Session notes from the booth.

Take Me to the River by Talking Heads lands here because Electric Relaxation by A Tribe Called Quest and Telephone Line by Electric Light Orchestra provide a sharp two-step that keeps the emotional pressure steady after The Wake-Up Bomb by R.E.M. and changes the palette without cutting the thread.. The alternative / rock edge gives the turn a more precise contour than a plain mood match. Electric Relaxation can step in after it without the handoff feeling pre-chewed.

On Live Chicago: August 28, 1978 (1978), Take Me to the River shows Talking Heads working in a 1970s pocket with alternative / rock in the grain. The cut moves with a bright electric charge, which is why it can hold this turn without flattening it.

Listen for the alternative / rock texture in the pocket, especially in the way the arrangement keeps color moving under the lead. It also leaves a lane for Electric Relaxation to arrive without the segue feeling forced.

Electric Relaxation answers Take Me to the River by Talking Heads with a related tension instead of a copycat move, so the sequence keeps opening out. The hip hop edge gives the turn a more precise contour than a plain mood match. Telephone Line can step in after it without the handoff feeling pre-chewed.

On Midnight Marauders (1993), Electric Relaxation shows A Tribe Called Quest working in a 1990s pocket with hip hop 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 hip hop texture in the pocket, especially in the way the arrangement keeps color moving under the lead. You can hear how it answers Take Me to the River without borrowing the same emotional weight. It also leaves a lane for Telephone Line to arrive without the segue feeling forced.

Telephone Line answers Electric Relaxation by A Tribe Called Quest 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 Sounds Of The Seventies - 1977: Take Two (1991), Telephone Line shows Electric Light Orchestra working in a 1990s 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 Electric Relaxation without borrowing the same emotional weight.

Memory Lane (Sittin* in Da Park) by Nas lands here because Minipops 67 (source field mix) by Aphex Twin keeps the emotional pressure steady after Sorcerer (Unreleased Version) by Stevie Nicks and changes the palette without cutting the thread.. The hip hop edge gives the turn a more precise contour than a plain mood match. Minipops 67 (source field mix) can step in after it without the handoff feeling pre-chewed.

On Illmatic (1994), Memory Lane (Sittin* in Da Park) shows Nas working in a 1990s pocket with hip hop in the grain. The cut moves with a slow-burn glide, which is why it can hold this turn without flattening it. Inside Aphex Twin close-up, it reads as curation rather than stunt programming.

Listen for the hip hop texture in the pocket, especially in the way the arrangement keeps color moving under the lead. It also leaves a lane for Minipops 67 (source field mix) to arrive without the segue feeling forced.

Minipops 67 (source field mix) keeps aphex twin close-up honest by sounding like a real choice inside that lane, not a decorative gesture. The electronic, ambient, experimental edge gives the turn a more precise contour than a plain mood match. Ruglen Holon can step in after it without the handoff feeling pre-chewed.

On Syro (2014), Minipops 67 (source field mix) shows Aphex Twin working in a 2010s pocket with electronic, ambient, experimental in the grain. The cut moves with a slow-burn glide, which is why it can hold this turn without flattening it. Inside Aphex Twin close-up, it reads as curation rather than stunt programming.

Listen for the electronic, ambient, experimental texture in the pocket, especially in the way the arrangement keeps color moving under the lead. You can hear how it answers Memory Lane (Sittin* in Da Park) without borrowing the same emotional weight. It also leaves a lane for Ruglen Holon to arrive without the segue feeling forced.

Ruglen Holon keeps aphex twin close-up honest by sounding like a real choice inside that lane, not a decorative gesture. The electronic, ambient, experimental edge gives the turn a more precise contour than a plain mood match.

On Disc 2 - Drukqs (2001), Ruglen Holon shows Aphex Twin working in a 2000s pocket with electronic, ambient, experimental in the grain. The cut moves with a slow-burn glide, which is why it can hold this turn without flattening it. Inside Aphex Twin close-up, it reads as curation rather than stunt programming.

Listen for the electronic, ambient, experimental texture in the pocket, especially in the way the arrangement keeps color moving under the lead. You can hear how it answers Minipops 67 (source field mix) without borrowing the same emotional weight.

Lyrics to Go by A Tribe Called Quest lands here because Strange Magic by Electric Light Orchestra provides a fresh turn while maintaining the emotional arc.. The hip hop edge gives the turn a more precise contour than a plain mood match. Burn Hollywood Burn can step in after it without the handoff feeling pre-chewed.

