Session notes from the booth.

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.

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.