Session notes from the booth.

A Clean Break (Let's Work) (Live; 2004 Remaster) by Talking Heads lands here because Slide by Slave provides a bold left turn from Me And Mrs. Jones by Billy Paul, changing the emotional pressure and color of the hour while keeping rock in the grain.. The alternative / indie 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 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. It also leaves a lane for Slide to arrive without the segue feeling forced.

Slide 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 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 A Clean Break (Let's Work) (Live; 2004 Remaster) without borrowing the same emotional weight.

Orange Crush by R.E.M. lands here because Orange Crush by R.E.M. states the thesis, and Slide by Slave answers it with a fresh turn.. The 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 Green (2013), Orange Crush shows R.E.M. 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. It also leaves a lane for Slide to arrive without the segue feeling forced.

Slide answers Orange Crush by R.E.M. 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 Orange Crush without borrowing the same emotional weight.

A Clean Break (Let's Work) (Live; 2004 Remaster) by Talking Heads lands here because A Clean Break (Let's Work) (Live; 2004 Remaster) by Talking Heads is a fresh take on rock, providing a stylish left turn after Me And Mrs. Jones by Billy Paul.. The alternative / indie 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 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. It also leaves a lane for Slide to arrive without the segue feeling forced.

Slide 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 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 A Clean Break (Let's Work) (Live; 2004 Remaster) without borrowing the same emotional weight.

A Clean Break (Let's Work) (Live; 2004 Remaster) by Talking Heads lands here because A Clean Break by Talking Heads provides a subtle lift after Me And Mrs. Jones and keeps the feeling of rock in the grain.. The alternative / indie 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 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. It also leaves a lane for Slide to arrive without the segue feeling forced.

Slide 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 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 A Clean Break (Let's Work) (Live; 2004 Remaster) without borrowing the same emotional weight.

A Clean Break (Let's Work) (Live; 2004 Remaster) by Talking Heads lands here because it keeps the soulful / slow-burn ache pull alive without sanding off the grain that makes this hour interesting. The alternative / indie 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 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. It also leaves a lane for Slide to arrive without the segue feeling forced.

Slide 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 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 A Clean Break (Let's Work) (Live; 2004 Remaster) without borrowing the same emotional weight.

A Clean Break (Let's Work) (Live; 2004 Remaster) by Talking Heads lands here because Let Talking Heads' 'A Clean Break (Let's Work)' breathe after Billy Paul's 'Me And Mrs. Jones' and maintain a sense of rock in the grain.. The alternative / indie 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 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. It also leaves a lane for Slide to arrive without the segue feeling forced.

Slide 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 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 A Clean Break (Let's Work) (Live; 2004 Remaster) without borrowing the same emotional weight.

A Clean Break (Let's Work) (Live; 2004 Remaster) by Talking Heads lands here because A Clean Break (Let's Work) by Talking Heads and Slide by Slave provide a sharp two-step that extends the feeling of Me And Mrs. Jones by Billy Paul without sounding automatic.. The alternative / indie 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 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. It also leaves a lane for Slide to arrive without the segue feeling forced.

Slide 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 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 A Clean Break (Let's Work) (Live; 2004 Remaster) without borrowing the same emotional weight.

Drive-In Saturday (2013 Remaster) by David Bowie lands here because Drive-In Saturday (2013 Remaster) by David Bowie and Slide by Slave provide a fresh emotional arc after Me And Mrs. Jones by Billy Paul, keeping the hour feeling authored.. The 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 Aladdin Sane (2013 Remaster) (1973), Drive-In Saturday (2013 Remaster) shows David Bowie working in a 1970s 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 Slide to arrive without the segue feeling forced.

Slide answers Drive-In Saturday (2013 Remaster) by David Bowie 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 Drive-In Saturday (2013 Remaster) without borrowing the same emotional weight.

Drive-In Saturday (2013 Remaster) by David Bowie lands here because Drive-In Saturday by David Bowie and Slide by Slave provide a sharp two-step that keeps the emotional pressure steady after Me And Mrs. Jones.. The 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 Aladdin Sane (2013 Remaster) (1973), Drive-In Saturday (2013 Remaster) shows David Bowie working in a 1970s 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 Slide to arrive without the segue feeling forced.

Slide answers Drive-In Saturday (2013 Remaster) by David Bowie 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 Drive-In Saturday (2013 Remaster) without borrowing the same emotional weight.

A Clean Break (Let's Work) (Live; 2004 Remaster) by Talking Heads lands here because Extend the feeling that follows Me And Mrs. Jones by Billy Paul without sounding automatic.. The alternative / indie 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 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. It also leaves a lane for Slide to arrive without the segue feeling forced.

Slide 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 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 A Clean Break (Let's Work) (Live; 2004 Remaster) without borrowing the same emotional weight.