Session notes from the booth.

Reach for it when the turn needs shape, attack, and a record that can define the next move in just a few bars. It leaves Roadhouse Blues (Screamin' Ray Daniels a.k.a. Ray Manzarek On Vocals) by The Doors off The Soft Parade (50th Anniversary Deluxe Edition) (1969) a clean lane instead of boxing the handoff in.

Hearing it against Sounds Of The Seventies - 1972 matters because it reads like part of an album world, not a detached single. I Saw The Light by Todd Rundgren off Sounds Of The Seventies - 1972 (1989) carries the feel of a band in a room rather than a mood-board tag, and that physicality matters in a sequence. With Todd Rundgren, the attraction is often attack and arrangement economy: what the band can say quickly and physically. The record earns its place through how the arrangement opens and tightens rather than through sheer mass.

Listen for where the arrangement opens wider than the first impression suggests, especially when the rhythm section changes the floor under the lead. Notice how it hands the weight to Roadhouse Blues (Screamin' Ray Daniels a.k.a. Ray Manzarek On Vocals) by The Doors off The Soft Parade (50th Anniversary Deluxe Edition) (1969) instead of crowding the next move.

Roadhouse Blues (Screamin' Ray Daniels a.k.a. Ray Manzarek On Vocals) by The Doors off The Soft Parade (50th Anniversary Deluxe Edition) (1969) lifts the pressure after I Saw The Light by Todd Rundgren off Sounds Of The Seventies - 1972 (1989) without snapping the thread. Reach for it when the turn needs shape, attack, and a record that can define the next move in just a few bars. It leaves Little Hands (Rough Mix) by The Flaming Lips off The Soft Bulletin Companion (1999) a clean lane instead of boxing the handoff in.

Hearing it against The Soft Parade (50th Anniversary Deluxe Edition) matters because it reads like part of an album world, not a detached single. Ray Manzarek On Vocals) by The Doors off The Soft Parade (50th Anniversary Deluxe Edition) (1969) carries the feel of a band in a room rather than a mood-board tag, and that physicality matters in a sequence. With The Doors, the attraction is often attack and arrangement economy: what the band can say quickly and physically. The record earns its place through how the arrangement opens and tightens rather than through sheer mass.

Listen for where the arrangement opens wider than the first impression suggests, especially when the rhythm section changes the floor under the lead. Notice how it hands the weight to Little Hands (Rough Mix) by The Flaming Lips off The Soft Bulletin Companion (1999) instead of crowding the next move.

Little Hands (Rough Mix) by The Flaming Lips off The Soft Bulletin Companion (1999) stays related to Roadhouse Blues (Screamin' Ray Daniels a.k.a. Ray Manzarek On Vocals) by The Doors off The Soft Parade (50th Anniversary Deluxe Edition) (1969) through psychedelic rock, but changes the pocket enough to matter. Reach for it when the turn needs shape, attack, and a record that can define the next move in just a few bars.

Hearing it against The Soft Bulletin Companion matters because it reads like part of an album world, not a detached single. Little Hands (Rough Mix) by The Flaming Lips off The Soft Bulletin Companion (1999) carries the feel of a band in a room rather than a mood-board tag, and that physicality matters in a sequence. With The Flaming Lips, the attraction is often attack and arrangement economy: what the band can say quickly and physically. The record earns its place through how the arrangement opens and tightens rather than through sheer mass.

Listen for where the arrangement opens wider than the first impression suggests, especially when the rhythm section changes the floor under the lead.

off Green (2013) earns its place when the turn needs shape, contrast, and enough detail to keep the next move honest. It leaves A Place In My Heart by Social Distortion off Social Distortion (1990) a clean lane instead of boxing the handoff in.

Hearing it against Green matters because it reads like part of an album world, not a detached single. off Green (2013) earns its place when the turn needs shape, contrast, and enough detail to keep the next move honest. On Green (2013), it reads as part of a larger album world instead of a stray file in the crate. Hearing it against Green matters because it reads like part of an album world, not a detached single.

Listen for the point where the record suddenly feels larger than the speakers and starts changing the shape of the room. Notice how it hands the weight to A Place In My Heart by Social Distortion off Social Distortion (1990) instead of crowding the next move.

A Place In My Heart by Social Distortion off Social Distortion (1990) cools the temperature after Low by R.E.M. off Green (2013) and lets the turn breathe. Reach for it when the turn needs shape, attack, and a record that can define the next move in just a few bars. It leaves Rock a My Soul by Pixies off Pixies (2002) a clean lane instead of boxing the handoff in.

