Session notes from the booth.

Vocalise, Op. 34 by Sergei Rachmaninoff lands here because Keeps the emotional pressure steady after Who Scared You (Doors Only Mix) by The Doors and keeps rock in the grain.. The classical edge gives the turn a more precise contour than a plain mood match. Ain't No Woman (Like The One I Got) can step in after it without the handoff feeling pre-chewed.

On Symphonic Dances / Études-Tableaux (Orch. Ottorino Resphighi) / Vocalise (2001), Vocalise, Op. 34 shows Sergei Rachmaninoff working in a 2000s pocket with classical in the grain. The cut moves with a candlelit drift, 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 Ain't No Woman (Like The One I Got) to arrive without the segue feeling forced.

Ain't No Woman (Like The One I Got) answers Vocalise, Op. 34 by Sergei Rachmaninoff 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. Chaos can step in after it without the handoff feeling pre-chewed.

On Sounds Of The Seventies - 1973 (1990), Ain't No Woman (Like The One I Got) shows Four Tops 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 Vocalise, Op. 34 without borrowing the same emotional weight. It also leaves a lane for Chaos to arrive without the segue feeling forced.

Chaos answers Ain't No Woman (Like The One I Got) by Four Tops 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 Soft Parade (50th Anniversary Deluxe Edition) (1969), Chaos shows The Doors 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 Ain't No Woman (Like The One I Got) without borrowing the same emotional weight.

Mercure by Satie lands here because Skin Tight by The Ohio Players and Vocalise, Op. 34 by Sergei Rachmaninoff provide a fresh turn after Enfantines: Ii. Peccadilles Importunes, Lui Manger Sa Tartine by Satie without sounding automatic.. The classical edge gives the turn a more precise contour than a plain mood match. Skin Tight 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 Skin Tight to arrive without the segue feeling forced.

Skin Tight answers Mercure by Satie 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. Vocalise, Op. 34 can step in after it without the handoff feeling pre-chewed.

On Sounds Of The Seventies - Rock 'N' Soul Seventies (1991), Skin Tight shows The Ohio Players 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 Mercure without borrowing the same emotional weight. It also leaves a lane for Vocalise, Op. 34 to arrive without the segue feeling forced.

Vocalise, Op. 34 answers Skin Tight by The Ohio Players 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 The 50 Greatest Pieces of Classical Music (2009), Vocalise, Op. 34 shows Sergei Rachmaninoff working in a 2000s 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 Skin Tight without borrowing the same emotional weight.

Lyrics to Go by A Tribe Called Quest lands here because keeps the emotional pressure steady after Midnight by Red Hot Chili Peppers and turns the color from 2000s into 1960s. The Beatles is one of Ian's steadier shelf presences, so the pick already reads like a real hand.. The hip hop edge gives the turn a more precise contour than a plain mood match. All-Night Vigil, Op. 37: Vespers: Iii. Blessed Is the Man can step in after it without the handoff feeling pre-chewed.

On Oh My God (1993), Lyrics to Go shows A Tribe Called Quest working in a 1990s pocket with hip hop in the grain. The cut moves with a candlelit drift, which is why it can hold this turn without flattening it.

Listen for the hip hop texture in the pocket, especially in the way the arrangement keeps color moving under the lead. It also leaves a lane for All-Night Vigil, Op. 37: Vespers: Iii. Blessed Is the Man to arrive without the segue feeling forced.

All-Night Vigil, Op. 37: Vespers: Iii. Blessed Is the Man answers Lyrics to Go by A Tribe Called Quest 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. Any Time at All can step in after it without the handoff feeling pre-chewed.

On All-Night Vigil (2005), All-Night Vigil, Op. 37: Vespers: Iii. Blessed Is the Man shows Sergei Rachmaninoff working in a 2000s 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 Lyrics to Go without borrowing the same emotional weight. It also leaves a lane for Any Time at All to arrive without the segue feeling forced.

Any Time at All answers All-Night Vigil, Op. 37: Vespers: Iii. Blessed Is the Man by Sergei Rachmaninoff 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 A Hard Day’s Night (1964), Any Time at All 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 All-Night Vigil, Op. 37: Vespers: Iii. Blessed Is the Man without borrowing the same emotional weight.

All-Night Vigil, Op. 37: Vespers: Iv. O Gentle Light by Sergei Rachmaninoff lands here because Do Me, Baby (Live at Masonic Hall, Detroit, MI, 11/30/1982 - Late Show) 88.2kHz by Prince keeps the emotional pressure steady after Dreaming by Blondie and turns the color from 1990s into 2010s.. The classical edge gives the turn a more precise contour than a plain mood match. In The Wee Small Hours Of The Morning can step in after it without the handoff feeling pre-chewed.

On All-Night Vigil (2005), All-Night Vigil, Op. 37: Vespers: Iv. O Gentle Light shows Sergei Rachmaninoff working in a 2000s pocket with classical 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 classical texture in the pocket, especially in the way the arrangement keeps color moving under the lead. It also leaves a lane for In The Wee Small Hours Of The Morning to arrive without the segue feeling forced.

In The Wee Small Hours Of The Morning answers All-Night Vigil, Op. 37: Vespers: Iv. O Gentle Light by Sergei Rachmaninoff 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. Do Me, Baby (Live at Masonic Hall, Detroit, MI, 11/30/1982 - Late Show) 88.2kHz can step in after it without the handoff feeling pre-chewed.

On Ultimate Sinatra (2015), In The Wee Small Hours Of The Morning 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 All-Night Vigil, Op. 37: Vespers: Iv. O Gentle Light without borrowing the same emotional weight. It also leaves a lane for Do Me, Baby (Live at Masonic Hall, Detroit, MI, 11/30/1982 - Late Show) 88.2kHz to arrive without the segue feeling forced.

Do Me, Baby (Live at Masonic Hall, Detroit, MI, 11/30/1982 - Late Show) 88.2kHz answers In The Wee Small Hours Of The Morning by Frank Sinatra 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 1999 Super Deluxe Edition (Remastered 2019) (2019), Do Me, Baby (Live at Masonic Hall, Detroit, MI, 11/30/1982 - Late Show) 88.2kHz shows Prince 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 In The Wee Small Hours Of The Morning without borrowing the same emotional weight.