Session notes from the booth.

Let*s Spend the Night Together by David Bowie lands here because Excursions by A Tribe Called Quest keeps the emotional pressure steady after Clap Your Hands and introduces a new era of hip hop.. The glam rock edge gives the turn a more precise contour than a plain mood match. Symphony No.1 in C, Op.21: 3. Menuetto (Allegro molto e vivace) can step in after it without the handoff feeling pre-chewed.

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. It also leaves a lane for Symphony No.1 in C, Op.21: 3. Menuetto (Allegro molto e vivace) to arrive without the segue feeling forced.

Symphony No.1 in C, Op.21: 3. Menuetto (Allegro molto e vivace) answers Let*s Spend the Night Together by David Bowie with a related tension instead of a copycat move, so the sequence keeps opening out. The classical / symphony edge gives the turn a more precise contour than a plain mood match. Bombtrack (Live at 1st Avenue, Minneapolis, MN - April 1993) (Live) can step in after it without the handoff feeling pre-chewed.

On Beethoven For All - Symphonies 1- 9 (2012), Symphony No.1 in C, Op.21: 3. Menuetto (Allegro molto e vivace) shows Daniel Barenboim working in a 2010s pocket with classical / symphony 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 / symphony texture in the pocket, especially in the way the arrangement keeps color moving under the lead. You can hear how it answers Let*s Spend the Night Together without borrowing the same emotional weight. It also leaves a lane for Bombtrack (Live at 1st Avenue, Minneapolis, MN - April 1993) (Live) to arrive without the segue feeling forced.

Bombtrack (Live at 1st Avenue, Minneapolis, MN - April 1993) (Live) answers Symphony No.1 in C, Op.21: 3. Menuetto (Allegro molto e vivace) by Daniel Barenboim 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.

On Rage Against The Machine - XX (20th Anniversary Special Edition) (2012), Bombtrack (Live at 1st Avenue, Minneapolis, MN - April 1993) (Live) shows Rage Against The Machine 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 Symphony No.1 in C, Op.21: 3. Menuetto (Allegro molto e vivace) 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.