Session notes from the booth.

You Really Got A Hold On Me (2023 Mix) by The Beatles lands here because David Bowie's 'Star' provides a bold lift after Miles Davis' 'Wait Till You See Her', while 'Sambalamento' by Luiz Bonfá offers a fresh turn within the jazz lane.. The rock edge gives the turn a more precise contour than a plain mood match. Star can step in after it without the handoff feeling pre-chewed.

On With the Beatles (1963), You Really Got A Hold On Me (2023 Mix) shows The Beatles working in a 1960s 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 Star to arrive without the segue feeling forced.

Star answers You Really Got A Hold On Me (2023 Mix) by The Beatles with a related tension instead of a copycat move, so the sequence keeps opening out. The glam rock edge gives the turn a more precise contour than a plain mood match. Sambalamento can step in after it without the handoff feeling pre-chewed.

On The Rise and Fall of Ziggy Stardust and the Spiders From Mars (1972), Star shows David Bowie working in a 1970s pocket with glam 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 glam rock texture in the pocket, especially in the way the arrangement keeps color moving under the lead. You can hear how it answers You Really Got A Hold On Me (2023 Mix) without borrowing the same emotional weight. It also leaves a lane for Sambalamento to arrive without the segue feeling forced.

Sambalamento answers Star by David Bowie with a related tension instead of a copycat move, so the sequence keeps opening out. The jazz edge gives the turn a more precise contour than a plain mood match.

On Composer Of Black Orpheus Plays And Sings Bossa Nova (1963), Sambalamento shows Luiz Bonfá working in a 1960s 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 Star without borrowing the same emotional weight.

Staring Down The Barrel Of The Middle Distance by R.E.M. lands here because Phantom Limb by The Shins states the thesis, and Let’s Spend the Night Together by David Bowie answers it with a fresh turn.. The rock edge gives the turn a more precise contour than a plain mood match. Phantom Limb can step in after it without the handoff feeling pre-chewed.

On Live At The Olympia (2009), Staring Down The Barrel Of The Middle Distance shows R.E.M. working in a 2000s 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 Phantom Limb to arrive without the segue feeling forced.

Phantom Limb answers Staring Down The Barrel Of The Middle Distance by R.E.M. 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. Let’s Spend the Night Together can step in after it without the handoff feeling pre-chewed.

On Wincing the Night Away (2007), Phantom Limb shows The Shins working in a 2000s 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 Staring Down The Barrel Of The Middle Distance without borrowing the same emotional weight. It also leaves a lane for Let’s Spend the Night Together to arrive without the segue feeling forced.

Let’s Spend the Night Together answers Phantom Limb by The Shins with a related tension instead of a copycat move, so the sequence keeps opening out. The glam rock edge gives the turn a more precise contour than a plain mood match.

On Aladdin Sane (1973), Let’s Spend the Night Together shows David Bowie working in a 1970s pocket with glam 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 glam rock texture in the pocket, especially in the way the arrangement keeps color moving under the lead. You can hear how it answers Phantom Limb without borrowing the same emotional weight.