Session notes from the booth.

Under My Thumb by Social Distortion lands here because This Is The Day by The Cranberries and What A Day That Was (Live) by Talking Heads provide a smooth emotional arc after Walkin’ On Down The Road by Red Hot Chili Peppers.. The punk rock edge gives the turn a more precise contour than a plain mood match. This Is The Day can step in after it without the handoff feeling pre-chewed.

On Live At The Roxy (1998), Under My Thumb shows Social Distortion working in a 1990s pocket with punk 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 punk rock texture in the pocket, especially in the way the arrangement keeps color moving under the lead. It also leaves a lane for This Is The Day to arrive without the segue feeling forced.

This Is The Day answers Under My Thumb by Social Distortion 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. What A Day That Was (Live) can step in after it without the handoff feeling pre-chewed.

On Dreams: The Collection (2012), This Is The Day shows The Cranberries working in a 2010s 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 Under My Thumb without borrowing the same emotional weight. It also leaves a lane for What A Day That Was (Live) to arrive without the segue feeling forced.

What A Day That Was (Live) answers This Is The Day by The Cranberries 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 Still Don't Make No Sense (Live) (2015), What A Day That Was (Live) shows Talking Heads 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 This Is The Day without borrowing the same emotional weight.

Symphonie Nr. 7 a*Dur, Op. 92: Iv. Allegro Con Brio by Ludwig Van Beethoven lands here because And The Healing Has Begun by Van Morrison provides a smooth transition from Why Would You Wanna Live by Wilco while keeping the emotional pressure steady. It also adds a new element of rock to the set, maintaining the station's focus.. The classical edge gives the turn a more precise contour than a plain mood match. Artists Only (2005 Remaster) can step in after it without the handoff feeling pre-chewed.

On Symphonien Nos. 5 & 7 (1995), Symphonie Nr. 7 a*Dur, Op. 92: Iv. Allegro Con Brio shows Ludwig Van Beethoven 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. It also leaves a lane for Artists Only (2005 Remaster) to arrive without the segue feeling forced.

Artists Only (2005 Remaster) answers Symphonie Nr. 7 a*Dur, Op. 92: Iv. Allegro Con Brio by Ludwig Van Beethoven 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. Show And Tell can step in after it without the handoff feeling pre-chewed.

On More Songs About Buildings and Food (Deluxe Version) (1978), Artists Only (2005 Remaster) shows Talking Heads working in a 1970s 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 Symphonie Nr. 7 a*Dur, Op. 92: Iv. Allegro Con Brio without borrowing the same emotional weight. It also leaves a lane for Show And Tell to arrive without the segue feeling forced.

Show And Tell answers Artists Only (2005 Remaster) by Talking Heads 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 - 1974 (1990), Show And Tell shows Al Wilson 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 Artists Only (2005 Remaster) without borrowing the same emotional weight.

Mercure by Satie lands here because One Way Traffic by Red Hot Chili Peppers and A Clean Break (Let's Work) (Live; 2004 Remaster) by Talking Heads provide a fresh turn while maintaining the emotional arc.. The classical edge gives the turn a more precise contour than a plain mood match. One Way Traffic 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 One Way Traffic to arrive without the segue feeling forced.

One Way Traffic answers Mercure 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. A Clean Break (Let's Work) (Live; 2004 Remaster) can step in after it without the handoff feeling pre-chewed.

On Unlimited Love (2022), One Way Traffic shows Red Hot Chili Peppers working in a 2020s 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 Mercure 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 One Way Traffic by Red Hot Chili Peppers 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 One Way Traffic without borrowing the same emotional weight.