Session notes from the booth.

Happiness Is a Warm Gun by The Beatles lands here because Keeps the emotional pressure steady after Crazy Love by Van Morrison and changes the palette without cutting the thread.. The rock edge gives the turn a more precise contour than a plain mood match. The Good Life can step in after it without the handoff feeling pre-chewed.

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. It also leaves a lane for The Good Life to arrive without the segue feeling forced.

The Good Life answers Happiness Is a Warm Gun 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. I’d Rather Be High can step in after it without the handoff feeling pre-chewed.

On Pinkerton (1996), The Good Life shows Weezer 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 Happiness Is a Warm Gun without borrowing the same emotional weight. It also leaves a lane for I’d Rather Be High to arrive without the segue feeling forced.

I’d Rather Be High answers The Good Life by Weezer with a related tension instead of a copycat move, so the sequence keeps opening out. The art rock edge gives the turn a more precise contour than a plain mood match.

On The Next Day (2013), I’d Rather Be High shows David Bowie working in a 2010s pocket with art 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 art rock texture in the pocket, especially in the way the arrangement keeps color moving under the lead. You can hear how it answers The Good Life 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.

A Day In The Life (2017 Remix) by The Beatles lands here because it keeps the soulful / midday glide pull alive without sanding off the grain that makes this hour interesting. The rock edge gives the turn a more precise contour than a plain mood match. Going To California can step in after it without the handoff feeling pre-chewed.

On Sgt. Pepper’s Lonely Hearts Club Band (1967), A Day In The Life (2017 Remix) 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 Going To California to arrive without the segue feeling forced.

Going To California answers A Day In The Life (2017 Remix) 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. You Keep Me Hangin' On can step in after it without the handoff feeling pre-chewed.

On The Complete BBC Sessions (2016), Going To California shows Led Zeppelin 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 A Day In The Life (2017 Remix) without borrowing the same emotional weight. It also leaves a lane for You Keep Me Hangin' On to arrive without the segue feeling forced.

You Keep Me Hangin' On answers Going To California by Led Zeppelin with a related tension instead of a copycat move, so the sequence keeps opening out. The rock / psychedelic rock edge gives the turn a more precise contour than a plain mood match.

On The Psychedelic Years 1966-1969 (1990), You Keep Me Hangin' On shows Vanilla Fudge working in a 1990s pocket with rock / psychedelic 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 / psychedelic rock texture in the pocket, especially in the way the arrangement keeps color moving under the lead. You can hear how it answers Going To California without borrowing the same emotional weight.

Atlantic City by Bruce Springsteen lands here because What A Day That Was (Live) by Talking Heads states the thesis, and A Day In The Life (2017 Remix) by The Beatles answers it with a fresh turn.. The pop, 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 Nebraska (2014), Atlantic City shows Bruce Springsteen working in a 2010s 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.

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 What A Day That Was (Live) to arrive without the segue feeling forced.

What A Day That Was (Live) answers Atlantic City by Bruce Springsteen 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 Day In The Life (2017 Remix) can step in after it without the handoff feeling pre-chewed.

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 Atlantic City without borrowing the same emotional weight. It also leaves a lane for A Day In The Life (2017 Remix) to arrive without the segue feeling forced.

A Day In The Life (2017 Remix) answers What A Day That Was (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 The Beatles 1967 – 1970 (2023 Edition) (2023), A Day In The Life (2017 Remix) 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 What A Day That Was (Live) without borrowing the same emotional weight.

Black Hole Sun (Album Version) by Soundgarden lands here because This sharp two-step keeps the emotional pressure steady after Atlantic City and introduces a new flavor without being too abrupt.. The pop, rock edge gives the turn a more precise contour than a plain mood match. Rope can step in after it without the handoff feeling pre-chewed.

On Superunknown (1994), Black Hole Sun (Album Version) shows Soundgarden working in a 1990s 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 Rope to arrive without the segue feeling forced.

Rope answers Black Hole Sun (Album Version) by Soundgarden with a related tension instead of a copycat move, so the sequence keeps opening out. The pop, rock edge gives the turn a more precise contour than a plain mood match. I’ll Follow the Sun can step in after it without the handoff feeling pre-chewed.

On Wasting Light (2011), Rope shows Foo Fighters working in a 2010s 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.

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 Black Hole Sun (Album Version) without borrowing the same emotional weight. It also leaves a lane for I’ll Follow the Sun to arrive without the segue feeling forced.

I’ll Follow the Sun answers Rope by Foo Fighters 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 Beatles for Sale (1964), I’ll Follow 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. You can hear how it answers Rope without borrowing the same emotional weight.

