Session notes from the booth.

Everybody Knows This Is Nowhere (Live) by Red Hot Chili Peppers lands here because Summer Turns To High by R.E.M. states the thesis, and Rock ’n’ Roll With Me (Live) by David Bowie answers it with a fresh turn.. The alternative-rock edge gives the turn a more precise contour than a plain mood match. Summer Turns To High can step in after it without the handoff feeling pre-chewed.

On Rock & Roll Hall Of Fame Covers (EP) (2012), Everybody Knows This Is Nowhere (Live) shows Red Hot Chili Peppers working in a 2010s pocket with alternative-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-rock texture in the pocket, especially in the way the arrangement keeps color moving under the lead. It also leaves a lane for Summer Turns To High to arrive without the segue feeling forced.

Summer Turns To High answers Everybody Knows This Is Nowhere (Live) by Red Hot Chili Peppers 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. Rock ’n’ Roll With Me (Live) can step in after it without the handoff feeling pre-chewed.

On Reveal (2001), Summer Turns To High 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 Everybody Knows This Is Nowhere (Live) without borrowing the same emotional weight. It also leaves a lane for Rock ’n’ Roll With Me (Live) to arrive without the segue feeling forced.

Rock ’n’ Roll With Me (Live) answers Summer Turns To High by R.E.M. with a related tension instead of a copycat move, so the sequence keeps opening out. The art rock edge gives the turn a more precise contour than a plain mood match.

On Moonage Daydream: A Film by Brett Morgen (2022), Rock ’n’ Roll With Me (Live) shows David Bowie working in a 2020s pocket with art 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 art rock texture in the pocket, especially in the way the arrangement keeps color moving under the lead. You can hear how it answers Summer Turns To High without borrowing the same emotional weight.

Ballad of Sir Frankie Crisp (Let It Roll) by George Harrison lands here because To keep the emotional pressure steady after Wide Open Space (Remastered) by Mansun and change the palette without cutting the thread.. The rock edge gives the turn a more precise contour than a plain mood match. Sex And Drugs And Rock And Roll can step in after it without the handoff feeling pre-chewed.

On All Things Must Pass (1970), Ballad of Sir Frankie Crisp (Let It Roll) shows George Harrison working in a 1970s 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 Sex And Drugs And Rock And Roll to arrive without the segue feeling forced.

Sex And Drugs And Rock And Roll answers Ballad of Sir Frankie Crisp (Let It Roll) by George Harrison 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. Everybody Knows This Is Nowhere (Live) can step in after it without the handoff feeling pre-chewed.

On Sounds Of The Seventies - Punk And New Wave (1993), Sex And Drugs And Rock And Roll shows Ian Dury And The Blockheads working in a 1990s 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. You can hear how it answers Ballad of Sir Frankie Crisp (Let It Roll) without borrowing the same emotional weight. It also leaves a lane for Everybody Knows This Is Nowhere (Live) to arrive without the segue feeling forced.

Everybody Knows This Is Nowhere (Live) answers Sex And Drugs And Rock And Roll by Ian Dury And The Blockheads with a related tension instead of a copycat move, so the sequence keeps opening out. The alternative-rock edge gives the turn a more precise contour than a plain mood match.

On Rock & Roll Hall Of Fame Covers (EP) (2012), Everybody Knows This Is Nowhere (Live) shows Red Hot Chili Peppers working in a 2010s pocket with alternative-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-rock texture in the pocket, especially in the way the arrangement keeps color moving under the lead. You can hear how it answers Sex And Drugs And Rock And Roll without borrowing the same emotional weight.

Behind The Sun by Red Hot Chili Peppers lands here because Keeps the emotional pressure steady after Hey Baby (New Rising Sun) / Midnight Lightning and changes the palette without cutting the thread.. The alternative-rock edge gives the turn a more precise contour than a plain mood match. Walking Down Your Street (Extended Remix) can step in after it without the handoff feeling pre-chewed.

