Session notes from the booth.

I Want To Be The Boy To Warm Your Mother's Heart (Live at The Aragon Ballroom, July 2, 2003) by The White Stripes lands here because Speed of Life by David Bowie keeps the emotional pressure steady and transitions from 1990s rock to 1970s art rock, maintaining the station's mood.. The pop, rock, alternatif et indé edge gives the turn a more precise contour than a plain mood match. Speed of Life can step in after it without the handoff feeling pre-chewed.

On Elephant (2023), I Want To Be The Boy To Warm Your Mother's Heart (Live at The Aragon Ballroom, July 2, 2003) shows The White Stripes working in a 2020s pocket with pop, rock, alternatif et indé 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, alternatif et indé texture in the pocket, especially in the way the arrangement keeps color moving under the lead. It also leaves a lane for Speed of Life to arrive without the segue feeling forced.

Speed of Life answers I Want To Be The Boy To Warm Your Mother's Heart (Live at The Aragon Ballroom, July 2, 2003) by The White Stripes 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. Piece of My Heart can step in after it without the handoff feeling pre-chewed.

On Low (1977), Speed of Life shows David Bowie working in a 1970s 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 I Want To Be The Boy To Warm Your Mother's Heart (Live at The Aragon Ballroom, July 2, 2003) without borrowing the same emotional weight. It also leaves a lane for Piece of My Heart to arrive without the segue feeling forced.

Piece of My Heart answers Speed of Life by David Bowie 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 Cheap Thrills (1968), Piece of My Heart shows Big Brother & the Holding Company 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 Speed of Life without borrowing the same emotional weight.

He's the Greatest Dancer by Sister Sledge lands here because Extend the feeling that follows Inner City Blues (Makes Me Wanna Holler) (Live) by Marvin Gaye without sounding automatic.. I Want To Be The Boy To Warm Your Mother's Heart (Live at The Aragon Ballroom, July 2, 2003) can step in after it without the handoff feeling pre-chewed.

He's the Greatest Dancer comes off Time-Life - Sounds Of The Seventies - Dance Fever, where Sister Sledge leans into a more tactile side of the catalog. The cut moves with a steady shoulder-roll, 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 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 I Want To Be The Boy To Warm Your Mother's Heart (Live at The Aragon Ballroom, July 2, 2003) to arrive without the segue feeling forced.

I Want To Be The Boy To Warm Your Mother's Heart (Live at The Aragon Ballroom, July 2, 2003) keeps deep shelf drift honest by sounding like a real choice inside that lane, not a decorative gesture. The pop, rock, alternatif et indé edge gives the turn a more precise contour than a plain mood match. Pride and Joy (Live) can step in after it without the handoff feeling pre-chewed.

On Elephant (2023), I Want To Be The Boy To Warm Your Mother's Heart (Live at The Aragon Ballroom, July 2, 2003) shows The White Stripes working in a 2020s 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. Inside Deep shelf drift, it reads as curation rather than stunt programming.

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 He's the Greatest Dancer without borrowing the same emotional weight. It also leaves a lane for Pride and Joy (Live) to arrive without the segue feeling forced.

Pride and Joy (Live) keeps deep shelf drift honest by sounding like a real choice inside that lane, not a decorative gesture. The soul, funk, r&b edge gives the turn a more precise contour than a plain mood match.

On Live in Tokyo 1979 (2025), Pride and Joy (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. Inside Deep shelf drift, it reads as curation rather than stunt programming.

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 I Want To Be The Boy To Warm Your Mother's Heart (Live at The Aragon Ballroom, July 2, 2003) without borrowing the same emotional weight.

I Want To Be The Boy To Warm Your Mother's Heart (Live at The Aragon Ballroom, July 2, 2003) by The White Stripes lands here because David Bowie keeps the emotional pressure steady after Thank You Friends by Big Star and turns the color from 1990s into 2020s.. The pop, rock, alternatif et indé edge gives the turn a more precise contour than a plain mood match. Fooled Around and Fell in Love can step in after it without the handoff feeling pre-chewed.

On Elephant (2023), I Want To Be The Boy To Warm Your Mother's Heart (Live at The Aragon Ballroom, July 2, 2003) shows The White Stripes working in a 2020s pocket with pop, rock, alternatif et indé 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, alternatif et indé texture in the pocket, especially in the way the arrangement keeps color moving under the lead. It also leaves a lane for Fooled Around and Fell in Love to arrive without the segue feeling forced.

Fooled Around and Fell in Love answers I Want To Be The Boy To Warm Your Mother's Heart (Live at The Aragon Ballroom, July 2, 2003) by The White Stripes with a related tension instead of a copycat move, so the sequence keeps opening out. The classic rock edge gives the turn a more precise contour than a plain mood match. Rock ’n’ Roll With Me (Live) can step in after it without the handoff feeling pre-chewed.

