Session notes from the booth.

Mistral Wind (Live) by Heart lands here because Stand Back (Remastered) by Stevie Nicks and Houses in Motion (Live at Werchterpark Festival, Belgium) by Talking Heads provide a sharp two-step that builds on the emotional arc of Fela's Riff (Unfinished Outtake) by Talking Heads without sounding automatic.. The rock edge gives the turn a more precise contour than a plain mood match. Stand Back (Remastered) can step in after it without the handoff feeling pre-chewed.

On Greatest Hits / Live (1980), Mistral Wind (Live) shows Heart working in a 1980s 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 Stand Back (Remastered) to arrive without the segue feeling forced.

Stand Back (Remastered) answers Mistral Wind (Live) by Heart 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. Houses in Motion (Live at Werchterpark Festival, Belgium) can step in after it without the handoff feeling pre-chewed.

On The Wild Heart (Deluxe Edition) (2016), Stand Back (Remastered) shows Stevie Nicks 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 Mistral Wind (Live) without borrowing the same emotional weight. It also leaves a lane for Houses in Motion (Live at Werchterpark Festival, Belgium) to arrive without the segue feeling forced.

Houses in Motion (Live at Werchterpark Festival, Belgium) answers Stand Back (Remastered) by Stevie Nicks 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 Radio Waves 1978-1983: Psycho Killers, Vol. 2 (Live) (2016), Houses in Motion (Live at Werchterpark Festival, Belgium) shows Talking Heads 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 Stand Back (Remastered) without borrowing the same emotional weight.

Shape of You by Ed Sheeran lands here because I Will Run To You (with Tom Petty) by Stevie Nicks and Rock and Roll by Heart provide a compelling emotional arc that moves from the thesis to a left turn.. The pop, rock edge gives the turn a more precise contour than a plain mood match. I Will Run To You (with Tom Petty) [Remastered] can step in after it without the handoff feeling pre-chewed.

On ÷ (2017), Shape of You shows Ed Sheeran 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 I Will Run To You (with Tom Petty) [Remastered] to arrive without the segue feeling forced.

I Will Run To You (with Tom Petty) [Remastered] answers Shape of You by Ed Sheeran 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. Rock and Roll can step in after it without the handoff feeling pre-chewed.

On The Wild Heart (Deluxe Edition) (2016), I Will Run To You (with Tom Petty) [Remastered] shows Stevie Nicks 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 Shape of You without borrowing the same emotional weight. It also leaves a lane for Rock and Roll to arrive without the segue feeling forced.

Rock and Roll answers I Will Run To You (with Tom Petty) [Remastered] by Stevie Nicks 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 Greatest Hits / Live (1980), Rock and Roll shows Heart working in a 1980s 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 I Will Run To You (with Tom Petty) [Remastered] without borrowing the same emotional weight.

Wild Heart (Remastered) by Stevie Nicks lands here because Search And Destroy [Live] by Red Hot Chili Peppers states the thesis, and Legal Tender by The B‐52s answers it with a fresh turn.. The rock edge gives the turn a more precise contour than a plain mood match. Search And Destroy [Live] can step in after it without the handoff feeling pre-chewed.

On The Wild Heart (Deluxe Edition) (2016), Wild Heart (Remastered) shows Stevie Nicks 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 Search And Destroy [Live] to arrive without the segue feeling forced.

Search And Destroy [Live] answers Wild Heart (Remastered) by Stevie Nicks 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. Legal Tender can step in after it without the handoff feeling pre-chewed.

On By The Way [CD Single 2] (2000), Search And Destroy [Live] shows Red Hot Chili Peppers 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.

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 live medley that benefits from a middle segment to capture the essence of the performance without overwhelming the set.. Legal Tender is waiting on the far side of that seam.

Legal Tender answers Search And Destroy [Live] by Red Hot Chili Peppers 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 Whammy! (1983), Legal Tender shows The B‐52s working in a 1980s 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 Search And Destroy [Live] without borrowing the same emotional weight.

Summertime by Miles Davis lands here because Wild Heart (Remastered) by Stevie Nicks is the perfect left turn to extend the feeling from In a Certain Light by Great Lake Swimmers without sounding automatic.. The jazz edge gives the turn a more precise contour than a plain mood match. Wake Up (Remastered) can step in after it without the handoff feeling pre-chewed.

