), Suck My Kiss (Live) 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. You can hear how it answers Whatta Man without borrowing the same emotional weight.