On Oh My God (1993), Lyrics to Go shows A Tribe Called Quest working in a 1990s pocket with hip hop in the grain. The cut moves with a candlelit drift, which is why it can hold this turn without flattening it.

Listen for the hip hop texture in the pocket, especially in the way the arrangement keeps color moving under the lead. It also leaves a lane for Burn Hollywood Burn to arrive without the segue feeling forced.

Burn Hollywood Burn answers Lyrics to Go by A Tribe Called Quest with a related tension instead of a copycat move, so the sequence keeps opening out. The hip hop edge gives the turn a more precise contour than a plain mood match. Sorcerer (Unreleased Version) can step in after it without the handoff feeling pre-chewed.

On Fear of a Black Planet (1990), Burn Hollywood Burn shows Public Enemy working in a 1990s pocket with hip hop in the grain. The cut moves with a candlelit drift, which is why it can hold this turn without flattening it.

Listen for the hip hop texture in the pocket, especially in the way the arrangement keeps color moving under the lead. You can hear how it answers Lyrics to Go without borrowing the same emotional weight. It also leaves a lane for Sorcerer (Unreleased Version) to arrive without the segue feeling forced.

Sorcerer (Unreleased Version) answers Burn Hollywood Burn by Public Enemy 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 The Wild Heart (Deluxe Edition) (2016), Sorcerer (Unreleased Version) shows Stevie Nicks 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.

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 Burn Hollywood Burn without borrowing the same emotional weight.

Take Me to the River (Live at Berklee Performing Arts Centre, Boston) by Talking Heads lands here because Keeps the emotional pressure steady after Lyrics to Go by A Tribe Called Quest and turns the color from 1990s into 1980s.. The alternative / rock edge gives the turn a more precise contour than a plain mood match. The One I Love can step in after it without the handoff feeling pre-chewed.

On Live Chicago: August 28, 1978 (1978), Take Me to the River (Live at Berklee Performing Arts Centre, Boston) shows Talking Heads working in a 1970s pocket with alternative / rock in the grain. The cut moves with a bright electric charge, which is why it can hold this turn without flattening it.

Listen for the alternative / rock texture in the pocket, especially in the way the arrangement keeps color moving under the lead. It also leaves a lane for The One I Love to arrive without the segue feeling forced.

The One I Love answers Take Me to the River (Live at Berklee Performing Arts Centre, Boston) 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. Memory Lane (Sittin’ in Da Park) can step in after it without the handoff feeling pre-chewed.

On Document (1987), The One I Love shows R.E.M. 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 Take Me to the River (Live at Berklee Performing Arts Centre, Boston) without borrowing the same emotional weight. It also leaves a lane for Memory Lane (Sittin’ in Da Park) to arrive without the segue feeling forced.

Memory Lane (Sittin’ in Da Park) answers The One I Love by R.E.M. with a related tension instead of a copycat move, so the sequence keeps opening out. The hip hop edge gives the turn a more precise contour than a plain mood match.

On Illmatic (1994), Memory Lane (Sittin’ in Da Park) shows Nas working in a 1990s pocket with hip hop 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 hip hop texture in the pocket, especially in the way the arrangement keeps color moving under the lead. You can hear how it answers The One I Love without borrowing the same emotional weight.

Tadd's Delight (From The Album 'Round About Midnight) by Miles Davis lands here because Keep It Rollin’ by A Tribe Called Quest states the thesis, and Lyrics to Go by A Tribe Called Quest answers it with a fresh turn.. The jazz edge gives the turn a more precise contour than a plain mood match. Keep It Rollin’ can step in after it without the handoff feeling pre-chewed.

On The Complete Live at the Plugged Nickel 1965 (CD2b) (1965), Tadd's Delight (From The Album 'Round About Midnight) shows Miles Davis working in a 1960s pocket with jazz in the grain. The cut moves with a bright electric charge, which is why it can hold this turn without flattening it. Inside Midnight Marauders run, it reads as curation rather than stunt programming.

Listen for the jazz texture in the pocket, especially in the way the arrangement keeps color moving under the lead. It also leaves a lane for Keep It Rollin’ to arrive without the segue feeling forced.

Keep It Rollin’ keeps midnight marauders run honest by sounding like a real choice inside that lane, not a decorative gesture. The hip hop edge gives the turn a more precise contour than a plain mood match. Lyrics to Go can step in after it without the handoff feeling pre-chewed.

