Session notes from the booth.

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.

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.