Session notes from the booth.

It*s So Easy by Guns N* Roses lands here because The Smallest Man Who Ever Lived by Taylor Swift and Faith (Remastered) by George Michael provide a fresh turn while maintaining pop, rock in the grain.. The hard rock edge gives the turn a more precise contour than a plain mood match. The Smallest Man Who Ever Lived can step in after it without the handoff feeling pre-chewed.

On Appetite for Destruction (1987), It*s So Easy shows Guns N* Roses working in a 1980s pocket with hard 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 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 Smallest Man Who Ever Lived to arrive without the segue feeling forced.

The Smallest Man Who Ever Lived answers It*s So Easy by Guns N* Roses 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. Faith (Remastered) can step in after it without the handoff feeling pre-chewed.

On THE TORTURED POETS DEPARTMENT: THE ANTHOLOGY (2024), The Smallest Man Who Ever Lived shows Taylor Swift working in a 2020s 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 It*s So Easy without borrowing the same emotional weight. It also leaves a lane for Faith (Remastered) to arrive without the segue feeling forced.

Faith (Remastered) answers The Smallest Man Who Ever Lived by Taylor Swift 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 George Michael & Wham! Last Christmas: The Original Motion Picture Soundtrack (2019), Faith (Remastered) shows George Michael working in a 2010s pocket with pop, 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 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 Smallest Man Who Ever Lived without borrowing the same emotional weight.

Through These Eyes by Social Distortion lands here because Extend the feeling that follows Houses in Motion (Live at Werchterpark Festival, Belgium) by Talking Heads without sounding automatic.. The punk rock edge gives the turn a more precise contour than a plain mood match. All Day And All Of The Night can step in after it without the handoff feeling pre-chewed.

On White Light White Heat White Trash (1996), Through These Eyes shows Social Distortion working in a 1990s pocket with punk rock in the grain. The cut moves with a steady shoulder-roll, 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 All Day And All Of The Night to arrive without the segue feeling forced.

All Day And All Of The Night keeps deep shelf drift honest by sounding like a real choice inside that lane, not a decorative gesture. The rock edge gives the turn a more precise contour than a plain mood match. It’s So Easy can step in after it without the handoff feeling pre-chewed.

On Kinks At The BBC Disc 1 (2012), All Day And All Of The Night shows Kinks working in a 2010s 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. You can hear how it answers Through These Eyes without borrowing the same emotional weight. It also leaves a lane for It’s So Easy to arrive without the segue feeling forced.

It’s So Easy 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 Appetite for Destruction (1987), It’s So Easy shows Guns N’ Roses working in a 1980s pocket with hard rock in the grain. The cut moves with a steady shoulder-roll, 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 All Day And All Of The Night without borrowing the same emotional weight.

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.

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.

Scary Monsters (And Super Creeps) by David Bowie lands here because it keeps the neon patience / hushed gravity pull alive without sanding off the grain that makes this hour interesting. The art rock edge gives the turn a more precise contour than a plain mood match. Double Talkin' Jive (Live In Las Vegas, Thomas & Mack Center - January 25, 1992) can step in after it without the handoff feeling pre-chewed.

On Scary Monsters… and Super Creeps (1980), Scary Monsters (And Super Creeps) shows David Bowie working in a 1980s pocket with art 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 art rock texture in the pocket, especially in the way the arrangement keeps color moving under the lead. It also leaves a lane for Double Talkin' Jive (Live In Las Vegas, Thomas & Mack Center - January 25, 1992) to arrive without the segue feeling forced.

Double Talkin' Jive (Live In Las Vegas, Thomas & Mack Center - January 25, 1992) answers Scary Monsters (And Super Creeps) by David Bowie 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. 6 Pièces De La Période: Profondeur can step in after it without the handoff feeling pre-chewed.

On Use Your Illusion (Super Deluxe) (2022), Double Talkin' Jive (Live In Las Vegas, Thomas & Mack Center - January 25, 1992) shows Guns N' Roses working in a 2020s 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 Scary Monsters (And Super Creeps) without borrowing the same emotional weight. It also leaves a lane for 6 Pièces De La Période: Profondeur to arrive without the segue feeling forced.

6 Pièces De La Période: Profondeur answers Double Talkin' Jive (Live In Las Vegas, Thomas & Mack Center - January 25, 1992) by Guns N' Roses 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 5 (1994), 6 Pièces De La Période: Profondeur 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 Double Talkin' Jive (Live In Las Vegas, Thomas & Mack Center - January 25, 1992) without borrowing the same emotional weight.