Session notes from the booth.

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.

The Jam Session by Miles Davis lands here because Requiem in D Minor, K. 626: Xv. Lux Aeterna by Wolfgang Amadeus Mozart and Piano Sonata No.1 in F Minor Op.2 - II. Adagio by Mari Kodama provide a fresh turn after Je Te Veux by Satie without cutting the thread.. The jazz edge gives the turn a more precise contour than a plain mood match. Requiem in D Minor, K. 626: Xv. Lux Aeterna can step in after it without the handoff feeling pre-chewed.

On 1986-1991: The Warner Years (CD2) (2011), The Jam Session shows Miles Davis 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 Requiem in D Minor, K. 626: Xv. Lux Aeterna to arrive without the segue feeling forced.

Requiem in D Minor, K. 626: Xv. Lux Aeterna answers The Jam Session by Miles Davis 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. Piano Sonata No.1 in F Minor Op.2 - II. Adagio can step in after it without the handoff feeling pre-chewed.

On Requiem: Reconstruction of First Performance (2014), Requiem in D Minor, K. 626: Xv. Lux Aeterna shows Wolfgang Amadeus Mozart working in a 2010s 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 The Jam Session without borrowing the same emotional weight. It also leaves a lane for Piano Sonata No.1 in F Minor Op.2 - II. Adagio to arrive without the segue feeling forced.

Piano Sonata No.1 in F Minor Op.2 - II. Adagio answers Requiem in D Minor, K. 626: Xv. Lux Aeterna by Wolfgang Amadeus Mozart 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.

On Beethoven. Piano Sonatas Nos. 1, 2, 3 (2008), Piano Sonata No.1 in F Minor Op.2 - II. Adagio shows Mari Kodama working in a 2000s 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 Requiem in D Minor, K. 626: Xv. Lux Aeterna without borrowing the same emotional weight.

If She Knew What She Wants (Extended Remix) by Bangles lands here because Miles Ahead (Mono Master) by Miles Davis & Gil Evans and Je Te Veux by Satie provide a smooth emotional arc, keeping the station's mood steady while offering fresh turns.. The pop/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 Gold (2) (2020), If She Knew What She Wants (Extended Remix) shows Bangles working in a 2020s pocket with pop/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 pop/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 If She Knew What She Wants (Extended Remix) by Bangles 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. Je Te Veux 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 If She Knew What She Wants (Extended Remix) without borrowing the same emotional weight. It also leaves a lane for Je Te Veux to arrive without the segue feeling forced.

Je Te Veux 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 classical edge gives the turn a more precise contour than a plain mood match.

On Complete Piano Works, Volume 3 (1994), Je Te Veux 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 Miles Ahead (Mono Master) without borrowing the same emotional weight.

Symphonie Nr. 7 a*Dur, Op. 92: Iv. Allegro Con Brio by Ludwig Van Beethoven lands here because And The Healing Has Begun by Van Morrison provides a smooth transition from Why Would You Wanna Live by Wilco while keeping the emotional pressure steady. It also adds a new element of rock to the set, maintaining the station's focus.. The classical edge gives the turn a more precise contour than a plain mood match. Artists Only (2005 Remaster) can step in after it without the handoff feeling pre-chewed.

On Symphonien Nos. 5 & 7 (1995), Symphonie Nr. 7 a*Dur, Op. 92: Iv. Allegro Con Brio shows Ludwig Van Beethoven 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 Artists Only (2005 Remaster) to arrive without the segue feeling forced.

Artists Only (2005 Remaster) answers Symphonie Nr. 7 a*Dur, Op. 92: Iv. Allegro Con Brio by Ludwig Van Beethoven 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. Show And Tell can step in after it without the handoff feeling pre-chewed.

On More Songs About Buildings and Food (Deluxe Version) (1978), Artists Only (2005 Remaster) shows Talking Heads working in a 1970s 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 Symphonie Nr. 7 a*Dur, Op. 92: Iv. Allegro Con Brio without borrowing the same emotional weight. It also leaves a lane for Show And Tell to arrive without the segue feeling forced.

Show And Tell answers Artists Only (2005 Remaster) by Talking Heads 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 - 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. You can hear how it answers Artists Only (2005 Remaster) without borrowing the same emotional weight.

