Session notes from the booth.

A Clean Break (Let's Work) (Live; 2004 Remaster) by Talking Heads lands here because The Party by Justice is the perfect left turn after Roadhouse Blues (Screamin' Ray Daniels a.k.a. Ray Manzarek On Vocals) by The Doors, keeping the emotional pressure steady while shifting the color from the 1960s into the 2020s.. The pop, rock edge gives the turn a more precise contour than a plain mood match. The Party can step in after it without the handoff feeling pre-chewed.

On Once in a Lifetime: The Talking Heads Box (2003), A Clean Break (Let's Work) (Live; 2004 Remaster) shows Talking Heads working in a 2000s pocket with pop, rock in the grain. The cut moves with a bright electric charge, which is why it can hold this turn without flattening it. Inside 2020s pressure, 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 The Party to arrive without the segue feeling forced.

The Party keeps 2020s pressure honest by sounding like a real choice inside that lane, not a decorative gesture. The electronic edge gives the turn a more precise contour than a plain mood match. Break My Stride (Remix) (Club Version) can step in after it without the handoff feeling pre-chewed.

On † (2022), The Party shows Justice working in a 2020s pocket with electronic in the grain. The cut moves with a slow-burn glide, which is why it can hold this turn without flattening it. Inside 2020s pressure, it reads as curation rather than stunt programming.

Listen for the electronic 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. It also leaves a lane for Break My Stride (Remix) (Club Version) to arrive without the segue feeling forced.

Break My Stride (Remix) (Club Version) keeps 2020s pressure honest by sounding like a real choice inside that lane, not a decorative gesture.

On Now That’s What I Call 12' 80s (2021), Break My Stride (Remix) (Club Version) shows Matthew Wilder working in a 2020s pocket. The cut moves with a slow-burn glide, which is why it can hold this turn without flattening it. Inside 2020s pressure, 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. You can hear how it answers The Party without borrowing the same emotional weight.

A Clean Break (Let's Work) (Live; 2004 Remaster) by Talking Heads lands here because Keeps the emotional pressure steady after Sister Sledge and turns the color from 2000s into 1950s.. The pop, rock edge gives the turn a more precise contour than a plain mood match. Green Aphrodisiac can step in after it without the handoff feeling pre-chewed.

On Once in a Lifetime: The Talking Heads Box (2003), A Clean Break (Let's Work) (Live; 2004 Remaster) shows Talking Heads working in a 2000s pocket with pop, 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 pop, rock texture in the pocket, especially in the way the arrangement keeps color moving under the lead. It also leaves a lane for Green Aphrodisiac to arrive without the segue feeling forced.

Green Aphrodisiac 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. Inner City Blues (Makes Me Wanna Holler) (Live) can step in after it without the handoff feeling pre-chewed.

On The Heart Speaks In Whispers (2016), Green Aphrodisiac shows Corinne Bailey Rae working in a 2010s 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. It also leaves a lane for Inner City Blues (Makes Me Wanna Holler) (Live) to arrive without the segue feeling forced.

Inner City Blues (Makes Me Wanna Holler) (Live) answers Green Aphrodisiac by Corinne Bailey Rae 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), Inner City Blues (Makes Me Wanna Holler) (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 Green Aphrodisiac without borrowing the same emotional weight.

A Clean Break (Let's Work) (Live; 2004 Remaster) by Talking Heads lands here because Bad Girls by Donna Summer keeps the emotional pressure steady after Rock And Roll Hoochie Koo by Rick Derringer and changes the palette without cutting the thread.. The pop, rock edge gives the turn a more precise contour than a plain mood match. Bad Girls can step in after it without the handoff feeling pre-chewed.

On Once in a Lifetime: The Talking Heads Box (2003), A Clean Break (Let's Work) (Live; 2004 Remaster) shows Talking Heads working in a 2000s pocket with pop, rock in the grain. The cut moves with a bright electric charge, 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 Bad Girls to arrive without the segue feeling forced.

Bad Girls keeps deep shelf drift honest by sounding like a real choice inside that lane, not a decorative gesture. The classic rock edge gives the turn a more precise contour than a plain mood match. Let It Go can step in after it without the handoff feeling pre-chewed.

On Sounds of the Seventies - '70s Gold (1998), Bad Girls shows Donna Summer working in a 1990s pocket with classic 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 classic rock 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. It also leaves a lane for Let It Go to arrive without the segue feeling forced.

Let It Go keeps deep shelf drift honest by sounding like a real choice inside that lane, not a decorative gesture. The pop/rock edge gives the turn a more precise contour than a plain mood match.

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. 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. You can hear how it answers Bad Girls without borrowing the same emotional weight.

A Clean Break (Live) by Talking Heads lands here because This Boy (2023 Mix) by The Beatles and Wide Open Space (Remastered) by Mansun provide a smooth emotional arc, transitioning from A‐Ha's upbeat sound to a more introspective pop rock track.. The pop, rock edge gives the turn a more precise contour than a plain mood match. This Boy (2023 Mix) can step in after it without the handoff feeling pre-chewed.

