Walkin' is setting the midday temperature on the dial.
Walkin' by Miles Davis off At Plugged Nickel, Chicago (CD1) (1965) is coming through with a slow-burn glide, a soulful / loose magnetism lean, and a touch of loose magnetism. Cheap Thrills is already changing how the current record reads.
Walkin' by Miles Davis off At Plugged Nickel, Chicago (CD1) (1965) belongs here because Cheap Thrills by Sia and Final Straw by R.E.M. provide a sharp two-step that extends the feeling of David Bowie's I’d Rather Be High without sounding automatic.. Cheap Thrills is waiting as the answer, so this record is doing more than setting a mood; it is shaping the turn.
Walkin' comes through with a slow-burn glide and jazz around the edges, giving the sequence a 1960s 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 Cheap Thrills answers the color and pressure of the current record instead of simply matching its tempo. The real hook is in how the jazz grain keeps glowing even as the transition opens up.
Walkin' by Miles Davis lands here because Cheap Thrills by Sia and Final Straw by R.E.M. provide a sharp two-step that extends the feeling of David Bowie's I’d Rather Be High without sounding automatic.. The jazz edge gives the turn a more precise contour than a plain mood match. Cheap Thrills can step in after it without the handoff feeling pre-chewed.
On At Plugged Nickel, Chicago (CD1) (1965), Walkin' shows Miles Davis working in a 1960s 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. It also leaves a lane for Cheap Thrills to arrive without the segue feeling forced.
Cheap Thrills answers Walkin' 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. Final Straw can step in after it without the handoff feeling pre-chewed.
On This Is Acting (2016), Cheap Thrills shows Sia working in a 2010s pocket with pop, 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 pop, rock texture in the pocket, especially in the way the arrangement keeps color moving under the lead. You can hear how it answers Walkin' without borrowing the same emotional weight. It also leaves a lane for Final Straw to arrive without the segue feeling forced.
Final Straw answers Cheap Thrills by Sia 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 Around The Sun (2004), Final Straw shows R.E.M. working in a 2000s 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 Cheap Thrills without borrowing the same emotional weight.
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Mr Rassy is lining up Cheap Thrills by Sia off This Is Acting (2016). It hit in 2016, it comes off This Is Acting, Pop, Rock on the edges. The transition feels clean and alive. Cheap Thrills by Sia and Final Straw by R.E.M. provide a sharp two-step that extends the feeling of David Bowie's I’d Rather Be High without sounding automatic.