Session notes from the booth.

People of the Sun (Live, Mexico City, Mexico, October 28, 1999) by Rage Against The Machine lands here because Why Don't You Write Me by The Jacks states the thesis, and So Fine by The Fiestas answers it with a fresh turn.. The pop, rock edge gives the turn a more precise contour than a plain mood match. Why Don't You Write Me can step in after it without the handoff feeling pre-chewed.

On Evil Empire (1996), People of the Sun (Live, Mexico City, Mexico, October 28, 1999) shows Rage Against The Machine working in a 1990s 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. It also leaves a lane for Why Don't You Write Me to arrive without the segue feeling forced.

Why Don't You Write Me 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 doo-wop edge gives the turn a more precise contour than a plain mood match. So Fine can step in after it without the handoff feeling pre-chewed.

On The Birth Of Doo Wop 1948-1955 (1994), Why Don't You Write Me shows The Jacks working in a 1990s pocket with doo-wop 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 doo-wop 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. It also leaves a lane for So Fine to arrive without the segue feeling forced.

So Fine answers Why Don't You Write Me by The Jacks with a related tension instead of a copycat move, so the sequence keeps opening out. The doo-wop edge gives the turn a more precise contour than a plain mood match.

On Doo Wop's Golden Age (1957-1959) (1994), So Fine shows The Fiestas working in a 1990s pocket with doo-wop 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 doo-wop texture in the pocket, especially in the way the arrangement keeps color moving under the lead. You can hear how it answers Why Don't You Write Me without borrowing the same emotional weight.

People of the Sun (Live, Mexico City, Mexico, October 28, 1999) by Rage Against The Machine lands here because it keeps the soulful / high-noon shimmer 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. Take on Me (2015 Remaster) can step in after it without the handoff feeling pre-chewed.

On Evil Empire (1996), People of the Sun (Live, Mexico City, Mexico, October 28, 1999) shows Rage Against The Machine working in a 1990s 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. It also leaves a lane for Take on Me (2015 Remaster) to arrive without the segue feeling forced.

Take on Me (2015 Remaster) 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 pop, rock edge gives the turn a more precise contour than a plain mood match. High Hopes can step in after it without the handoff feeling pre-chewed.

On Hunting High and Low (1985), Take on Me (2015 Remaster) shows A-Ha working in a 1980s 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 People of the Sun (Live, Mexico City, Mexico, October 28, 1999) without borrowing the same emotional weight. It also leaves a lane for High Hopes to arrive without the segue feeling forced.

High Hopes answers Take on Me (2015 Remaster) by A-Ha 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 Division Bell (Hi-Res 24/96 Version) (2014), High Hopes shows Pink Floyd 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 Take on Me (2015 Remaster) without borrowing the same emotional weight.

Behind The Sun by Red Hot Chili Peppers lands here because Keeps the emotional pressure steady after Hey Baby (New Rising Sun) / Midnight Lightning and changes the palette without cutting the thread.. The alternative-rock edge gives the turn a more precise contour than a plain mood match. Walking Down Your Street (Extended Remix) can step in after it without the handoff feeling pre-chewed.

On What Hits!? (1992), Behind The Sun shows Red Hot Chili Peppers working in a 1990s 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 Walking Down Your Street (Extended Remix) to arrive without the segue feeling forced.

Walking Down Your Street (Extended Remix) answers Behind The Sun by Red Hot Chili Peppers 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. People of the Sun (Live, Mexico City, Mexico, October 28, 1999) can step in after it without the handoff feeling pre-chewed.

On Gold (3) (2020), Walking Down Your Street (Extended Remix) shows Bangles 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 Behind The Sun without borrowing the same emotional weight. 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 Walking Down Your Street (Extended Remix) 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.

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 Walking Down Your Street (Extended Remix) without borrowing the same emotional weight.

Black Hole Sun (Album Version) by Soundgarden lands here because This sharp two-step keeps the emotional pressure steady after Atlantic City and introduces a new flavor without being too abrupt.. The pop, rock edge gives the turn a more precise contour than a plain mood match. Rope can step in after it without the handoff feeling pre-chewed.

On Superunknown (1994), Black Hole Sun (Album Version) shows Soundgarden working in a 1990s 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 Rope to arrive without the segue feeling forced.

Rope answers Black Hole Sun (Album Version) by Soundgarden 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. I’ll Follow the Sun can step in after it without the handoff feeling pre-chewed.

On Wasting Light (2011), Rope shows Foo Fighters 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 Black Hole Sun (Album Version) without borrowing the same emotional weight. It also leaves a lane for I’ll Follow the Sun to arrive without the segue feeling forced.

I’ll Follow the Sun answers Rope by Foo Fighters 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 Beatles for Sale (1964), I’ll Follow 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 Rope without borrowing the same emotional weight.

Hold The Line by Toto lands here because To maintain the emotional arc and transition pressure from Even It Up by Heart to a new mood.. The rock edge gives the turn a more precise contour than a plain mood match. This Is Radio Clash can step in after it without the handoff feeling pre-chewed.

On Sounds Of The Seventies - Rock 'N' Soul Seventies (1991), Hold The Line shows Toto working in a 1990s pocket with 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 rock texture in the pocket, especially in the way the arrangement keeps color moving under the lead. It also leaves a lane for This Is Radio Clash to arrive without the segue feeling forced.

This Is Radio Clash answers Hold The Line by Toto 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. Livin' Thing can step in after it without the handoff feeling pre-chewed.

On The Essential Clash (2) (2003), This Is Radio Clash shows The Clash working in a 2000s 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 Hold The Line without borrowing the same emotional weight. It also leaves a lane for Livin' Thing to arrive without the segue feeling forced.

Livin' Thing answers This Is Radio Clash by The Clash 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 A New World Record (1976), Livin' Thing shows Electric Light Orchestra working in a 1970s 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 This Is Radio Clash without borrowing the same emotional weight.