Session notes from the booth.

Hey Baby (New Rising Sun) / Midnight Lightning by The Jimi Hendrix Experience lands here because Drive (2016 Remaster) by The Cars and Been Away Too Long by Soundgarden provide a strong emotional arc and keep the set grounded in pop, rock.. The psychedelic rock edge gives the turn a more precise contour than a plain mood match. Drive (2016 Remaster) can step in after it without the handoff feeling pre-chewed.

On Live In Maui (1) (2020), Hey Baby (New Rising Sun) / Midnight Lightning shows The Jimi Hendrix Experience working in a 2020s pocket with psychedelic 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 psychedelic rock texture in the pocket, especially in the way the arrangement keeps color moving under the lead. It also leaves a lane for Drive (2016 Remaster) to arrive without the segue feeling forced.

Drive (2016 Remaster) answers Hey Baby (New Rising Sun) / Midnight Lightning by The Jimi Hendrix Experience 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. Been Away Too Long can step in after it without the handoff feeling pre-chewed.

On Heartbeat City (2016 Remaster) (2015), Drive (2016 Remaster) shows The Cars working in a 2010s 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. You can hear how it answers Hey Baby (New Rising Sun) / Midnight Lightning without borrowing the same emotional weight. It also leaves a lane for Been Away Too Long to arrive without the segue feeling forced.

Been Away Too Long answers Drive (2016 Remaster) by The Cars 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 King Animal (2012), Been Away Too Long shows Soundgarden working in a 2010s 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. You can hear how it answers Drive (2016 Remaster) without borrowing the same emotional weight.

This Bright Flash by M83 lands here because Keeps the emotional pressure steady and changes the palette without cutting the thread.. The electronic / rock edge gives the turn a more precise contour than a plain mood match. Fresh Tendrils can step in after it without the handoff feeling pre-chewed.

On Hurry Up, We're Dreaming. (18), This Bright Flash shows M83 working in a 10s pocket with electronic / 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 electronic / rock texture in the pocket, especially in the way the arrangement keeps color moving under the lead. It also leaves a lane for Fresh Tendrils to arrive without the segue feeling forced.

Fresh Tendrils answers This Bright Flash by M83 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. Walkin’ On Down The Road can step in after it without the handoff feeling pre-chewed.

On Superunknown (1994), Fresh Tendrils shows Soundgarden 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. You can hear how it answers This Bright Flash without borrowing the same emotional weight. It also leaves a lane for Walkin’ On Down The Road to arrive without the segue feeling forced.

Walkin’ On Down The Road answers Fresh Tendrils by Soundgarden 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 The Uplift Mofo Party Plan (1987), Walkin’ On Down The Road shows Red Hot Chili Peppers working in a 1980s 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 Fresh Tendrils without borrowing the same emotional weight.

Black Hole Sun (Album Version) by Soundgarden lands here because This sharp two-step keeps the emotional pressure steady after Atlantic City and introduces a new flavor without being too abrupt.. The pop, rock edge gives the turn a more precise contour than a plain mood match. Rope can step in after it without the handoff feeling pre-chewed.

On Superunknown (1994), Black Hole Sun (Album 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 Rope to arrive without the segue feeling forced.

Rope answers Black Hole Sun (Album Version) 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. I’ll Follow the Sun can step in after it without the handoff feeling pre-chewed.

On Wasting Light (2011), Rope shows Foo Fighters 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 Black Hole Sun (Album Version) without borrowing the same emotional weight. It also leaves a lane for I’ll Follow the Sun to arrive without the segue feeling forced.

I’ll Follow the Sun answers Rope by Foo Fighters 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 Beatles for Sale (1964), I’ll Follow the Sun 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 Rope without borrowing the same emotional weight.

Maybe I*m Amazed (2011 Remaster) by Paul McCartney lands here because Slaves & Bulldozers (Remastered) by Soundgarden keeps the emotional pressure steady after Fresh Out The Slammer by Taylor Swift and keeps pop, rock in the grain.. The pop, rock edge gives the turn a more precise contour than a plain mood match. A Clean Break (Let's Work) (Live at CBGB's, 10/10/77) can step in after it without the handoff feeling pre-chewed.

On McCartney (1970), Maybe I*m Amazed (2011 Remaster) shows Paul McCartney working in a 1970s 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 A Clean Break (Let's Work) (Live at CBGB's, 10/10/77) to arrive without the segue feeling forced.

