Session notes from the booth.

Houses in Motion (Live at Werchterpark Festival, Belgium) by Talking Heads lands here because The Girl Is Mine by Michael Jackson and Carnet D'esquisses Et De Croquis: Exercices by Satie provide a sharp two-step that keeps the emotional pressure steady after Caroline No (Stereo) by The Beach Boys.. The rock edge gives the turn a more precise contour than a plain mood match. The Girl Is Mine can step in after it without the handoff feeling pre-chewed.

On Remain in Light (Deluxe Version) (1980), Houses in Motion (Live at Werchterpark Festival, Belgium) shows Talking Heads working in a 1980s 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 The Girl Is Mine to arrive without the segue feeling forced.

The Girl Is Mine answers Houses in Motion (Live at Werchterpark Festival, Belgium) by Talking Heads 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. Carnet D'esquisses Et De Croquis: Exercices can step in after it without the handoff feeling pre-chewed.

On Thriller (1982), The Girl Is Mine shows Michael Jackson working in a 1980s 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 Houses in Motion (Live at Werchterpark Festival, Belgium) without borrowing the same emotional weight. It also leaves a lane for Carnet D'esquisses Et De Croquis: Exercices to arrive without the segue feeling forced.

Carnet D'esquisses Et De Croquis: Exercices answers The Girl Is Mine by Michael Jackson with a related tension instead of a copycat move, so the sequence keeps opening out. The classical edge gives the turn a more precise contour than a plain mood match.

On Complete Piano Works, Volume 5 (1994), Carnet D'esquisses Et De Croquis: Exercices shows Satie working in a 1990s 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. You can hear how it answers The Girl Is Mine without borrowing the same emotional weight.

Rosanna (Album Version) by Toto lands here because it keeps the tender voltage / clear-eyed warmth pull alive without sanding off the grain that makes this hour interesting. The rock edge gives the turn a more precise contour than a plain mood match. Black Velvet can step in after it without the handoff feeling pre-chewed.

On Toto Iv (1982), Rosanna (Album Version) shows Toto working in a 1980s 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 Black Velvet to arrive without the segue feeling forced.

Black Velvet answers Rosanna (Album Version) by Toto 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. Clear can step in after it without the handoff feeling pre-chewed.

On 80s Radio Hits (3), Black Velvet shows Alannah Myles working in a 0s 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 Rosanna (Album Version) without borrowing the same emotional weight. It also leaves a lane for Clear to arrive without the segue feeling forced.

Clear answers Black Velvet by Alannah Myles 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 Meet Miley Cyrus (2007), Clear shows Miley Cyrus working in a 2000s 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 Black Velvet without borrowing the same emotional weight.