On What Hits!? (1992), Behind The Sun shows Red Hot Chili Peppers working in a 1990s pocket with alternative-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 alternative-rock texture in the pocket, especially in the way the arrangement keeps color moving under the lead. It also leaves a lane for Walking Down Your Street (Extended Remix) to arrive without the segue feeling forced.

Walking Down Your Street (Extended Remix) answers Behind The Sun by Red Hot Chili Peppers 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. People of the Sun (Live, Mexico City, Mexico, October 28, 1999) can step in after it without the handoff feeling pre-chewed.

On Gold (3) (2020), Walking Down Your Street (Extended Remix) shows Bangles working in a 2020s 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 Behind The Sun without borrowing the same emotional weight. It also leaves a lane for People of the Sun (Live, Mexico City, Mexico, October 28, 1999) to arrive without the segue feeling forced.

People of the Sun (Live, Mexico City, Mexico, October 28, 1999) answers Walking Down Your Street (Extended Remix) by Bangles 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 The Battle Of Mexico City (2020), People of the Sun (Live, Mexico City, Mexico, October 28, 1999) shows Rage Against The Machine working in a 2020s 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 Walking Down Your Street (Extended Remix) without borrowing the same emotional weight.

Final Straw by R.E.M. lands here because I've Got To Use My Imagination by Gladys Knight And The Pips keeps the emotional pressure steady after Bad Time by Grand Funk and keeps rock in the grain. Rock is a real lane in this library, which helps the choice feel rooted instead of random.. The rock edge gives the turn a more precise contour than a plain mood match. A Clean Break (Live) can step in after it without the handoff feeling pre-chewed.

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. It also leaves a lane for A Clean Break (Live) to arrive without the segue feeling forced.

A Clean Break (Live) answers Final Straw by R.E.M. with a related tension instead of a copycat move, so the sequence keeps opening out. The alternative / rock edge gives the turn a more precise contour than a plain mood match. Behind The Sun can step in after it without the handoff feeling pre-chewed.

On Live: 77 (Live) (2019), A Clean Break (Live) shows Talking Heads working in a 2010s pocket with alternative / 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 alternative / rock texture in the pocket, especially in the way the arrangement keeps color moving under the lead. You can hear how it answers Final Straw without borrowing the same emotional weight. It also leaves a lane for Behind The Sun to arrive without the segue feeling forced.

Behind The Sun answers A Clean Break (Live) by Talking Heads 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 What Hits!? (1992), Behind The Sun shows Red Hot Chili Peppers 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 Clean Break (Live) without borrowing the same emotional weight.

Walkin* On Down The Road by Red Hot Chili Peppers lands here because A Clean Break (Let's Work) (Live at CBGB's, 10/10/77) by Talking Heads states the thesis and The Lady Don't Mind (2005 Remaster) by Talking Heads answers it with a fresh turn.. The alternative-rock edge gives the turn a more precise contour than a plain mood match. A Clean Break (Let's Work) (Live at CBGB's, 10/10/77) can step in after it without the handoff feeling pre-chewed.

On The Uplift Mofo Party Plan (1987), Walkin* On Down The Road shows Red Hot Chili Peppers working in a 1980s pocket with alternative-rock in the grain. The cut moves with a steady shoulder-roll, which is why it can hold this turn without flattening it. Inside Talking Heads close-up, it reads as curation rather than stunt programming.

Listen for the alternative-rock 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 at CBGB's, 10/10/77) to arrive without the segue feeling forced.

A Clean Break (Let's Work) (Live at CBGB's, 10/10/77) keeps talking heads close-up 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. The Lady Don't Mind (2005 Remaster) can step in after it without the handoff feeling pre-chewed.

On Bonus Rarities & Outtakes (2006), A Clean Break (Let's Work) (Live at CBGB's, 10/10/77) shows Talking Heads working in a 2000s 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 Talking Heads close-up, 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 Walkin* On Down The Road without borrowing the same emotional weight. It also leaves a lane for The Lady Don't Mind (2005 Remaster) to arrive without the segue feeling forced.

