Session notes from the booth.

Exit Stonehenge by Soundgarden lands here because Keeps the emotional pressure steady after Houses in Motion (Live at Werchterpark Festival, Belgium) by Talking Heads and keeps pop in the grain.. The pop, rock edge gives the turn a more precise contour than a plain mood match. You Learn (Live at Subterranea, London 09/28/95) can step in after it without the handoff feeling pre-chewed.

On Echo Of Miles: Scattered Tracks Across The Path (2014), Exit Stonehenge shows Soundgarden 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. It also leaves a lane for You Learn (Live at Subterranea, London 09/28/95) to arrive without the segue feeling forced.

You Learn (Live at Subterranea, London 09/28/95) answers Exit Stonehenge by Soundgarden 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. Caroline No (Stereo) can step in after it without the handoff feeling pre-chewed.

On Live at Subterranea, London 09/28/95 (Previously Unreleased) (2015), You Learn (Live at Subterranea, London 09/28/95) shows Alanis Morissette 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 Exit Stonehenge without borrowing the same emotional weight. It also leaves a lane for Caroline No (Stereo) to arrive without the segue feeling forced.

Caroline No (Stereo) answers You Learn (Live at Subterranea, London 09/28/95) by Alanis Morissette 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.

On Pet Sounds (CD 1) [50th Anniversary Edition] (2016), Caroline No (Stereo) shows The Beach Boys working in a 2010s pocket with pop 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 texture in the pocket, especially in the way the arrangement keeps color moving under the lead. You can hear how it answers You Learn (Live at Subterranea, London 09/28/95) without borrowing the same emotional weight.

The Telephantasm by Soundgarden lands here because People of the Sun (Live) by Rage Against The Machine and Cortez the Killer by Neil Young & Crazy Horse provide a strong emotional arc and keep pop, rock in the grain.. 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 The Telephantasm (2010), The Telephantasm shows Soundgarden working in a 2010s 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 The Telephantasm 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. Cortez the Killer 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 The Telephantasm without borrowing the same emotional weight. It also leaves a lane for Cortez the Killer to arrive without the segue feeling forced.

Cortez the Killer 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.

On Zuma (1975), Cortez the Killer shows Neil Young & Crazy Horse working in a 1970s 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.

Boys (The Co-Ed Remix) by Britney Spears feat. Pharrell Williams of N.E.R.D. lands here because Keeps the emotional pressure steady after Préludes Flasques: Idylle Cynique by Satie and changes the palette without cutting the thread.. The pop edge gives the turn a more precise contour than a plain mood match. The Apologist can step in after it without the handoff feeling pre-chewed.

On The Essential Britney Spears (1) (2013), Boys (The Co-Ed Remix) shows Britney Spears feat. Pharrell Williams of N.E.R.D. 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. It also leaves a lane for The Apologist to arrive without the segue feeling forced.

The Apologist answers Boys (The Co-Ed Remix) by Britney Spears feat. Pharrell Williams of N.E.R.D. with a related tension instead of a copycat move, so the sequence keeps opening out. The alternative edge gives the turn a more precise contour than a plain mood match. Rhinosaur can step in after it without the handoff feeling pre-chewed.

On Up (1998), The Apologist shows R.E.M. working in a 1990s pocket with alternative 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 texture in the pocket, especially in the way the arrangement keeps color moving under the lead. You can hear how it answers Boys (The Co-Ed Remix) without borrowing the same emotional weight. It also leaves a lane for Rhinosaur to arrive without the segue feeling forced.

Rhinosaur answers The Apologist by R.E.M. 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 Down On The Upside (1993), Rhinosaur shows Soundgarden 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. You can hear how it answers The Apologist without borrowing the same emotional weight.

Faith (Remastered) by George Michael lands here because Electro pocket - keeps the emotional pressure steady after Long Day by Various Interprets and turns the color from 1990s into 0s.. The pop, rock edge gives the turn a more precise contour than a plain mood match. Baptism can step in after it without the handoff feeling pre-chewed.

