Session notes from the booth.

Time Machine by Alicia Keys lands here because Keeps the emotional pressure steady and turns the color from 2020s into 1990s.. The soul, funk, r&b 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 ALICIA (Explicit) (2020), Time Machine shows Alicia Keys working in a 2020s pocket with soul, funk, 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 soul, funk, r&b texture in the pocket, especially in the way the arrangement keeps color moving under the lead. 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 Time Machine by Alicia Keys 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. Suck My Kiss (Live) can step in after it without the handoff feeling pre-chewed.

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 Time Machine without borrowing the same emotional weight. It also leaves a lane for Suck My Kiss (Live) to arrive without the segue feeling forced.

Suck My Kiss (Live) answers I Want To Be The Boy To Warm Your Mother's Heart (Live at The Aragon Ballroom, July 2, 2003) by The White Stripes 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 Soul To Squeeze (CD2) (1993), Suck My Kiss (Live) 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. You can hear how it answers I Want To Be The Boy To Warm Your Mother's Heart (Live at The Aragon Ballroom, July 2, 2003) without borrowing the same emotional weight.

New York Kiss (Home Demo) by Spoon lands here because To maintain an emotional arc and keep the station's mood consistent with the hour.. The pop, rock, alternatif et indé edge gives the turn a more precise contour than a plain mood match. A Clean Break (Let's Work) (Live; 2004 Remaster) can step in after it without the handoff feeling pre-chewed.

On They Want My Soul (2024), New York Kiss (Home Demo) shows Spoon working in a 2020s pocket with pop, rock, alternatif et indé 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 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 A Clean Break (Let's Work) (Live; 2004 Remaster) to arrive without the segue feeling forced.

A Clean Break (Let's Work) (Live; 2004 Remaster) answers New York Kiss (Home Demo) by Spoon with a related tension instead of a copycat move, so the sequence keeps opening out. The alternative / indie rock edge gives the turn a more precise contour than a plain mood match. I Heard It Through the Grapevine (Live) can step in after it without the handoff feeling pre-chewed.

On The Name of This Band Is Talking Heads (Expanded 2004 Remaster) (2004), A Clean Break (Let's Work) (Live; 2004 Remaster) shows Talking Heads working in a 2000s pocket with alternative / indie 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 / indie rock texture in the pocket, especially in the way the arrangement keeps color moving under the lead. You can hear how it answers New York Kiss (Home Demo) without borrowing the same emotional weight. It also leaves a lane for I Heard It Through the Grapevine (Live) to arrive without the segue feeling forced.

I Heard It Through the Grapevine (Live) answers A Clean Break (Let's Work) (Live; 2004 Remaster) by Talking Heads with a related tension instead of a copycat move, so the sequence keeps opening out. The soul, funk, r&b edge gives the turn a more precise contour than a plain mood match.

On Live in Tokyo 1979 (2025), I Heard It Through the Grapevine (Live) shows Marvin Gaye working in a 2020s pocket with soul, funk, r&b 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 soul, funk, r&b texture in the pocket, especially in the way the arrangement keeps color moving under the lead. You can hear how it answers A Clean Break (Let's Work) (Live; 2004 Remaster) without borrowing the same emotional weight.

Honey Pie by The Beatles lands here because Extend the feeling that follows Outlier (Band Demo) by Spoon without sounding automatic.. The rock edge gives the turn a more precise contour than a plain mood match. New York Kiss (Home Demo) 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 New York Kiss (Home Demo) to arrive without the segue feeling forced.

New York Kiss (Home Demo) answers Honey Pie by The Beatles 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. I Heard It Through the Grapevine (Live) can step in after it without the handoff feeling pre-chewed.

On They Want My Soul (2024), New York Kiss (Home Demo) shows Spoon working in a 2020s pocket with pop, rock, alternatif et indé in the grain. The cut moves with a candlelit drift, 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 Honey Pie without borrowing the same emotional weight. It also leaves a lane for I Heard It Through the Grapevine (Live) to arrive without the segue feeling forced.

I Heard It Through the Grapevine (Live) answers New York Kiss (Home Demo) by Spoon with a related tension instead of a copycat move, so the sequence keeps opening out. The soul, funk, r&b edge gives the turn a more precise contour than a plain mood match.

On Live in Tokyo 1979 (2025), I Heard It Through the Grapevine (Live) shows Marvin Gaye working in a 2020s pocket with soul, funk, r&b 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 soul, funk, r&b texture in the pocket, especially in the way the arrangement keeps color moving under the lead. You can hear how it answers New York Kiss (Home Demo) without borrowing the same emotional weight.

Fuck Me Pumps by Amy Winehouse lands here because On An Evening In Roma (Sott'er Celo De Roma) (Remastered) by Dean Martin states the thesis and Outlier (Band Demo) by Spoon answers it with a fresh turn.. The soul edge gives the turn a more precise contour than a plain mood match. On An Evening In Roma (Sott'er Celo De Roma) (Remastered) can step in after it without the handoff feeling pre-chewed.

On Frank (2015), Fuck Me Pumps shows Amy Winehouse working in a 2010s pocket with soul 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 soul texture in the pocket, especially in the way the arrangement keeps color moving under the lead. It also leaves a lane for On An Evening In Roma (Sott'er Celo De Roma) (Remastered) to arrive without the segue feeling forced.

