Session notes from the booth.

Cast No Shadow by Oasis lands here because Midnight Blue (2012 Remaster) by Kenny Burrell and Take Me to the River (Live at Berklee Performing Arts Centre, Boston) by Talking Heads provide a smooth transition from Miles Davis while keeping the emotional pressure steady.. The alternative rock edge gives the turn a more precise contour than a plain mood match. Midnight Blue (2012 Remaster) can step in after it without the handoff feeling pre-chewed.

On (What’s the Story) Morning Glory? (1995), Cast No Shadow shows Oasis working in a 1990s pocket with alternative rock in the grain. The cut moves with a candlelit drift, 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 Midnight Blue (2012 Remaster) to arrive without the segue feeling forced.

Midnight Blue (2012 Remaster) answers Cast No Shadow by Oasis 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. Take Me to the River (Live at Berklee Performing Arts Centre, Boston) can step in after it without the handoff feeling pre-chewed.

On Midnight Blue (2012 Remaster) (1963), Midnight Blue (2012 Remaster) shows Kenny Burrell working in a 1960s 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 Cast No Shadow without borrowing the same emotional weight. It also leaves a lane for Take Me to the River (Live at Berklee Performing Arts Centre, Boston) to arrive without the segue feeling forced.

Take Me to the River (Live at Berklee Performing Arts Centre, Boston) answers Midnight Blue (2012 Remaster) by Kenny Burrell 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.

On Radio Waves 1978-1983: Psycho Killers, Vol. 2 (Live) (2016), Take Me to the River (Live at Berklee Performing Arts Centre, Boston) shows Talking Heads 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 Midnight Blue (2012 Remaster) without borrowing the same emotional weight.

Soma by The Smashing Pumpkins lands here because Midnight On The Bay (Live) by Neil Young and Tadd's Delight (From The Album 'Round About Midnight) by Miles Davis create a sharp two-step that extends the feeling of The Groove Line by Heatwave without sounding automatic. They keep the emotional pressure steady, turn the color from 1990s into 2020s, and feel more like shelf moves than obvious front-window picks.. The alternative rock edge gives the turn a more precise contour than a plain mood match. Midnight On The Bay (Live) can step in after it without the handoff feeling pre-chewed.

On Siamese Dream (1993), Soma shows The Smashing Pumpkins working in a 1990s pocket with alternative 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 alternative rock texture in the pocket, especially in the way the arrangement keeps color moving under the lead. It also leaves a lane for Midnight On The Bay (Live) to arrive without the segue feeling forced.

Midnight On The Bay (Live) keeps deep shelf drift honest by sounding like a real choice inside that lane, not a decorative gesture. The country/folk/rock edge gives the turn a more precise contour than a plain mood match. Tadd's Delight (From The Album 'Round About Midnight) can step in after it without the handoff feeling pre-chewed.

On Archives, Vol. II: 1972–1976 (9) (2021), Midnight On The Bay (Live) shows Neil Young working in a 2020s pocket with country/folk/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 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 Soma without borrowing the same emotional weight. It also leaves a lane for Tadd's Delight (From The Album 'Round About Midnight) to arrive without the segue feeling forced.

Tadd's Delight (From The Album 'Round About Midnight) keeps deep shelf drift honest by sounding like a real choice inside that lane, not a decorative gesture. The jazz edge gives the turn a more precise contour than a plain mood match.

On INTEGRAL MILES DAVIS 1951-1956 (2024), Tadd's Delight (From The Album 'Round About Midnight) 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. Inside Deep shelf drift, it reads as curation rather than stunt programming.

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 Midnight On The Bay (Live) without borrowing the same emotional weight.

6 Pièces De La Période: Profondeur by Satie lands here because The Groove Line by Heatwave provides a fresh turn after Soma by The Smashing Pumpkins and keeps the emotional pressure steady. It changes the palette without cutting the thread, making it a strong choice for a two-step.. The classical edge gives the turn a more precise contour than a plain mood match. Cast No Shadow can step in after it without the handoff feeling pre-chewed.

On Complete Piano Works, Volume 5 (1994), 6 Pièces De La Période: Profondeur 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. It also leaves a lane for Cast No Shadow to arrive without the segue feeling forced.

Cast No Shadow answers 6 Pièces De La Période: Profondeur by Satie 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. The Groove Line can step in after it without the handoff feeling pre-chewed.

On (What’s the Story) Morning Glory? (1995), Cast No Shadow shows Oasis working in a 1990s pocket with alternative rock in the grain. The cut moves with a candlelit drift, 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 6 Pièces De La Période: Profondeur without borrowing the same emotional weight. It also leaves a lane for The Groove Line to arrive without the segue feeling forced.

The Groove Line answers Cast No Shadow by Oasis 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 Sounds Of The Seventies - 1978: Take Two (1991), The Groove Line shows Heatwave 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 Cast No Shadow without borrowing the same emotional weight.