A Clean Break (Let's Work) (Live at CBGB's, 10/10/77) answers Maybe I*m Amazed (2011 Remaster) by Paul McCartney 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. Slaves & Bulldozers (Remastered) can step in after it without the handoff feeling pre-chewed.

On Bonus Rarities & Outtakes (2006), A Clean Break (Let's Work) (Live at CBGB's, 10/10/77) shows Talking Heads working in a 2000s 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 Maybe I*m Amazed (2011 Remaster) without borrowing the same emotional weight. It also leaves a lane for Slaves & Bulldozers (Remastered) to arrive without the segue feeling forced.

Slaves & Bulldozers (Remastered) answers A Clean Break (Let's Work) (Live at CBGB's, 10/10/77) by Talking Heads 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 Badmotorfinger (1991), Slaves & Bulldozers (Remastered) 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 A Clean Break (Let's Work) (Live at CBGB's, 10/10/77) without borrowing the same emotional weight.

A Thousand Days Before (Live From The Artists Den) by Soundgarden lands here because Draggin' The Line by Tommy James keeps the emotional pressure steady after Show And Tell by Al Wilson and keeps rock in the grain.. The pop, rock edge gives the turn a more precise contour than a plain mood match. Draggin' The Line can step in after it without the handoff feeling pre-chewed.

On King Animal (2012), A Thousand Days Before (Live From The Artists Den) shows Soundgarden working in a 2010s 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 Draggin' The Line to arrive without the segue feeling forced.

Draggin' The Line answers A Thousand Days Before (Live From The Artists Den) by Soundgarden 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. Around The Sun can step in after it without the handoff feeling pre-chewed.

On Sounds Of The Seventies - 1971: Take Two (1990), Draggin' The Line shows Tommy James 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 A Thousand Days Before (Live From The Artists Den) without borrowing the same emotional weight. It also leaves a lane for Around The Sun to arrive without the segue feeling forced.

Around The Sun answers Draggin' The Line by Tommy James 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 Around The Sun (2004), Around The Sun shows R.E.M. working in a 2000s 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 Draggin' The Line without borrowing the same emotional weight.

Mercure by Satie lands here because keeps the emotional pressure steady after Requiem in D Minor, K. 626: Viii. Lacrimosa by Wolfgang Amadeus Mozart and changes the palette without cutting the thread.. The classical edge gives the turn a more precise contour than a plain mood match. A Thousand Days Before (Live From The Artists Den) 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 A Thousand Days Before (Live From The Artists Den) to arrive without the segue feeling forced.

A Thousand Days Before (Live From The Artists Den) answers Mercure by Satie 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. Why Would You Wanna Live can step in after it without the handoff feeling pre-chewed.

On Live From The Artists Den (2019), A Thousand Days Before (Live From The Artists Den) shows Soundgarden working in a 2010s 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 Mercure without borrowing the same emotional weight. It also leaves a lane for Why Would You Wanna Live to arrive without the segue feeling forced.

Why Would You Wanna Live answers A Thousand Days Before (Live From The Artists Den) by Soundgarden 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 Being There (2013), Why Would You Wanna Live shows Wilco 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. You can hear how it answers A Thousand Days Before (Live From The Artists Den) without borrowing the same emotional weight.

Black Rain by Soundgarden lands here because These Days by R.E.M. and Why Would You Wanna Live by Wilco provide a fresh turn while maintaining the emotional arc of the set.. The pop, rock edge gives the turn a more precise contour than a plain mood match. These Days can step in after it without the handoff feeling pre-chewed.

On Telephantasm (2010), Black Rain 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 These Days to arrive without the segue feeling forced.

These Days answers Black Rain by Soundgarden 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. Yellow Submarine can step in after it without the handoff feeling pre-chewed.

On Live At The Olympia (2009), These Days shows R.E.M. working in a 2000s 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 Black Rain without borrowing the same emotional weight. It also leaves a lane for Yellow Submarine to arrive without the segue feeling forced.

Yellow Submarine answers These Days by R.E.M. 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 Revolver (1966), Yellow Submarine 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 These Days without borrowing the same emotional weight.

