Session notes from the booth.

Thank You Friends by Big Star lands here because keeps the emotional pressure steady after Rock 'n' Roll With Me (Live) by David Bowie and turns the color from 2020s into 1960s. The Beatles is one of Ian's steadier shelf presences, so the pick already reads like a real hand.. The rock edge gives the turn a more precise contour than a plain mood match. The Prophet Returns can step in after it without the handoff feeling pre-chewed.

On Sounds Of The Seventies - Punk And New Wave (1993), Thank You Friends shows Big Star 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 The Prophet Returns to arrive without the segue feeling forced.

The Prophet Returns answers Thank You Friends by Big Star 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. Here Comes the Sun can step in after it without the handoff feeling pre-chewed.

On Prophet (2022), The Prophet Returns shows The Sun Ra Arkestra 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.

This one is airing as a clipped passage, so listen for the section Mr Rassy chose to stand in for the whole piece. The choice was deliberate: The Prophet Returns is an album-side suite that benefits from a clipped opening to maintain the listener's interest without overwhelming the set.. Here Comes the Sun is waiting on the far side of that seam.

Here Comes the Sun answers The Prophet Returns by The Sun Ra Arkestra 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), Here Comes the Sun shows The Beatles 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. You can hear how it answers The Prophet Returns without borrowing the same emotional weight.

Doxy (From The Album Bags'Groove) by Miles Davis lands here because To maintain the emotional arc from Still Summer by Jamie xx into a soulful yet grounded feel.. The jazz edge gives the turn a more precise contour than a plain mood match. And It Stoned Me can step in after it without the handoff feeling pre-chewed.

On Bags' Groove (1957), Doxy (From The Album Bags'Groove) 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. It also leaves a lane for And It Stoned Me to arrive without the segue feeling forced.

And It Stoned Me answers Doxy (From The Album Bags'Groove) by Miles Davis 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. Thank You Friends can step in after it without the handoff feeling pre-chewed.

On The Essential Van Morrison (1) (2015), And It Stoned Me shows Van Morrison 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 Doxy (From The Album Bags'Groove) without borrowing the same emotional weight. It also leaves a lane for Thank You Friends to arrive without the segue feeling forced.

Thank You Friends answers And It Stoned Me by Van Morrison 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 - Punk And New Wave (1993), Thank You Friends shows Big Star 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 And It Stoned Me without borrowing the same emotional weight.

Let It Go by Bangles lands here because Extend the feeling that follows Rock And Roll All Nite by Kiss without sounding automatic.. The pop/rock edge gives the turn a more precise contour than a plain mood match. People of the Sun (Live, Mexico City, Mexico, October 28, 1999) can step in after it without the handoff feeling pre-chewed.

On Gold (1) (2020), Let It Go shows Bangles working in a 2020s 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. It also leaves a lane for People of the Sun (Live, Mexico City, Mexico, October 28, 1999) to arrive without the segue feeling forced.

People of the Sun (Live, Mexico City, Mexico, October 28, 1999) answers Let It Go by Bangles 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. Doxy (From The Album Bags'Groove) can step in after it without the handoff feeling pre-chewed.

On The Battle Of Mexico City (2020), People of the Sun (Live, Mexico City, Mexico, October 28, 1999) shows Rage Against The Machine 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 Let It Go without borrowing the same emotional weight. It also leaves a lane for Doxy (From The Album Bags'Groove) to arrive without the segue feeling forced.

Doxy (From The Album Bags'Groove) answers People of the Sun (Live, Mexico City, Mexico, October 28, 1999) by Rage Against The Machine 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 INTEGRAL MILES DAVIS 1951-1956 (2024), Doxy (From The Album Bags'Groove) shows Miles Davis working in a 2020s 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 People of the Sun (Live, Mexico City, Mexico, October 28, 1999) without borrowing the same emotional weight.

Summer Wind by Frank Sinatra lands here because Keeps the emotional pressure steady and changes the palette without cutting the thread.. The jazz edge gives the turn a more precise contour than a plain mood match. Blueberry Hill can step in after it without the handoff feeling pre-chewed.

On Ultimate Sinatra (2015), Summer Wind shows Frank Sinatra working in a 2010s pocket with jazz in the grain. The cut moves with a candlelit drift, 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. It also leaves a lane for Blueberry Hill to arrive without the segue feeling forced.

Blueberry Hill answers Summer Wind by Frank Sinatra with a related tension instead of a copycat move, so the sequence keeps opening out. The rock & roll edge gives the turn a more precise contour than a plain mood match. Rock 'N' Roll Fantasy can step in after it without the handoff feeling pre-chewed.

