Session notes from the booth.

If You Want Me To Stay (Open Slay Mix) by Red Hot Chili Peppers lands here because Can't Get Out Of This Mood by Samara Joy is a smooth left turn that keeps the emotional pressure steady and shifts the color from 1970s into 2020s. Bright Side Of The Road by Van Morrison provides a lift and keeps rock in the grain, maintaining the station's feel.. The alternative-rock edge gives the turn a more precise contour than a plain mood match. Can't Get Out Of This Mood can step in after it without the handoff feeling pre-chewed.

On Freaky Styley (1985), If You Want Me To Stay (Open Slay Mix) shows Red Hot Chili Peppers working in a 1980s 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 Can't Get Out Of This Mood to arrive without the segue feeling forced.

Can't Get Out Of This Mood answers If You Want Me To Stay (Open Slay Mix) 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. Bright Side Of The Road can step in after it without the handoff feeling pre-chewed.

On Linger Awhile (2022), Can't Get Out Of This Mood shows Samara Joy working in a 2020s 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 If You Want Me To Stay (Open Slay Mix) without borrowing the same emotional weight. It also leaves a lane for Bright Side Of The Road to arrive without the segue feeling forced.

Bright Side Of The Road answers Can't Get Out Of This Mood by Samara Joy 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 Essential Van Morrison (2) (2015), Bright Side Of The Road shows Van Morrison 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 Can't Get Out Of This Mood without borrowing the same emotional weight.

Underneath The Bunker by R.E.M. lands here because keeps the emotional pressure steady after Telephone Line by Electric Light Orchestra and keeps rock in the grain.. The rock edge gives the turn a more precise contour than a plain mood match. Hollywood (Africa) (Extended Dance Mix) can step in after it without the handoff feeling pre-chewed.

On Lifes Rich Pageant (1986), Underneath The Bunker shows R.E.M. working in a 1980s 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 Hollywood (Africa) (Extended Dance Mix) to arrive without the segue feeling forced.

Hollywood (Africa) (Extended Dance Mix) answers Underneath The Bunker 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. Under My Wheels can step in after it without the handoff feeling pre-chewed.

On Out In L.A. (1994), Hollywood (Africa) (Extended Dance Mix) 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 Underneath The Bunker without borrowing the same emotional weight. It also leaves a lane for Under My Wheels to arrive without the segue feeling forced.

Under My Wheels answers Hollywood (Africa) (Extended Dance Mix) 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 Sounds Of The Seventies - Guitar Power (1992), Under My Wheels shows Alice Cooper working in a 1990s 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 Hollywood (Africa) (Extended Dance Mix) without borrowing the same emotional weight.