On Once in a Lifetime: The Talking Heads Box (2003), A Clean Break (Live) shows Talking Heads working in a 2000s pocket with pop, 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 pop, rock texture in the pocket, especially in the way the arrangement keeps color moving under the lead. It also leaves a lane for This Boy (2023 Mix) to arrive without the segue feeling forced.

This Boy (2023 Mix) answers A Clean Break (Live) 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. Wide Open Space (Remastered) can step in after it without the handoff feeling pre-chewed.

On The Beatles 1962 – 1966 (2023 Edition) (2023), This Boy (2023 Mix) shows The Beatles working in a 2020s 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 A Clean Break (Live) without borrowing the same emotional weight. It also leaves a lane for Wide Open Space (Remastered) to arrive without the segue feeling forced.

Wide Open Space (Remastered) answers This Boy (2023 Mix) 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.

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. You can hear how it answers This Boy (2023 Mix) without borrowing the same emotional weight.

A Clean Break (Let's Work) (Live; 2004 Remaster) by Talking Heads lands here because Keeps the emotional pressure steady after People of the Sun by Rage Against The Machine and turns the color from 2020s into 1990s. 1990s grain is the point of the special, so the era stamp matters here.. The pop, rock edge gives the turn a more precise contour than a plain mood match. Midnight Rider can step in after it without the handoff feeling pre-chewed.

On Once in a Lifetime: The Talking Heads Box (2003), A Clean Break (Let's Work) (Live; 2004 Remaster) shows Talking Heads working in a 2000s pocket with pop, rock in the grain. The cut moves with a bright electric charge, which is why it can hold this turn without flattening it. Inside 1990s pressure, 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 Midnight Rider to arrive without the segue feeling forced.

Midnight Rider keeps 1990s pressure honest by sounding like a real choice inside that lane, not a decorative gesture. The classic rock edge gives the turn a more precise contour than a plain mood match. One Summer Night can step in after it without the handoff feeling pre-chewed.

On Sounds of the Seventies - '70s Gold (1998), Midnight Rider shows Gregg Allman working in a 1990s pocket with classic rock in the grain. The cut moves with a steady shoulder-roll, which is why it can hold this turn without flattening it. Inside 1990s pressure, it reads as curation rather than stunt programming.

Listen for the classic rock 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. It also leaves a lane for One Summer Night to arrive without the segue feeling forced.

One Summer Night keeps 1990s pressure honest by sounding like a real choice inside that lane, not a decorative gesture. 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), One Summer Night shows The Danleers 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. Inside 1990s pressure, it reads as curation rather than stunt programming.

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 Midnight Rider without borrowing the same emotional weight.

A Clean Break (Live) by Talking Heads lands here because People of the Sun (Live, Mexico City, Mexico, October 28, 1999) by Rage Against The Machine. It pushes the next turn upward after A Clean Break (Let's Work) (Live; 2004 Remaster) by Talking Heads and turns the color from 2000s into 2020s.. The pop, rock edge gives the turn a more precise contour than a plain mood match. White Line Fever can step in after it without the handoff feeling pre-chewed.

On Once in a Lifetime: The Talking Heads Box (2003), A Clean Break (Live) shows Talking Heads working in a 2000s pocket with pop, rock in the grain. The cut moves with a bright electric charge, 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 White Line Fever to arrive without the segue feeling forced.

White Line Fever keeps deep shelf drift honest by sounding like a real choice inside that lane, not a decorative gesture. The country 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 Live in Amsterdam (1973), White Line Fever shows The Flying Burrito Brothers working in a 1970s pocket with country 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 country 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 (Live) 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) keeps deep shelf drift honest by sounding like a real choice inside that lane, not a decorative gesture. 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. 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. You can hear how it answers White Line Fever without borrowing the same emotional weight.

New York, New York by Ryan Adams lands here because Keeps the emotional pressure steady after Englishman In New York by Sting and turns the color from 1980s into 1960s. Abbey Road is the actual record under the microscope, so this keeps the album run coherent.. The pop, rock edge gives the turn a more precise contour than a plain mood match. You Never Give Me Your Money can step in after it without the handoff feeling pre-chewed.

On Gold (2001), New York, New York shows Ryan Adams working in a 2000s pocket with pop, rock in the grain. The cut moves with a candlelit drift, which is why it can hold this turn without flattening it. Inside Abbey Road run, 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 You Never Give Me Your Money to arrive without the segue feeling forced.

You Never Give Me Your Money keeps abbey road run honest by sounding like a real choice inside that lane, not a decorative gesture. The rock edge gives the turn a more precise contour than a plain mood match. Something can step in after it without the handoff feeling pre-chewed.

On Abbey Road (1969), You Never Give Me Your Money 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. Inside Abbey Road run, it reads as curation rather than stunt programming.

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 New York, New York without borrowing the same emotional weight. It also leaves a lane for Something to arrive without the segue feeling forced.

Something keeps abbey road run honest by sounding like a real choice inside that lane, not a decorative gesture. The rock edge gives the turn a more precise contour than a plain mood match.

On Abbey Road (1969), Something 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. Inside Abbey Road run, it reads as curation rather than stunt programming.