On Greatest Hits: Walking To New Orleans (2007), Blueberry Hill shows Fats Domino working in a 2000s pocket with rock & roll 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 & roll texture in the pocket, especially in the way the arrangement keeps color moving under the lead. You can hear how it answers Summer Wind without borrowing the same emotional weight. It also leaves a lane for Rock 'N' Roll Fantasy to arrive without the segue feeling forced.

Rock 'N' Roll Fantasy answers Blueberry Hill by Fats Domino 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 - 1979 (1990), Rock 'N' Roll Fantasy shows Bad Company 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 Blueberry Hill without borrowing the same emotional weight.

But Not For Me (From The Album Bags'Groove) by Miles Davis lands here because Keeps the emotional pressure steady after Summer Wind by Frank Sinatra and changes the palette without cutting the thread.. The jazz edge gives the turn a more precise contour than a plain mood match. Never Lose Your Sense Of Humor can step in after it without the handoff feeling pre-chewed.

On Bags' Groove (1957), But Not For Me (From The Album Bags'Groove) 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. It also leaves a lane for Never Lose Your Sense Of Humor to arrive without the segue feeling forced.

Never Lose Your Sense Of Humor answers But Not For Me (From The Album Bags'Groove) by Miles Davis with a related tension instead of a copycat move, so the sequence keeps opening out. The r&b edge gives the turn a more precise contour than a plain mood match. Electron Blue can step in after it without the handoff feeling pre-chewed.

On The Ultimate Collection: To Remember (2016), Never Lose Your Sense Of Humor shows Donna Summer Feat. Paul Jabara working in a 2010s pocket with r&b in the grain. The cut moves with a candlelit drift, which is why it can hold this turn without flattening it.

Listen for the r&b texture in the pocket, especially in the way the arrangement keeps color moving under the lead. You can hear how it answers But Not For Me (From The Album Bags'Groove) without borrowing the same emotional weight. It also leaves a lane for Electron Blue to arrive without the segue feeling forced.

Electron Blue answers Never Lose Your Sense Of Humor by Donna Summer Feat. Paul Jabara 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 Around The Sun (2004), Electron Blue shows R.E.M. working in a 2000s 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 Never Lose Your Sense Of Humor without borrowing the same emotional weight.

Tear Drops by Lee Andrews & The Hearts lands here because it keeps the soulful / golden sway pull alive without sanding off the grain that makes this hour interesting. The doo-wop edge gives the turn a more precise contour than a plain mood match. Doxy (From The Album Bags'Groove) can step in after it without the handoff feeling pre-chewed.

On The Rock 'N' Roll Explosion (1955-1957) (1994), Tear Drops shows Lee Andrews & The Hearts working in a 1990s pocket with doo-wop 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 doo-wop texture in the pocket, especially in the way the arrangement keeps color moving under the lead. It also leaves a lane for Doxy (From The Album Bags'Groove) to arrive without the segue feeling forced.

Doxy (From The Album Bags'Groove) answers Tear Drops by Lee Andrews & The Hearts 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. Summer Wind can step in after it without the handoff feeling pre-chewed.

On INTEGRAL MILES DAVIS 1951-1956 (2024), Doxy (From The Album Bags'Groove) shows Miles Davis working in a 2020s 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 Tear Drops without borrowing the same emotional weight. It also leaves a lane for Summer Wind to arrive without the segue feeling forced.

Summer Wind answers Doxy (From The Album Bags'Groove) by Miles Davis 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 Ultimate Sinatra (2015), Summer Wind shows Frank Sinatra working in a 2010s pocket with jazz in the grain. The cut moves with a candlelit drift, 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 Doxy (From The Album Bags'Groove) without borrowing the same emotional weight.

This Velvet Glove by Red Hot Chili Peppers lands here because David Bowie's 'Rock ’n’ Roll With Me (Live)' and Miles Davis' 'But Not For Me (From The Album Bags'Groove)' provide a smooth emotional arc after Lee Andrews & The Hearts' 'Tear Drops', maintaining the station's warm gravity mood while offering new energy and perspective.. The rock edge gives the turn a more precise contour than a plain mood match. Rock ’n’ Roll With Me (Live) can step in after it without the handoff feeling pre-chewed.

On Californication (1999), This Velvet Glove shows Red Hot Chili Peppers 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 Rock ’n’ Roll With Me (Live) to arrive without the segue feeling forced.

