Session notes from the booth.

Rock *n* Roll Singer by Ac/Dc lands here because Summer Breeze by Seals And Crofts states the thesis, and Black Satin by Miles Davis answers it with a fresh turn.. The hard rock edge gives the turn a more precise contour than a plain mood match. Summer Breeze can step in after it without the handoff feeling pre-chewed.

On High Voltage (International Version) (2003), Rock *n* Roll Singer 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 Summer Breeze to arrive without the segue feeling forced.

Summer Breeze answers Rock *n* Roll Singer 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. Black Satin can step in after it without the handoff feeling pre-chewed.

On Sounds Of The Seventies - 1972 Take Two (1991), Summer Breeze shows Seals And Crofts 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 Rock *n* Roll Singer without borrowing the same emotional weight. It also leaves a lane for Black Satin to arrive without the segue feeling forced.

Black Satin answers Summer Breeze by Seals And Crofts 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 Miles Ahead: Original Motion Picture Soundtrack (2016), Black Satin shows Miles Davis working in a 2010s pocket with jazz 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 jazz texture in the pocket, especially in the way the arrangement keeps color moving under the lead. You can hear how it answers Summer Breeze without borrowing the same emotional weight.

Kickstart My Heart by Mötley Crüe lands here because keeps the emotional pressure steady after Rock ’n’ Roll Singer by Ac/Dc and turns the color from 2000s into 1980s. Talking Heads is one of Ian's steadier shelf presences, so the pick already reads like a real hand.. The hard rock edge gives the turn a more precise contour than a plain mood match. The Great Curve (2005 Remaster) 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. It also leaves a lane for The Great Curve (2005 Remaster) to arrive without the segue feeling forced.

The Great Curve (2005 Remaster) 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. She Came in Through the Bathroom Window can step in after it without the handoff feeling pre-chewed.

On Remain in Light (Deluxe Version) (1980), The Great Curve (2005 Remaster) 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. It also leaves a lane for She Came in Through the Bathroom Window to arrive without the segue feeling forced.

She Came in Through the Bathroom Window answers The Great Curve (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 Abbey Road (1969), She Came in Through the Bathroom Window 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. You can hear how it answers The Great Curve (2005 Remaster) without borrowing the same emotional weight.

Rock and Roll by Heart lands here because it keeps the tender voltage / open-window lift pull alive without sanding off the grain that makes this hour interesting. The rock edge gives the turn a more precise contour than a plain mood match. Sunrise Prelude can step in after it without the handoff feeling pre-chewed.

On Greatest Hits / Live (1980), Rock and Roll 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. Inside Deep shelf drift, it reads as curation rather than stunt programming.

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 Sunrise Prelude to arrive without the segue feeling forced.

Sunrise Prelude keeps deep shelf drift honest by sounding like a real choice inside that lane, not a decorative gesture. The electronic / leftfield edge gives the turn a more precise contour than a plain mood match. Rock ’n’ Roll Singer can step in after it without the handoff feeling pre-chewed.

On Tron: Legacy (Original Motion Picture Soundtrack) (18), Sunrise Prelude shows Daft Punk working in a 10s pocket with electronic / leftfield 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 electronic / leftfield texture in the pocket, especially in the way the arrangement keeps color moving under the lead. You can hear how it answers Rock and Roll without borrowing the same emotional weight. It also leaves a lane for Rock ’n’ Roll Singer to arrive without the segue feeling forced.

Rock ’n’ Roll Singer 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), Rock ’n’ Roll Singer 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 Sunrise Prelude without borrowing the same emotional weight.