Session notes from the booth.

Exit Stonehenge by Soundgarden lands here because Keeps the emotional pressure steady after Houses in Motion (Live at Werchterpark Festival, Belgium) by Talking Heads and keeps pop in the grain.. The pop, rock edge gives the turn a more precise contour than a plain mood match. You Learn (Live at Subterranea, London 09/28/95) can step in after it without the handoff feeling pre-chewed.

On Echo Of Miles: Scattered Tracks Across The Path (2014), Exit Stonehenge shows Soundgarden 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. It also leaves a lane for You Learn (Live at Subterranea, London 09/28/95) to arrive without the segue feeling forced.

You Learn (Live at Subterranea, London 09/28/95) answers Exit Stonehenge by Soundgarden with a related tension instead of a copycat move, so the sequence keeps opening out. The pop edge gives the turn a more precise contour than a plain mood match. Caroline No (Stereo) can step in after it without the handoff feeling pre-chewed.

On Live at Subterranea, London 09/28/95 (Previously Unreleased) (2015), You Learn (Live at Subterranea, London 09/28/95) shows Alanis Morissette working in a 2010s pocket with pop 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 texture in the pocket, especially in the way the arrangement keeps color moving under the lead. You can hear how it answers Exit Stonehenge without borrowing the same emotional weight. It also leaves a lane for Caroline No (Stereo) to arrive without the segue feeling forced.

Caroline No (Stereo) answers You Learn (Live at Subterranea, London 09/28/95) by Alanis Morissette with a related tension instead of a copycat move, so the sequence keeps opening out. The pop edge gives the turn a more precise contour than a plain mood match.

On Pet Sounds (CD 1) [50th Anniversary Edition] (2016), Caroline No (Stereo) shows The Beach Boys working in a 2010s pocket with pop 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 pop texture in the pocket, especially in the way the arrangement keeps color moving under the lead. You can hear how it answers You Learn (Live at Subterranea, London 09/28/95) without borrowing the same emotional weight.

Boys (The Co-Ed Remix) by Britney Spears feat. Pharrell Williams of N.E.R.D. lands here because Keeps the emotional pressure steady after Préludes Flasques: Idylle Cynique by Satie and changes the palette without cutting the thread.. The pop edge gives the turn a more precise contour than a plain mood match. The Apologist can step in after it without the handoff feeling pre-chewed.

On The Essential Britney Spears (1) (2013), Boys (The Co-Ed Remix) shows Britney Spears feat. Pharrell Williams of N.E.R.D. working in a 2010s pocket with pop 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 texture in the pocket, especially in the way the arrangement keeps color moving under the lead. It also leaves a lane for The Apologist to arrive without the segue feeling forced.

The Apologist answers Boys (The Co-Ed Remix) by Britney Spears feat. Pharrell Williams of N.E.R.D. with a related tension instead of a copycat move, so the sequence keeps opening out. The alternative edge gives the turn a more precise contour than a plain mood match. Rhinosaur can step in after it without the handoff feeling pre-chewed.

On Up (1998), The Apologist shows R.E.M. working in a 1990s pocket with alternative 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 texture in the pocket, especially in the way the arrangement keeps color moving under the lead. You can hear how it answers Boys (The Co-Ed Remix) without borrowing the same emotional weight. It also leaves a lane for Rhinosaur to arrive without the segue feeling forced.

Rhinosaur answers The Apologist by R.E.M. 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 Down On The Upside (1993), Rhinosaur shows Soundgarden working in a 1990s 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 The Apologist without borrowing the same emotional weight.

The Day I Tried To Live (Rehearsal Version) by Soundgarden lands here because it keeps the forward motion pull alive without sanding off the grain that makes this hour interesting. The pop, rock edge gives the turn a more precise contour than a plain mood match. I'm Waiting For The Day (Stereo Backing Track) can step in after it without the handoff feeling pre-chewed.

On Superunknown (1994), The Day I Tried To Live (Rehearsal Version) shows Soundgarden working in a 1990s pocket with pop, 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 pop, rock texture in the pocket, especially in the way the arrangement keeps color moving under the lead. It also leaves a lane for I'm Waiting For The Day (Stereo Backing Track) to arrive without the segue feeling forced.

I'm Waiting For The Day (Stereo Backing Track) answers The Day I Tried To Live (Rehearsal Version) by Soundgarden with a related tension instead of a copycat move, so the sequence keeps opening out. The pop edge gives the turn a more precise contour than a plain mood match. Long Day can step in after it without the handoff feeling pre-chewed.

On Pet Sounds (CD 3) [50th Anniversary Edition] (2016), I'm Waiting For The Day (Stereo Backing Track) shows The Beach Boys working in a 2010s pocket with pop 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 pop texture in the pocket, especially in the way the arrangement keeps color moving under the lead. You can hear how it answers The Day I Tried To Live (Rehearsal Version) without borrowing the same emotional weight. It also leaves a lane for Long Day to arrive without the segue feeling forced.

Long Day answers I'm Waiting For The Day (Stereo Backing Track) by The Beach Boys 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 Yourself or Someone Like You (1996), Long Day shows Various Interprets working in a 1990s 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 I'm Waiting For The Day (Stereo Backing Track) without borrowing the same emotional weight.

4th Of July by Soundgarden lands here because She Brakes for Rainbows by The B‐52s and Electric (Pokemon 25 Version) by Katy Perry provide a sharp two-step that extends the feeling of Rosanna (Album Version) by Toto without sounding automatic.. The pop, rock edge gives the turn a more precise contour than a plain mood match. She Brakes for Rainbows can step in after it without the handoff feeling pre-chewed.

On Superunknown (1994), 4th Of July shows Soundgarden working in a 1990s pocket with pop, 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 pop, rock texture in the pocket, especially in the way the arrangement keeps color moving under the lead. It also leaves a lane for She Brakes for Rainbows to arrive without the segue feeling forced.

She Brakes for Rainbows answers 4th Of July by Soundgarden 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. Electric (Pokemon 25 Version) can step in after it without the handoff feeling pre-chewed.

On Bouncing off Satellites (1986), She Brakes for Rainbows shows The B‐52s working in a 1980s 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 4th Of July without borrowing the same emotional weight. It also leaves a lane for Electric (Pokemon 25 Version) to arrive without the segue feeling forced.

Electric (Pokemon 25 Version) answers She Brakes for Rainbows by The B‐52s with a related tension instead of a copycat move, so the sequence keeps opening out. The pop edge gives the turn a more precise contour than a plain mood match.

On Essentials (2) (2024), Electric (Pokemon 25 Version) shows Katy Perry working in a 2020s pocket with pop 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 pop texture in the pocket, especially in the way the arrangement keeps color moving under the lead. You can hear how it answers She Brakes for Rainbows without borrowing the same emotional weight.