On George Michael & Wham! Last Christmas: The Original Motion Picture Soundtrack (2019), Faith (Remastered) shows George Michael working in a 2010s 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 Electro pocket, 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 Baptism to arrive without the segue feeling forced.

Baptism keeps electro pocket honest by sounding like a real choice inside that lane, not a decorative gesture. The electroclash / leftfield edge gives the turn a more precise contour than a plain mood match. The Game Has Changed can step in after it without the handoff feeling pre-chewed.

On Crystal Castles (4), Baptism shows Crystal Castles working in a 0s pocket with electroclash / leftfield in the grain. The cut moves with a slow-burn glide, which is why it can hold this turn without flattening it. Inside Electro pocket, it reads as curation rather than stunt programming.

Listen for the electroclash / leftfield texture in the pocket, especially in the way the arrangement keeps color moving under the lead. You can hear how it answers Faith (Remastered) without borrowing the same emotional weight. It also leaves a lane for The Game Has Changed to arrive without the segue feeling forced.

The Game Has Changed keeps electro pocket honest by sounding like a real choice inside that lane, not a decorative gesture. The electronic / leftfield edge gives the turn a more precise contour than a plain mood match.

On Tron: Legacy (Original Motion Picture Soundtrack) (18), The Game Has Changed shows Daft Punk working in a 10s pocket with electronic / leftfield in the grain. The cut moves with a slow-burn glide, which is why it can hold this turn without flattening it. Inside Electro pocket, it reads as curation rather than stunt programming.

Listen for the electronic / leftfield texture in the pocket, especially in the way the arrangement keeps color moving under the lead. You can hear how it answers Baptism without borrowing the same emotional weight.

Stand Back (Remastered) by Stevie Nicks lands here because Build a real arc instead of stacking safe mood matches.. The rock edge gives the turn a more precise contour than a plain mood match. Tequila Sunrise can step in after it without the handoff feeling pre-chewed.

On The Wild Heart (Deluxe Edition) (2016), Stand Back (Remastered) shows Stevie Nicks working in a 2010s 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. It also leaves a lane for Tequila Sunrise to arrive without the segue feeling forced.

Tequila Sunrise answers Stand Back (Remastered) by Stevie Nicks 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. Burden In My Hand can step in after it without the handoff feeling pre-chewed.

On The Very Best Of (2003), Tequila Sunrise 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 Stand Back (Remastered) without borrowing the same emotional weight. It also leaves a lane for Burden In My Hand to arrive without the segue feeling forced.

Burden In My Hand answers Tequila Sunrise by Eagles 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-Sides (1997), Burden In My Hand shows Soundgarden 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. You can hear how it answers Tequila Sunrise without borrowing the same emotional weight.

Shape of You by Ed Sheeran lands here because I Will Run To You (with Tom Petty) by Stevie Nicks and Rock and Roll by Heart provide a compelling emotional arc that moves from the thesis to a left turn.. The pop, rock edge gives the turn a more precise contour than a plain mood match. I Will Run To You (with Tom Petty) [Remastered] can step in after it without the handoff feeling pre-chewed.

On ÷ (2017), Shape of You shows Ed Sheeran 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. It also leaves a lane for I Will Run To You (with Tom Petty) [Remastered] to arrive without the segue feeling forced.

I Will Run To You (with Tom Petty) [Remastered] answers Shape of You by Ed Sheeran 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. Rock and Roll can step in after it without the handoff feeling pre-chewed.

On The Wild Heart (Deluxe Edition) (2016), I Will Run To You (with Tom Petty) [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 Shape of You without borrowing the same emotional weight. It also leaves a lane for Rock and Roll to arrive without the segue feeling forced.

Rock and Roll answers I Will Run To You (with Tom Petty) [Remastered] by Stevie Nicks 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 Greatest Hits / Live (1980), Rock and Roll shows Heart working in a 1980s 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 Will Run To You (with Tom Petty) [Remastered] without borrowing the same emotional weight.

