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.

Bag Of Grins by Red Hot Chili Peppers lands here because Venus in Furs by The Velvet Underground & Nico states the thesis and Soma by The Smashing Pumpkins answers it with a fresh turn.. The alternative-rock edge gives the turn a more precise contour than a plain mood match. Venus in Furs can step in after it without the handoff feeling pre-chewed.

On Return Of The Dream Canteen (2022), Bag Of Grins shows Red Hot Chili Peppers working in a 2020s 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 Venus in Furs to arrive without the segue feeling forced.

Venus in Furs answers Bag Of Grins by Red Hot Chili Peppers 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. Soma can step in after it without the handoff feeling pre-chewed.

On The Psychedelic Years 1966-1969 (1990), Venus in Furs shows The Velvet Underground & Nico working in a 1990s pocket with rock / psychedelic 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 / psychedelic rock texture in the pocket, especially in the way the arrangement keeps color moving under the lead. You can hear how it answers Bag Of Grins without borrowing the same emotional weight. It also leaves a lane for Soma to arrive without the segue feeling forced.

Soma answers Venus in Furs by The Velvet Underground & Nico 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 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.

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 Venus in Furs without borrowing the same emotional weight.

Nobody*s Perfect by Hannah Montana lands here because Geek U.S.A. by The Smashing Pumpkins and How Deep Is Your Love by Bee Gees provide a smooth transition from the industrial rock of Nine Inch Nails, maintaining the 1990s theme while offering fresh energy and palette changes.. The pop edge gives the turn a more precise contour than a plain mood match. Geek U.S.A. can step in after it without the handoff feeling pre-chewed.

On Hannah Montana 2 (2007), Nobody*s Perfect 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. Inside 1990s pressure, it reads as curation rather than stunt programming.

Listen for the pop texture in the pocket, especially in the way the arrangement keeps color moving under the lead. It also leaves a lane for Geek U.S.A. to arrive without the segue feeling forced.

Geek U.S.A. keeps 1990s pressure 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. How Deep Is Your Love can step in after it without the handoff feeling pre-chewed.

On Siamese Dream (1993), Geek U.S.A. shows The Smashing Pumpkins 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 1990s pressure, 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 Nobody*s Perfect without borrowing the same emotional weight. It also leaves a lane for How Deep Is Your Love to arrive without the segue feeling forced.

How Deep Is Your Love keeps 1990s pressure 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 Sounds Of The Seventies - 1977 (1990), How Deep Is Your Love shows Bee Gees 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. Inside 1990s pressure, 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 Geek U.S.A. without borrowing the same emotional weight.