Session notes from the booth.

Crosseyed and Painless by Talking Heads lands here because Wait Till You See Her (2022 Remaster) 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 fresh emotional arc after Legal Tender by The B‐52s. They keep the feeling tender while moving into new territory.. The rock edge gives the turn a more precise contour than a plain mood match. Wait Till You See Her (2022 Remaster) can step in after it without the handoff feeling pre-chewed.

On Remain in Light (Deluxe Version) (1980), Crosseyed and Painless shows Talking Heads 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. It also leaves a lane for Wait Till You See Her (2022 Remaster) to arrive without the segue feeling forced.

Wait Till You See Her (2022 Remaster) answers Crosseyed and Painless by Talking Heads 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 Quiet Nights (2022), Wait Till You See Her (2022 Remaster) 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 Crosseyed and Painless 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 Wait Till You See Her (2022 Remaster) 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 Wait Till You See Her (2022 Remaster) without borrowing the same emotional weight.

Summertime by Miles Davis lands here because Wild Heart (Remastered) by Stevie Nicks is the perfect left turn to extend the feeling from In a Certain Light by Great Lake Swimmers without sounding automatic.. The jazz edge gives the turn a more precise contour than a plain mood match. Wake Up (Remastered) can step in after it without the handoff feeling pre-chewed.

On The Complete Columbia Studio Recordings - Disc 4 (1962), Summertime shows Miles Davis working in a 1960s 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 Wake Up (Remastered) to arrive without the segue feeling forced.

Wake Up (Remastered) answers Summertime 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. Wild Heart (Remastered) can step in after it without the handoff feeling pre-chewed.

On Rage Against The Machine - XX (20th Anniversary Special Edition) (2012), Wake Up (Remastered) shows Rage Against The Machine working in a 2010s 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 Summertime without borrowing the same emotional weight. It also leaves a lane for Wild Heart (Remastered) to arrive without the segue feeling forced.

Wild Heart (Remastered) answers Wake Up (Remastered) by Rage Against The Machine 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), Wild Heart (Remastered) 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 Wake Up (Remastered) without borrowing the same emotional weight.

Mercure by Satie lands here because Keeps the emotional pressure steady after What Was I Made For? [From The Motion Picture "Barbie"] by Billie Eilish and turns the color from 2020s into 2010s.. The classical edge gives the turn a more precise contour than a plain mood match. Solea can step in after it without the handoff feeling pre-chewed.

On Complete Piano Works, Volume 8 (1995), Mercure shows Satie working in a 1990s pocket with classical 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 classical texture in the pocket, especially in the way the arrangement keeps color moving under the lead. It also leaves a lane for Solea to arrive without the segue feeling forced.

Solea answers Mercure by Satie 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. Reality In Motion can step in after it without the handoff feeling pre-chewed.

On Miles Ahead: Original Motion Picture Soundtrack (2016), Solea shows Miles Davis 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 Mercure without borrowing the same emotional weight. It also leaves a lane for Reality In Motion to arrive without the segue feeling forced.

Reality In Motion answers Solea 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 Currents (2015), Reality In Motion shows Tame Impala working in a 2010s pocket with pop, rock, alternatif et indé 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, 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 Solea without borrowing the same emotional weight.

Honey Pie by The Beatles lands here because The Shape I'm Takin' by Red Hot Chili Peppers and What Was I Made For? [From The Motion Picture "Barbie"] by Billie Eilish keep the emotional pressure steady, change the palette without cutting the thread, and maintain pop, rock, alternatif et indé in the grain. These choices align with the hour's mood and provide a fresh accent instead of repeating the last few turns.. The rock edge gives the turn a more precise contour than a plain mood match. The Shape I'm Takin' can step in after it without the handoff feeling pre-chewed.

On The Beatles (1968), Honey Pie shows The Beatles working in a 1960s 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. It also leaves a lane for The Shape I'm Takin' to arrive without the segue feeling forced.

The Shape I'm Takin' answers Honey Pie by The Beatles with a related tension instead of a copycat move, so the sequence keeps opening out. The alternative-rock edge gives the turn a more precise contour than a plain mood match. What Was I Made For? [From The Motion Picture "Barbie"] can step in after it without the handoff feeling pre-chewed.

On Return Of The Dream Canteen (2022), The Shape I'm Takin' shows Red Hot Chili Peppers working in a 2020s pocket with alternative-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 alternative-rock texture in the pocket, especially in the way the arrangement keeps color moving under the lead. You can hear how it answers Honey Pie without borrowing the same emotional weight. It also leaves a lane for What Was I Made For? [From The Motion Picture "Barbie"] to arrive without the segue feeling forced.

What Was I Made For? [From The Motion Picture "Barbie"] answers The Shape I'm Takin' by Red Hot Chili Peppers 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 What Was I Made For? [From The Motion Picture "Barbie"] (2023), What Was I Made For? [From The Motion Picture "Barbie"] shows Billie Eilish 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 The Shape I'm Takin' without borrowing the same emotional weight.