Hearing it against Social Distortion matters because it reads like part of an album world, not a detached single. A Place In My Heart by Social Distortion off Social Distortion (1990) carries the feel of a band in a room rather than a mood-board tag, and that physicality matters in a sequence. With Social Distortion, the attraction is often attack and arrangement economy: what the band can say quickly and physically. The record earns its place through how the arrangement opens and tightens rather than through sheer mass.

Listen for where the arrangement opens wider than the first impression suggests, especially when the rhythm section changes the floor under the lead. Notice how it hands the weight to Rock a My Soul by Pixies off Pixies (2002) instead of crowding the next move.

Rock a My Soul by Pixies off Pixies (2002) stays related to A Place In My Heart by Social Distortion off Social Distortion (1990) through alternative rock, but changes the pocket enough to matter. Reach for it when the turn needs shape, attack, and a record that can define the next move in just a few bars.

Hearing it against Pixies matters because it reads like part of an album world, not a detached single. Rock a My Soul by Pixies off Pixies (2002) carries the feel of a band in a room rather than a mood-board tag, and that physicality matters in a sequence. With Pixies, the attraction is often attack and arrangement economy: what the band can say quickly and physically. The record earns its place through how the arrangement opens and tightens rather than through sheer mass.

Listen for where the arrangement opens wider than the first impression suggests, especially when the rhythm section changes the floor under the lead.

Reach for it when the turn needs shape, attack, and a record that can define the next move in just a few bars. It leaves Venus in Furs by The Velvet Underground & Nico off The Psychedelic Years 1966-1969 (1990) a clean lane instead of boxing the handoff in.

Hearing it against Morrison Hotel matters because it reads like part of an album world, not a detached single. Ray Manzarek On Vocals) by The Doors off Morrison Hotel (1970) carries the feel of a band in a room rather than a mood-board tag, and that physicality matters in a sequence. With The Doors, the attraction is often attack and arrangement economy: what the band can say quickly and physically. The record earns its place through how the arrangement opens and tightens rather than through sheer mass.

Listen for where the arrangement opens wider than the first impression suggests, especially when the rhythm section changes the floor under the lead. Notice how it hands the weight to Venus in Furs by The Velvet Underground & Nico off The Psychedelic Years 1966-1969 (1990) instead of crowding the next move.

Venus in Furs by The Velvet Underground & Nico off The Psychedelic Years 1966-1969 (1990) cools the temperature after Roadhouse Blues (Screamin' Ray Daniels a.k.a. Ray Manzarek On Vocals) by The Doors off Morrison Hotel (1970) and lets the turn breathe. Reach for it when the turn needs shape, attack, and a record that can define the next move in just a few bars. It leaves Cities (Live) (Remastered) by Talking Heads off Live At The Heatwave Festival, Bowmanville, Ontario, 23 Aug '80 (Remastered) (2015) a clean lane instead of boxing the handoff in.

Hearing it against The Psychedelic Years 1966-1969 matters because it reads like part of an album world, not a detached single. Venus in Furs by The Velvet Underground & Nico off The Psychedelic Years 1966-1969 (1990) carries the feel of a band in a room rather than a mood-board tag, and that physicality matters in a sequence. With The Velvet Underground & Nico, the attraction is often attack and arrangement economy: what the band can say quickly and physically. The record earns its place through how the arrangement opens and tightens rather than through sheer mass.

Listen for where the arrangement opens wider than the first impression suggests, especially when the rhythm section changes the floor under the lead. Notice how it hands the weight to Cities (Live) (Remastered) by Talking Heads off Live At The Heatwave Festival, Bowmanville, Ontario, 23 Aug '80 (Remastered) (2015) instead of crowding the next move.

Cities (Live) (Remastered) by Talking Heads off Live At The Heatwave Festival, Bowmanville, Ontario, 23 Aug '80 (Remastered) (2015) stays related to Venus in Furs by The Velvet Underground & Nico off The Psychedelic Years 1966-1969 (1990) through pop, but changes the pocket enough to matter. Reach for it when the turn needs shape, attack, and a record that can define the next move in just a few bars.

Hearing it against Live At The Heatwave Festival, Bowmanville, Ontario, 23 Aug '80 (Remastered) matters because it reads like part of an album world, not a detached single. Cities (Live) (Remastered) by Talking Heads off Live At The Heatwave Festival, Bowmanville, Ontario, 23 Aug '80 (Remastered) (2015) carries the feel of a band in a room rather than a mood-board tag, and that physicality matters in a sequence. With Talking Heads, the attraction is often attack and arrangement economy: what the band can say quickly and physically. The record earns its place through how the arrangement opens and tightens rather than through sheer mass.

Listen for where the arrangement opens wider than the first impression suggests, especially when the rhythm section changes the floor under the lead.