Session notes from the booth.

Happiness Is a Warm Gun by The Beatles lands here because Keeps the emotional pressure steady after Crazy Love by Van Morrison and changes the palette without cutting the thread.. The rock edge gives the turn a more precise contour than a plain mood match. The Good Life can step in after it without the handoff feeling pre-chewed.

On The Beatles (1968), Happiness Is a Warm Gun 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. It also leaves a lane for The Good Life to arrive without the segue feeling forced.

The Good Life answers Happiness Is a Warm Gun by The Beatles 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. I’d Rather Be High can step in after it without the handoff feeling pre-chewed.

On Pinkerton (1996), The Good Life shows Weezer 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 Happiness Is a Warm Gun without borrowing the same emotional weight. It also leaves a lane for I’d Rather Be High to arrive without the segue feeling forced.

I’d Rather Be High answers The Good Life by Weezer 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 The Next Day (2013), I’d Rather Be High shows David Bowie working in a 2010s 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 The Good Life 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.

Slow Burn by David Bowie lands here because Keeps the emotional pressure steady after Wild Eyed Boy From Freecloud by David Bowie and turns the color from 1960s into 10s. Daft Punk keeps the close-up honest, so the special reads like a deliberate stay instead of a gimmick.. The art rock edge gives the turn a more precise contour than a plain mood match. Castor can step in after it without the handoff feeling pre-chewed.

On Heathen (2002), Slow Burn shows David Bowie working in a 2000s pocket with art rock in the grain. The cut moves with a steady shoulder-roll, which is why it can hold this turn without flattening it. Inside Daft Punk close-up, it reads as curation rather than stunt programming.

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 Castor to arrive without the segue feeling forced.

Castor keeps daft punk close-up honest by sounding like a real choice inside that lane, not a decorative gesture. The electronic / leftfield edge gives the turn a more precise contour than a plain mood match. Nocturne can step in after it without the handoff feeling pre-chewed.

On Tron: Legacy (Original Motion Picture Soundtrack) (18), Castor shows Daft Punk working in a 10s pocket with electronic / leftfield in the grain. The cut moves with a slow-burn glide, which is why it can hold this turn without flattening it. Inside Daft Punk close-up, it reads as curation rather than stunt programming.

Listen for the electronic / leftfield texture in the pocket, especially in the way the arrangement keeps color moving under the lead. You can hear how it answers Slow Burn without borrowing the same emotional weight. It also leaves a lane for Nocturne to arrive without the segue feeling forced.

Nocturne keeps daft punk close-up honest by sounding like a real choice inside that lane, not a decorative gesture. The electronic / leftfield edge gives the turn a more precise contour than a plain mood match.

On Tron: Legacy (Original Motion Picture Soundtrack) (18), Nocturne shows Daft Punk working in a 10s pocket with electronic / leftfield in the grain. The cut moves with a steady shoulder-roll, which is why it can hold this turn without flattening it. Inside Daft Punk close-up, it reads as curation rather than stunt programming.

Listen for the electronic / leftfield texture in the pocket, especially in the way the arrangement keeps color moving under the lead. You can hear how it answers Castor without borrowing the same emotional weight.

Draggin' The Line by Tommy James lands here because keeps the emotional pressure steady after Slow Burn by David Bowie and keeps art rock in the grain.. The rock edge gives the turn a more precise contour than a plain mood match. Honey Pie can step in after it without the handoff feeling pre-chewed.

On Sounds Of The Seventies - 1971: Take Two (1990), Draggin' The Line shows Tommy James 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. It also leaves a lane for Honey Pie to arrive without the segue feeling forced.

Honey Pie answers Draggin' The Line by Tommy James 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. Wild Eyed Boy From Freecloud can step in after it without the handoff feeling pre-chewed.

On The Beatles (1968), Honey Pie 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 Draggin' The Line without borrowing the same emotional weight. It also leaves a lane for Wild Eyed Boy From Freecloud to arrive without the segue feeling forced.

Wild Eyed Boy From Freecloud answers Honey Pie by The Beatles 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 Man of Words/Man of Music (1969), Wild Eyed Boy From Freecloud shows David Bowie working in a 1960s pocket with art 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 art rock texture in the pocket, especially in the way the arrangement keeps color moving under the lead. You can hear how it answers Honey Pie without borrowing the same emotional weight.

Show And Tell by Al Wilson lands here because Miles Ahead (Mono Master) by Miles Davis & Gil Evans states the thesis, and Slow Burn by David Bowie answers it with a fresh turn.. The rock edge gives the turn a more precise contour than a plain mood match. Miles Ahead (Mono Master) can step in after it without the handoff feeling pre-chewed.

On Sounds Of The Seventies - 1974 (1990), Show And Tell shows Al Wilson 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. It also leaves a lane for Miles Ahead (Mono Master) to arrive without the segue feeling forced.