Mercure by Satie lands here because keeps the emotional pressure steady after Requiem in D Minor, K. 626: Viii. Lacrimosa by Wolfgang Amadeus Mozart and changes the palette without cutting the thread.. The classical edge gives the turn a more precise contour than a plain mood match. A Thousand Days Before (Live From The Artists Den) 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 A Thousand Days Before (Live From The Artists Den) to arrive without the segue feeling forced.

A Thousand Days Before (Live From The Artists Den) answers Mercure by Satie 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. Why Would You Wanna Live can step in after it without the handoff feeling pre-chewed.

On Live From The Artists Den (2019), A Thousand Days Before (Live From The Artists Den) shows Soundgarden working in a 2010s 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 Mercure without borrowing the same emotional weight. It also leaves a lane for Why Would You Wanna Live to arrive without the segue feeling forced.

Why Would You Wanna Live answers A Thousand Days Before (Live From The Artists Den) by Soundgarden 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 Being There (2013), Why Would You Wanna Live shows Wilco 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 A Thousand Days Before (Live From The Artists Den) without borrowing the same emotional weight.

And I Love Her by The Beatles lands here because Scary Monsters (And Super Creeps) by David Bowie states the thesis, and Requiem in D Minor, K. 626: Viii. Lacrimosa by Wolfgang Amadeus Mozart answers it with a fresh turn.. The rock edge gives the turn a more precise contour than a plain mood match. Symphonie Nr. 7 a‐Dur, Op. 92: Iv. Allegro Con Brio can step in after it without the handoff feeling pre-chewed.

On A Hard Day’s Night (1964), And I Love Her 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 Symphonie Nr. 7 a‐Dur, Op. 92: Iv. Allegro Con Brio to arrive without the segue feeling forced.

Symphonie Nr. 7 a‐Dur, Op. 92: Iv. Allegro Con Brio answers And I Love Her by The Beatles 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. Requiem in D Minor, K. 626: Viii. Lacrimosa can step in after it without the handoff feeling pre-chewed.

On Symphonien Nos. 5 & 7 (1995), Symphonie Nr. 7 a‐Dur, Op. 92: Iv. Allegro Con Brio shows Ludwig Van Beethoven 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 And I Love Her without borrowing the same emotional weight. It also leaves a lane for Requiem in D Minor, K. 626: Viii. Lacrimosa to arrive without the segue feeling forced.

Requiem in D Minor, K. 626: Viii. Lacrimosa answers Symphonie Nr. 7 a‐Dur, Op. 92: Iv. Allegro Con Brio by Ludwig Van Beethoven 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.

On Requiem: Reconstruction of First Performance (2014), Requiem in D Minor, K. 626: Viii. Lacrimosa shows Wolfgang Amadeus Mozart working in a 2010s 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 Symphonie Nr. 7 a‐Dur, Op. 92: Iv. Allegro Con Brio without borrowing the same emotional weight.

Wake Up (Acoustic Version) by Alanis Morissette lands here because Johnny, Kick A Hole In The Sky by Red Hot Chili Peppers. The pop edge gives the turn a more precise contour than a plain mood match. Johnny, Kick A Hole In The Sky can step in after it without the handoff feeling pre-chewed.

On Jagged Little Pill (2015 Remastered) (2015), Wake Up (Acoustic Version) shows Alanis Morissette working in a 2010s pocket with pop 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 texture in the pocket, especially in the way the arrangement keeps color moving under the lead. It also leaves a lane for Johnny, Kick A Hole In The Sky to arrive without the segue feeling forced.

Johnny, Kick A Hole In The Sky answers Wake Up (Acoustic Version) by Alanis Morissette 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. Mercure - Poses Plastiques: Deuxième Tableau, Colère De Cerbère can step in after it without the handoff feeling pre-chewed.

On Mother's Milk (2013), Johnny, Kick A Hole In The Sky shows Red Hot Chili Peppers 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 Wake Up (Acoustic Version) without borrowing the same emotional weight. 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 Johnny, Kick A Hole In The Sky by Red Hot Chili Peppers 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.

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 Johnny, Kick A Hole In The Sky without borrowing the same emotional weight.

