Session notes from the booth.

A Clean Break (Let's Work) (Live; 2004 Remaster) by Talking Heads lands here because The Party by Justice is the perfect left turn after Roadhouse Blues (Screamin' Ray Daniels a.k.a. Ray Manzarek On Vocals) by The Doors, keeping the emotional pressure steady while shifting the color from the 1960s into the 2020s.. The pop, rock edge gives the turn a more precise contour than a plain mood match. The Party can step in after it without the handoff feeling pre-chewed.

On Once in a Lifetime: The Talking Heads Box (2003), A Clean Break (Let's Work) (Live; 2004 Remaster) shows Talking Heads working in a 2000s pocket with pop, rock in the grain. The cut moves with a bright electric charge, which is why it can hold this turn without flattening it. Inside 2020s pressure, 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. It also leaves a lane for The Party to arrive without the segue feeling forced.

The Party keeps 2020s pressure honest by sounding like a real choice inside that lane, not a decorative gesture. The electronic edge gives the turn a more precise contour than a plain mood match. Break My Stride (Remix) (Club Version) can step in after it without the handoff feeling pre-chewed.

On † (2022), The Party shows Justice working in a 2020s pocket with electronic in the grain. The cut moves with a slow-burn glide, which is why it can hold this turn without flattening it. Inside 2020s pressure, it reads as curation rather than stunt programming.

Listen for the electronic texture in the pocket, especially in the way the arrangement keeps color moving under the lead. You can hear how it answers A Clean Break (Let's Work) (Live; 2004 Remaster) without borrowing the same emotional weight. It also leaves a lane for Break My Stride (Remix) (Club Version) to arrive without the segue feeling forced.

Break My Stride (Remix) (Club Version) keeps 2020s pressure honest by sounding like a real choice inside that lane, not a decorative gesture.

On Now That’s What I Call 12' 80s (2021), Break My Stride (Remix) (Club Version) shows Matthew Wilder working in a 2020s pocket. The cut moves with a slow-burn glide, which is why it can hold this turn without flattening it. Inside 2020s pressure, it reads as curation rather than stunt programming.

Listen for the arrangement hinge where the rhythm section and the lead line stop shadowing each other and start pulling against each other. You can hear how it answers The Party without borrowing the same emotional weight.

A Clean Break (Let's Work) (Live; 2004 Remaster) by Talking Heads lands here because Keeps the emotional pressure steady after Sister Sledge and turns the color from 2000s into 1950s.. The pop, rock edge gives the turn a more precise contour than a plain mood match. Green Aphrodisiac can step in after it without the handoff feeling pre-chewed.

On Once in a Lifetime: The Talking Heads Box (2003), A Clean Break (Let's Work) (Live; 2004 Remaster) shows Talking Heads working in a 2000s pocket with pop, rock in the grain. The cut moves with a bright electric charge, 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 Green Aphrodisiac to arrive without the segue feeling forced.

Green Aphrodisiac answers A Clean Break (Let's Work) (Live; 2004 Remaster) by Talking Heads 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. Inner City Blues (Makes Me Wanna Holler) (Live) can step in after it without the handoff feeling pre-chewed.

On The Heart Speaks In Whispers (2016), Green Aphrodisiac shows Corinne Bailey Rae working in a 2010s 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 A Clean Break (Let's Work) (Live; 2004 Remaster) without borrowing the same emotional weight. It also leaves a lane for Inner City Blues (Makes Me Wanna Holler) (Live) to arrive without the segue feeling forced.

Inner City Blues (Makes Me Wanna Holler) (Live) answers Green Aphrodisiac by Corinne Bailey Rae 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 Live in Tokyo 1979 (2025), Inner City Blues (Makes Me Wanna Holler) (Live) shows Marvin Gaye working in a 2020s 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 Green Aphrodisiac without borrowing the same emotional weight.

A Clean Break (Let's Work) (Live; 2004 Remaster) by Talking Heads lands here because Bad Girls by Donna Summer keeps the emotional pressure steady after Rock And Roll Hoochie Koo by Rick Derringer and changes the palette without cutting the thread.. The pop, rock edge gives the turn a more precise contour than a plain mood match. Bad Girls can step in after it without the handoff feeling pre-chewed.

On Once in a Lifetime: The Talking Heads Box (2003), A Clean Break (Let's Work) (Live; 2004 Remaster) shows Talking Heads working in a 2000s pocket with pop, rock in the grain. The cut moves with a bright electric charge, 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. It also leaves a lane for Bad Girls to arrive without the segue feeling forced.

Bad Girls keeps deep shelf drift honest by sounding like a real choice inside that lane, not a decorative gesture. The classic rock edge gives the turn a more precise contour than a plain mood match. Let It Go can step in after it without the handoff feeling pre-chewed.