The Lady Don't Mind (2005 Remaster) keeps talking heads close-up honest by sounding like a real choice inside that lane, not a decorative gesture. The pop edge gives the turn a more precise contour than a plain mood match.

On Essential (2011), The Lady Don't Mind (2005 Remaster) shows Talking Heads working in a 2010s pocket with pop in the grain. The cut moves with a slow-burn glide, which is why it can hold this turn without flattening it. Inside Talking Heads close-up, it reads as curation rather than stunt programming.

Listen for the pop 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 at CBGB's, 10/10/77) without borrowing the same emotional weight.

This Bright Flash by M83 lands here because Keeps the emotional pressure steady and changes the palette without cutting the thread.. The electronic / rock edge gives the turn a more precise contour than a plain mood match. Fresh Tendrils can step in after it without the handoff feeling pre-chewed.

On Hurry Up, We're Dreaming. (18), This Bright Flash shows M83 working in a 10s pocket with electronic / 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 electronic / rock texture in the pocket, especially in the way the arrangement keeps color moving under the lead. It also leaves a lane for Fresh Tendrils to arrive without the segue feeling forced.

Fresh Tendrils answers This Bright Flash by M83 with a related tension instead of a copycat move, so the sequence keeps opening out. The alternative rock edge gives the turn a more precise contour than a plain mood match. Walkin’ On Down The Road can step in after it without the handoff feeling pre-chewed.

On Superunknown (1994), Fresh Tendrils shows Soundgarden working in a 1990s pocket with alternative 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 alternative rock texture in the pocket, especially in the way the arrangement keeps color moving under the lead. You can hear how it answers This Bright Flash without borrowing the same emotional weight. It also leaves a lane for Walkin’ On Down The Road to arrive without the segue feeling forced.

Walkin’ On Down The Road answers Fresh Tendrils by Soundgarden with a related tension instead of a copycat move, so the sequence keeps opening out. The alternative-rock edge gives the turn a more precise contour than a plain mood match.

On The Uplift Mofo Party Plan (1987), Walkin’ On Down The Road shows Red Hot Chili Peppers working in a 1980s pocket with alternative-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 alternative-rock texture in the pocket, especially in the way the arrangement keeps color moving under the lead. You can hear how it answers Fresh Tendrils without borrowing the same emotional weight.

Piano Sonata No.1 in F Minor Op.2 by Mari Kodama lands here because Red Hot Chili Peppers' 'The Getaway' states the thesis, and Bruce Springsteen’s 'Atlantic City' answers it with a fresh turn.. The classical edge gives the turn a more precise contour than a plain mood match. The Getaway can step in after it without the handoff feeling pre-chewed.

On Beethoven. Piano Sonatas Nos. 1, 2, 3 (2008), Piano Sonata No.1 in F Minor Op.2 shows Mari Kodama working in a 2000s 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 The Getaway to arrive without the segue feeling forced.

The Getaway answers Piano Sonata No.1 in F Minor Op.2 by Mari Kodama with a related tension instead of a copycat move, so the sequence keeps opening out. The alternative-rock edge gives the turn a more precise contour than a plain mood match. Atlantic City can step in after it without the handoff feeling pre-chewed.

On The Getaway (2016), The Getaway shows Red Hot Chili Peppers working in a 2010s pocket with alternative-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-rock texture in the pocket, especially in the way the arrangement keeps color moving under the lead. You can hear how it answers Piano Sonata No.1 in F Minor Op.2 without borrowing the same emotional weight. It also leaves a lane for Atlantic City to arrive without the segue feeling forced.

Atlantic City answers The Getaway by Red Hot Chili Peppers 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 Nebraska (2014), Atlantic City shows Bruce Springsteen 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 The Getaway without borrowing the same emotional weight.

I'll Take The Rain by R.E.M. lands here because Keeps the emotional pressure steady after Finale by Daft Punk and turns the color from 10s into 2020s.. The rock edge gives the turn a more precise contour than a plain mood match. Bastards Of Light can step in after it without the handoff feeling pre-chewed.