Yellow Submarine by The Beatles lands here because Keeps the emotional pressure steady after Hold The Line by Toto and turns the color from 1970s into 1990s. Satie is one of Ian's steadier shelf presences, so the pick already reads like a real hand.. The 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 Yellow Submarine (1969), Yellow Submarine shows The Beatles working in a 1960s pocket with 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 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 Yellow Submarine by The Beatles 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. Even It Up 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 Yellow Submarine without borrowing the same emotional weight. It also leaves a lane for Even It Up to arrive without the segue feeling forced.

Even It Up 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 rock edge gives the turn a more precise contour than a plain mood match.

On Greatest Hits / Live (1980), Even It Up shows Heart 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 Mercure - Poses Plastiques: Deuxième Tableau, Colère De Cerbère 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.

Lyrics to Go by A Tribe Called Quest lands here because keeps the emotional pressure steady after Pablo Picasso by David Bowie and turns the color from 2000s into 1990s.. The hip hop edge gives the turn a more precise contour than a plain mood match. Nabucco, Act III; Va, pensiero, ''Chorus of the Hebrew Slaves'' can step in after it without the handoff feeling pre-chewed.

On Oh My God (1993), Lyrics to Go shows A Tribe Called Quest working in a 1990s pocket with hip hop in the grain. The cut moves with a candlelit drift, 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. It also leaves a lane for Nabucco, Act III; Va, pensiero, ''Chorus of the Hebrew Slaves'' to arrive without the segue feeling forced.

Nabucco, Act III; Va, pensiero, ''Chorus of the Hebrew Slaves'' answers Lyrics to Go by A Tribe Called Quest 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. Mercure - Poses Plastiques: Deuxième Tableau, Colère De Cerbère can step in after it without the handoff feeling pre-chewed.

On 101 Classics - CD 3 (8) Mighty Choruses (2008), Nabucco, Act III; Va, pensiero, ''Chorus of the Hebrew Slaves'' shows Slovak Philharmonic Chorus, Slovak Radio Symphony Orchestra, Oliver Dohnanyi working in a 2000s 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 Lyrics to Go without borrowing the same emotional weight. 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 Nabucco, Act III; Va, pensiero, ''Chorus of the Hebrew Slaves'' by Slovak Philharmonic Chorus, Slovak Radio Symphony Orchestra, Oliver Dohnanyi 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.

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 Nabucco, Act III; Va, pensiero, ''Chorus of the Hebrew Slaves'' without borrowing the same emotional weight.

La Belle Excentrique (Fantaisie Sérieuse) (For Piano 4 Hands): Marche Franco / Lunaire by Satie lands here because Keeps the emotional pressure steady after the recent trail and changes the palette without cutting the thread. Satie is one of Ian's steadier shelf presences, so the pick already reads like a real hand.. The classical edge gives the turn a more precise contour than a plain mood match. Me And Mrs. Jones can step in after it without the handoff feeling pre-chewed.

On Complete Piano Works, Volume 7 (1995), La Belle Excentrique (Fantaisie Sérieuse) (For Piano 4 Hands): Marche Franco / Lunaire 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 Me And Mrs. Jones to arrive without the segue feeling forced.

Me And Mrs. Jones answers La Belle Excentrique (Fantaisie Sérieuse) (For Piano 4 Hands): Marche Franco / Lunaire by Satie 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 - Rock 'N' Soul Seventies (1991), Me And Mrs. Jones shows Billy Paul working in a 1990s pocket with 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 rock texture in the pocket, especially in the way the arrangement keeps color moving under the lead. You can hear how it answers La Belle Excentrique (Fantaisie Sérieuse) (For Piano 4 Hands): Marche Franco / Lunaire without borrowing the same emotional weight.

A Clean Break (Let's Work) (Live; 2004 Remaster) by Talking Heads lands here because A Clean Break (Let's Work) by Talking Heads and La Belle Excentrique by Satie provide a fresh turn after Tadd's Delight, keeping the emotional pressure steady and adding variety to the hour.. The alternative / indie rock edge gives the turn a more precise contour than a plain mood match. La Belle Excentrique (Fantaisie Sérieuse) (For Piano 4 Hands): Marche Franco / Lunaire can step in after it without the handoff feeling pre-chewed.