A Clean Break (Let's Work) (Live; 2004 Remaster) by Talking Heads lands here because The Time Of The Barracudas (2022 Remaster) by Miles Davis and Black Rain by Soundgarden provide a sharp two-step after How Do You Sleep? (The Evolution Documentary) by John Lennon, keeping the feeling of quiet bloom while moving to the next horizon.. The pop, rock edge gives the turn a more precise contour than a plain mood match. The Time Of The Barracudas (2022 Remaster) can step in after it without the handoff feeling pre-chewed.

On Once in a Lifetime: The Talking Heads Box (2003), A Clean Break (Let's Work) (Live; 2004 Remaster) shows Talking Heads working in a 2000s pocket with pop, 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 pop, rock texture in the pocket, especially in the way the arrangement keeps color moving under the lead. It also leaves a lane for The Time Of The Barracudas (2022 Remaster) to arrive without the segue feeling forced.

The Time Of The Barracudas (2022 Remaster) 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 jazz edge gives the turn a more precise contour than a plain mood match. Black Rain can step in after it without the handoff feeling pre-chewed.

On Quiet Nights (2022), The Time Of The Barracudas (2022 Remaster) shows Miles Davis working in a 2020s 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.

This one is airing as a clipped passage, so listen for the section Mr Rassy chose to stand in for the whole piece. The choice was deliberate: The track is a long-form piece that benefits from a middle segment to capture the listener's interest without overwhelming it.. Black Rain is waiting on the far side of that seam.

Black Rain answers The Time Of The Barracudas (2022 Remaster) by Miles Davis 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 Telephantasm (2010), Black Rain 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. You can hear how it answers The Time Of The Barracudas (2022 Remaster) without borrowing the same emotional weight.

Blackbird by The Beatles lands here because Full On (Reprise) by Soundgarden and Figure It Out by Royal Blood provide a sharp two-step that keeps the emotional pressure steady after Let Me Be Mine by Spoon, maintains pop, rock, alternatif et indé in the grain, and changes the sentence enough to keep the hour feeling authored.. The rock edge gives the turn a more precise contour than a plain mood match. Full On (Reprise) can step in after it without the handoff feeling pre-chewed.

On The Beatles (1968), Blackbird shows The Beatles working in a 1960s 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. It also leaves a lane for Full On (Reprise) to arrive without the segue feeling forced.

Full On (Reprise) answers Blackbird by The Beatles 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. Figure It Out can step in after it without the handoff feeling pre-chewed.

On Louder Than Love (1989), Full On (Reprise) shows Soundgarden 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 Blackbird without borrowing the same emotional weight. It also leaves a lane for Figure It Out to arrive without the segue feeling forced.

Figure It Out answers Full On (Reprise) by Soundgarden 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.

On Royal Blood (2014), Figure It Out shows Royal Blood working in a 2010s 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 Full On (Reprise) without borrowing the same emotional weight.

Dusty by Soundgarden lands here because Dusty by Soundgarden states the thesis, and Me And Mrs. Jones by Billy Paul answers it with a fresh turn.. The pop, rock edge gives the turn a more precise contour than a plain mood match. Me And Mrs. Jones can step in after it without the handoff feeling pre-chewed.

On Down On The Upside (1993), Dusty 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. It also leaves a lane for Me And Mrs. Jones to arrive without the segue feeling forced.

Me And Mrs. Jones answers Dusty by Soundgarden 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 - Rock 'N' Soul Seventies (1991), Me And Mrs. Jones shows Billy Paul working in a 1990s 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 Dusty without borrowing the same emotional weight.

Black Rain by Soundgarden lands here because Falling Free (Aphex Twin Remix) by Aphex Twin keeps the emotional pressure steady after Father by Aphex Twin and maintains electronic, ambient, experimental in the grain. It is part of the station's library DNA and adds a fresh accent to the hour.. The pop, rock edge gives the turn a more precise contour than a plain mood match. Trois Poèmes D'amour: Ta Parure Est Secrète can step in after it without the handoff feeling pre-chewed.

On Telephantasm (2010), Black Rain 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 Trois Poèmes D'amour: Ta Parure Est Secrète to arrive without the segue feeling forced.

Trois Poèmes D'amour: Ta Parure Est Secrète answers Black Rain by Soundgarden 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 Complete Piano Works, Volume 9 (1995), Trois Poèmes D'amour: Ta Parure Est Secrète 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 Black Rain without borrowing the same emotional weight.