On Sounds of the Seventies - '70s Gold (1998), Fooled Around and Fell in Love shows Elvin Bishop working in a 1990s pocket with classic 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 classic rock texture in the pocket, especially in the way the arrangement keeps color moving under the lead. You can hear how it answers I Want To Be The Boy To Warm Your Mother's Heart (Live at The Aragon Ballroom, July 2, 2003) without borrowing the same emotional weight. It also leaves a lane for Rock ’n’ Roll With Me (Live) to arrive without the segue feeling forced.

Rock ’n’ Roll With Me (Live) answers Fooled Around and Fell in Love by Elvin Bishop 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 Moonage Daydream: A Film by Brett Morgen (2022), Rock ’n’ Roll With Me (Live) shows David Bowie working in a 2020s 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 Fooled Around and Fell in Love without borrowing the same emotional weight.

Rock And Roll All Nite by Kiss lands here because Extend the feeling that follows Doxy (From The Album Bags'Groove) by Miles Davis without sounding automatic.. The pop, rock edge gives the turn a more precise contour than a plain mood match. I Want To Be The Boy To Warm Your Mother's Heart (Live at The Aragon Ballroom, July 2, 2003) can step in after it without the handoff feeling pre-chewed.

On Dressed To Kill (1975), Rock And Roll All Nite shows Kiss 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. 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. It also leaves a lane for I Want To Be The Boy To Warm Your Mother's Heart (Live at The Aragon Ballroom, July 2, 2003) to arrive without the segue feeling forced.

I Want To Be The Boy To Warm Your Mother's Heart (Live at The Aragon Ballroom, July 2, 2003) keeps deep shelf drift honest by sounding like a real choice inside that lane, not a decorative gesture. The pop, rock, alternatif et indé edge gives the turn a more precise contour than a plain mood match. Still Summer can step in after it without the handoff feeling pre-chewed.

On Elephant (2023), I Want To Be The Boy To Warm Your Mother's Heart (Live at The Aragon Ballroom, July 2, 2003) shows The White Stripes working in a 2020s 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. Inside Deep shelf drift, it reads as curation rather than stunt programming.

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 Rock And Roll All Nite without borrowing the same emotional weight. It also leaves a lane for Still Summer to arrive without the segue feeling forced.

Still Summer keeps deep shelf drift honest by sounding like a real choice inside that lane, not a decorative gesture. The electronic edge gives the turn a more precise contour than a plain mood match.

On In Waves (2024), Still Summer shows Jamie xx working in a 2020s pocket with electronic 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 electronic texture in the pocket, especially in the way the arrangement keeps color moving under the lead. You can hear how it answers I Want To Be The Boy To Warm Your Mother's Heart (Live at The Aragon Ballroom, July 2, 2003) without borrowing the same emotional weight.

I Want To Be The Boy To Warm Your Mother's Heart (Live at The Aragon Ballroom, July 2, 2003) by The White Stripes lands here because Into Gold by London Grammar and After The Gold Rush (Live) by Neil Young & Crazy Horse provide a fresh turn while maintaining the emotional arc.. The pop, rock, alternatif et indé edge gives the turn a more precise contour than a plain mood match. Into Gold can step in after it without the handoff feeling pre-chewed.

On Elephant (2023), I Want To Be The Boy To Warm Your Mother's Heart (Live at The Aragon Ballroom, July 2, 2003) shows The White Stripes working in a 2020s pocket with pop, rock, alternatif et indé 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, alternatif et indé texture in the pocket, especially in the way the arrangement keeps color moving under the lead. It also leaves a lane for Into Gold to arrive without the segue feeling forced.

Into Gold answers I Want To Be The Boy To Warm Your Mother's Heart (Live at The Aragon Ballroom, July 2, 2003) by The White Stripes with a related tension instead of a copycat move, so the sequence keeps opening out. The alternative & indie edge gives the turn a more precise contour than a plain mood match. After The Gold Rush (Live) can step in after it without the handoff feeling pre-chewed.

On The Greatest Love (2024), Into Gold shows London Grammar working in a 2020s pocket with alternative & indie 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 alternative & indie texture in the pocket, especially in the way the arrangement keeps color moving under the lead. You can hear how it answers I Want To Be The Boy To Warm Your Mother's Heart (Live at The Aragon Ballroom, July 2, 2003) without borrowing the same emotional weight. It also leaves a lane for After The Gold Rush (Live) to arrive without the segue feeling forced.

After The Gold Rush (Live) answers Into Gold by London Grammar with a related tension instead of a copycat move, so the sequence keeps opening out. The country/folk/rock edge gives the turn a more precise contour than a plain mood match.

On Archives, Vol. II: 1972–1976 (10) (2021), After The Gold Rush (Live) shows Neil Young & Crazy Horse working in a 2020s pocket with country/folk/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 country/folk/rock texture in the pocket, especially in the way the arrangement keeps color moving under the lead. You can hear how it answers Into Gold without borrowing the same emotional weight.

