Session notes from the booth.

Seminary School (a.k.a. Petition the Lord with Prayer) by The Doors lands here because Keeps the emotional pressure steady after Rock and Roll by Heart, changes the palette without cutting the thread, and maintains rock in the grain.. The rock edge gives the turn a more precise contour than a plain mood match. Kickstart My Heart can step in after it without the handoff feeling pre-chewed.

On The Soft Parade (50th Anniversary Deluxe Edition) (1969), Seminary School (a.k.a. Petition the Lord with Prayer) 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. It also leaves a lane for Kickstart My Heart to arrive without the segue feeling forced.

Kickstart My Heart answers Seminary School (a.k.a. Petition the Lord with Prayer) by The Doors with a related tension instead of a copycat move, so the sequence keeps opening out. The hard rock edge gives the turn a more precise contour than a plain mood match. Unison (Unfinished Outtake) can step in after it without the handoff feeling pre-chewed.

On Dr. Feelgood (1989), Kickstart My Heart shows Mötley Crüe working in a 1980s pocket with hard 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 hard rock texture in the pocket, especially in the way the arrangement keeps color moving under the lead. You can hear how it answers Seminary School (a.k.a. Petition the Lord with Prayer) without borrowing the same emotional weight. It also leaves a lane for Unison (Unfinished Outtake) to arrive without the segue feeling forced.

Unison (Unfinished Outtake) answers Kickstart My Heart by Mötley Crüe 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 Remain in Light (Deluxe Version) (1980), Unison (Unfinished Outtake) shows Talking Heads 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 Kickstart My Heart without borrowing the same emotional weight.

Can I Sit Next to You Girl by Ac/Dc lands here because The Shape I'm In by The Band keeps the emotional pressure steady after Dazed and Confused by Led Zeppelin, changes the palette without cutting the thread, and is a real lane in this library. It helps the choice feel rooted instead of random.. The hard rock edge gives the turn a more precise contour than a plain mood match. The Shape I'm In can step in after it without the handoff feeling pre-chewed.

On High Voltage (International Version) (2003), Can I Sit Next to You Girl shows Ac/Dc working in a 2000s pocket with hard 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 hard rock texture in the pocket, especially in the way the arrangement keeps color moving under the lead. It also leaves a lane for The Shape I'm In to arrive without the segue feeling forced.

The Shape I'm In answers Can I Sit Next to You Girl by Ac/Dc 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. In a Certain Light can step in after it without the handoff feeling pre-chewed.

On Sounds Of The Seventies - FM Rock (1992), The Shape I'm In shows The Band 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 Can I Sit Next to You Girl without borrowing the same emotional weight. It also leaves a lane for In a Certain Light to arrive without the segue feeling forced.

In a Certain Light answers The Shape I'm In by The Band 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 The Waves, The Wake (2018), In a Certain Light shows Great Lake Swimmers 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 Shape I'm In without borrowing the same emotional weight.

I Knew The Bride by Dave Edmunds lands here because Summertime by Miles Davis and Dazed and Confused by Led Zeppelin provide a sharp two-step that extends the feeling of Can I Sit Next to You Girl by Ac/Dc without sounding automatic. They keep the emotional pressure steady, change the color from 2000s into 1950s for Summertime, and maintain hard rock with Dazed and Confused.. The rock edge gives the turn a more precise contour than a plain mood match. Summertime can step in after it without the handoff feeling pre-chewed.

On Sounds Of The Seventies - Punk And New Wave (1993), I Knew The Bride shows Dave Edmunds 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 Summertime to arrive without the segue feeling forced.

Summertime answers I Knew The Bride by Dave Edmunds 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. Dazed and Confused can step in after it without the handoff feeling pre-chewed.

On Porgy And Bess (1959), Summertime shows Miles Davis working in a 1950s 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 I Knew The Bride without borrowing the same emotional weight. It also leaves a lane for Dazed and Confused to arrive without the segue feeling forced.

Dazed and Confused answers Summertime by Miles Davis with a related tension instead of a copycat move, so the sequence keeps opening out. The hard rock edge gives the turn a more precise contour than a plain mood match.

On The Complete Bbc Sessions (1997), Dazed and Confused shows Led Zeppelin working in a 1990s pocket with hard 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 hard rock texture in the pocket, especially in the way the arrangement keeps color moving under the lead. You can hear how it answers Summertime without borrowing the same emotional weight.

Still Alive by Social Distortion lands here because Can I Sit Next to You Girl by Ac/Dc keeps the emotional pressure steady and turns the color from 1990s into 2000s, making it a perfect left turn after Dave Edmunds' 'I Knew The Bride'.. The punk rock edge gives the turn a more precise contour than a plain mood match. Black Wave/Bad Vibrations can step in after it without the handoff feeling pre-chewed.

On Hard Times And Nursery Rhymes (2011), Still Alive shows Social Distortion working in a 2010s pocket with punk 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 punk rock texture in the pocket, especially in the way the arrangement keeps color moving under the lead. It also leaves a lane for Black Wave/Bad Vibrations to arrive without the segue feeling forced.

Black Wave/Bad Vibrations keeps deep shelf drift 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. Can I Sit Next to You Girl can step in after it without the handoff feeling pre-chewed.

On Neon Bible (2007), Black Wave/Bad Vibrations 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 Deep shelf drift, 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 Still Alive without borrowing the same emotional weight. It also leaves a lane for Can I Sit Next to You Girl to arrive without the segue feeling forced.

Can I Sit Next to You Girl keeps deep shelf drift honest by sounding like a real choice inside that lane, not a decorative gesture. The hard rock edge gives the turn a more precise contour than a plain mood match.

On High Voltage (International Version) (2003), Can I Sit Next to You Girl shows Ac/Dc working in a 2000s pocket with hard 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 hard rock texture in the pocket, especially in the way the arrangement keeps color moving under the lead. You can hear how it answers Black Wave/Bad Vibrations without borrowing the same emotional weight.