Session notes from the booth.

Supersonic Rocket Ship by The Kinks lands here because The Ballad Of John And Yoko (2015 Mix) by The Beatles keeps the emotional pressure steady after She’s Leaving Home by The Beatles and maintains the rock genre, providing a fresh accent to keep the hour feeling authored.. The 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 The Ultimate Collection (1) (2002), Supersonic Rocket Ship shows The Kinks 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. It also leaves a lane for This Is The Day to arrive without the segue feeling forced.

This Is The Day answers Supersonic Rocket Ship by The Kinks 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. The Ballad Of John And Yoko (2015 Mix) can step in after it without the handoff feeling pre-chewed.

On Unconditionally Guaranteed (1974), This Is The Day shows Captain Beefheart And The Magic Band 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 Supersonic Rocket Ship without borrowing the same emotional weight. It also leaves a lane for The Ballad Of John And Yoko (2015 Mix) to arrive without the segue feeling forced.

The Ballad Of John And Yoko (2015 Mix) answers This Is The Day by Captain Beefheart And The Magic Band 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 1967 – 1970 (2023 Edition) (2023), The Ballad Of John And Yoko (2015 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 This Is The Day 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.

New York, New York by Ryan Adams lands here because Keeps the emotional pressure steady after Englishman In New York by Sting and turns the color from 1980s into 1960s. Abbey Road is the actual record under the microscope, so this keeps the album run coherent.. The pop, rock edge gives the turn a more precise contour than a plain mood match. You Never Give Me Your Money can step in after it without the handoff feeling pre-chewed.

On Gold (2001), New York, New York shows Ryan Adams working in a 2000s pocket with pop, rock in the grain. The cut moves with a candlelit drift, which is why it can hold this turn without flattening it. Inside Abbey Road run, 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 You Never Give Me Your Money to arrive without the segue feeling forced.

You Never Give Me Your Money keeps abbey road run honest by sounding like a real choice inside that lane, not a decorative gesture. The rock edge gives the turn a more precise contour than a plain mood match. Something can step in after it without the handoff feeling pre-chewed.

On Abbey Road (1969), You Never Give Me Your Money 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. Inside Abbey Road run, 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. You can hear how it answers New York, New York without borrowing the same emotional weight. It also leaves a lane for Something to arrive without the segue feeling forced.

Something keeps abbey road run honest by sounding like a real choice inside that lane, not a decorative gesture. The rock edge gives the turn a more precise contour than a plain mood match.

On Abbey Road (1969), Something 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. Inside Abbey Road run, 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. You can hear how it answers You Never Give Me Your Money without borrowing the same emotional weight.

All Day And All Of The Night by Kinks lands here because Builds a sharp two-step emotional arc with The Beatles followed by a rock track to keep the energy consistent.. The rock edge gives the turn a more precise contour than a plain mood match. Carefree Country Day can step in after it without the handoff feeling pre-chewed.

On The Ultimate Collection (1) (2002), All Day And All Of The Night shows Kinks 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. It also leaves a lane for Carefree Country Day to arrive without the segue feeling forced.

Carefree Country Day answers All Day And All Of The Night by Kinks 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. Happiness Is a Warm Gun can step in after it without the handoff feeling pre-chewed.

On What's That Sound? Complete Albums Collection: Disc 5 - Last Time Around (2018), Carefree Country Day shows Buffalo Springfield 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 All Day And All Of The Night without borrowing the same emotional weight. It also leaves a lane for Happiness Is a Warm Gun to arrive without the segue feeling forced.

Happiness Is a Warm Gun answers Carefree Country Day by Buffalo Springfield 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), Happiness Is a Warm Gun 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 Carefree Country Day without borrowing the same emotional weight.