Session notes from the booth.

Walkin* On Down The Road by Red Hot Chili Peppers lands here because A Clean Break (Let's Work) (Live at CBGB's, 10/10/77) by Talking Heads states the thesis and The Lady Don't Mind (2005 Remaster) by Talking Heads answers it with a fresh turn.. The alternative-rock edge gives the turn a more precise contour than a plain mood match. A Clean Break (Let's Work) (Live at CBGB's, 10/10/77) can step in after it without the handoff feeling pre-chewed.

On The Uplift Mofo Party Plan (1987), Walkin* On Down The Road shows Red Hot Chili Peppers working in a 1980s 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. Inside Talking Heads close-up, 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 A Clean Break (Let's Work) (Live at CBGB's, 10/10/77) to arrive without the segue feeling forced.

A Clean Break (Let's Work) (Live at CBGB's, 10/10/77) keeps talking heads close-up 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. The Lady Don't Mind (2005 Remaster) can step in after it without the handoff feeling pre-chewed.

On Bonus Rarities & Outtakes (2006), A Clean Break (Let's Work) (Live at CBGB's, 10/10/77) 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 Talking Heads close-up, 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 Walkin* On Down The Road without borrowing the same emotional weight. It also leaves a lane for The Lady Don't Mind (2005 Remaster) to arrive without the segue feeling forced.

The Lady Don't Mind (2005 Remaster) keeps talking heads close-up honest by sounding like a real choice inside that lane, not a decorative gesture. The pop edge gives the turn a more precise contour than a plain mood match.

On Essential (2011), The Lady Don't Mind (2005 Remaster) shows Talking Heads working in a 2010s 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 Talking Heads close-up, 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. You can hear how it answers A Clean Break (Let's Work) (Live at CBGB's, 10/10/77) without borrowing the same emotional weight.

Under My Thumb by Social Distortion lands here because This Is The Day by The Cranberries and What A Day That Was (Live) by Talking Heads provide a smooth emotional arc after Walkin’ On Down The Road by Red Hot Chili Peppers.. The punk rock edge gives the turn a more precise contour than a plain mood match. This Is The Day can step in after it without the handoff feeling pre-chewed.

On Live At The Roxy (1998), Under My Thumb shows Social Distortion working in a 1990s pocket with punk 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 punk rock texture in the pocket, especially in the way the arrangement keeps color moving under the lead. It also leaves a lane for This Is The Day to arrive without the segue feeling forced.

This Is The Day answers Under My Thumb by Social Distortion 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. What A Day That Was (Live) can step in after it without the handoff feeling pre-chewed.

On Dreams: The Collection (2012), This Is The Day shows The Cranberries working in a 2010s 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 Under My Thumb without borrowing the same emotional weight. It also leaves a lane for What A Day That Was (Live) to arrive without the segue feeling forced.

What A Day That Was (Live) answers This Is The Day by The Cranberries 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 Still Don't Make No Sense (Live) (2015), What A Day That Was (Live) shows Talking Heads 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 This Is The Day without borrowing the same emotional weight.

This Bright Flash by M83 lands here because Keeps the emotional pressure steady and changes the palette without cutting the thread.. The electronic / rock edge gives the turn a more precise contour than a plain mood match. Fresh Tendrils can step in after it without the handoff feeling pre-chewed.

On Hurry Up, We're Dreaming. (18), This Bright Flash shows M83 working in a 10s pocket with electronic / 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 electronic / rock texture in the pocket, especially in the way the arrangement keeps color moving under the lead. It also leaves a lane for Fresh Tendrils to arrive without the segue feeling forced.

Fresh Tendrils answers This Bright Flash by M83 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. Walkin’ On Down The Road can step in after it without the handoff feeling pre-chewed.

On Superunknown (1994), Fresh Tendrils shows Soundgarden 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 This Bright Flash without borrowing the same emotional weight. It also leaves a lane for Walkin’ On Down The Road to arrive without the segue feeling forced.

Walkin’ On Down The Road answers Fresh Tendrils by Soundgarden 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 The Uplift Mofo Party Plan (1987), Walkin’ On Down The Road shows Red Hot Chili Peppers working in a 1980s 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 Fresh Tendrils without borrowing the same emotional weight.

