Session notes from the booth.

High Hopes by Pink Floyd lands here because Keeps the emotional pressure steady after New York, New York by Ryan Adams and changes the palette without cutting the thread. R.E.M. is one of Ian's steadier shelf presences.. The pop, rock edge gives the turn a more precise contour than a plain mood match. The Worst Joke Ever can step in after it without the handoff feeling pre-chewed.

On The Division Bell (Hi-Res 24/96 Version) (2014), High Hopes shows Pink Floyd working in a 2010s pocket with pop, 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 pop, rock texture in the pocket, especially in the way the arrangement keeps color moving under the lead. It also leaves a lane for The Worst Joke Ever to arrive without the segue feeling forced.

The Worst Joke Ever answers High Hopes by Pink Floyd 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. Englishman In New York can step in after it without the handoff feeling pre-chewed.

On Around The Sun (2004), The Worst Joke Ever 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 High Hopes without borrowing the same emotional weight. It also leaves a lane for Englishman In New York to arrive without the segue feeling forced.

Englishman In New York answers The Worst Joke Ever by R.E.M. 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 ...Nothing Like The Sun (1987), Englishman In New York shows Sting working in a 1980s pocket with pop, 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 pop, rock texture in the pocket, especially in the way the arrangement keeps color moving under the lead. You can hear how it answers The Worst Joke Ever without borrowing the same emotional weight.

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.

Miles Ahead (Mono Master) by Miles Davis & Gil Evans lands here because Aftermath by R.E.M. keeps the emotional pressure steady after Piano Sonata No.1 in F Minor Op.2 - II. Adagio by Mari Kodama and changes the palette without cutting the thread.. The jazz edge gives the turn a more precise contour than a plain mood match. Aftermath can step in after it without the handoff feeling pre-chewed.

On 1986-1991: The Warner Years (CD4) (2011), Miles Ahead (Mono Master) shows Miles Davis & Gil Evans 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. Inside Deep shelf drift, it reads as curation rather than stunt programming.

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 Aftermath to arrive without the segue feeling forced.

Aftermath keeps deep shelf drift honest by sounding like a real choice inside that lane, not a decorative gesture. The rock edge gives the turn a more precise contour than a plain mood match. Black Hole Sun (Album Version) can step in after it without the handoff feeling pre-chewed.

On Around The Sun (2004), Aftermath 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. Inside Deep shelf drift, it reads as curation rather than stunt programming.

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 Miles Ahead (Mono Master) without borrowing the same emotional weight. It also leaves a lane for Black Hole Sun (Album Version) to arrive without the segue feeling forced.

Black Hole Sun (Album Version) keeps deep shelf drift honest by sounding like a real choice inside that lane, not a decorative gesture. The pop, rock edge gives the turn a more precise contour than a plain mood match.

On Telephantasm (2010), Black Hole Sun (Album Version) shows Soundgarden 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. Inside Deep shelf drift, it reads as curation rather than stunt programming.

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 Aftermath without borrowing the same emotional weight.

A Thousand Days Before (Live From The Artists Den) by Soundgarden lands here because Draggin' The Line by Tommy James keeps the emotional pressure steady after Show And Tell by Al Wilson and keeps rock in the grain.. The pop, rock edge gives the turn a more precise contour than a plain mood match. Draggin' The Line can step in after it without the handoff feeling pre-chewed.

On King Animal (2012), A Thousand Days Before (Live From The Artists Den) shows Soundgarden working in a 2010s pocket with pop, 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 pop, rock texture in the pocket, especially in the way the arrangement keeps color moving under the lead. It also leaves a lane for Draggin' The Line to arrive without the segue feeling forced.

Draggin' The Line answers A Thousand Days Before (Live From The Artists Den) by Soundgarden 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. Around The Sun can step in after it without the handoff feeling pre-chewed.

On Sounds Of The Seventies - 1971: Take Two (1990), Draggin' The Line shows Tommy James 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 A Thousand Days Before (Live From The Artists Den) without borrowing the same emotional weight. It also leaves a lane for Around The Sun to arrive without the segue feeling forced.

Around The Sun answers Draggin' The Line by Tommy James 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), Around The Sun 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 Draggin' The Line without borrowing the same emotional weight.

Black Rain by Soundgarden lands here because These Days by R.E.M. and Why Would You Wanna Live by Wilco provide a fresh turn while maintaining the emotional arc of the set.. The pop, rock edge gives the turn a more precise contour than a plain mood match. These Days can step in after it without the handoff feeling pre-chewed.

On Telephantasm (2010), Black Rain shows Soundgarden 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. It also leaves a lane for These Days to arrive without the segue feeling forced.

These Days answers Black Rain by Soundgarden 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. Yellow Submarine can step in after it without the handoff feeling pre-chewed.

On Live At The Olympia (2009), These Days 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 Black Rain without borrowing the same emotional weight. It also leaves a lane for Yellow Submarine to arrive without the segue feeling forced.

Yellow Submarine answers These Days by R.E.M. 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 Revolver (1966), Yellow Submarine shows The Beatles working in a 1960s 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 These Days without borrowing the same emotional weight.