Rock ’n’ Roll With Me (Live) answers This Velvet Glove by Red Hot Chili Peppers with a related tension instead of a copycat move, so the sequence keeps opening out. The art rock edge gives the turn a more precise contour than a plain mood match. But Not For Me (From The Album Bags'Groove) can step in after it without the handoff feeling pre-chewed.

On Moonage Daydream: A Film by Brett Morgen (2022), Rock ’n’ Roll With Me (Live) shows David Bowie working in a 2020s 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. You can hear how it answers This Velvet Glove without borrowing the same emotional weight. It also leaves a lane for But Not For Me (From The Album Bags'Groove) to arrive without the segue feeling forced.

But Not For Me (From The Album Bags'Groove) answers Rock ’n’ Roll With Me (Live) by David Bowie 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 INTEGRAL MILES DAVIS 1951-1956 (2024), But Not For Me (From The Album Bags'Groove) shows Miles Davis 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 Rock ’n’ Roll With Me (Live) without borrowing the same emotional weight.

Bags' Groove (Take 1) by Kenny Clarke lands here because But Not For Me (From The Album Bags'Groove) by Miles Davis and I Want To Be The Boy To Warm Your Mother's Heart (Live at The Aragon Ballroom, July 2, 2003) by The White Stripes provide a sharp two-step that deepens the emotional arc after Rock 'n' Roll With Me (Live) by David Bowie. They keep the energy steady and change the palette without cutting the thread.. The jazz edge gives the turn a more precise contour than a plain mood match. But Not For Me (From The Album Bags'Groove) can step in after it without the handoff feeling pre-chewed.

On Bags' Groove (2016), Bags' Groove (Take 1) shows Kenny Clarke working in a 2010s 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. It also leaves a lane for But Not For Me (From The Album Bags'Groove) to arrive without the segue feeling forced.

But Not For Me (From The Album Bags'Groove) answers Bags' Groove (Take 1) by Kenny Clarke 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. I Want To Be The Boy To Warm Your Mother's Heart (Live at The Aragon Ballroom, July 2, 2003) can step in after it without the handoff feeling pre-chewed.

On INTEGRAL MILES DAVIS 1951-1956 (2024), But Not For Me (From The Album Bags'Groove) shows Miles Davis 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 Bags' Groove (Take 1) without borrowing the same emotional weight. It also leaves a lane for I Want To Be The Boy To Warm Your Mother's Heart (Live at The Aragon Ballroom, July 2, 2003) to arrive without the segue feeling forced.

I Want To Be The Boy To Warm Your Mother's Heart (Live at The Aragon Ballroom, July 2, 2003) answers But Not For Me (From The Album Bags'Groove) by Miles Davis 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 Elephant (2023), I Want To Be The Boy To Warm Your Mother's Heart (Live at The Aragon Ballroom, July 2, 2003) shows The White Stripes working in a 2020s 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 But Not For Me (From The Album Bags'Groove) without borrowing the same emotional weight.

Wide Open Space (Remastered) by Mansun lands here because keeps the emotional pressure steady after Everybody Knows This Is Nowhere (Live) by Red Hot Chili Peppers and changes the palette without cutting the thread. Jazz is a real lane in this library, which helps the choice feel rooted instead of random. Compared with the last few turns, it changes the sentence enough to keep the hour feeling authored.. The pop, rock, alternatif et indé edge gives the turn a more precise contour than a plain mood match. Bags' Groove (Take 1) can step in after it without the handoff feeling pre-chewed.

On Attack of the Grey Lantern (1996), Wide Open Space (Remastered) shows Mansun working in a 1990s 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. It also leaves a lane for Bags' Groove (Take 1) to arrive without the segue feeling forced.

Bags' Groove (Take 1) answers Wide Open Space (Remastered) by Mansun 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. Rock ’n’ Roll With Me can step in after it without the handoff feeling pre-chewed.

On Bags' Groove (2016), Bags' Groove (Take 1) shows Kenny Clarke working in a 2010s 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 Wide Open Space (Remastered) without borrowing the same emotional weight. It also leaves a lane for Rock ’n’ Roll With Me to arrive without the segue feeling forced.

Rock ’n’ Roll With Me answers Bags' Groove (Take 1) by Kenny Clarke with a related tension instead of a copycat move, so the sequence keeps opening out. The art rock edge gives the turn a more precise contour than a plain mood match.

On Diamond Dogs (1974), Rock ’n’ Roll With Me shows David Bowie working in a 1970s 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. You can hear how it answers Bags' Groove (Take 1) without borrowing the same emotional weight.