I Got a Line on You by Spirit lands here because Mean Mr. Mustard by The Beatles followed by I'll Take The Rain by R.E.M. keeps the emotional pressure steady after Wasted Time by Eagles and changes the sentence enough to keep the hour feeling authored.. The rock / psychedelic rock edge gives the turn a more precise contour than a plain mood match. Mean Mr. Mustard can step in after it without the handoff feeling pre-chewed.

On The Psychedelic Years 1966-1969 (1990), I Got a Line on You shows Spirit working in a 1990s pocket with rock / psychedelic 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 / psychedelic rock texture in the pocket, especially in the way the arrangement keeps color moving under the lead. It also leaves a lane for Mean Mr. Mustard to arrive without the segue feeling forced.

Mean Mr. Mustard answers I Got a Line on You by Spirit 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. I'll Take The Rain can step in after it without the handoff feeling pre-chewed.

On Abbey Road (1969), Mean Mr. Mustard 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 I Got a Line on You without borrowing the same emotional weight. It also leaves a lane for I'll Take The Rain to arrive without the segue feeling forced.

I'll Take The Rain answers Mean Mr. Mustard 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 Reveal (2001), I'll Take The Rain shows R.E.M. 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 Mean Mr. Mustard without borrowing the same emotional weight.

Draggin' The Line by Tommy James lands here because keeps the emotional pressure steady after Slow Burn by David Bowie and keeps art rock in the grain.. 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 - 1971: Take Two (1990), Draggin' The Line shows Tommy James 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. It also leaves a lane for Honey Pie to arrive without the segue feeling forced.

Honey Pie answers Draggin' The Line by Tommy James 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. Wild Eyed Boy From Freecloud 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 Draggin' The Line without borrowing the same emotional weight. It also leaves a lane for Wild Eyed Boy From Freecloud to arrive without the segue feeling forced.

Wild Eyed Boy From Freecloud answers Honey Pie by The Beatles with a related tension instead of a copycat move, so the sequence keeps opening out. The art rock edge gives the turn a more precise contour than a plain mood match.

On Man of Words/Man of Music (1969), Wild Eyed Boy From Freecloud shows David Bowie working in a 1960s pocket with art 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 art 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.

And I Love Her by The Beatles lands here because Scary Monsters (And Super Creeps) by David Bowie states the thesis, and Requiem in D Minor, K. 626: Viii. Lacrimosa by Wolfgang Amadeus Mozart answers it with a fresh turn.. The rock edge gives the turn a more precise contour than a plain mood match. Symphonie Nr. 7 a‐Dur, Op. 92: Iv. Allegro Con Brio can step in after it without the handoff feeling pre-chewed.

On A Hard Day’s Night (1964), And I Love Her 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 Symphonie Nr. 7 a‐Dur, Op. 92: Iv. Allegro Con Brio to arrive without the segue feeling forced.

Symphonie Nr. 7 a‐Dur, Op. 92: Iv. Allegro Con Brio answers And I Love Her by The Beatles 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. Requiem in D Minor, K. 626: Viii. Lacrimosa 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. You can hear how it answers And I Love Her without borrowing the same emotional weight. It also leaves a lane for Requiem in D Minor, K. 626: Viii. Lacrimosa to arrive without the segue feeling forced.

Requiem in D Minor, K. 626: Viii. Lacrimosa 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 classical edge gives the turn a more precise contour than a plain mood match.

On Requiem: Reconstruction of First Performance (2014), Requiem in D Minor, K. 626: Viii. Lacrimosa shows Wolfgang Amadeus Mozart working in a 2010s 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 Symphonie Nr. 7 a‐Dur, Op. 92: Iv. Allegro Con Brio without borrowing the same emotional weight.

All Blues by Miles Davis lands here because You And Me Together keeps the emotional pressure steady after Wake Up (Acoustic Version) by Alanis Morissette and changes the palette without cutting the thread.. The jazz edge gives the turn a more precise contour than a plain mood match. And I Love Her can step in after it without the handoff feeling pre-chewed.

On The Complete Live at the Plugged Nickel 1965 (CD7) (1965), All Blues shows Miles Davis working in a 1960s 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. It also leaves a lane for And I Love Her to arrive without the segue feeling forced.

And I Love Her answers All Blues 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. You And Me Together can step in after it without the handoff feeling pre-chewed.

On A Hard Day’s Night (1964), And I Love Her 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 All Blues without borrowing the same emotional weight. It also leaves a lane for You And Me Together to arrive without the segue feeling forced.

