Session notes from the booth.

Cast No Shadow by Oasis lands here because Midnight Blue (2012 Remaster) by Kenny Burrell and Take Me to the River (Live at Berklee Performing Arts Centre, Boston) by Talking Heads provide a smooth transition from Miles Davis while keeping the emotional pressure steady.. The alternative rock edge gives the turn a more precise contour than a plain mood match. Midnight Blue (2012 Remaster) can step in after it without the handoff feeling pre-chewed.

On (What’s the Story) Morning Glory? (1995), Cast No Shadow shows Oasis working in a 1990s pocket with alternative 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 alternative rock texture in the pocket, especially in the way the arrangement keeps color moving under the lead. It also leaves a lane for Midnight Blue (2012 Remaster) to arrive without the segue feeling forced.

Midnight Blue (2012 Remaster) answers Cast No Shadow by Oasis 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. Take Me to the River (Live at Berklee Performing Arts Centre, Boston) can step in after it without the handoff feeling pre-chewed.

On Midnight Blue (2012 Remaster) (1963), Midnight Blue (2012 Remaster) shows Kenny Burrell working in a 1960s pocket with jazz in the grain. The cut moves with a candlelit drift, 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. You can hear how it answers Cast No Shadow without borrowing the same emotional weight. It also leaves a lane for Take Me to the River (Live at Berklee Performing Arts Centre, Boston) to arrive without the segue feeling forced.

Take Me to the River (Live at Berklee Performing Arts Centre, Boston) answers Midnight Blue (2012 Remaster) by Kenny Burrell 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), Take Me to the River (Live at Berklee Performing Arts Centre, Boston) shows Talking Heads 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 Midnight Blue (2012 Remaster) without borrowing the same emotional weight.

The Ballad Of John And Yoko (2015 Mix) by The Beatles lands here because Perfect Blue Buildings by Counting Crows transitions smoothly from Death of a Party by Blur, maintains the alternative rock genre, and provides an emotional lift without jarring the room.. The rock edge gives the turn a more precise contour than a plain mood match. Perfect Blue Buildings can step in after it without the handoff feeling pre-chewed.

On Past Masters (1988), The Ballad Of John And Yoko (2015 Mix) shows The Beatles 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. Inside Deep shelf drift, it reads as curation rather than stunt programming.

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 Perfect Blue Buildings to arrive without the segue feeling forced.

Perfect Blue Buildings keeps deep shelf drift honest by sounding like a real choice inside that lane, not a decorative gesture. The alternative rock edge gives the turn a more precise contour than a plain mood match. Electricity (Instrumental) can step in after it without the handoff feeling pre-chewed.

On August and Everything After (1993), Perfect Blue Buildings shows Counting Crows 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. Inside Deep shelf drift, it reads as curation rather than stunt programming.

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 The Ballad Of John And Yoko (2015 Mix) without borrowing the same emotional weight. It also leaves a lane for Electricity (Instrumental) to arrive without the segue feeling forced.

Electricity (Instrumental) keeps deep shelf drift honest by sounding like a real choice inside that lane, not a decorative gesture. The pop, rock edge gives the turn a more precise contour than a plain mood match.

On Bonus Rarities & Outtakes (2006), Electricity (Instrumental) 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. Inside Deep shelf drift, it reads as curation rather than stunt programming.

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 Perfect Blue Buildings without borrowing the same emotional weight.

Here Comes the Sun by The Beatles lands here because A Clean Break (Let's Work) (Live; 2004 Remaster) by Talking Heads. The rock edge gives the turn a more precise contour than a plain mood match. Wild Honey Pie can step in after it without the handoff feeling pre-chewed.

On Abbey Road (1969), Here Comes 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. It also leaves a lane for Wild Honey Pie to arrive without the segue feeling forced.

Wild Honey Pie answers Here Comes the Sun by The Beatles 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. A Clean Break (Let's Work) (Live; 2004 Remaster) can step in after it without the handoff feeling pre-chewed.

On Pixies at the Bbc (1998), Wild Honey Pie shows Pixies working in a 1990s pocket with alternative 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 alternative rock texture in the pocket, especially in the way the arrangement keeps color moving under the lead. You can hear how it answers Here Comes the Sun without borrowing the same emotional weight. It also leaves a lane for A Clean Break (Let's Work) (Live; 2004 Remaster) to arrive without the segue feeling forced.

A Clean Break (Let's Work) (Live; 2004 Remaster) answers Wild Honey Pie by Pixies with a related tension instead of a copycat move, so the sequence keeps opening out. The alternative / indie rock edge gives the turn a more precise contour than a plain mood match.

On The Name of This Band Is Talking Heads (Expanded 2004 Remaster) (2004), A Clean Break (Let's Work) (Live; 2004 Remaster) shows Talking Heads working in a 2000s pocket with alternative / indie 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 / indie rock texture in the pocket, especially in the way the arrangement keeps color moving under the lead. You can hear how it answers Wild Honey Pie without borrowing the same emotional weight.

Drive by Blind Melon lands here because Extend the feeling that follows Gold und Silber (Gold and Silver), Op. 79 by Slovak Radio Symphony Orchestra, Michael Dittrich without sounding automatic.. The alternative rock edge gives the turn a more precise contour than a plain mood match. Cinéma (For Piano 4 Hands): Chûte Du Cerceuil Et Sortie De Börlin can step in after it without the handoff feeling pre-chewed.

On Blind Melon (1992), Drive shows Blind Melon 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. It also leaves a lane for Cinéma (For Piano 4 Hands): Chûte Du Cerceuil Et Sortie De Börlin to arrive without the segue feeling forced.

Cinéma (For Piano 4 Hands): Chûte Du Cerceuil Et Sortie De Börlin answers Drive by Blind Melon 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. A Clean Break (Live) can step in after it without the handoff feeling pre-chewed.

On Complete Piano Works, Volume 8 (1995), Cinéma (For Piano 4 Hands): Chûte Du Cerceuil Et Sortie De Börlin 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. You can hear how it answers Drive without borrowing the same emotional weight. It also leaves a lane for A Clean Break (Live) to arrive without the segue feeling forced.

A Clean Break (Live) answers Cinéma (For Piano 4 Hands): Chûte Du Cerceuil Et Sortie De Börlin by Satie 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 Live: 77 (Live) (2019), A Clean Break (Live) shows Talking Heads working in a 2010s 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 Cinéma (For Piano 4 Hands): Chûte Du Cerceuil Et Sortie De Börlin without borrowing the same emotional weight.