On The Complete Columbia Studio Recordings - Disc 4 (1962), Summertime shows Miles Davis working in a 1960s 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. It also leaves a lane for Wake Up (Remastered) to arrive without the segue feeling forced.

Wake Up (Remastered) answers Summertime by Miles Davis 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. Wild Heart (Remastered) can step in after it without the handoff feeling pre-chewed.

On Rage Against The Machine - XX (20th Anniversary Special Edition) (2012), Wake Up (Remastered) shows Rage Against The Machine 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 Summertime without borrowing the same emotional weight. It also leaves a lane for Wild Heart (Remastered) to arrive without the segue feeling forced.

Wild Heart (Remastered) answers Wake Up (Remastered) by Rage Against The Machine 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 Wild Heart (Deluxe Edition) (2016), Wild Heart (Remastered) shows Stevie Nicks 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 Wake Up (Remastered) without borrowing the same emotional weight.

Sorcerer (Unreleased Version) by Stevie Nicks lands here because Keeps the emotional pressure steady and changes the palette without cutting the thread.. The rock edge gives the turn a more precise contour than a plain mood match. Honey Pie can step in after it without the handoff feeling pre-chewed.

On The Wild Heart (Deluxe Edition) (2016), Sorcerer (Unreleased Version) shows Stevie Nicks 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 Honey Pie to arrive without the segue feeling forced.

Honey Pie answers Sorcerer (Unreleased Version) by Stevie Nicks 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. Ventolin (Carmarrack Mix) can step in after it without the handoff feeling pre-chewed.

On The Beatles (1968), Honey Pie shows The Beatles working in a 1960s pocket with 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 rock texture in the pocket, especially in the way the arrangement keeps color moving under the lead. You can hear how it answers Sorcerer (Unreleased Version) without borrowing the same emotional weight. It also leaves a lane for Ventolin (Carmarrack Mix) to arrive without the segue feeling forced.

Ventolin (Carmarrack Mix) answers Honey Pie by The Beatles with a related tension instead of a copycat move, so the sequence keeps opening out. The electronic, ambient, experimental edge gives the turn a more precise contour than a plain mood match.

On Ventolin (EP) (1995), Ventolin (Carmarrack Mix) shows Aphex Twin working in a 1990s pocket with electronic, ambient, experimental 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, ambient, experimental texture in the pocket, especially in the way the arrangement keeps color moving under the lead. You can hear how it answers Honey Pie without borrowing the same emotional weight.

Lyrics to Go by A Tribe Called Quest lands here because Strange Magic by Electric Light Orchestra provides a fresh turn while maintaining the emotional arc.. The hip hop edge gives the turn a more precise contour than a plain mood match. Burn Hollywood Burn 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 Burn Hollywood Burn to arrive without the segue feeling forced.

Burn Hollywood Burn 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 hip hop edge gives the turn a more precise contour than a plain mood match. Sorcerer (Unreleased Version) can step in after it without the handoff feeling pre-chewed.

On Fear of a Black Planet (1990), Burn Hollywood Burn shows Public Enemy 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. You can hear how it answers Lyrics to Go without borrowing the same emotional weight. It also leaves a lane for Sorcerer (Unreleased Version) to arrive without the segue feeling forced.

Sorcerer (Unreleased Version) answers Burn Hollywood Burn by Public Enemy 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 Wild Heart (Deluxe Edition) (2016), Sorcerer (Unreleased Version) shows Stevie Nicks 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 Burn Hollywood Burn without borrowing the same emotional weight.

Symphony No.7 in A, Op.92: 2. Allegretto by Wiener Philharmoniker, Carlos Kleiber lands here because Nightbird (Remastered) by Stevie Nicks and Roadhouse Blues (Screamin' Ray Daniels a.k.a. Ray Manzarek On Vocals) by The Doors keep the emotional pressure steady after A Clean Break (Let's Work) (Live; 2004 Remaster) by Talking Heads and change the sentence enough to keep the hour feeling authored.. The classical edge gives the turn a more precise contour than a plain mood match. Nightbird (Remastered) can step in after it without the handoff feeling pre-chewed.

