Session notes from the booth.

Perfect Blue Buildings by Counting Crows lands here because Mercure - Poses Plastiques: Deuxième Tableau, Colère De Cerbère by Satie is a steady shelf presence that keeps the emotional pressure steady after Addicted To Love by Robert Palmer and turns the color from 1980s into 1990s. It's bolder than the room wants from Mr Rassy right now.. The alternative rock edge gives the turn a more precise contour than a plain mood match. Mercure - Poses Plastiques: Deuxième Tableau, Colère De Cerbère can step in after it without the handoff feeling pre-chewed.

On August and Everything After (1993), Perfect Blue Buildings shows Counting Crows working in a 1990s pocket with alternative rock in the grain. The cut moves with a slow-burn glide, which is why it can hold this turn without flattening it.

Listen for the alternative rock texture in the pocket, especially in the way the arrangement keeps color moving under the lead. It also leaves a lane for Mercure - Poses Plastiques: Deuxième Tableau, Colère De Cerbère to arrive without the segue feeling forced.

Mercure - Poses Plastiques: Deuxième Tableau, Colère De Cerbère answers Perfect Blue Buildings by Counting Crows with a related tension instead of a copycat move, so the sequence keeps opening out. The classical edge gives the turn a more precise contour than a plain mood match. We Take Care of Our Own can step in after it without the handoff feeling pre-chewed.

On Complete Piano Works, Volume 8 (1995), Mercure - Poses Plastiques: Deuxième Tableau, Colère De Cerbère shows Satie working in a 1990s pocket with classical in the grain. The cut moves with a slow-burn glide, which is why it can hold this turn without flattening it.

Listen for the classical texture in the pocket, especially in the way the arrangement keeps color moving under the lead. You can hear how it answers Perfect Blue Buildings without borrowing the same emotional weight. It also leaves a lane for We Take Care of Our Own to arrive without the segue feeling forced.

We Take Care of Our Own answers Mercure - Poses Plastiques: Deuxième Tableau, Colère De Cerbère by Satie with a related tension instead of a copycat move, so the sequence keeps opening out. The pop, rock edge gives the turn a more precise contour than a plain mood match.

On Wrecking Ball (2012), We Take Care of Our Own shows Bruce Springsteen working in a 2010s pocket with pop, rock in the grain. The cut moves with a slow-burn glide, which is why it can hold this turn without flattening it.

Listen for the pop, rock texture in the pocket, especially in the way the arrangement keeps color moving under the lead. You can hear how it answers Mercure - Poses Plastiques: Deuxième Tableau, Colère De Cerbère without borrowing the same emotional weight.

Mercure by Satie lands here because Keeps the emotional pressure steady after Cactus by David Bowie and changes the palette without cutting the thread.. The classical edge gives the turn a more precise contour than a plain mood match. Neon Bible 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. Inside Arcade Fire close-up, it reads as curation rather than stunt programming.

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 Neon Bible to arrive without the segue feeling forced.

Neon Bible keeps arcade fire close-up honest by sounding like a real choice inside that lane, not a decorative gesture. The indie rock edge gives the turn a more precise contour than a plain mood match. Black Mirror can step in after it without the handoff feeling pre-chewed.

On Neon Bible (2007), Neon Bible shows Arcade Fire working in a 2000s pocket with indie rock in the grain. The cut moves with a slow-burn glide, which is why it can hold this turn without flattening it. Inside Arcade Fire close-up, it reads as curation rather than stunt programming.

Listen for the indie 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 Black Mirror to arrive without the segue feeling forced.

Black Mirror keeps arcade fire close-up honest by sounding like a real choice inside that lane, not a decorative gesture. The indie rock edge gives the turn a more precise contour than a plain mood match.

On Neon Bible (2007), Black Mirror shows Arcade Fire working in a 2000s pocket with indie rock in the grain. The cut moves with a slow-burn glide, which is why it can hold this turn without flattening it. Inside Arcade Fire close-up, it reads as curation rather than stunt programming.

Listen for the indie rock texture in the pocket, especially in the way the arrangement keeps color moving under the lead. You can hear how it answers Neon Bible without borrowing the same emotional weight.