On Midnight Marauders (1993), Keep It Rollin’ shows A Tribe Called Quest working in a 1990s pocket with hip hop in the grain. The cut moves with a candlelit drift, which is why it can hold this turn without flattening it. Inside Midnight Marauders run, it reads as curation rather than stunt programming.

Listen for the hip hop texture in the pocket, especially in the way the arrangement keeps color moving under the lead. You can hear how it answers Tadd's Delight (From The Album 'Round About Midnight) without borrowing the same emotional weight. It also leaves a lane for Lyrics to Go to arrive without the segue feeling forced.

Lyrics to Go keeps midnight marauders run honest by sounding like a real choice inside that lane, not a decorative gesture. The hip hop edge gives the turn a more precise contour than a plain mood match.

On Midnight Marauders (1993), Lyrics to Go shows A Tribe Called Quest working in a 1990s pocket with hip hop in the grain. The cut moves with a candlelit drift, which is why it can hold this turn without flattening it. Inside Midnight Marauders run, it reads as curation rather than stunt programming.

Listen for the hip hop texture in the pocket, especially in the way the arrangement keeps color moving under the lead. You can hear how it answers Keep It Rollin’ without borrowing the same emotional weight.

Lyrics to Go by A Tribe Called Quest lands here because To deepen the emotional arc after The Hard Way by Kinks without sounding automatic.. The hip hop edge gives the turn a more precise contour than a plain mood match. Midnight City can step in after it without the handoff feeling pre-chewed.

On Oh My God (1993), Lyrics to Go shows A Tribe Called Quest working in a 1990s pocket with hip hop in the grain. The cut moves with a candlelit drift, which is why it can hold this turn without flattening it.

Listen for the hip hop texture in the pocket, especially in the way the arrangement keeps color moving under the lead. It also leaves a lane for Midnight City to arrive without the segue feeling forced.

Midnight City answers Lyrics to Go by A Tribe Called Quest with a related tension instead of a copycat move, so the sequence keeps opening out. The electronic / rock edge gives the turn a more precise contour than a plain mood match. Dreamboat Annie can step in after it without the handoff feeling pre-chewed.

On Hurry Up, We're Dreaming. (18), Midnight City shows M83 working in a 10s pocket with electronic / 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 electronic / rock texture in the pocket, especially in the way the arrangement keeps color moving under the lead. You can hear how it answers Lyrics to Go without borrowing the same emotional weight. It also leaves a lane for Dreamboat Annie to arrive without the segue feeling forced.

Dreamboat Annie answers Midnight City by M83 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 Greatest Hits / Live (1980), Dreamboat Annie shows Heart working in a 1980s 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. You can hear how it answers Midnight City without borrowing the same emotional weight.

At the Heart of It All by Nine Inch Nails lands here because Keeps the emotional pressure steady after How Deep Is Your Love by Bee Gees and changes the palette without cutting the thread. A Tribe Called Quest keeps the close-up honest, so the special reads like a deliberate stay instead of a gimmick.. The industrial rock edge gives the turn a more precise contour than a plain mood match. Lyrics to Go can step in after it without the handoff feeling pre-chewed.

On Further Down the Spiral (1995), At the Heart of It All shows Nine Inch Nails working in a 1990s pocket with industrial rock in the grain. The cut moves with a slow-burn glide, which is why it can hold this turn without flattening it. Inside A Tribe Called Quest close-up, it reads as curation rather than stunt programming.

Listen for the industrial rock texture in the pocket, especially in the way the arrangement keeps color moving under the lead. It also leaves a lane for Lyrics to Go to arrive without the segue feeling forced.

Lyrics to Go keeps a tribe called quest close-up honest by sounding like a real choice inside that lane, not a decorative gesture. The hip hop edge gives the turn a more precise contour than a plain mood match. What? can step in after it without the handoff feeling pre-chewed.

On Midnight Marauders (1993), Lyrics to Go shows A Tribe Called Quest working in a 1990s pocket with hip hop in the grain. The cut moves with a candlelit drift, which is why it can hold this turn without flattening it. Inside A Tribe Called Quest close-up, it reads as curation rather than stunt programming.

Listen for the hip hop texture in the pocket, especially in the way the arrangement keeps color moving under the lead. You can hear how it answers At the Heart of It All without borrowing the same emotional weight. It also leaves a lane for What? to arrive without the segue feeling forced.