On Reveal (2001), I'll Take The Rain 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. It also leaves a lane for Bastards Of Light to arrive without the segue feeling forced.

Bastards Of Light answers I'll Take The Rain by R.E.M. with a related tension instead of a copycat move, so the sequence keeps opening out. The alternative-rock edge gives the turn a more precise contour than a plain mood match. I'm Beginning To See The Light can step in after it without the handoff feeling pre-chewed.

On Unlimited Love (2022), Bastards Of Light shows Red Hot Chili Peppers working in a 2020s pocket with alternative-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-rock texture in the pocket, especially in the way the arrangement keeps color moving under the lead. You can hear how it answers I'll Take The Rain without borrowing the same emotional weight. It also leaves a lane for I'm Beginning To See The Light to arrive without the segue feeling forced.

I'm Beginning To See The Light answers Bastards Of Light by Red Hot Chili Peppers 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.

On Sinatra And Swingin' Brass (2014), I'm Beginning To See The Light 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 Bastards Of Light without borrowing the same emotional weight.

Slow Cheetah by Red Hot Chili Peppers lands here because it keeps the soulful / fresh current pull alive without sanding off the grain that makes this hour interesting. The alternative-rock edge gives the turn a more precise contour than a plain mood match. Let's Go Away Foe A While (Highlights from Tracking Date) can step in after it without the handoff feeling pre-chewed.

On Stadium Arcadium - Jupiter (2006), Slow Cheetah shows Red Hot Chili Peppers working in a 2000s pocket with alternative-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-rock texture in the pocket, especially in the way the arrangement keeps color moving under the lead. It also leaves a lane for Let's Go Away Foe A While (Highlights from Tracking Date) to arrive without the segue feeling forced.

Let's Go Away Foe A While (Highlights from Tracking Date) answers Slow Cheetah by Red Hot Chili Peppers with a related tension instead of a copycat move, so the sequence keeps opening out. The pop edge gives the turn a more precise contour than a plain mood match. Fresh Out The Slammer can step in after it without the handoff feeling pre-chewed.

On Pet Sounds (CD 2) [50th Anniversary Edition] (2016), Let's Go Away Foe A While (Highlights from Tracking Date) shows The Beach Boys working in a 2010s pocket with pop 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 texture in the pocket, especially in the way the arrangement keeps color moving under the lead. You can hear how it answers Slow Cheetah without borrowing the same emotional weight. It also leaves a lane for Fresh Out The Slammer to arrive without the segue feeling forced.

Fresh Out The Slammer answers Let's Go Away Foe A While (Highlights from Tracking Date) by The Beach Boys 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 THE TORTURED POETS DEPARTMENT: THE ANTHOLOGY (2024), Fresh Out The Slammer shows Taylor Swift working in a 2020s 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 Let's Go Away Foe A While (Highlights from Tracking Date) without borrowing the same emotional weight.

Wild Eyed Boy From Freecloud by David Bowie lands here because Sunrise Prelude by Daft Punk keeps the emotional pressure steady after Nocturne and maintains electronic/leftfield in the grain.. The art rock edge gives the turn a more precise contour than a plain mood match. Slow Cheetah can step in after it without the handoff feeling pre-chewed.

On Moonage Daydream: A Film by Brett Morgen (2022), Wild Eyed Boy From Freecloud shows David Bowie working in a 2020s pocket with art 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 art rock texture in the pocket, especially in the way the arrangement keeps color moving under the lead. It also leaves a lane for Slow Cheetah to arrive without the segue feeling forced.

Slow Cheetah answers Wild Eyed Boy From Freecloud by David Bowie with a related tension instead of a copycat move, so the sequence keeps opening out. The alternative-rock edge gives the turn a more precise contour than a plain mood match. Slide can step in after it without the handoff feeling pre-chewed.

