Session notes from the booth.

All The Beautiful Worlds (Unreleased Version) by Stevie Nicks lands here because Daysleeper by R.E.M. and Tones Of Home by Blind Melon provide a fresh turn while keeping the emotional pressure steady after Burden In My Hand by Soundgarden.. The rock edge gives the turn a more precise contour than a plain mood match. Daysleeper can step in after it without the handoff feeling pre-chewed.

On The Wild Heart (Deluxe Edition) (2016), All The Beautiful Worlds (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 Daysleeper to arrive without the segue feeling forced.

Daysleeper answers All The Beautiful Worlds (Unreleased Version) by Stevie Nicks 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. Tones Of Home can step in after it without the handoff feeling pre-chewed.

On Up (1998), Daysleeper 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 All The Beautiful Worlds (Unreleased Version) without borrowing the same emotional weight. It also leaves a lane for Tones Of Home to arrive without the segue feeling forced.

Tones Of Home answers Daysleeper by R.E.M. 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 Blind Melon (1992), Tones Of Home shows Blind Melon working in a 1990s pocket with alternative 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 rock texture in the pocket, especially in the way the arrangement keeps color moving under the lead. You can hear how it answers Daysleeper without borrowing the same emotional weight.

Stand Back (Remastered) by Stevie Nicks lands here because Build a real arc instead of stacking safe mood matches.. The rock edge gives the turn a more precise contour than a plain mood match. Tequila Sunrise 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. It also leaves a lane for Tequila Sunrise to arrive without the segue feeling forced.

Tequila Sunrise answers Stand Back (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. Burden In My Hand can step in after it without the handoff feeling pre-chewed.

On The Very Best Of (2003), Tequila Sunrise shows Eagles 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 Stand Back (Remastered) without borrowing the same emotional weight. It also leaves a lane for Burden In My Hand to arrive without the segue feeling forced.

Burden In My Hand answers Tequila Sunrise by Eagles 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 A-Sides (1997), Burden In My Hand 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 Tequila Sunrise 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.

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.