Session notes from the booth.

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.

She*s Leaving Home by The Beatles lands here because Fran Dance by Miles Davis and Death of a Party by Blur provide a sharp two-step transition from The Ballad Of John And Yoko (2015 Mix) by The Beatles, maintaining the emotional arc while shifting genres.. The rock edge gives the turn a more precise contour than a plain mood match. Fran Dance can step in after it without the handoff feeling pre-chewed.

On Sgt. Pepper’s Lonely Hearts Club Band (1967), She*s Leaving Home shows The Beatles working in a 1960s 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 Fran Dance to arrive without the segue feeling forced.

Fran Dance answers She*s Leaving Home by The Beatles 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. Death of a Party can step in after it without the handoff feeling pre-chewed.

On The Final Tour: The Bootleg Series, Vol. 6 (2018), Fran Dance shows Miles Davis working in a 2010s 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 She*s Leaving Home without borrowing the same emotional weight. It also leaves a lane for Death of a Party to arrive without the segue feeling forced.

Death of a Party answers Fran Dance by Miles Davis 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 Blur (1997), Death of a Party shows Blur 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.

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 Fran Dance without borrowing the same emotional weight.

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.

You by Radiohead lands here because Search and destroy (live) by Red Hot Chili Peppers keeps the emotional pressure steady after Uninvited by Alanis Morissette, changes the palette without cutting the thread, and adds a fresh accent to the hour.. Search and destroy (live) can step in after it without the handoff feeling pre-chewed.

On PAblo HONEY (1993), You shows Radiohead working in a 1990s pocket. The cut moves with a candlelit drift, which is why it can hold this turn without flattening it.

Listen for the arrangement hinge where the rhythm section and the lead line stop shadowing each other and start pulling against each other. It also leaves a lane for Search and destroy (live) to arrive without the segue feeling forced.

Search and destroy (live) answers You by Radiohead 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. She’s Leaving Home can step in after it without the handoff feeling pre-chewed.

On By the way (single) (2002), Search and destroy (live) shows Red Hot Chili Peppers working in a 2000s pocket with rock in the grain. The cut moves with a candlelit drift, which is why it can hold this turn without flattening it.

This one is airing as a clipped passage, so listen for the section Mr Rassy chose to stand in for the whole piece. The choice was deliberate: The song's mood aligns well with the station's focus on soulful and late-night vibes. A clip from the middle will give listeners a taste without overshadowing the set.. She’s Leaving Home is waiting on the far side of that seam.

She’s Leaving Home answers Search and destroy (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.

On Sgt. Pepper’s Lonely Hearts Club Band (1967), She’s Leaving Home 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 Search and destroy (live) without borrowing the same emotional weight.

Good Morning Good Morning by The Beatles lands here because The Time Of The Barracudas by Miles Davis and Waking Up In Vegas by Katy Perry provide a fresh emotional arc after My God (Mixed And Mastered By Steven Wilson) by Jethro Tull.. The rock edge gives the turn a more precise contour than a plain mood match. The Time Of The Barracudas (2022 Remaster) can step in after it without the handoff feeling pre-chewed.

On Sgt. Pepper’s Lonely Hearts Club Band (1967), Good Morning Good Morning shows The Beatles working in a 1960s 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 The Time Of The Barracudas (2022 Remaster) to arrive without the segue feeling forced.

The Time Of The Barracudas (2022 Remaster) answers Good Morning Good Morning by The Beatles 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. Waking Up In Vegas can step in after it without the handoff feeling pre-chewed.

On Quiet Nights (2022), The Time Of The Barracudas (2022 Remaster) shows Miles Davis working in a 2020s 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.

This one is airing as a clipped passage, so listen for the section Mr Rassy chose to stand in for the whole piece. The choice was deliberate: The Time Of The Barracudas is a long-form piece that benefits from airing a clip to maintain the listener's interest without overwhelming them.. Waking Up In Vegas is waiting on the far side of that seam.

Waking Up In Vegas answers The Time Of The Barracudas (2022 Remaster) by Miles Davis with a related tension instead of a copycat move, so the sequence keeps opening out. The pop edge gives the turn a more precise contour than a plain mood match.

On Essentials (2) (2024), Waking Up In Vegas shows Katy Perry working in a 2020s pocket with pop 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 texture in the pocket, especially in the way the arrangement keeps color moving under the lead. You can hear how it answers The Time Of The Barracudas (2022 Remaster) without borrowing the same emotional weight.

White Braids & Pillow Chair by Red Hot Chili Peppers lands here because 1 I. Allegro Con Brio by Smetana Quartet and Good Morning Good Morning by The Beatles provide a fresh turn while maintaining the emotional arc of the set.. The alternative-rock edge gives the turn a more precise contour than a plain mood match. 1 I. Allegro Con Brio can step in after it without the handoff feeling pre-chewed.

On Unlimited Love (2022), White Braids & Pillow Chair 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. It also leaves a lane for 1 I. Allegro Con Brio to arrive without the segue feeling forced.

1 I. Allegro Con Brio answers White Braids & Pillow Chair by Red Hot Chili Peppers 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. Good Morning Good Morning can step in after it without the handoff feeling pre-chewed.

On The Complete String Quartets (1977), 1 I. Allegro Con Brio shows Smetana Quartet working in a 1970s 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. You can hear how it answers White Braids & Pillow Chair without borrowing the same emotional weight. It also leaves a lane for Good Morning Good Morning to arrive without the segue feeling forced.

Good Morning Good Morning answers 1 I. Allegro Con Brio by Smetana Quartet 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 Sgt. Pepper’s Lonely Hearts Club Band (1967), Good Morning Good Morning 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 1 I. Allegro Con Brio without borrowing the same emotional weight.

Roadhouse Blues (Screamin' Ray Daniels a.k.a. Ray Manzarek On Vocals) by The Doors lands here because White Braids & Pillow Chair by Red Hot Chili Peppers provides a fresh turn after Break My Stride (Remix) (Club Version) by Matthew Wilder. Good Morning Good Morning by The Beatles adds a bold, nostalgic element to the set.. The pop, rock edge gives the turn a more precise contour than a plain mood match. White Braids & Pillow Chair can step in after it without the handoff feeling pre-chewed.

On Morrison Hotel (1970), Roadhouse Blues (Screamin' Ray Daniels a.k.a. Ray Manzarek On Vocals) shows The Doors working in a 1970s 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.

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 Braids & Pillow Chair to arrive without the segue feeling forced.

White Braids & Pillow Chair answers Roadhouse Blues (Screamin' Ray Daniels a.k.a. Ray Manzarek On Vocals) by The Doors 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. Good Morning Good Morning can step in after it without the handoff feeling pre-chewed.

On Unlimited Love (2022), White Braids & Pillow Chair 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 Roadhouse Blues (Screamin' Ray Daniels a.k.a. Ray Manzarek On Vocals) without borrowing the same emotional weight. It also leaves a lane for Good Morning Good Morning to arrive without the segue feeling forced.

Good Morning Good Morning answers White Braids & Pillow Chair 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.

On Sgt. Pepper’s Lonely Hearts Club Band (1967), Good Morning Good Morning 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 White Braids & Pillow Chair without borrowing the same emotional weight.