On Stadium Arcadium - Jupiter (2006), Slow Cheetah shows Red Hot Chili Peppers working in a 2000s pocket with alternative-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-rock texture in the pocket, especially in the way the arrangement keeps color moving under the lead. You can hear how it answers Wild Eyed Boy From Freecloud without borrowing the same emotional weight. It also leaves a lane for Slide to arrive without the segue feeling forced.

Slide answers Slow Cheetah by Red Hot Chili Peppers 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 Slave (1977), Slide shows Slave working in a 1970s pocket with soul, funk, r&b 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 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 Slow Cheetah without borrowing the same emotional weight.

Wake Up (Acoustic Version) by Alanis Morissette lands here because Johnny, Kick A Hole In The Sky by Red Hot Chili Peppers. The pop edge gives the turn a more precise contour than a plain mood match. Johnny, Kick A Hole In The Sky can step in after it without the handoff feeling pre-chewed.

On Jagged Little Pill (2015 Remastered) (2015), Wake Up (Acoustic Version) shows Alanis Morissette working in a 2010s pocket with pop 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 texture in the pocket, especially in the way the arrangement keeps color moving under the lead. It also leaves a lane for Johnny, Kick A Hole In The Sky to arrive without the segue feeling forced.

Johnny, Kick A Hole In The Sky answers Wake Up (Acoustic Version) by Alanis Morissette 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. Mercure - Poses Plastiques: Deuxième Tableau, Colère De Cerbère can step in after it without the handoff feeling pre-chewed.

On Mother's Milk (2013), Johnny, Kick A Hole In The Sky shows Red Hot Chili Peppers 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 Wake Up (Acoustic Version) without borrowing the same emotional weight. It also leaves a lane for Mercure - Poses Plastiques: Deuxième Tableau, Colère De Cerbère to arrive without the segue feeling forced.

Mercure - Poses Plastiques: Deuxième Tableau, Colère De Cerbère answers Johnny, Kick A Hole In The Sky by Red Hot Chili Peppers 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.

On Complete Piano Works, Volume 8 (1995), Mercure - Poses Plastiques: Deuxième Tableau, Colère De Cerbère shows Satie working in a 1990s pocket with classical 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 classical texture in the pocket, especially in the way the arrangement keeps color moving under the lead. You can hear how it answers Johnny, Kick A Hole In The Sky without borrowing the same emotional weight.

Mercure by Satie lands here because One Way Traffic by Red Hot Chili Peppers and A Clean Break (Let's Work) (Live; 2004 Remaster) by Talking Heads provide a fresh turn while maintaining the emotional arc.. The classical edge gives the turn a more precise contour than a plain mood match. One Way Traffic 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 One Way Traffic to arrive without the segue feeling forced.

One Way Traffic answers Mercure by Satie with a related tension instead of a copycat move, so the sequence keeps opening out. The alternative-rock 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 Unlimited Love (2022), One Way Traffic shows Red Hot Chili Peppers working in a 2020s pocket with alternative-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-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 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 One Way Traffic by Red Hot Chili Peppers 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.

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 One Way Traffic without borrowing the same emotional weight.

A Clean Break (Let's Work) (Live; 2004 Remaster) by Talking Heads lands here because By The Way by Red Hot Chili Peppers states the thesis, and Blackbird by The Beatles answers it with a fresh turn.. The pop, rock edge gives the turn a more precise contour than a plain mood match. By The Way can step in after it without the handoff feeling pre-chewed.

On Once in a Lifetime: The Talking Heads Box (2003), A Clean Break (Let's Work) (Live; 2004 Remaster) shows Talking Heads working in a 2000s 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 By The Way to arrive without the segue feeling forced.

By The Way 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 alternative-rock edge gives the turn a more precise contour than a plain mood match. Blackbird can step in after it without the handoff feeling pre-chewed.

On Greatest Hits (1991), By The Way shows Red Hot Chili Peppers working in a 1990s pocket with alternative-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-rock 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. It also leaves a lane for Blackbird to arrive without the segue feeling forced.

Blackbird answers By The Way by Red Hot Chili Peppers 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 The Beatles (1968), Blackbird 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 By The Way without borrowing the same emotional weight.