What? keeps a tribe called quest close-up honest by sounding like a real choice inside that lane, not a decorative gesture. The hip hop edge gives the turn a more precise contour than a plain mood match.

On The Low End Theory (1991), What? shows A Tribe Called Quest working in a 1990s pocket with hip hop in the grain. The cut moves with a slow-burn glide, which is why it can hold this turn without flattening it. Inside A Tribe Called Quest close-up, it reads as curation rather than stunt programming.

Listen for the hip hop texture in the pocket, especially in the way the arrangement keeps color moving under the lead. You can hear how it answers Lyrics to Go without borrowing the same emotional weight.

Lyrics to Go by A Tribe Called Quest lands here because Worm Ride by Hans Zimmer states the thesis and I Get Along Without You Very Well by Frank Sinatra answers it with a fresh turn.. The hip hop edge gives the turn a more precise contour than a plain mood match. Worm Ride can step in after it without the handoff feeling pre-chewed.

On Oh My God (1993), Lyrics to Go shows A Tribe Called Quest working in a 1990s pocket with hip hop in the grain. The cut moves with a candlelit drift, which is why it can hold this turn without flattening it.

Listen for the hip hop texture in the pocket, especially in the way the arrangement keeps color moving under the lead. It also leaves a lane for Worm Ride to arrive without the segue feeling forced.

Worm Ride answers Lyrics to Go by A Tribe Called Quest with a related tension instead of a copycat move, so the sequence keeps opening out. The film, bandes originales de films edge gives the turn a more precise contour than a plain mood match. I Get Along Without You Very Well can step in after it without the handoff feeling pre-chewed.

On Dune: Part Two (Original Motion Picture Soundtrack) (2024), Worm Ride shows Hans Zimmer working in a 2020s pocket with film, bandes originales de films 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 film, bandes originales de films texture in the pocket, especially in the way the arrangement keeps color moving under the lead. You can hear how it answers Lyrics to Go without borrowing the same emotional weight. It also leaves a lane for I Get Along Without You Very Well to arrive without the segue feeling forced.

I Get Along Without You Very Well answers Worm Ride by Hans Zimmer 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 Platinum CD1 (2023), I Get Along Without You Very Well shows Frank Sinatra working in a 2020s 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 Worm Ride without borrowing the same emotional weight.

Addicted To Love by Robert Palmer lands here because it keeps the neon patience / sleepwalker pulse pull alive without sanding off the grain that makes this hour interesting. The pop, rock edge gives the turn a more precise contour than a plain mood match. Lyrics to Go can step in after it without the handoff feeling pre-chewed.

On Riptide (1985), Addicted To Love shows Robert Palmer working in a 1980s 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. Inside Deep shelf drift, it reads as curation rather than stunt programming.

Listen for the pop, rock texture in the pocket, especially in the way the arrangement keeps color moving under the lead. It also leaves a lane for Lyrics to Go to arrive without the segue feeling forced.

Lyrics to Go keeps deep shelf drift honest by sounding like a real choice inside that lane, not a decorative gesture. The hip hop edge gives the turn a more precise contour than a plain mood match. Weathered Stone can step in after it without the handoff feeling pre-chewed.

On Midnight Marauders (1993), Lyrics to Go shows A Tribe Called Quest working in a 1990s pocket with hip hop in the grain. The cut moves with a candlelit drift, 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 hip hop texture in the pocket, especially in the way the arrangement keeps color moving under the lead. You can hear how it answers Addicted To Love without borrowing the same emotional weight. It also leaves a lane for Weathered Stone to arrive without the segue feeling forced.

Weathered Stone keeps deep shelf drift honest by sounding like a real choice inside that lane, not a decorative gesture. The electronic, ambient, experimental edge gives the turn a more precise contour than a plain mood match.

On Disc 1 - Selected Ambient Works Volume II (1994), Weathered Stone shows Aphex Twin working in a 1990s pocket with electronic, ambient, experimental 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, ambient, experimental texture in the pocket, especially in the way the arrangement keeps color moving under the lead. You can hear how it answers Lyrics to Go without borrowing the same emotional weight.

Luck of Lucien by A Tribe Called Quest lands here because it keeps the soulful / smoke and focus pull alive without sanding off the grain that makes this hour interesting. The hip hop edge gives the turn a more precise contour than a plain mood match. Requiem in D minor, K. 626; Sequence No. 6; Lacrimosa dies illa can step in after it without the handoff feeling pre-chewed.