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. It also leaves a lane for La Belle Excentrique (Fantaisie Sérieuse) (For Piano 4 Hands): Marche Franco / Lunaire to arrive without the segue feeling forced.

La Belle Excentrique (Fantaisie Sérieuse) (For Piano 4 Hands): Marche Franco / Lunaire 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 classical edge gives the turn a more precise contour than a plain mood match.

On Complete Piano Works, Volume 7 (1995), La Belle Excentrique (Fantaisie Sérieuse) (For Piano 4 Hands): Marche Franco / Lunaire 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 A Clean Break (Let's Work) (Live; 2004 Remaster) without borrowing the same emotional weight.

Mercure - Poses Plastiques: Deuxième Tableau, Colère De Cerbère by Satie lands here because Me And Mrs. Jones by Billy Paul keeps the emotional pressure steady after Slide by Slave and turns the color from 1970s into 1990s, changing the sentence enough to keep the hour feeling authored.. The classical edge gives the turn a more precise contour than a plain mood match. Me And Mrs. Jones 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. It also leaves a lane for Me And Mrs. Jones to arrive without the segue feeling forced.

Me And Mrs. Jones 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 rock edge gives the turn a more precise contour than a plain mood match.

On Sounds Of The Seventies - Rock 'N' Soul Seventies (1991), Me And Mrs. Jones shows Billy Paul working in a 1990s pocket with 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 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.

La Belle Excentrique (Fantaisie Sérieuse) (For Piano 4 Hands): Marche Franco / Lunaire by Satie lands here because Me And Mrs. Jones by Billy Paul provides a fresh lift after Satie's left turn, keeping the emotional arc alive.. The classical edge gives the turn a more precise contour than a plain mood match. Me And Mrs. Jones can step in after it without the handoff feeling pre-chewed.

On Complete Piano Works, Volume 7 (1995), La Belle Excentrique (Fantaisie Sérieuse) (For Piano 4 Hands): Marche Franco / Lunaire 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 Me And Mrs. Jones to arrive without the segue feeling forced.

Me And Mrs. Jones answers La Belle Excentrique (Fantaisie Sérieuse) (For Piano 4 Hands): Marche Franco / Lunaire by Satie 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 - Rock 'N' Soul Seventies (1991), Me And Mrs. Jones shows Billy Paul working in a 1990s pocket with 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 rock texture in the pocket, especially in the way the arrangement keeps color moving under the lead. You can hear how it answers La Belle Excentrique (Fantaisie Sérieuse) (For Piano 4 Hands): Marche Franco / Lunaire without borrowing the same emotional weight.

Trois Poèmes D'amour: Ta Parure Est Secrète by Satie lands here because Trois Poèmes D'amour: Ta Parure Est Secrète by Satie provides a smooth transition and keeps the hour feeling authored.. The classical edge gives the turn a more precise contour than a plain mood match. Me And Mrs. Jones can step in after it without the handoff feeling pre-chewed.

On Complete Piano Works, Volume 9 (1995), Trois Poèmes D'amour: Ta Parure Est Secrète 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 Me And Mrs. Jones to arrive without the segue feeling forced.

Me And Mrs. Jones answers Trois Poèmes D'amour: Ta Parure Est Secrète by Satie 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 - Rock 'N' Soul Seventies (1991), Me And Mrs. Jones shows Billy Paul working in a 1990s pocket with 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 rock texture in the pocket, especially in the way the arrangement keeps color moving under the lead. You can hear how it answers Trois Poèmes D'amour: Ta Parure Est Secrète without borrowing the same emotional weight.

Trois Poèmes D'amour: Ta Parure Est Secrète by Satie lands here because Keeps the emotional pressure steady after Slide by Slave and turns the color from 1970s into 1990s. Listeners already leaned toward this exact record earlier, so the room comes with a little trust.. The classical edge gives the turn a more precise contour than a plain mood match. Me And Mrs. Jones can step in after it without the handoff feeling pre-chewed.

On Complete Piano Works, Volume 9 (1995), Trois Poèmes D'amour: Ta Parure Est Secrète 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 Me And Mrs. Jones to arrive without the segue feeling forced.