On Sounds of the Seventies - '70s Gold (1998), Bad Girls shows Donna Summer working in a 1990s pocket with classic 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 classic rock texture in the pocket, especially in the way the arrangement keeps color moving under the lead. You can hear how it answers A Clean Break (Let's Work) (Live; 2004 Remaster) without borrowing the same emotional weight. It also leaves a lane for Let It Go to arrive without the segue feeling forced.

Let It Go 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 Gold (1) (2020), Let It Go shows Bangles working in a 2020s 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. 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 Bad Girls without borrowing the same emotional weight.

Electron Blue by R.E.M. lands here because Moonlight Drive by The Doors and A Clean Break (Let's Work) (Live; 2004 Remaster) by Talking Heads keep the emotional pressure steady after Rock 'N' Roll Fantasy by Bad Company and maintain a sharp, two-step feel.. 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 Around The Sun (2004), Electron Blue shows R.E.M. working in a 2000s 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 Honey Pie to arrive without the segue feeling forced.

Honey Pie answers Electron Blue by R.E.M. 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. A Clean Break (Let's Work) (Live; 2004 Remaster) 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 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 Electron Blue 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 Honey Pie by The Beatles 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 Honey Pie without borrowing the same emotional weight.

A Clean Break (Live) by Talking Heads lands here because This Boy (2023 Mix) by The Beatles and Wide Open Space (Remastered) by Mansun provide a smooth emotional arc, transitioning from A‐Ha's upbeat sound to a more introspective pop rock track.. The pop, rock edge gives the turn a more precise contour than a plain mood match. This Boy (2023 Mix) can step in after it without the handoff feeling pre-chewed.

On Once in a Lifetime: The Talking Heads Box (2003), A Clean Break (Live) shows Talking Heads working in a 2000s pocket with pop, rock in the grain. The cut moves with a bright electric charge, 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 This Boy (2023 Mix) to arrive without the segue feeling forced.

This Boy (2023 Mix) answers A Clean Break (Live) 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. Wide Open Space (Remastered) can step in after it without the handoff feeling pre-chewed.

On The Beatles 1962 – 1966 (2023 Edition) (2023), This Boy (2023 Mix) shows The Beatles working in a 2020s 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 A Clean Break (Live) without borrowing the same emotional weight. It also leaves a lane for Wide Open Space (Remastered) to arrive without the segue feeling forced.

Wide Open Space (Remastered) answers This Boy (2023 Mix) by The Beatles 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.

On Attack of the Grey Lantern (1996), Wide Open Space (Remastered) shows Mansun working in a 1990s 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 This Boy (2023 Mix) without borrowing the same emotional weight.

A Clean Break (Let's Work) (Live; 2004 Remaster) by Talking Heads lands here because Keeps the emotional pressure steady after People of the Sun by Rage Against The Machine and turns the color from 2020s into 1990s. 1990s grain is the point of the special, so the era stamp matters here.. The pop, rock edge gives the turn a more precise contour than a plain mood match. Midnight Rider can step in after it without the handoff feeling pre-chewed.

On Once in a Lifetime: The Talking Heads Box (2003), A Clean Break (Let's Work) (Live; 2004 Remaster) shows Talking Heads working in a 2000s pocket with pop, rock in the grain. The cut moves with a bright electric charge, which is why it can hold this turn without flattening it. Inside 1990s pressure, 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. It also leaves a lane for Midnight Rider to arrive without the segue feeling forced.

Midnight Rider keeps 1990s pressure honest by sounding like a real choice inside that lane, not a decorative gesture. The classic rock edge gives the turn a more precise contour than a plain mood match. One Summer Night can step in after it without the handoff feeling pre-chewed.

On Sounds of the Seventies - '70s Gold (1998), Midnight Rider shows Gregg Allman working in a 1990s pocket with classic rock in the grain. The cut moves with a steady shoulder-roll, which is why it can hold this turn without flattening it. Inside 1990s pressure, it reads as curation rather than stunt programming.

Listen for the classic rock texture in the pocket, especially in the way the arrangement keeps color moving under the lead. You can hear how it answers A Clean Break (Let's Work) (Live; 2004 Remaster) without borrowing the same emotional weight. It also leaves a lane for One Summer Night to arrive without the segue feeling forced.

One Summer Night keeps 1990s pressure honest by sounding like a real choice inside that lane, not a decorative gesture. The doo-wop edge gives the turn a more precise contour than a plain mood match.

On Doo Wop's Golden Age (1957-1959) (1994), One Summer Night shows The Danleers working in a 1990s pocket with doo-wop in the grain. The cut moves with a steady shoulder-roll, which is why it can hold this turn without flattening it. Inside 1990s pressure, it reads as curation rather than stunt programming.

