Session notes from the booth.

Suck My Kiss (Live) by Red Hot Chili Peppers lands here because To extend the feeling that follows Want Ads by Honey Cone without sounding automatic.. The rock edge gives the turn a more precise contour than a plain mood match. Be My Wife can step in after it without the handoff feeling pre-chewed.

On Suck My Kiss (Australia CD5) (1992), Suck My Kiss (Live) 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. It also leaves a lane for Be My Wife to arrive without the segue feeling forced.

Be My Wife answers Suck My Kiss (Live) by Red Hot Chili Peppers 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. Low can step in after it without the handoff feeling pre-chewed.

On Low (1977), Be My Wife shows David Bowie working in a 1970s 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 Suck My Kiss (Live) without borrowing the same emotional weight. It also leaves a lane for Low to arrive without the segue feeling forced.

Low answers Be My Wife by David Bowie 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 Out Of Time (1991), Low shows R.E.M. 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 Be My Wife without borrowing the same emotional weight.

Time Machine by Alicia Keys lands here because Keeps the emotional pressure steady and turns the color from 2020s into 1990s.. The soul, funk, r&b edge gives the turn a more precise contour than a plain mood match. I Want To Be The Boy To Warm Your Mother's Heart (Live at The Aragon Ballroom, July 2, 2003) can step in after it without the handoff feeling pre-chewed.

On ALICIA (Explicit) (2020), Time Machine shows Alicia Keys working in a 2020s pocket with soul, funk, r&b in the grain. The cut moves with a candlelit drift, 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. It also leaves a lane for I Want To Be The Boy To Warm Your Mother's Heart (Live at The Aragon Ballroom, July 2, 2003) to arrive without the segue feeling forced.

I Want To Be The Boy To Warm Your Mother's Heart (Live at The Aragon Ballroom, July 2, 2003) answers Time Machine by Alicia Keys with a related tension instead of a copycat move, so the sequence keeps opening out. The pop, rock, alternatif et indé edge gives the turn a more precise contour than a plain mood match. Suck My Kiss (Live) can step in after it without the handoff feeling pre-chewed.

On Elephant (2023), I Want To Be The Boy To Warm Your Mother's Heart (Live at The Aragon Ballroom, July 2, 2003) shows The White Stripes working in a 2020s pocket with pop, rock, alternatif et indé 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, alternatif et indé texture in the pocket, especially in the way the arrangement keeps color moving under the lead. You can hear how it answers Time Machine without borrowing the same emotional weight. It also leaves a lane for Suck My Kiss (Live) to arrive without the segue feeling forced.

Suck My Kiss (Live) answers I Want To Be The Boy To Warm Your Mother's Heart (Live at The Aragon Ballroom, July 2, 2003) by The White Stripes 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 Soul To Squeeze (CD2) (1993), Suck My Kiss (Live) shows Red Hot Chili Peppers 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 I Want To Be The Boy To Warm Your Mother's Heart (Live at The Aragon Ballroom, July 2, 2003) without borrowing the same emotional weight.

Suck My Kiss (Live) by Red Hot Chili Peppers lands here because Hit Single by Heart and Honey Pie by The Beatles provide a strong emotional arc after Fuck Me Pumps by Amy Winehouse.. The rock edge gives the turn a more precise contour than a plain mood match. Hit Single can step in after it without the handoff feeling pre-chewed.

On Suck My Kiss (Australia CD5) (1992), Suck My Kiss (Live) 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. It also leaves a lane for Hit Single to arrive without the segue feeling forced.

Hit Single answers Suck My Kiss (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. Honey Pie can step in after it without the handoff feeling pre-chewed.

On Greatest Hits / Live (1980), Hit Single shows Heart working in a 1980s 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 Suck My Kiss (Live) without borrowing the same emotional weight. It also leaves a lane for Honey Pie to arrive without the segue feeling forced.

Honey Pie answers Hit Single by Heart 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), Honey Pie shows The Beatles working in a 1960s 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 Hit Single without borrowing the same emotional weight.