Bags' Groove (Take 1) by Kenny Clarke lands here because But Not For Me (From The Album Bags'Groove) by Miles Davis and I Want To Be The Boy To Warm Your Mother's Heart (Live at The Aragon Ballroom, July 2, 2003) by The White Stripes provide a sharp two-step that deepens the emotional arc after Rock 'n' Roll With Me (Live) by David Bowie. They keep the energy steady and change the palette without cutting the thread.. The jazz edge gives the turn a more precise contour than a plain mood match. But Not For Me (From The Album Bags'Groove) can step in after it without the handoff feeling pre-chewed.

On Bags' Groove (2016), Bags' Groove (Take 1) shows Kenny Clarke working in a 2010s 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 But Not For Me (From The Album Bags'Groove) to arrive without the segue feeling forced.

But Not For Me (From The Album Bags'Groove) answers Bags' Groove (Take 1) by Kenny Clarke 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. I Want To Be The Boy To Warm Your Mother's Heart (Live at The Aragon Ballroom, July 2, 2003) can step in after it without the handoff feeling pre-chewed.

On INTEGRAL MILES DAVIS 1951-1956 (2024), But Not For Me (From The Album Bags'Groove) 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.

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 Bags' Groove (Take 1) without borrowing the same emotional weight. It also leaves a lane for I Want To Be The Boy To Warm Your Mother's Heart (Live at The Aragon Ballroom, July 2, 2003) to arrive without the segue feeling forced.

I Want To Be The Boy To Warm Your Mother's Heart (Live at The Aragon Ballroom, July 2, 2003) answers But Not For Me (From The Album Bags'Groove) by Miles Davis 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 Elephant (2023), I Want To Be The Boy To Warm Your Mother's Heart (Live at The Aragon Ballroom, July 2, 2003) shows The White Stripes working in a 2020s 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 But Not For Me (From The Album Bags'Groove) without borrowing the same emotional weight.

I Want To Be The Boy To Warm Your Mother's Heart (Live at The Aragon Ballroom, July 2, 2003) by The White Stripes lands here because Walkin' by Miles Davis keeps the emotional pressure steady after Happiness Is a Warm Gun by The Beatles and changes the palette without cutting the thread.. The pop, rock, alternatif et indé edge gives the turn a more precise contour than a plain mood match. Walkin' can step in after it without the handoff feeling pre-chewed.

On Elephant (2023), I Want To Be The Boy To Warm Your Mother's Heart (Live at The Aragon Ballroom, July 2, 2003) shows The White Stripes working in a 2020s pocket with pop, rock, alternatif et indé 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, alternatif et indé texture in the pocket, especially in the way the arrangement keeps color moving under the lead. It also leaves a lane for Walkin' to arrive without the segue feeling forced.

Walkin' answers I Want To Be The Boy To Warm Your Mother's Heart (Live at The Aragon Ballroom, July 2, 2003) by The White Stripes 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. Crazy Love can step in after it without the handoff feeling pre-chewed.

On At Plugged Nickel, Chicago (CD1) (1965), Walkin' 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. You can hear how it answers I Want To Be The Boy To Warm Your Mother's Heart (Live at The Aragon Ballroom, July 2, 2003) without borrowing the same emotional weight. It also leaves a lane for Crazy Love to arrive without the segue feeling forced.

Crazy Love answers Walkin' 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 Essential Van Morrison (1) (2015), Crazy Love shows Van Morrison 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 Walkin' without borrowing the same emotional weight.

The Lady Don't Mind (2005 Remaster) by Talking Heads lands here because Keeps the emotional pressure steady after Things We Said Today by The Beatles and turns the color from 1960s into 2020s, maintaining the deep-cuts promise.. The rock edge gives the turn a more precise contour than a plain mood match. I Want To Be The Boy To Warm Your Mother's Heart (Live at The Aragon Ballroom, July 2, 2003) can step in after it without the handoff feeling pre-chewed.

On Fear of Music (Deluxe Version) (1979), The Lady Don't Mind (2005 Remaster) shows Talking Heads 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. 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 I Want To Be The Boy To Warm Your Mother's Heart (Live at The Aragon Ballroom, July 2, 2003) to arrive without the segue feeling forced.

I Want To Be The Boy To Warm Your Mother's Heart (Live at The Aragon Ballroom, July 2, 2003) keeps deep shelf drift honest by sounding like a real choice inside that lane, not a decorative gesture. The pop, rock, alternatif et indé edge gives the turn a more precise contour than a plain mood match. I’ll Cry Instead can step in after it without the handoff feeling pre-chewed.

On Elephant (2023), I Want To Be The Boy To Warm Your Mother's Heart (Live at The Aragon Ballroom, July 2, 2003) shows The White Stripes working in a 2020s 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. Inside Deep shelf drift, it reads as curation rather than stunt programming.

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 The Lady Don't Mind (2005 Remaster) without borrowing the same emotional weight. It also leaves a lane for I’ll Cry Instead to arrive without the segue feeling forced.

I’ll Cry Instead keeps deep shelf drift 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 A Hard Day’s Night (1964), I’ll Cry Instead 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 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. You can hear how it answers I Want To Be The Boy To Warm Your Mother's Heart (Live at The Aragon Ballroom, July 2, 2003) without borrowing the same emotional weight.