Piano Sonata No.1 in F Minor Op.2 by Mari Kodama lands here because Red Hot Chili Peppers' 'The Getaway' states the thesis, and Bruce Springsteen’s 'Atlantic City' answers it with a fresh turn.. The classical edge gives the turn a more precise contour than a plain mood match. The Getaway can step in after it without the handoff feeling pre-chewed.

On Beethoven. Piano Sonatas Nos. 1, 2, 3 (2008), Piano Sonata No.1 in F Minor Op.2 shows Mari Kodama working in a 2000s 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. It also leaves a lane for The Getaway to arrive without the segue feeling forced.

The Getaway answers Piano Sonata No.1 in F Minor Op.2 by Mari Kodama 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. Atlantic City can step in after it without the handoff feeling pre-chewed.

On The Getaway (2016), The Getaway shows Red Hot Chili Peppers working in a 2010s 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 Piano Sonata No.1 in F Minor Op.2 without borrowing the same emotional weight. It also leaves a lane for Atlantic City to arrive without the segue feeling forced.

Atlantic City answers The Getaway by Red Hot Chili Peppers 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 Nebraska (2014), Atlantic City 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 The Getaway without borrowing the same emotional weight.

I'll Take The Rain by R.E.M. lands here because Keeps the emotional pressure steady after Finale by Daft Punk and turns the color from 10s into 2020s.. The rock edge gives the turn a more precise contour than a plain mood match. Bastards Of Light can step in after it without the handoff feeling pre-chewed.

On Reveal (2001), I'll Take The Rain shows R.E.M. working in a 2000s 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. It also leaves a lane for Bastards Of Light to arrive without the segue feeling forced.

Bastards Of Light answers I'll Take The Rain 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. I'm Beginning To See The Light can step in after it without the handoff feeling pre-chewed.

On Unlimited Love (2022), Bastards Of Light shows Red Hot Chili Peppers working in a 2020s 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 I'll Take The Rain without borrowing the same emotional weight. It also leaves a lane for I'm Beginning To See The Light to arrive without the segue feeling forced.

I'm Beginning To See The Light answers Bastards Of Light by Red Hot Chili Peppers 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.

On Sinatra And Swingin' Brass (2014), I'm Beginning To See The Light shows Frank Sinatra 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. You can hear how it answers Bastards Of Light without borrowing the same emotional weight.

Slow Cheetah by Red Hot Chili Peppers lands here because it keeps the soulful / fresh current pull alive without sanding off the grain that makes this hour interesting. The alternative-rock edge gives the turn a more precise contour than a plain mood match. Let's Go Away Foe A While (Highlights from Tracking Date) can step in after it without the handoff feeling pre-chewed.

On Stadium Arcadium - Jupiter (2006), Slow Cheetah shows Red Hot Chili Peppers working in a 2000s 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 Let's Go Away Foe A While (Highlights from Tracking Date) to arrive without the segue feeling forced.

Let's Go Away Foe A While (Highlights from Tracking Date) answers Slow Cheetah by Red Hot Chili Peppers with a related tension instead of a copycat move, so the sequence keeps opening out. The pop edge gives the turn a more precise contour than a plain mood match. Fresh Out The Slammer can step in after it without the handoff feeling pre-chewed.

On Pet Sounds (CD 2) [50th Anniversary Edition] (2016), Let's Go Away Foe A While (Highlights from Tracking Date) shows The Beach Boys working in a 2010s 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.

Listen for the pop texture in the pocket, especially in the way the arrangement keeps color moving under the lead. You can hear how it answers Slow Cheetah without borrowing the same emotional weight. It also leaves a lane for Fresh Out The Slammer to arrive without the segue feeling forced.

Fresh Out The Slammer answers Let's Go Away Foe A While (Highlights from Tracking Date) by The Beach Boys 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 THE TORTURED POETS DEPARTMENT: THE ANTHOLOGY (2024), Fresh Out The Slammer shows Taylor Swift working in a 2020s 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.

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 Let's Go Away Foe A While (Highlights from Tracking Date) without borrowing the same emotional weight.