Me And Mrs. Jones answers Trois Poèmes D'amour: Ta Parure Est Secrète by Satie 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 - Rock 'N' Soul Seventies (1991), Me And Mrs. Jones shows Billy Paul working in a 1990s pocket with 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 rock texture in the pocket, especially in the way the arrangement keeps color moving under the lead. You can hear how it answers Trois Poèmes D'amour: Ta Parure Est Secrète without borrowing the same emotional weight.

6 Pièces De La Période: Profondeur by Satie lands here because Me And Mrs. Jones by Billy Paul lifts the mood after a slow-burn ache and provides a fresh turn without cutting the thread.. The classical edge gives the turn a more precise contour than a plain mood match. Me And Mrs. Jones 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 Me And Mrs. Jones to arrive without the segue feeling forced.

Me And Mrs. Jones 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 rock edge gives the turn a more precise contour than a plain mood match.

On Sounds Of The Seventies - Rock 'N' Soul Seventies (1991), Me And Mrs. Jones shows Billy Paul working in a 1990s pocket with 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 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.

Black Rain by Soundgarden lands here because Falling Free (Aphex Twin Remix) by Aphex Twin keeps the emotional pressure steady after Father by Aphex Twin and maintains electronic, ambient, experimental in the grain. It is part of the station's library DNA and adds a fresh accent to the hour.. The pop, rock edge gives the turn a more precise contour than a plain mood match. Trois Poèmes D'amour: Ta Parure Est Secrète can step in after it without the handoff feeling pre-chewed.

On Telephantasm (2010), Black Rain shows Soundgarden 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. It also leaves a lane for Trois Poèmes D'amour: Ta Parure Est Secrète to arrive without the segue feeling forced.

Trois Poèmes D'amour: Ta Parure Est Secrète answers Black Rain by Soundgarden 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.

On Complete Piano Works, Volume 9 (1995), Trois Poèmes D'amour: Ta Parure Est Secrète 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 Black Rain without borrowing the same emotional weight.

Mercure - Poses Plastiques: Deuxième Tableau, Colère De Cerbère by Satie lands here because Aphex Twin's 'Xtal' sets the tone. Moving to a bridge track by the same artist keeps the electronic, ambient, experimental vibe while adding emotional depth.. The classical edge gives the turn a more precise contour than a plain mood match. Father 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. It also leaves a lane for Father to arrive without the segue feeling forced.

Father 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 electronic, ambient, experimental edge gives the turn a more precise contour than a plain mood match.

On Disc 2 - Drukqs (2001), Father shows Aphex Twin working in a 2000s pocket with electronic, ambient, experimental 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, ambient, experimental 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.

Trois Poèmes D'amour: Ta Parure Est Secrète by Satie lands here because Me And Mrs. Jones by Billy Paul provides a fresh turn after Slide by Slave and changes the sentence enough to keep the hour feeling authored.. The classical edge gives the turn a more precise contour than a plain mood match. Me And Mrs. Jones can step in after it without the handoff feeling pre-chewed.

On Complete Piano Works, Volume 9 (1995), Trois Poèmes D'amour: Ta Parure Est Secrète 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 Me And Mrs. Jones to arrive without the segue feeling forced.

Me And Mrs. Jones answers Trois Poèmes D'amour: Ta Parure Est Secrète by Satie 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 - Rock 'N' Soul Seventies (1991), Me And Mrs. Jones shows Billy Paul working in a 1990s pocket with 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 rock texture in the pocket, especially in the way the arrangement keeps color moving under the lead. You can hear how it answers Trois Poèmes D'amour: Ta Parure Est Secrète without borrowing the same emotional weight.

Mercure - Poses Plastiques: Deuxième Tableau, Colère De Cerbère by Satie lands here because Mercure - Poses Plastiques: Deuxième Tableau, Colère De Cerbère by Satie states the thesis, and Me And Mrs. Jones by Billy Paul answers it with a fresh turn.. The classical edge gives the turn a more precise contour than a plain mood match. Me And Mrs. Jones 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. It also leaves a lane for Me And Mrs. Jones to arrive without the segue feeling forced.

Me And Mrs. Jones 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 rock edge gives the turn a more precise contour than a plain mood match.