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 You Never Give Me Your Money without borrowing the same emotional weight.

Piano Sonata No.1 in F Minor Op.2 by Mari Kodama lands here because Red Hot Chili Peppers' 'The Getaway' states the thesis, and Bruce Springsteen’s 'Atlantic City' answers it with a fresh turn.. The classical edge gives the turn a more precise contour than a plain mood match. The Getaway can step in after it without the handoff feeling pre-chewed.

On Beethoven. Piano Sonatas Nos. 1, 2, 3 (2008), Piano Sonata No.1 in F Minor Op.2 shows Mari Kodama working in a 2000s 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 The Getaway to arrive without the segue feeling forced.

The Getaway answers Piano Sonata No.1 in F Minor Op.2 by Mari Kodama 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. Atlantic City can step in after it without the handoff feeling pre-chewed.

On The Getaway (2016), The Getaway shows Red Hot Chili Peppers working in a 2010s 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 Piano Sonata No.1 in F Minor Op.2 without borrowing the same emotional weight. It also leaves a lane for Atlantic City to arrive without the segue feeling forced.

Atlantic City answers The Getaway 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.

On Nebraska (2014), Atlantic City shows Bruce Springsteen 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 The Getaway without borrowing the same emotional weight.

A Clean Break (Let's Work) (Live at CBGB's, 10/10/77) by Talking Heads lands here because Wasted Time by Eagles keeps the emotional pressure steady after I Got a Line on You by Spirit and keeps rock in the grain. It provides a fresh turn while maintaining the hour's mood.. The pop, rock edge gives the turn a more precise contour than a plain mood match. One of Us Must Know (Sooner or Later) (Live at Nippon Budokan Hall, Tokyo, Japan - March 1, 1978) can step in after it without the handoff feeling pre-chewed.

On Once in a Lifetime: The Talking Heads Box (2003), A Clean Break (Let's Work) (Live at CBGB's, 10/10/77) shows Talking Heads working in a 2000s pocket with pop, 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 pop, rock texture in the pocket, especially in the way the arrangement keeps color moving under the lead. It also leaves a lane for One of Us Must Know (Sooner or Later) (Live at Nippon Budokan Hall, Tokyo, Japan - March 1, 1978) to arrive without the segue feeling forced.

One of Us Must Know (Sooner or Later) (Live at Nippon Budokan Hall, Tokyo, Japan - March 1, 1978) answers A Clean Break (Let's Work) (Live at CBGB's, 10/10/77) 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. Wasted Time can step in after it without the handoff feeling pre-chewed.

On The Complete Budokan 1978 (2023), One of Us Must Know (Sooner or Later) (Live at Nippon Budokan Hall, Tokyo, Japan - March 1, 1978) shows Bob Dylan working in a 2020s 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 A Clean Break (Let's Work) (Live at CBGB's, 10/10/77) without borrowing the same emotional weight. It also leaves a lane for Wasted Time to arrive without the segue feeling forced.

Wasted Time answers One of Us Must Know (Sooner or Later) (Live at Nippon Budokan Hall, Tokyo, Japan - March 1, 1978) by Bob Dylan 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 Very Best Of (2003), Wasted Time shows Eagles working in a 2000s 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 One of Us Must Know (Sooner or Later) (Live at Nippon Budokan Hall, Tokyo, Japan - March 1, 1978) without borrowing the same emotional weight.

Slow Cheetah by Red Hot Chili Peppers lands here because it keeps the soulful / fresh current pull alive without sanding off the grain that makes this hour interesting. The alternative-rock edge gives the turn a more precise contour than a plain mood match. Let's Go Away Foe A While (Highlights from Tracking Date) can step in after it without the handoff feeling pre-chewed.

On Stadium Arcadium - Jupiter (2006), Slow Cheetah shows Red Hot Chili Peppers 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. It also leaves a lane for Let's Go Away Foe A While (Highlights from Tracking Date) to arrive without the segue feeling forced.

Let's Go Away Foe A While (Highlights from Tracking Date) answers Slow Cheetah by Red Hot Chili Peppers with a related tension instead of a copycat move, so the sequence keeps opening out. The pop edge gives the turn a more precise contour than a plain mood match. Fresh Out The Slammer can step in after it without the handoff feeling pre-chewed.

On Pet Sounds (CD 2) [50th Anniversary Edition] (2016), Let's Go Away Foe A While (Highlights from Tracking Date) shows The Beach Boys working in a 2010s pocket with pop 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 texture in the pocket, especially in the way the arrangement keeps color moving under the lead. You can hear how it answers Slow Cheetah without borrowing the same emotional weight. It also leaves a lane for Fresh Out The Slammer to arrive without the segue feeling forced.

Fresh Out The Slammer answers Let's Go Away Foe A While (Highlights from Tracking Date) by The Beach Boys 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 TORTURED POETS DEPARTMENT: THE ANTHOLOGY (2024), Fresh Out The Slammer shows Taylor Swift 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. You can hear how it answers Let's Go Away Foe A While (Highlights from Tracking Date) without borrowing the same emotional weight.