On An Evening In Roma (Sott'er Celo De Roma) (Remastered) answers Fuck Me Pumps by Amy Winehouse with a related tension instead of a copycat move, so the sequence keeps opening out. The électronique, lounge edge gives the turn a more precise contour than a plain mood match. Outlier (Band Demo) can step in after it without the handoff feeling pre-chewed.

On Italian Love Songs (Remastered) (1962), On An Evening In Roma (Sott'er Celo De Roma) (Remastered) shows Dean Martin working in a 1960s pocket with électronique, lounge in the grain. The cut moves with a candlelit drift, which is why it can hold this turn without flattening it.

Listen for the électronique, lounge texture in the pocket, especially in the way the arrangement keeps color moving under the lead. You can hear how it answers Fuck Me Pumps without borrowing the same emotional weight. It also leaves a lane for Outlier (Band Demo) to arrive without the segue feeling forced.

Outlier (Band Demo) answers On An Evening In Roma (Sott'er Celo De Roma) (Remastered) by Dean Martin 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 They Want My Soul (2024), Outlier (Band Demo) shows Spoon 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 On An Evening In Roma (Sott'er Celo De Roma) (Remastered) without borrowing the same emotional weight.

Honey Chile by Fats Domino lands here because Keeps the emotional pressure steady after Eurythmics and turns the color from 2000s into 2020s. It feels more like a shelf move than an obvious front-window pick.. The rock & roll 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 Greatest Hits: Walking To New Orleans (2007), Honey Chile shows Fats Domino working in a 2000s pocket with rock & roll 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 rock & roll texture in the pocket, especially in the way the arrangement keeps color moving under the lead. 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) keeps deep shelf drift honest by sounding like a real choice inside that lane, not a decorative gesture. The pop, rock, alternatif et indé edge gives the turn a more precise contour than a plain mood match. Tonight (with David Bowie) can step in after it without the handoff feeling pre-chewed.

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. Inside Deep shelf drift, it reads as curation rather than stunt programming.

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 Honey Chile without borrowing the same emotional weight. It also leaves a lane for Tonight (with David Bowie) to arrive without the segue feeling forced.

Tonight (with David Bowie) keeps deep shelf drift honest by sounding like a real choice inside that lane, not a decorative gesture. The soul edge gives the turn a more precise contour than a plain mood match.

On The Platinum Collection [Disc 1] (2009), Tonight (with David Bowie) shows Tina Turner working in a 2000s pocket with soul 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 soul texture in the pocket, especially in the way the arrangement keeps color moving under the lead. You can hear how it answers I Want To Be The Boy To Warm Your Mother's Heart (Live at The Aragon Ballroom, July 2, 2003) without borrowing the same emotional weight.

I Want To Be The Boy To Warm Your Mother's Heart (Live at The Aragon Ballroom, July 2, 2003) by The White Stripes lands here because Speed of Life by David Bowie keeps the emotional pressure steady and transitions from 1990s rock to 1970s art rock, maintaining the station's mood.. The pop, rock, alternatif et indé edge gives the turn a more precise contour than a plain mood match. Speed of Life can step in after it without the handoff feeling pre-chewed.

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 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. It also leaves a lane for Speed of Life to arrive without the segue feeling forced.

Speed of Life answers I Want To Be The Boy To Warm Your Mother's Heart (Live at The Aragon Ballroom, July 2, 2003) by The White Stripes 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. Piece of My Heart can step in after it without the handoff feeling pre-chewed.

On Low (1977), Speed of Life 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 I Want To Be The Boy To Warm Your Mother's Heart (Live at The Aragon Ballroom, July 2, 2003) without borrowing the same emotional weight. It also leaves a lane for Piece of My Heart to arrive without the segue feeling forced.

Piece of My Heart answers Speed of Life by David Bowie 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 Cheap Thrills (1968), Piece of My Heart shows Big Brother & the Holding Company 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 Speed of Life without borrowing the same emotional weight.

He's the Greatest Dancer by Sister Sledge lands here because Extend the feeling that follows Inner City Blues (Makes Me Wanna Holler) (Live) by Marvin Gaye without sounding automatic.. 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.

He's the Greatest Dancer comes off Time-Life - Sounds Of The Seventies - Dance Fever, where Sister Sledge leans into a more tactile side of the catalog. 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 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 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) keeps deep shelf drift honest by sounding like a real choice inside that lane, not a decorative gesture. The pop, rock, alternatif et indé edge gives the turn a more precise contour than a plain mood match. Pride and Joy (Live) can step in after it without the handoff feeling pre-chewed.

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. Inside Deep shelf drift, it reads as curation rather than stunt programming.

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 He's the Greatest Dancer without borrowing the same emotional weight. It also leaves a lane for Pride and Joy (Live) to arrive without the segue feeling forced.

Pride and Joy (Live) keeps deep shelf drift honest by sounding like a real choice inside that lane, not a decorative gesture. The soul, funk, r&b edge gives the turn a more precise contour than a plain mood match.

On Live in Tokyo 1979 (2025), Pride and Joy (Live) shows Marvin Gaye working in a 2020s pocket with soul, funk, r&b 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 soul, funk, r&b texture in the pocket, especially in the way the arrangement keeps color moving under the lead. You can hear how it answers I Want To Be The Boy To Warm Your Mother's Heart (Live at The Aragon Ballroom, July 2, 2003) without borrowing the same emotional weight.