Session notes from the booth.

6 Pièces De La Période: Profondeur by Satie lands here because The Groove Line by Heatwave provides a fresh turn after Soma by The Smashing Pumpkins and keeps the emotional pressure steady. It changes the palette without cutting the thread, making it a strong choice for a two-step.. The classical edge gives the turn a more precise contour than a plain mood match. Cast No Shadow can step in after it without the handoff feeling pre-chewed.

On Complete Piano Works, Volume 5 (1994), 6 Pièces De La Période: Profondeur 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. It also leaves a lane for Cast No Shadow to arrive without the segue feeling forced.

Cast No Shadow answers 6 Pièces De La Période: Profondeur 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. The Groove Line can step in after it without the handoff feeling pre-chewed.

On (What’s the Story) Morning Glory? (1995), Cast No Shadow shows Oasis working in a 1990s pocket with alternative 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 alternative rock texture in the pocket, especially in the way the arrangement keeps color moving under the lead. You can hear how it answers 6 Pièces De La Période: Profondeur without borrowing the same emotional weight. It also leaves a lane for The Groove Line to arrive without the segue feeling forced.

The Groove Line answers Cast No Shadow by Oasis 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 - 1978: Take Two (1991), The Groove Line shows Heatwave 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 Cast No Shadow without borrowing the same emotional weight.

Perfect Blue Buildings by Counting Crows lands here because Mercure - Poses Plastiques: Deuxième Tableau, Colère De Cerbère by Satie is a steady shelf presence that keeps the emotional pressure steady after Addicted To Love by Robert Palmer and turns the color from 1980s into 1990s. It's bolder than the room wants from Mr Rassy right now.. The alternative 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 August and Everything After (1993), Perfect Blue Buildings shows Counting Crows 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. 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 Perfect Blue Buildings by Counting Crows 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. We Take Care of Our Own can step in after it without the handoff feeling pre-chewed.

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 Perfect Blue Buildings without borrowing the same emotional weight. It also leaves a lane for We Take Care of Our Own to arrive without the segue feeling forced.

We Take Care of Our Own answers Mercure - Poses Plastiques: Deuxième Tableau, Colère De Cerbère by Satie 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 Wrecking Ball (2012), We Take Care of Our Own 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 Mercure - Poses Plastiques: Deuxième Tableau, Colère De Cerbère without borrowing the same emotional weight.

Drive by Blind Melon lands here because Extend the feeling that follows Gold und Silber (Gold and Silver), Op. 79 by Slovak Radio Symphony Orchestra, Michael Dittrich without sounding automatic.. The alternative rock edge gives the turn a more precise contour than a plain mood match. Cinéma (For Piano 4 Hands): Chûte Du Cerceuil Et Sortie De Börlin can step in after it without the handoff feeling pre-chewed.

On Blind Melon (1992), Drive shows Blind Melon 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. It also leaves a lane for Cinéma (For Piano 4 Hands): Chûte Du Cerceuil Et Sortie De Börlin to arrive without the segue feeling forced.

Cinéma (For Piano 4 Hands): Chûte Du Cerceuil Et Sortie De Börlin answers Drive by Blind Melon 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. A Clean Break (Live) can step in after it without the handoff feeling pre-chewed.

On Complete Piano Works, Volume 8 (1995), Cinéma (For Piano 4 Hands): Chûte Du Cerceuil Et Sortie De Börlin 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. You can hear how it answers Drive without borrowing the same emotional weight. It also leaves a lane for A Clean Break (Live) to arrive without the segue feeling forced.

A Clean Break (Live) answers Cinéma (For Piano 4 Hands): Chûte Du Cerceuil Et Sortie De Börlin 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.

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 Cinéma (For Piano 4 Hands): Chûte Du Cerceuil Et Sortie De Börlin without borrowing the same emotional weight.