Tonight (with David Bowie) by Tina Turner lands here because Clouds by Chaka Khan provides a smooth transition from the previous track and maintains the soulful mood of the hour.. The soul edge gives the turn a more precise contour than a plain mood match. Suck My Kiss (Live) can step in after it without the handoff feeling pre-chewed.

On The Platinum Collection [Disc 3] (2009), Tonight (with David Bowie) shows Tina Turner working in a 2000s pocket with soul 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 soul texture in the pocket, especially in the way the arrangement keeps color moving under the lead. It also leaves a lane for Suck My Kiss (Live) to arrive without the segue feeling forced.

Suck My Kiss (Live) answers Tonight (with David Bowie) by Tina Turner 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. Clouds can step in after it without the handoff feeling pre-chewed.

On Soul To Squeeze (CD2) (1993), Suck My Kiss (Live) shows Red Hot Chili Peppers 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 Tonight (with David Bowie) without borrowing the same emotional weight. It also leaves a lane for Clouds to arrive without the segue feeling forced.

Clouds answers Suck My Kiss (Live) by Red Hot Chili Peppers with a related tension instead of a copycat move, so the sequence keeps opening out. The soul edge gives the turn a more precise contour than a plain mood match.

On The Essential Chaka Khan (1) (2011), Clouds shows Chaka Khan working in a 2010s pocket with soul 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 soul texture in the pocket, especially in the way the arrangement keeps color moving under the lead. You can hear how it answers Suck My Kiss (Live) without borrowing the same emotional weight.

Suck My Kiss (Live) by Red Hot Chili Peppers lands here because Keeps the emotional pressure steady after Piece of My Heart by Big Brother & the Holding Company and keeps rock in the grain.. The rock edge gives the turn a more precise contour than a plain mood match. Here Come De Honey Man can step in after it without the handoff feeling pre-chewed.

On Suck My Kiss (Australia CD5) (1992), Suck My Kiss (Live) 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. It also leaves a lane for Here Come De Honey Man to arrive without the segue feeling forced.

Here Come De Honey Man answers Suck My Kiss (Live) 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. Honey Pie can step in after it without the handoff feeling pre-chewed.

On Porgy And Bess (1959), Here Come De Honey Man shows Miles Davis working in a 1950s 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 Suck My Kiss (Live) without borrowing the same emotional weight. It also leaves a lane for Honey Pie to arrive without the segue feeling forced.

Honey Pie answers Here Come De Honey Man by Miles Davis 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), Honey Pie 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 Here Come De Honey Man without borrowing the same emotional weight.

Inner City Blues (Makes Me Wanna Holler) (Live) by Marvin Gaye lands here because Keeps the emotional pressure steady and maintains the soulful, funk, R&B essence of Marvin Gaye's set.. The soul, funk, r&b edge gives the turn a more precise contour than a plain mood match. Whatta Man can step in after it without the handoff feeling pre-chewed.

On Live in Tokyo 1979 (2025), Inner City Blues (Makes Me Wanna Holler) (Live) shows Marvin Gaye working in a 2020s pocket with soul, funk, r&b 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 soul, funk, r&b texture in the pocket, especially in the way the arrangement keeps color moving under the lead. It also leaves a lane for Whatta Man to arrive without the segue feeling forced.

Whatta Man answers Inner City Blues (Makes Me Wanna Holler) (Live) by Marvin Gaye 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. Suck My Kiss (Live) can step in after it without the handoff feeling pre-chewed.

On Very Necessary (1993), Whatta Man shows Salt-N-Pepa working in a 1990s pocket with soul, funk, r&b 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 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 Inner City Blues (Makes Me Wanna Holler) (Live) without borrowing the same emotional weight. It also leaves a lane for Suck My Kiss (Live) to arrive without the segue feeling forced.

Suck My Kiss (Live) answers Whatta Man by Salt-N-Pepa 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 Soul To Squeeze (CD2) (1993), Suck My Kiss (Live) shows Red Hot Chili Peppers 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 Whatta Man without borrowing the same emotional weight.