Wild Eyed Boy From Freecloud by David Bowie lands here because Sunrise Prelude by Daft Punk keeps the emotional pressure steady after Nocturne and maintains electronic/leftfield in the grain.. The art rock edge gives the turn a more precise contour than a plain mood match. Slow Cheetah can step in after it without the handoff feeling pre-chewed.

On Moonage Daydream: A Film by Brett Morgen (2022), Wild Eyed Boy From Freecloud shows David Bowie working in a 2020s pocket with art 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 art rock texture in the pocket, especially in the way the arrangement keeps color moving under the lead. It also leaves a lane for Slow Cheetah to arrive without the segue feeling forced.

Slow Cheetah answers Wild Eyed Boy From Freecloud by David Bowie 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. Slide can step in after it without the handoff feeling pre-chewed.

On Stadium Arcadium - Jupiter (2006), Slow Cheetah shows Red Hot Chili Peppers working in a 2000s 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 Wild Eyed Boy From Freecloud without borrowing the same emotional weight. It also leaves a lane for Slide to arrive without the segue feeling forced.

Slide answers Slow Cheetah by Red Hot Chili Peppers with a related tension instead of a copycat move, so the sequence keeps opening out. The soul, funk, r&b edge gives the turn a more precise contour than a plain mood match.

On Slave (1977), Slide shows Slave working in a 1970s pocket with soul, funk, r&b 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 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 Slow Cheetah without borrowing the same emotional weight.

Mercure by Satie lands here because One Way Traffic by Red Hot Chili Peppers and A Clean Break (Let's Work) (Live; 2004 Remaster) by Talking Heads provide a fresh turn while maintaining the emotional arc.. The classical edge gives the turn a more precise contour than a plain mood match. One Way Traffic can step in after it without the handoff feeling pre-chewed.

On Complete Piano Works, Volume 8 (1995), Mercure 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. It also leaves a lane for One Way Traffic to arrive without the segue feeling forced.

One Way Traffic answers Mercure 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. A Clean Break (Let's Work) (Live; 2004 Remaster) can step in after it without the handoff feeling pre-chewed.

On Unlimited Love (2022), One Way Traffic shows Red Hot Chili Peppers working in a 2020s 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 Mercure without borrowing the same emotional weight. It also leaves a lane for A Clean Break (Let's Work) (Live; 2004 Remaster) to arrive without the segue feeling forced.

A Clean Break (Let's Work) (Live; 2004 Remaster) answers One Way Traffic by Red Hot Chili Peppers with a related tension instead of a copycat move, so the sequence keeps opening out. The alternative / indie rock edge gives the turn a more precise contour than a plain mood match.

On The Name of This Band Is Talking Heads (Expanded 2004 Remaster) (2004), A Clean Break (Let's Work) (Live; 2004 Remaster) shows Talking Heads working in a 2000s pocket with alternative / indie 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 / indie rock texture in the pocket, especially in the way the arrangement keeps color moving under the lead. You can hear how it answers One Way Traffic without borrowing the same emotional weight.

A Clean Break (Let's Work) (Live; 2004 Remaster) by Talking Heads lands here because By The Way by Red Hot Chili Peppers states the thesis, and Blackbird by The Beatles answers it with a fresh turn.. The pop, rock edge gives the turn a more precise contour than a plain mood match. By The Way can step in after it without the handoff feeling pre-chewed.

On Once in a Lifetime: The Talking Heads Box (2003), A Clean Break (Let's Work) (Live; 2004 Remaster) shows Talking Heads working in a 2000s pocket with pop, 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 pop, rock texture in the pocket, especially in the way the arrangement keeps color moving under the lead. It also leaves a lane for By The Way to arrive without the segue feeling forced.

By The Way answers A Clean Break (Let's Work) (Live; 2004 Remaster) by Talking Heads 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. Blackbird can step in after it without the handoff feeling pre-chewed.

On Greatest Hits (1991), By The Way shows Red Hot Chili Peppers 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 A Clean Break (Let's Work) (Live; 2004 Remaster) without borrowing the same emotional weight. It also leaves a lane for Blackbird to arrive without the segue feeling forced.

Blackbird answers By The Way by Red Hot Chili Peppers 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 Beatles (1968), Blackbird 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.

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 By The Way without borrowing the same emotional weight.