Session notes from the booth.

Livin' Thing by Electric Light Orchestra lands here because A Clean Break (Let's Work) (Live; 2004 Remaster) by Talking Heads and The Time Of The Barracudas (2022 Remaster) by Miles Davis provide a sharp two-step that maintains the emotional arc while introducing a new era.. The pop, rock 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 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. 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 Livin' Thing by Electric Light Orchestra 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. The Time Of The Barracudas (2022 Remaster) 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 Livin' Thing without borrowing the same emotional weight. It also leaves a lane for The Time Of The Barracudas (2022 Remaster) to arrive without the segue feeling forced.

The Time Of The Barracudas (2022 Remaster) 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 jazz edge gives the turn a more precise contour than a plain mood match.

On Quiet Nights (2022), The Time Of The Barracudas (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.

This one is airing as a clipped passage, so listen for the section Mr Rassy chose to stand in for the whole piece. The choice was deliberate: The Time Of The Barracudas is a deep dive into Miles Davis' work, and playing a clip from the middle will give listeners a taste without overwhelming them..

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.

Roadhouse Blues (Screamin' Ray Daniels a.k.a. Ray Manzarek On Vocals) by The Doors lands here because David Bowie and Toto provide a smooth transition from The Beatles while maintaining the emotional arc.. The pop, rock edge gives the turn a more precise contour than a plain mood match. Chant of the Ever Circling Skeletal Family can step in after it without the handoff feeling pre-chewed.

On Morrison Hotel (1970), Roadhouse Blues (Screamin' Ray Daniels a.k.a. Ray Manzarek On Vocals) shows The Doors 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. It also leaves a lane for Chant of the Ever Circling Skeletal Family to arrive without the segue feeling forced.

Chant of the Ever Circling Skeletal Family answers Roadhouse Blues (Screamin' Ray Daniels a.k.a. Ray Manzarek On Vocals) by The Doors 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. Hold The Line can step in after it without the handoff feeling pre-chewed.

On Diamond Dogs (1974), Chant of the Ever Circling Skeletal Family 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 Roadhouse Blues (Screamin' Ray Daniels a.k.a. Ray Manzarek On Vocals) without borrowing the same emotional weight. It also leaves a lane for Hold The Line to arrive without the segue feeling forced.

Hold The Line answers Chant of the Ever Circling Skeletal Family 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 Toto (1978), Hold The Line shows Toto working in a 1970s 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. You can hear how it answers Chant of the Ever Circling Skeletal Family without borrowing the same emotional weight.

Black Rain by Soundgarden lands here because These Days by R.E.M. and Why Would You Wanna Live by Wilco provide a fresh turn while maintaining the emotional arc of the set.. The pop, rock edge gives the turn a more precise contour than a plain mood match. These Days can step in after it without the handoff feeling pre-chewed.

On Telephantasm (2010), Black Rain 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 These Days to arrive without the segue feeling forced.

These Days answers Black Rain by Soundgarden 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. Yellow Submarine can step in after it without the handoff feeling pre-chewed.

On Live At The Olympia (2009), These Days shows R.E.M. 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 Black Rain without borrowing the same emotional weight. It also leaves a lane for Yellow Submarine to arrive without the segue feeling forced.

Yellow Submarine answers These Days by R.E.M. 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 Revolver (1966), Yellow Submarine 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 These Days without borrowing the same emotional weight.

A Clean Break (Let's Work) (Live; 2004 Remaster) by Talking Heads lands here because The Time Of The Barracudas (2022 Remaster) by Miles Davis and Black Rain by Soundgarden provide a sharp two-step after How Do You Sleep? (The Evolution Documentary) by John Lennon, keeping the feeling of quiet bloom while moving to the next horizon.. The pop, rock edge gives the turn a more precise contour than a plain mood match. The Time Of The Barracudas (2022 Remaster) 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 The Time Of The Barracudas (2022 Remaster) to arrive without the segue feeling forced.

The Time Of The Barracudas (2022 Remaster) 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 jazz edge gives the turn a more precise contour than a plain mood match. Black Rain can step in after it without the handoff feeling pre-chewed.

On Quiet Nights (2022), The Time Of The Barracudas (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.

This one is airing as a clipped passage, so listen for the section Mr Rassy chose to stand in for the whole piece. The choice was deliberate: The track is a long-form piece that benefits from a middle segment to capture the listener's interest without overwhelming it.. Black Rain is waiting on the far side of that seam.

Black Rain answers The Time Of The Barracudas (2022 Remaster) by Miles Davis 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 Telephantasm (2010), Black Rain 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. You can hear how it answers The Time Of The Barracudas (2022 Remaster) without borrowing the same emotional weight.