My God (Mixed And Mastered By Steven Wilson) by Jethro Tull lands here because Keeps the emotional pressure steady after Waking Up In Vegas by Katy Perry and turns the color from 2020s into 1990s. Satie is one of Ian's steadier shelf presences, so the pick already reads like a real hand.. The pop 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 Aqualung (2015), My God (Mixed And Mastered By Steven Wilson) shows Jethro Tull 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. 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 My God (Mixed And Mastered By Steven Wilson) by Jethro Tull 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. Mercure - Poses Plastiques: Deuxième Tableau, Colère De Cerbère 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. You can hear how it answers My God (Mixed And Mastered By Steven Wilson) 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 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 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 A Clean Break (Let's Work) (Live; 2004 Remaster) without borrowing the same emotional weight.

White Braids & Pillow Chair by Red Hot Chili Peppers lands here because 1 I. Allegro Con Brio by Smetana Quartet and Good Morning Good Morning by The Beatles provide a fresh turn while maintaining the emotional arc of the set.. The alternative-rock edge gives the turn a more precise contour than a plain mood match. 1 I. Allegro Con Brio can step in after it without the handoff feeling pre-chewed.

On Unlimited Love (2022), White Braids & Pillow Chair 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. It also leaves a lane for 1 I. Allegro Con Brio to arrive without the segue feeling forced.

1 I. Allegro Con Brio answers White Braids & Pillow Chair 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. Good Morning Good Morning can step in after it without the handoff feeling pre-chewed.

On The Complete String Quartets (1977), 1 I. Allegro Con Brio shows Smetana Quartet working in a 1970s 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 White Braids & Pillow Chair without borrowing the same emotional weight. It also leaves a lane for Good Morning Good Morning to arrive without the segue feeling forced.

Good Morning Good Morning answers 1 I. Allegro Con Brio by Smetana Quartet 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 Sgt. Pepper’s Lonely Hearts Club Band (1967), Good Morning Good Morning 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 1 I. Allegro Con Brio without borrowing the same emotional weight.

Symphony No.7 in A, Op.92: 2. Allegretto by Wiener Philharmoniker, Carlos Kleiber lands here because Nightbird (Remastered) by Stevie Nicks and Roadhouse Blues (Screamin' Ray Daniels a.k.a. Ray Manzarek On Vocals) by The Doors keep the emotional pressure steady after A Clean Break (Let's Work) (Live; 2004 Remaster) by Talking Heads and change the sentence enough to keep the hour feeling authored.. The classical edge gives the turn a more precise contour than a plain mood match. Nightbird (Remastered) can step in after it without the handoff feeling pre-chewed.

On Beethoven: Symphonies Nos.5 and 7 (1996), Symphony No.7 in A, Op.92: 2. Allegretto shows Wiener Philharmoniker, Carlos Kleiber working in a 1990s pocket with classical in the grain. The cut moves with a candlelit drift, 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 Nightbird (Remastered) to arrive without the segue feeling forced.

Nightbird (Remastered) answers Symphony No.7 in A, Op.92: 2. Allegretto by Wiener Philharmoniker, Carlos Kleiber 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. Roadhouse Blues (Screamin' Ray Daniels a.k.a. Ray Manzarek On Vocals) can step in after it without the handoff feeling pre-chewed.

On The Wild Heart (Deluxe Edition) (2016), Nightbird (Remastered) shows Stevie Nicks working in a 2010s 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 Symphony No.7 in A, Op.92: 2. Allegretto without borrowing the same emotional weight. It also leaves a lane for Roadhouse Blues (Screamin' Ray Daniels a.k.a. Ray Manzarek On Vocals) to arrive without the segue feeling forced.

Roadhouse Blues (Screamin' Ray Daniels a.k.a. Ray Manzarek On Vocals) answers Nightbird (Remastered) by Stevie Nicks 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 Soft Parade (50th Anniversary Deluxe Edition) (1969), Roadhouse Blues (Screamin' Ray Daniels a.k.a. Ray Manzarek On Vocals) shows The Doors 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 Nightbird (Remastered) without borrowing the same emotional weight.