On Sounds Of The Seventies - Rock 'N' Soul Seventies (1991), Me And Mrs. Jones shows Billy Paul working in a 1990s pocket with 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 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.

Tadd's Delight (From The Album 'Round About Midnight) by Miles Davis lands here because Tadd's Delight by Miles Davis provides a bold and unexpected turn after T69 collapse by Aphex Twin, while Trois Poèmes D'amour by Satie offers a smooth transition to the next hour.. The jazz edge gives the turn a more precise contour than a plain mood match. Trois Poèmes D'amour: Ta Parure Est Secrète can step in after it without the handoff feeling pre-chewed.

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.

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 Trois Poèmes D'amour: Ta Parure Est Secrète to arrive without the segue feeling forced.

Trois Poèmes D'amour: Ta Parure Est Secrète answers Tadd's Delight (From The Album 'Round About Midnight) by Miles Davis 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.

On Complete Piano Works, Volume 9 (1995), Trois Poèmes D'amour: Ta Parure Est Secrète 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 Tadd's Delight (From The Album 'Round About Midnight) without borrowing the same emotional weight.

Mercure - Poses Plastiques: Deuxième Tableau, Colère De Cerbère by Satie lands here because Even It Up by Heart provides a smooth transition from Walters Theme by R.E.M., maintaining the emotional arc while keeping rock in the mix. It's a subtle yet impactful move that fits well within the current set design.. The classical edge gives the turn a more precise contour than a plain mood match. Me And Mrs. Jones 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. It also leaves a lane for Me And Mrs. Jones to arrive without the segue feeling forced.

Me And Mrs. Jones 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 rock edge gives the turn a more precise contour than a plain mood match.

On Sounds Of The Seventies - Rock 'N' Soul Seventies (1991), Me And Mrs. Jones shows Billy Paul working in a 1990s pocket with 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 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.

6 Pièces De La Période: Profondeur by Satie lands here because Keeps the emotional pressure steady and changes the palette without cutting the thread.. The classical edge gives the turn a more precise contour than a plain mood match. Me And Mrs. Jones 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 Me And Mrs. Jones to arrive without the segue feeling forced.

Me And Mrs. Jones 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 rock edge gives the turn a more precise contour than a plain mood match.

On Sounds Of The Seventies - Rock 'N' Soul Seventies (1991), Me And Mrs. Jones shows Billy Paul working in a 1990s pocket with 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 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.

Trois Poèmes D'amour: Ta Parure Est Secrète by Satie lands here because Trois Poèmes D'amour: Ta Parure Est Secrète by Satie states the thesis, and Me And Mrs. Jones by Billy Paul answers it with a fresh turn.. The classical edge gives the turn a more precise contour than a plain mood match. Me And Mrs. Jones can step in after it without the handoff feeling pre-chewed.

On Complete Piano Works, Volume 9 (1995), Trois Poèmes D'amour: Ta Parure Est Secrète 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 Me And Mrs. Jones to arrive without the segue feeling forced.

Me And Mrs. Jones answers Trois Poèmes D'amour: Ta Parure Est Secrète by Satie 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 - Rock 'N' Soul Seventies (1991), Me And Mrs. Jones shows Billy Paul working in a 1990s pocket with 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 rock texture in the pocket, especially in the way the arrangement keeps color moving under the lead. You can hear how it answers Trois Poèmes D'amour: Ta Parure Est Secrète without borrowing the same emotional weight.

Mercure - Poses Plastiques: Deuxième Tableau, Colère De Cerbère by Satie lands here because Mercure - Poses Plastiques: Deuxième Tableau, Colère De Cerbère by Satie states the thesis, and Me And Mrs. Jones by Billy Paul answers it with a fresh turn.. The classical edge gives the turn a more precise contour than a plain mood match. Me And Mrs. Jones 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. It also leaves a lane for Me And Mrs. Jones to arrive without the segue feeling forced.

Me And Mrs. Jones 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 rock edge gives the turn a more precise contour than a plain mood match.

On Sounds Of The Seventies - Rock 'N' Soul Seventies (1991), Me And Mrs. Jones shows Billy Paul working in a 1990s pocket with 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 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.