Requiem in D minor, K. 626 by Dunedin Consort lands here because St. Elmo's Fire (Man in Motion) by John Parr and Shape of You by Ed Sheeran provide a sharp two-step that keeps the emotional pressure steady after (You Drive Me) Crazy (The Stop! Remix) by Britney Spears, changes the palette without cutting the thread, and maintains pop in the grain.. The classical edge gives the turn a more precise contour than a plain mood match. St. Elmo's Fire (Man in Motion) can step in after it without the handoff feeling pre-chewed.

On Mozart: Requiem (Reconstruction of first performance) (2014), Requiem in D minor, K. 626 shows Dunedin Consort working in a 2010s pocket with classical in the grain. The cut moves with a candlelit drift, 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 St. Elmo's Fire (Man in Motion) to arrive without the segue feeling forced.

St. Elmo's Fire (Man in Motion) answers Requiem in D minor, K. 626 by Dunedin Consort 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. Shape of You can step in after it without the handoff feeling pre-chewed.

On 80s Radio Hits (3), St. Elmo's Fire (Man in Motion) shows John Parr working in a 0s 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 Requiem in D minor, K. 626 without borrowing the same emotional weight. It also leaves a lane for Shape of You to arrive without the segue feeling forced.

Shape of You answers St. Elmo's Fire (Man in Motion) by John Parr 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 ÷ (2017), Shape of You shows Ed Sheeran 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 St. Elmo's Fire (Man in Motion) without borrowing the same emotional weight.

In a Certain Light by Great Lake Swimmers lands here because Shine a Light by The Rolling Stones and Crosseyed and Painless by Talking Heads create a sharp two-step that keeps the emotional pressure steady after Wild Heart (Remastered) by Stevie Nicks without sounding automatic. They offer fresh turns while maintaining the hour's point of view.. The pop, rock edge gives the turn a more precise contour than a plain mood match. Shine a Light can step in after it without the handoff feeling pre-chewed.

On The Waves, The Wake (2018), In a Certain Light shows Great Lake Swimmers 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. It also leaves a lane for Shine a Light to arrive without the segue feeling forced.

Shine a Light answers In a Certain Light by Great Lake Swimmers 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. Crosseyed and Painless can step in after it without the handoff feeling pre-chewed.

On Exile on Main St. (1972), Shine a Light shows The Rolling Stones working in a 1970s 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 In a Certain Light without borrowing the same emotional weight. It also leaves a lane for Crosseyed and Painless to arrive without the segue feeling forced.

Crosseyed and Painless answers Shine a Light by The Rolling Stones 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 Remain In Light (1980), Crosseyed and Painless shows Talking Heads working in a 1980s 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 Shine a Light without borrowing the same emotional weight.

We Take Care of Our Own by Bruce Springsteen lands here because Black Night by Deep Purple and Copperbelly by Red Hot Chili Peppers provide a fresh emotional arc that maintains the spell while introducing new elements.. The pop, rock edge gives the turn a more precise contour than a plain mood match. Black Night can step in after it without the handoff feeling pre-chewed.

On Wrecking Ball (2012), We Take Care of Our Own 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. It also leaves a lane for Black Night to arrive without the segue feeling forced.

Black Night answers We Take Care of Our Own by Bruce Springsteen 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. Copperbelly can step in after it without the handoff feeling pre-chewed.

On Sounds Of The Seventies - Guitar Power (1992), Black Night shows Deep Purple 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 We Take Care of Our Own without borrowing the same emotional weight. It also leaves a lane for Copperbelly to arrive without the segue feeling forced.

Copperbelly answers Black Night by Deep Purple 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.

On Return Of The Dream Canteen (2022), Copperbelly shows Red Hot Chili Peppers working in a 2020s pocket with alternative-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 alternative-rock texture in the pocket, especially in the way the arrangement keeps color moving under the lead. You can hear how it answers Black Night without borrowing the same emotional weight.