On Beethoven: Symphonies Nos.5 and 7 (1996), Symphony No.7 in A, Op.92: 2. Allegretto shows Wiener Philharmoniker, Carlos Kleiber working in a 1990s 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 Nightbird (Remastered) to arrive without the segue feeling forced.

Nightbird (Remastered) answers Symphony No.7 in A, Op.92: 2. Allegretto by Wiener Philharmoniker, Carlos Kleiber 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. Roadhouse Blues (Screamin' Ray Daniels a.k.a. Ray Manzarek On Vocals) can step in after it without the handoff feeling pre-chewed.

On The Wild Heart (Deluxe Edition) (2016), Nightbird (Remastered) shows Stevie Nicks working in a 2010s pocket with 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 rock texture in the pocket, especially in the way the arrangement keeps color moving under the lead. You can hear how it answers Symphony No.7 in A, Op.92: 2. Allegretto without borrowing the same emotional weight. It also leaves a lane for Roadhouse Blues (Screamin' Ray Daniels a.k.a. Ray Manzarek On Vocals) to arrive without the segue feeling forced.

Roadhouse Blues (Screamin' Ray Daniels a.k.a. Ray Manzarek On Vocals) answers Nightbird (Remastered) by Stevie Nicks 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), Roadhouse Blues (Screamin' Ray Daniels a.k.a. Ray Manzarek On Vocals) 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 Nightbird (Remastered) without borrowing the same emotional weight.

Dial the Number (Unreleased Version) by Stevie Nicks lands here because Straight On by Heart and He's the Greatest Dancer by Sister Sledge keep the emotional pressure steady after A Clean Break (Let's Work) (Live; 2004 Remaster) by Talking Heads and change the palette without cutting the thread.. The rock edge gives the turn a more precise contour than a plain mood match. Straight On can step in after it without the handoff feeling pre-chewed.

On The Wild Heart (Deluxe Edition) (2016), Dial the Number (Unreleased Version) shows Stevie Nicks 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 Straight On to arrive without the segue feeling forced.

Straight On answers Dial the Number (Unreleased Version) by Stevie Nicks 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. He's the Greatest Dancer can step in after it without the handoff feeling pre-chewed.

On Greatest Hits / Live (1980), Straight On shows Heart working in a 1980s pocket with 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 rock texture in the pocket, especially in the way the arrangement keeps color moving under the lead. You can hear how it answers Dial the Number (Unreleased Version) without borrowing the same emotional weight. It also leaves a lane for He's the Greatest Dancer to arrive without the segue feeling forced.

He's the Greatest Dancer answers Straight On by Heart 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 We Are Family (2003), He's the Greatest Dancer shows Sister Sledge working in a 2000s pocket with soul, funk, r&b 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 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 Straight On without borrowing the same emotional weight.

Rock *n* Roll With Me (Live) by David Bowie lands here because Dial the Number (Unreleased Version) by Stevie Nicks and Me In Honey by R.E.M. create a strong arc that deepens the feeling established by Here Comes the Sun by The Beatles, while maintaining rock in the grain.. The art rock edge gives the turn a more precise contour than a plain mood match. Dial the Number (Unreleased Version) can step in after it without the handoff feeling pre-chewed.

On Diamond Dogs (1974), Rock *n* Roll With Me (Live) shows David Bowie working in a 1970s pocket with art 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 art rock texture in the pocket, especially in the way the arrangement keeps color moving under the lead. It also leaves a lane for Dial the Number (Unreleased Version) to arrive without the segue feeling forced.

Dial the Number (Unreleased Version) answers Rock *n* Roll With Me (Live) by David Bowie 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. Me In Honey can step in after it without the handoff feeling pre-chewed.

On The Wild Heart (Deluxe Edition) (2016), Dial the Number (Unreleased Version) shows Stevie Nicks 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 Rock *n* Roll With Me (Live) without borrowing the same emotional weight. It also leaves a lane for Me In Honey to arrive without the segue feeling forced.

Me In Honey answers Dial the Number (Unreleased Version) by Stevie Nicks 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 Out Of Time (1991), Me In Honey shows R.E.M. working in a 1990s pocket with 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 rock texture in the pocket, especially in the way the arrangement keeps color moving under the lead. You can hear how it answers Dial the Number (Unreleased Version) without borrowing the same emotional weight.