Miles Ahead (Mono Master) answers Show And Tell by Al Wilson 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. Slow Burn can step in after it without the handoff feeling pre-chewed.

On The Complete Columbia Studio Recordings [Disc 6] (2004), Miles Ahead (Mono Master) shows Miles Davis & Gil Evans working in a 2000s 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 Show And Tell without borrowing the same emotional weight. It also leaves a lane for Slow Burn to arrive without the segue feeling forced.

Slow Burn answers Miles Ahead (Mono Master) by Miles Davis & Gil Evans 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 Heathen (2002), Slow Burn shows David Bowie working in a 2000s pocket with art 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 art rock texture in the pocket, especially in the way the arrangement keeps color moving under the lead. You can hear how it answers Miles Ahead (Mono Master) without borrowing the same emotional weight.

Roadhouse Blues (Screamin' Ray Daniels a.k.a. Ray Manzarek On Vocals) by The Doors lands here because David Bowie and Toto provide a smooth transition from The Beatles while maintaining the emotional arc.. The pop, rock edge gives the turn a more precise contour than a plain mood match. Chant of the Ever Circling Skeletal Family can step in after it without the handoff feeling pre-chewed.

On Morrison Hotel (1970), Roadhouse Blues (Screamin' Ray Daniels a.k.a. Ray Manzarek On Vocals) shows The Doors 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.

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 Chant of the Ever Circling Skeletal Family to arrive without the segue feeling forced.

Chant of the Ever Circling Skeletal Family answers Roadhouse Blues (Screamin' Ray Daniels a.k.a. Ray Manzarek On Vocals) by The Doors 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. Hold The Line can step in after it without the handoff feeling pre-chewed.

On Diamond Dogs (1974), Chant of the Ever Circling Skeletal Family 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 Roadhouse Blues (Screamin' Ray Daniels a.k.a. Ray Manzarek On Vocals) without borrowing the same emotional weight. It also leaves a lane for Hold The Line to arrive without the segue feeling forced.

Hold The Line answers Chant of the Ever Circling Skeletal Family 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 Toto (1978), Hold The Line shows Toto working in a 1970s 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 Chant of the Ever Circling Skeletal Family without borrowing the same emotional weight.

Something I Dreamed Last Night by John Coltrane lands here because Keeps the emotional pressure steady after Lyrics to Go by A Tribe Called Quest and turns the color from 1990s into 2000s.. The jazz edge gives the turn a more precise contour than a plain mood match. Xxplosive can step in after it without the handoff feeling pre-chewed.

On Coltrane '58: The Prestige Recordings (2019), Something I Dreamed Last Night shows John Coltrane 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 Xxplosive to arrive without the segue feeling forced.

Xxplosive answers Something I Dreamed Last Night by John Coltrane with a related tension instead of a copycat move, so the sequence keeps opening out. The hip hop edge gives the turn a more precise contour than a plain mood match. Pablo Picasso can step in after it without the handoff feeling pre-chewed.

On 2001 (1999), Xxplosive shows Dr. Dre Featuring Hittman, Kurupt, Nate Dogg & Six-2 working in a 1990s pocket with hip hop 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 hip hop texture in the pocket, especially in the way the arrangement keeps color moving under the lead. You can hear how it answers Something I Dreamed Last Night without borrowing the same emotional weight. It also leaves a lane for Pablo Picasso to arrive without the segue feeling forced.

Pablo Picasso answers Xxplosive by Dr. Dre Featuring Hittman, Kurupt, Nate Dogg & Six-2 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 Reality (2003), Pablo Picasso shows David Bowie working in a 2000s 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 Xxplosive without borrowing the same emotional weight.

Let Me Be Mine by Spoon lands here because Keeps the emotional pressure steady after Figure It Out by Royal Blood and turns the color from 2010s into 1990s.. The pop, rock, alternatif et indé edge gives the turn a more precise contour than a plain mood match. Scentless Apprentice (Album Version) can step in after it without the handoff feeling pre-chewed.

On They Want My Soul (2024), Let Me Be Mine shows Spoon 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. It also leaves a lane for Scentless Apprentice (Album Version) to arrive without the segue feeling forced.

Scentless Apprentice (Album Version) answers Let Me Be Mine by Spoon 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. Battle for Britain (The Letter) can step in after it without the handoff feeling pre-chewed.

On In Utero (HD Remastered) (1993), Scentless Apprentice (Album Version) shows Nirvana working in a 1990s 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 Let Me Be Mine without borrowing the same emotional weight. It also leaves a lane for Battle for Britain (The Letter) to arrive without the segue feeling forced.

Battle for Britain (The Letter) answers Scentless Apprentice (Album Version) by Nirvana 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 Earthling (1997), Battle for Britain (The Letter) shows David Bowie working in a 1990s 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 Scentless Apprentice (Album Version) without borrowing the same emotional weight.