You And Me Together answers And I Love Her by The Beatles 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 Hannah Montana 2 (2007), You And Me Together shows Hannah Montana working in a 2000s 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 And I Love Her without borrowing the same emotional weight.

Yellow Submarine by The Beatles lands here because Keeps the emotional pressure steady after Hold The Line by Toto and turns the color from 1970s into 1990s. Satie is one of Ian's steadier shelf presences, so the pick already reads like a real hand.. The rock edge gives the turn a more precise contour than a plain mood match. Mercure - Poses Plastiques: Deuxième Tableau, Colère De Cerbère can step in after it without the handoff feeling pre-chewed.

On Yellow Submarine (1969), Yellow Submarine 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 Mercure - Poses Plastiques: Deuxième Tableau, Colère De Cerbère to arrive without the segue feeling forced.

Mercure - Poses Plastiques: Deuxième Tableau, Colère De Cerbère answers Yellow Submarine by The Beatles 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. Even It Up can step in after it without the handoff feeling pre-chewed.

On Complete Piano Works, Volume 8 (1995), Mercure - Poses Plastiques: Deuxième Tableau, Colère De Cerbère shows Satie 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. You can hear how it answers Yellow Submarine without borrowing the same emotional weight. It also leaves a lane for Even It Up to arrive without the segue feeling forced.

Even It Up answers Mercure - Poses Plastiques: Deuxième Tableau, Colère De Cerbère by Satie 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), Even It Up 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 Mercure - Poses Plastiques: Deuxième Tableau, Colère De Cerbère without borrowing the same emotional weight.

Black Rain by Soundgarden lands here because These Days by R.E.M. and Why Would You Wanna Live by Wilco provide a fresh turn while maintaining the emotional arc of the set.. The pop, rock edge gives the turn a more precise contour than a plain mood match. These Days can step in after it without the handoff feeling pre-chewed.

On Telephantasm (2010), Black Rain shows Soundgarden working in a 2010s 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.

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 These Days to arrive without the segue feeling forced.

These Days answers Black Rain by Soundgarden 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. Yellow Submarine can step in after it without the handoff feeling pre-chewed.

On Live At The Olympia (2009), These Days shows R.E.M. 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 Black Rain without borrowing the same emotional weight. It also leaves a lane for Yellow Submarine to arrive without the segue feeling forced.

Yellow Submarine answers These Days 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.

On Revolver (1966), Yellow Submarine 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 These Days without borrowing the same emotional weight.

Blackbird by The Beatles lands here because Full On (Reprise) by Soundgarden and Figure It Out by Royal Blood provide a sharp two-step that keeps the emotional pressure steady after Let Me Be Mine by Spoon, maintains pop, rock, alternatif et indé in the grain, and changes the sentence enough to keep the hour feeling authored.. The rock edge gives the turn a more precise contour than a plain mood match. Full On (Reprise) can step in after it without the handoff feeling pre-chewed.

On The Beatles (1968), Blackbird 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 Full On (Reprise) to arrive without the segue feeling forced.

Full On (Reprise) answers Blackbird by The Beatles with a related tension instead of a copycat move, so the sequence keeps opening out. The pop, rock edge gives the turn a more precise contour than a plain mood match. Figure It Out can step in after it without the handoff feeling pre-chewed.

On Louder Than Love (1989), Full On (Reprise) shows Soundgarden working in a 1980s 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.

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 Blackbird without borrowing the same emotional weight. It also leaves a lane for Figure It Out to arrive without the segue feeling forced.

Figure It Out answers Full On (Reprise) by Soundgarden 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 Royal Blood (2014), Figure It Out shows Royal Blood working in a 2010s 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 Full On (Reprise) without borrowing the same emotional weight.

A Clean Break (Let's Work) (Live; 2004 Remaster) by Talking Heads lands here because By The Way by Red Hot Chili Peppers states the thesis, and Blackbird by The Beatles answers it with a fresh turn.. The pop, rock edge gives the turn a more precise contour than a plain mood match. By The Way 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 By The Way to arrive without the segue feeling forced.

By The Way 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 alternative-rock edge gives the turn a more precise contour than a plain mood match. Blackbird can step in after it without the handoff feeling pre-chewed.

On Greatest Hits (1991), By The Way shows Red Hot Chili Peppers 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 A Clean Break (Let's Work) (Live; 2004 Remaster) without borrowing the same emotional weight. It also leaves a lane for Blackbird to arrive without the segue feeling forced.

Blackbird answers By The Way 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 The Beatles (1968), Blackbird 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 By The Way without borrowing the same emotional weight.