Session notes from the booth.

Want Ads by Honey Cone lands here because Honey Pie by The Beatles provides an immediate emotional hook, while Unchained Melody (Live) by Heart offers a perfect landing spot to conclude our set.. 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 Sounds Of The Seventies - Seventies Generation (1992), Want Ads shows Honey Cone 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. It also leaves a lane for Honey Pie to arrive without the segue feeling forced.

Honey Pie answers Want Ads by Honey Cone 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. Unchained Melody (Live) 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 Want Ads without borrowing the same emotional weight. It also leaves a lane for Unchained Melody (Live) to arrive without the segue feeling forced.

Unchained Melody (Live) answers Honey Pie by The Beatles 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), Unchained Melody (Live) 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 Honey Pie without borrowing the same emotional weight.

Honey Pie by The Beatles lands here because Extend the feeling that follows Outlier (Band Demo) by Spoon without sounding automatic.. The rock edge gives the turn a more precise contour than a plain mood match. New York Kiss (Home Demo) 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. It also leaves a lane for New York Kiss (Home Demo) to arrive without the segue feeling forced.

New York Kiss (Home Demo) answers Honey Pie 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. I Heard It Through the Grapevine (Live) can step in after it without the handoff feeling pre-chewed.

On They Want My Soul (2024), New York Kiss (Home Demo) shows Spoon working in a 2020s pocket with pop, rock, alternatif et indé in the grain. The cut moves with a candlelit drift, 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 Honey Pie without borrowing the same emotional weight. It also leaves a lane for I Heard It Through the Grapevine (Live) to arrive without the segue feeling forced.

I Heard It Through the Grapevine (Live) answers New York Kiss (Home Demo) by Spoon 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), I Heard It Through the Grapevine (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 New York Kiss (Home Demo) without borrowing the same emotional weight.

Suck My Kiss (Live) by Red Hot Chili Peppers lands here because Hit Single by Heart and Honey Pie by The Beatles provide a strong emotional arc after Fuck Me Pumps by Amy Winehouse.. The rock edge gives the turn a more precise contour than a plain mood match. Hit Single can step in after it without the handoff feeling pre-chewed.

On Suck My Kiss (Australia CD5) (1992), Suck My Kiss (Live) 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. It also leaves a lane for Hit Single to arrive without the segue feeling forced.

Hit Single answers Suck My Kiss (Live) by Red Hot Chili Peppers 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. Honey Pie can step in after it without the handoff feeling pre-chewed.

On Greatest Hits / Live (1980), Hit Single 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 Suck My Kiss (Live) without borrowing the same emotional weight. It also leaves a lane for Honey Pie to arrive without the segue feeling forced.

Honey Pie answers Hit Single by Heart 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 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 Hit Single without borrowing the same emotional weight.

Honey Pie by The Beatles lands here because How's Your Life Baby by Eddie Kendricks provides a smooth transition after Theme From Shaft and keeps the soul, funk, r&b vibe.. The rock edge gives the turn a more precise contour than a plain mood match. Mine Smell Like Honey 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. It also leaves a lane for Mine Smell Like Honey to arrive without the segue feeling forced.

Mine Smell Like Honey answers Honey Pie 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. Honey Chile can step in after it without the handoff feeling pre-chewed.

On Collapse Into Now (2011), Mine Smell Like Honey shows R.E.M. working in a 2010s pocket with alternative 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 alternative 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. It also leaves a lane for Honey Chile to arrive without the segue feeling forced.

Honey Chile answers Mine Smell Like Honey by R.E.M. with a related tension instead of a copycat move, so the sequence keeps opening out. The rock & roll edge gives the turn a more precise contour than a plain mood match.

On Greatest Hits: Walking To New Orleans (2007), Honey Chile shows Fats Domino working in a 2000s pocket with rock & roll 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 & roll texture in the pocket, especially in the way the arrangement keeps color moving under the lead. You can hear how it answers Mine Smell Like Honey without borrowing the same emotional weight.

Suck My Kiss (Live) by Red Hot Chili Peppers lands here because Keeps the emotional pressure steady after Piece of My Heart by Big Brother & the Holding Company and keeps rock in the grain.. The rock edge gives the turn a more precise contour than a plain mood match. Here Come De Honey Man can step in after it without the handoff feeling pre-chewed.

On Suck My Kiss (Australia CD5) (1992), Suck My Kiss (Live) 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. It also leaves a lane for Here Come De Honey Man to arrive without the segue feeling forced.

Here Come De Honey Man answers Suck My Kiss (Live) by Red Hot Chili Peppers 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. Honey Pie can step in after it without the handoff feeling pre-chewed.

On Porgy And Bess (1959), Here Come De Honey Man shows Miles Davis working in a 1950s pocket with jazz 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 jazz texture in the pocket, especially in the way the arrangement keeps color moving under the lead. You can hear how it answers Suck My Kiss (Live) without borrowing the same emotional weight. It also leaves a lane for Honey Pie to arrive without the segue feeling forced.

Honey Pie answers Here Come De Honey Man by Miles Davis 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 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 Here Come De Honey Man 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.