Perfect Blue Buildings by Counting Crows lands here because Mercure - Poses Plastiques: Deuxième Tableau, Colère De Cerbère by Satie is a steady shelf presence that keeps the emotional pressure steady after Addicted To Love by Robert Palmer and turns the color from 1980s into 1990s. It's bolder than the room wants from Mr Rassy right now.. The alternative 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 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.

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 Mercure - Poses Plastiques: Deuxième Tableau, Colère De Cerbère to arrive without the segue feeling forced.

Mercure - Poses Plastiques: Deuxième Tableau, Colère De Cerbère answers Perfect Blue Buildings by Counting Crows 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. We Take Care of Our Own 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 Perfect Blue Buildings without borrowing the same emotional weight. It also leaves a lane for We Take Care of Our Own to arrive without the segue feeling forced.

We Take Care of Our Own 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 pop, rock edge gives the turn a more precise contour than a plain mood match.

On Wrecking Ball (2012), We Take Care of Our Own 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. You can hear how it answers Mercure - Poses Plastiques: Deuxième Tableau, Colère De Cerbère without borrowing the same emotional weight.

Death of a Party by Blur lands here because Build a sharp two-step arc with R.E.M. and Robert Palmer.. The alternative rock edge gives the turn a more precise contour than a plain mood match. The One I Love can step in after it without the handoff feeling pre-chewed.

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. It also leaves a lane for The One I Love to arrive without the segue feeling forced.

The One I Love answers Death of a Party by Blur 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. Addicted To Love can step in after it without the handoff feeling pre-chewed.

On Document (1987), The One I Love shows R.E.M. 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 Death of a Party without borrowing the same emotional weight. It also leaves a lane for Addicted To Love to arrive without the segue feeling forced.

Addicted To Love answers The One I Love by R.E.M. 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.

On Riptide (1985), Addicted To Love shows Robert Palmer 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 The One I Love without borrowing the same emotional weight.

Drive by Blind Melon lands here because Extend the feeling that follows Gold und Silber (Gold and Silver), Op. 79 by Slovak Radio Symphony Orchestra, Michael Dittrich without sounding automatic.. The alternative rock edge gives the turn a more precise contour than a plain mood match. Cinéma (For Piano 4 Hands): Chûte Du Cerceuil Et Sortie De Börlin can step in after it without the handoff feeling pre-chewed.

On Blind Melon (1992), Drive shows Blind Melon working in a 1990s pocket with alternative 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 alternative rock texture in the pocket, especially in the way the arrangement keeps color moving under the lead. It also leaves a lane for Cinéma (For Piano 4 Hands): Chûte Du Cerceuil Et Sortie De Börlin to arrive without the segue feeling forced.

Cinéma (For Piano 4 Hands): Chûte Du Cerceuil Et Sortie De Börlin answers Drive by Blind Melon 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. A Clean Break (Live) can step in after it without the handoff feeling pre-chewed.

On Complete Piano Works, Volume 8 (1995), Cinéma (For Piano 4 Hands): Chûte Du Cerceuil Et Sortie De Börlin shows Satie working in a 1990s pocket with classical 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 classical texture in the pocket, especially in the way the arrangement keeps color moving under the lead. You can hear how it answers Drive without borrowing the same emotional weight. It also leaves a lane for A Clean Break (Live) to arrive without the segue feeling forced.

A Clean Break (Live) answers Cinéma (For Piano 4 Hands): Chûte Du Cerceuil Et Sortie De Börlin by Satie 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 Live: 77 (Live) (2019), A Clean Break (Live) shows Talking Heads working in a 2010s pocket with alternative / 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 alternative / rock texture in the pocket, especially in the way the arrangement keeps color moving under the lead. You can hear how it answers Cinéma (For Piano 4 Hands): Chûte Du Cerceuil Et Sortie De Börlin without borrowing the same emotional weight.

Why Don't You Write Me by The Jacks lands here because I Wanted To Be Wrong by R.E.M. and Drive by Blind Melon provide a smooth emotional arc and keep the station's mood consistent.. The doo-wop edge gives the turn a more precise contour than a plain mood match. I Wanted To Be Wrong can step in after it without the handoff feeling pre-chewed.

On The Birth Of Doo Wop 1948-1955 (1994), Why Don't You Write Me shows The Jacks working in a 1990s pocket with doo-wop 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 doo-wop texture in the pocket, especially in the way the arrangement keeps color moving under the lead. It also leaves a lane for I Wanted To Be Wrong to arrive without the segue feeling forced.

I Wanted To Be Wrong answers Why Don't You Write Me by The Jacks 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. Drive can step in after it without the handoff feeling pre-chewed.

On Around The Sun (2004), I Wanted To Be Wrong shows R.E.M. 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.

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 Why Don't You Write Me without borrowing the same emotional weight. It also leaves a lane for Drive to arrive without the segue feeling forced.

Drive answers I Wanted To Be Wrong by R.E.M. 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 Blind Melon (1992), Drive shows Blind Melon working in a 1990s pocket with alternative 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 alternative rock texture in the pocket, especially in the way the arrangement keeps color moving under the lead. You can hear how it answers I Wanted To Be Wrong without borrowing the same emotional weight.