Session notes from the booth.

How Come U Don't Call Me Anymore ("1999" B-Side) (2019 Remaster) by Prince lands here because Gnossienne No. 5 by Satie and Home At Last by Steely Dan provide a smooth emotional arc after Beggars Day by Crazy Horse, keeping the set engaging without being too predictable.. The rock edge gives the turn a more precise contour than a plain mood match. Gnossienne No. 5 can step in after it without the handoff feeling pre-chewed.

On 1999 Super Deluxe Edition (Remastered 2019) (2019), How Come U Don't Call Me Anymore ("1999" B-Side) (2019 Remaster) shows Prince working in a 2010s 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 Gnossienne No. 5 to arrive without the segue feeling forced.

Gnossienne No. 5 answers How Come U Don't Call Me Anymore ("1999" B-Side) (2019 Remaster) by Prince 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. Home At Last can step in after it without the handoff feeling pre-chewed.

On Complete Piano Works, Volume 1 (1994), Gnossienne No. 5 shows Satie working in a 1990s pocket with classical 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 classical texture in the pocket, especially in the way the arrangement keeps color moving under the lead. You can hear how it answers How Come U Don't Call Me Anymore ("1999" B-Side) (2019 Remaster) without borrowing the same emotional weight. It also leaves a lane for Home At Last to arrive without the segue feeling forced.

Home At Last answers Gnossienne No. 5 by Satie 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 Aja (2023), Home At Last shows Steely Dan working in a 2020s 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 Gnossienne No. 5 without borrowing the same emotional weight.

All-Night Vigil, Op. 37: Vespers: Iv. O Gentle Light by Sergei Rachmaninoff lands here because Do Me, Baby (Live at Masonic Hall, Detroit, MI, 11/30/1982 - Late Show) 88.2kHz by Prince keeps the emotional pressure steady after Dreaming by Blondie and turns the color from 1990s into 2010s.. The classical edge gives the turn a more precise contour than a plain mood match. In The Wee Small Hours Of The Morning can step in after it without the handoff feeling pre-chewed.

On All-Night Vigil (2005), All-Night Vigil, Op. 37: Vespers: Iv. O Gentle Light shows Sergei Rachmaninoff working in a 2000s pocket with classical 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 classical texture in the pocket, especially in the way the arrangement keeps color moving under the lead. It also leaves a lane for In The Wee Small Hours Of The Morning to arrive without the segue feeling forced.

In The Wee Small Hours Of The Morning answers All-Night Vigil, Op. 37: Vespers: Iv. O Gentle Light by Sergei Rachmaninoff 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. Do Me, Baby (Live at Masonic Hall, Detroit, MI, 11/30/1982 - Late Show) 88.2kHz can step in after it without the handoff feeling pre-chewed.

On Ultimate Sinatra (2015), In The Wee Small Hours Of The Morning shows Frank Sinatra 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 All-Night Vigil, Op. 37: Vespers: Iv. O Gentle Light without borrowing the same emotional weight. It also leaves a lane for Do Me, Baby (Live at Masonic Hall, Detroit, MI, 11/30/1982 - Late Show) 88.2kHz to arrive without the segue feeling forced.

Do Me, Baby (Live at Masonic Hall, Detroit, MI, 11/30/1982 - Late Show) 88.2kHz answers In The Wee Small Hours Of The Morning by Frank Sinatra 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 1999 Super Deluxe Edition (Remastered 2019) (2019), Do Me, Baby (Live at Masonic Hall, Detroit, MI, 11/30/1982 - Late Show) 88.2kHz shows Prince working in a 2010s 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 In The Wee Small Hours Of The Morning without borrowing the same emotional weight.

Mercure by Satie lands here because Let's breathe after Smoke From A Distant Fire by Sanford Townsend Band and keep rock in the grain. Talking Heads provides a fresh turn without sounding too automatic.. The classical edge gives the turn a more precise contour than a plain mood match. 1999 (Live at Masonic Hall, Detroit, MI, 11/30/1982 - Late Show) 88.2kHz can step in after it without the handoff feeling pre-chewed.

On Complete Piano Works, Volume 8 (1995), Mercure shows Satie working in a 1990s pocket with classical 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 classical texture in the pocket, especially in the way the arrangement keeps color moving under the lead. It also leaves a lane for 1999 (Live at Masonic Hall, Detroit, MI, 11/30/1982 - Late Show) 88.2kHz to arrive without the segue feeling forced.

1999 (Live at Masonic Hall, Detroit, MI, 11/30/1982 - Late Show) 88.2kHz answers Mercure by Satie 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. Houses in Motion (Live at Werchterpark Festival, Belgium) can step in after it without the handoff feeling pre-chewed.

On 1999 Super Deluxe Edition (Remastered 2019) (2019), 1999 (Live at Masonic Hall, Detroit, MI, 11/30/1982 - Late Show) 88.2kHz shows Prince working in a 2010s 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 Mercure 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 1999 (Live at Masonic Hall, Detroit, MI, 11/30/1982 - Late Show) 88.2kHz by Prince 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 1999 (Live at Masonic Hall, Detroit, MI, 11/30/1982 - Late Show) 88.2kHz without borrowing the same emotional weight.