Listen for the doo-wop texture in the pocket, especially in the way the arrangement keeps color moving under the lead. You can hear how it answers Midnight Rider without borrowing the same emotional weight.

A Clean Break (Live) by Talking Heads lands here because People of the Sun (Live, Mexico City, Mexico, October 28, 1999) by Rage Against The Machine. It pushes the next turn upward after A Clean Break (Let's Work) (Live; 2004 Remaster) by Talking Heads and turns the color from 2000s into 2020s.. The pop, rock edge gives the turn a more precise contour than a plain mood match. White Line Fever can step in after it without the handoff feeling pre-chewed.

On Once in a Lifetime: The Talking Heads Box (2003), A Clean Break (Live) shows Talking Heads working in a 2000s pocket with pop, rock in the grain. The cut moves with a bright electric charge, 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. It also leaves a lane for White Line Fever to arrive without the segue feeling forced.

White Line Fever keeps deep shelf drift honest by sounding like a real choice inside that lane, not a decorative gesture. The country edge gives the turn a more precise contour than a plain mood match. People of the Sun (Live, Mexico City, Mexico, October 28, 1999) can step in after it without the handoff feeling pre-chewed.

On Live in Amsterdam (1973), White Line Fever shows The Flying Burrito Brothers working in a 1970s pocket with country 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 country texture in the pocket, especially in the way the arrangement keeps color moving under the lead. You can hear how it answers A Clean Break (Live) without borrowing the same emotional weight. It also leaves a lane for People of the Sun (Live, Mexico City, Mexico, October 28, 1999) to arrive without the segue feeling forced.

People of the Sun (Live, Mexico City, Mexico, October 28, 1999) 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 The Battle Of Mexico City (2020), People of the Sun (Live, Mexico City, Mexico, October 28, 1999) shows Rage Against The Machine working in a 2020s 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 White Line Fever without borrowing the same emotional weight.

Final Straw by R.E.M. lands here because I've Got To Use My Imagination by Gladys Knight And The Pips keeps the emotional pressure steady after Bad Time by Grand Funk and keeps rock in the grain. Rock is a real lane in this library, which helps the choice feel rooted instead of random.. The rock 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 Around The Sun (2004), Final Straw shows R.E.M. working in a 2000s 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 A Clean Break (Live) to arrive without the segue feeling forced.

A Clean Break (Live) answers Final Straw 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. Behind The Sun can step in after it without the handoff feeling pre-chewed.

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 Final Straw without borrowing the same emotional weight. It also leaves a lane for Behind The Sun to arrive without the segue feeling forced.

Behind The Sun answers A Clean Break (Live) 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 What Hits!? (1992), Behind The Sun shows Red Hot Chili Peppers working in a 1990s pocket with rock in the grain. The cut moves with a bright electric charge, 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 A Clean Break (Live) without borrowing the same emotional weight.

A Clean Break (Let's Work) (Live at CBGB's, 10/10/77) by Talking Heads lands here because Wasted Time by Eagles keeps the emotional pressure steady after I Got a Line on You by Spirit and keeps rock in the grain. It provides a fresh turn while maintaining the hour's mood.. The pop, rock edge gives the turn a more precise contour than a plain mood match. One of Us Must Know (Sooner or Later) (Live at Nippon Budokan Hall, Tokyo, Japan - March 1, 1978) can step in after it without the handoff feeling pre-chewed.

On Once in a Lifetime: The Talking Heads Box (2003), A Clean Break (Let's Work) (Live at CBGB's, 10/10/77) shows Talking Heads working in a 2000s pocket with pop, rock in the grain. The cut moves with a bright electric charge, 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 One of Us Must Know (Sooner or Later) (Live at Nippon Budokan Hall, Tokyo, Japan - March 1, 1978) to arrive without the segue feeling forced.

One of Us Must Know (Sooner or Later) (Live at Nippon Budokan Hall, Tokyo, Japan - March 1, 1978) answers A Clean Break (Let's Work) (Live at CBGB's, 10/10/77) 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. Wasted Time can step in after it without the handoff feeling pre-chewed.

On The Complete Budokan 1978 (2023), One of Us Must Know (Sooner or Later) (Live at Nippon Budokan Hall, Tokyo, Japan - March 1, 1978) shows Bob Dylan working in a 2020s 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 A Clean Break (Let's Work) (Live at CBGB's, 10/10/77) without borrowing the same emotional weight. It also leaves a lane for Wasted Time to arrive without the segue feeling forced.

Wasted Time answers One of Us Must Know (Sooner or Later) (Live at Nippon Budokan Hall, Tokyo, Japan - March 1, 1978) by Bob Dylan 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 Very Best Of (2003), Wasted Time 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 One of Us Must Know (Sooner or Later) (Live at Nippon Budokan Hall, Tokyo, Japan - March 1, 1978) without borrowing the same emotional weight.