Space Oddity (2015 Remaster) is setting the daybreak temperature on the dial.
Space Oddity (2015 Remaster) by David Bowie off Changesbowie (1990) is coming through with a candlelit drift, a open window lift / open-window lift lean, and a touch of open-window lift. Dialogue: 'I don't like the word jazz...' is already changing how the current record reads.
Space Oddity (2015 Remaster) by David Bowie off Changesbowie (1990) belongs here because lets the next turn breathe after Through These Eyes by Social Distortion and keeps punk rock in the grain. 1990s records are part of the station's grain, so the era color means something here.. Dialogue: 'I don't like the word jazz...' is waiting as the answer, so this record is doing more than setting a mood; it is shaping the turn.
Space Oddity (2015 Remaster) comes through with a candlelit drift and glam rock around the edges, giving the sequence a 1990s 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 Dialogue: 'I don't like the word jazz...' answers the color and pressure of the current record instead of simply matching its tempo. The real hook is in how the glam rock grain keeps glowing even as the transition opens up.
Space Oddity (2015 Remaster) by David Bowie lands here because lets the next turn breathe after Through These Eyes by Social Distortion and keeps punk rock in the grain. 1990s records are part of the station's grain, so the era color means something here.. The glam rock edge gives the turn a more precise contour than a plain mood match. Dialogue: 'I don't like the word jazz...' can step in after it without the handoff feeling pre-chewed.
On Changesbowie (1990), Space Oddity (2015 Remaster) shows David Bowie working in a 1990s pocket with glam 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 glam rock texture in the pocket, especially in the way the arrangement keeps color moving under the lead. It also leaves a lane for Dialogue: 'I don't like the word jazz...' to arrive without the segue feeling forced.
Dialogue: 'I don't like the word jazz...' answers Space Oddity (2015 Remaster) 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. Houses in Motion (Live at Werchterpark Festival, Belgium) can step in after it without the handoff feeling pre-chewed.
On Miles Ahead: Original Motion Picture Soundtrack (2016), Dialogue: 'I don't like the word jazz...' shows Miles Davis 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 Space Oddity (2015 Remaster) without borrowing the same emotional weight. It also leaves a lane for Houses in Motion (Live at Werchterpark Festival, Belgium) to arrive without the segue feeling forced.
Houses in Motion (Live at Werchterpark Festival, Belgium) answers Dialogue: 'I don't like the word jazz...' by Miles Davis 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 Radio Waves 1978-1983: Psycho Killers, Vol. 2 (Live) (2016), Houses in Motion (Live at Werchterpark Festival, Belgium) shows Talking Heads working in a 2010s 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 Dialogue: 'I don't like the word jazz...' without borrowing the same emotional weight.
Open saved booth copy
Mr Rassy is lining up Dialogue: 'I don't like the word jazz...' by Miles Davis off Miles Ahead: Original Motion Picture Soundtrack (2016). It hit in 2016, it comes off Miles Ahead: Original Motion Picture Soundtrack, Jazz on the edges. The transition feels clean and alive. lets the next turn breathe after Through These Eyes by Social Distortion and keeps punk rock in the grain. 1990s records are part of the station's grain, so the era color means something here.