On People’s Instinctive Travels and the Paths of Rhythm (1990), Luck of Lucien shows A Tribe Called Quest working in a 1990s pocket with hip hop in the grain. The cut moves with a candlelit drift, which is why it can hold this turn without flattening it.

Listen for the hip hop texture in the pocket, especially in the way the arrangement keeps color moving under the lead. It also leaves a lane for Requiem in D minor, K. 626; Sequence No. 6; Lacrimosa dies illa to arrive without the segue feeling forced.

Requiem in D minor, K. 626; Sequence No. 6; Lacrimosa dies illa answers Luck of Lucien by A Tribe Called Quest 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. Symphony No.7 in A, Op.92: 2. Allegretto can step in after it without the handoff feeling pre-chewed.

On 101 Classics - CD 3 (8) Mighty Choruses (2008), Requiem in D minor, K. 626; Sequence No. 6; Lacrimosa dies illa shows Slovak Philharmonic Choir and Orchestra, Zdenék Kosler working in a 2000s pocket with classical in the grain. The cut moves with a candlelit drift, 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 Luck of Lucien without borrowing the same emotional weight. It also leaves a lane for Symphony No.7 in A, Op.92: 2. Allegretto to arrive without the segue feeling forced.

Symphony No.7 in A, Op.92: 2. Allegretto answers Requiem in D minor, K. 626; Sequence No. 6; Lacrimosa dies illa by Slovak Philharmonic Choir and Orchestra, Zdenék Kosler 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 Beethoven: Symphonies Nos.5 and 7 (1996), Symphony No.7 in A, Op.92: 2. Allegretto shows Wiener Philharmoniker, Carlos Kleiber working in a 1990s pocket with classical in the grain. The cut moves with a candlelit drift, 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 Requiem in D minor, K. 626; Sequence No. 6; Lacrimosa dies illa without borrowing the same emotional weight.

Low by R.E.M. lands here because Luck of Lucien by A Tribe Called Quest keeps the emotional pressure steady after Unchained Melody (Live) by Heart and turns the color from 1980s into 1990s. A Tribe Called Quest keeps the close-up honest, so the special reads like a deliberate stay instead of a gimmick.. Luck of Lucien can step in after it without the handoff feeling pre-chewed.

On Green (2013), Low shows R.E.M. working in a 2010s pocket. The cut moves with a bright electric charge, which is why it can hold this turn without flattening it. Inside A Tribe Called Quest close-up, it reads as curation rather than stunt programming.

Listen for the arrangement hinge where the rhythm section and the lead line stop shadowing each other and start pulling against each other. It also leaves a lane for Luck of Lucien to arrive without the segue feeling forced.

Luck of Lucien keeps a tribe called quest close-up honest by sounding like a real choice inside that lane, not a decorative gesture. The hip hop edge gives the turn a more precise contour than a plain mood match. Stressed Out (Raphael Saadiq's Remix) can step in after it without the handoff feeling pre-chewed.

On People’s Instinctive Travels and the Paths of Rhythm (1990), Luck of Lucien shows A Tribe Called Quest working in a 1990s pocket with hip hop in the grain. The cut moves with a candlelit drift, which is why it can hold this turn without flattening it. Inside A Tribe Called Quest close-up, it reads as curation rather than stunt programming.

Listen for the hip hop texture in the pocket, especially in the way the arrangement keeps color moving under the lead. You can hear how it answers Low without borrowing the same emotional weight. It also leaves a lane for Stressed Out (Raphael Saadiq's Remix) to arrive without the segue feeling forced.

Stressed Out (Raphael Saadiq's Remix) keeps a tribe called quest close-up honest by sounding like a real choice inside that lane, not a decorative gesture. The hip hop edge gives the turn a more precise contour than a plain mood match.

On Beats, Rhymes and Life (1996), Stressed Out (Raphael Saadiq's Remix) shows A Tribe Called Quest working in a 1990s pocket with hip hop in the grain. The cut moves with a slow-burn glide, which is why it can hold this turn without flattening it. Inside A Tribe Called Quest close-up, it reads as curation rather than stunt programming.

Listen for the hip hop texture in the pocket, especially in the way the arrangement keeps color moving under the lead. You can hear how it answers Luck of Lucien without borrowing the same emotional weight.