Trois Poèmes D'amour: Ta Parure Est Secrète by Satie lands here because Honey Bee by Muddy Waters states the thesis, and A Clean Break (Let's Work) (Live; 2004 Remaster) by Talking Heads answers it with a fresh turn.. The classical edge gives the turn a more precise contour than a plain mood match. Honey Bee 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. Inside Deep shelf drift, it reads as curation rather than stunt programming.

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 Honey Bee to arrive without the segue feeling forced.

Honey Bee keeps deep shelf drift honest by sounding like a real choice inside that lane, not a decorative gesture. The blues 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 The Best of Muddy Waters (2009), Honey Bee shows Muddy Waters working in a 2000s pocket with blues in the grain. The cut moves with a candlelit drift, which is why it can hold this turn without flattening it. Inside Deep shelf drift, it reads as curation rather than stunt programming.

Listen for the blues 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. 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) keeps deep shelf drift honest by sounding like a real choice inside that lane, not a decorative gesture. 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. Inside Deep shelf drift, it reads as curation rather than stunt programming.

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 Honey Bee without borrowing the same emotional weight.

Luck of Lucien by A Tribe Called Quest lands here because it keeps the soulful / smoke and focus pull alive without sanding off the grain that makes this hour interesting. The hip hop edge gives the turn a more precise contour than a plain mood match. Requiem in D minor, K. 626; Sequence No. 6; Lacrimosa dies illa can step in after it without the handoff feeling pre-chewed.

On People’s Instinctive Travels and the Paths of Rhythm (1990), Luck of Lucien 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 Requiem in D minor, K. 626; Sequence No. 6; Lacrimosa dies illa to arrive without the segue feeling forced.

Requiem in D minor, K. 626; Sequence No. 6; Lacrimosa dies illa answers Luck of Lucien 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. Symphony No.7 in A, Op.92: 2. Allegretto can step in after it without the handoff feeling pre-chewed.

On 101 Classics - CD 3 (8) Mighty Choruses (2008), Requiem in D minor, K. 626; Sequence No. 6; Lacrimosa dies illa shows Slovak Philharmonic Choir and Orchestra, Zdenék Kosler working in a 2000s pocket with classical in the grain. The cut moves with a candlelit drift, 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 Luck of Lucien without borrowing the same emotional weight. It also leaves a lane for Symphony No.7 in A, Op.92: 2. Allegretto to arrive without the segue feeling forced.

Symphony No.7 in A, Op.92: 2. Allegretto answers Requiem in D minor, K. 626; Sequence No. 6; Lacrimosa dies illa by Slovak Philharmonic Choir and Orchestra, Zdenék Kosler 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: Symphonies Nos.5 and 7 (1996), Symphony No.7 in A, Op.92: 2. Allegretto shows Wiener Philharmoniker, Carlos Kleiber working in a 1990s pocket with classical in the grain. The cut moves with a candlelit drift, 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; Sequence No. 6; Lacrimosa dies illa without borrowing the same emotional weight.

Unchained Melody (Live) by Heart lands here because Psychotic Reaction by Count Five states the thesis, and Trois Poèmes D'amour: Ta Parure Est Secrète by Satie answers it with a fresh turn.. The rock edge gives the turn a more precise contour than a plain mood match. Psychotic Reaction can step in after it without the handoff feeling pre-chewed.

On Greatest Hits / Live (1980), Unchained Melody (Live) shows Heart working in a 1980s pocket with rock in the grain. The cut moves with a candlelit drift, which is why it can hold this turn without flattening it.

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 Psychotic Reaction to arrive without the segue feeling forced.

Psychotic Reaction answers Unchained Melody (Live) by Heart with a related tension instead of a copycat move, so the sequence keeps opening out. The rock / psychedelic rock edge gives the turn a more precise contour than a plain mood match. Trois Poèmes D'amour: Ta Parure Est Secrète can step in after it without the handoff feeling pre-chewed.

On The Psychedelic Years 1966-1969 (1990), Psychotic Reaction shows Count Five working in a 1990s pocket with rock / psychedelic 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 / psychedelic rock texture in the pocket, especially in the way the arrangement keeps color moving under the lead. You can hear how it answers Unchained Melody (Live) without borrowing the same emotional weight. 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 Psychotic Reaction by Count Five 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 Psychotic Reaction without borrowing the same emotional weight.