Session notes from the booth.

Heart Of The City by Nick Lowe lands here because David Bowie's 'She’ll Drive the Big Car' provides a fresh turn after Bee Gees' 'First Of May', maintaining the tender voltage while introducing a new palette.. The rock edge gives the turn a more precise contour than a plain mood match. She’ll Drive the Big Car can step in after it without the handoff feeling pre-chewed.

On Sounds Of The Seventies - Punk And New Wave (1993), Heart Of The City shows Nick Lowe working in a 1990s 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 She’ll Drive the Big Car to arrive without the segue feeling forced.

She’ll Drive the Big Car answers Heart Of The City by Nick Lowe 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. Sloop John B (Mono Alternate Mix, Carl Sings First Verse) can step in after it without the handoff feeling pre-chewed.

On Reality (2003), She’ll Drive the Big Car shows David Bowie working in a 2000s 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 Heart Of The City without borrowing the same emotional weight. It also leaves a lane for Sloop John B (Mono Alternate Mix, Carl Sings First Verse) to arrive without the segue feeling forced.

Sloop John B (Mono Alternate Mix, Carl Sings First Verse) answers She’ll Drive the Big Car by David Bowie 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 3) [50th Anniversary Edition] (2016), Sloop John B (Mono Alternate Mix, Carl Sings First Verse) 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 She’ll Drive the Big Car without borrowing the same emotional weight.

Dreamboat Annie by Heart lands here because keeps the emotional pressure steady after Tadd's Delight (From The Album 'Round About Midnight) by Miles Davis and keeps jazz in the grain.. The rock edge gives the turn a more precise contour than a plain mood match. Two Bass Hit (From The Album 'Round About Midnight) can step in after it without the handoff feeling pre-chewed.

On Greatest Hits / Live (1980), Dreamboat Annie shows Heart 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 Two Bass Hit (From The Album 'Round About Midnight) to arrive without the segue feeling forced.

Two Bass Hit (From The Album 'Round About Midnight) answers Dreamboat Annie by Heart 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. Take Me to the River (Live at Berklee Performing Arts Centre, Boston) can step in after it without the handoff feeling pre-chewed.

On INTEGRAL MILES DAVIS 1951-1956 (2024), Two Bass Hit (From The Album 'Round About Midnight) shows Miles Davis working in a 2020s pocket with jazz in the grain. The cut moves with a candlelit drift, which is why it can hold this turn without flattening it.

Listen for the jazz texture in the pocket, especially in the way the arrangement keeps color moving under the lead. You can hear how it answers Dreamboat Annie without borrowing the same emotional weight. It also leaves a lane for Take Me to the River (Live at Berklee Performing Arts Centre, Boston) to arrive without the segue feeling forced.

Take Me to the River (Live at Berklee Performing Arts Centre, Boston) answers Two Bass Hit (From The Album 'Round About Midnight) 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 Radio Waves 1978-1983: Psycho Killers, Vol. 2 (Live) (2016), Take Me to the River (Live at Berklee Performing Arts Centre, Boston) shows Talking Heads 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 Two Bass Hit (From The Album 'Round About Midnight) without borrowing the same emotional weight.

Good Morning Good Morning by The Beatles lands here because The Time Of The Barracudas by Miles Davis and Waking Up In Vegas by Katy Perry provide a fresh emotional arc after My God (Mixed And Mastered By Steven Wilson) by Jethro Tull.. The 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 Sgt. Pepper’s Lonely Hearts Club Band (1967), Good Morning Good Morning shows The Beatles working in a 1960s 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 The Time Of The Barracudas (2022 Remaster) to arrive without the segue feeling forced.

The Time Of The Barracudas (2022 Remaster) answers Good Morning Good Morning by The Beatles 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. Waking Up In Vegas 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 Time Of The Barracudas is a long-form piece that benefits from airing a clip to maintain the listener's interest without overwhelming them.. Waking Up In Vegas is waiting on the far side of that seam.

Waking Up In Vegas 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 edge gives the turn a more precise contour than a plain mood match.

On Essentials (2) (2024), Waking Up In Vegas shows Katy Perry working in a 2020s 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 The Time Of The Barracudas (2022 Remaster) without borrowing the same emotional weight.

It*s So Hard by John Lennon lands here because keeps the emotional pressure steady after Good Morning Good Morning by The Beatles and turns the color from 1960s into 2010s. 2010s grain is the point of the special, so the era stamp matters here.. The rock edge gives the turn a more precise contour than a plain mood match. It's The End Of The World As We Know It (And I Feel Fine) (Live - Greensboro Coliseum, NC 11/10/1989) can step in after it without the handoff feeling pre-chewed.

On Imagine (1971), It*s So Hard shows John Lennon 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. Inside 2010s pressure, 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. It also leaves a lane for It's The End Of The World As We Know It (And I Feel Fine) (Live - Greensboro Coliseum, NC 11/10/1989) to arrive without the segue feeling forced.

It's The End Of The World As We Know It (And I Feel Fine) (Live - Greensboro Coliseum, NC 11/10/1989) keeps 2010s pressure honest by sounding like a real choice inside that lane, not a decorative gesture. My God (Mixed And Mastered By Steven Wilson) can step in after it without the handoff feeling pre-chewed.

On Green (2013), It's The End Of The World As We Know It (And I Feel Fine) (Live - Greensboro Coliseum, NC 11/10/1989) shows R.E.M. working in a 2010s pocket. The cut moves with a slow-burn glide, which is why it can hold this turn without flattening it. Inside 2010s 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 It*s So Hard without borrowing the same emotional weight. It also leaves a lane for My God (Mixed And Mastered By Steven Wilson) to arrive without the segue feeling forced.

My God (Mixed And Mastered By Steven Wilson) keeps 2010s pressure honest by sounding like a real choice inside that lane, not a decorative gesture. The pop edge gives the turn a more precise contour than a plain mood match.

On Aqualung (2015), My God (Mixed And Mastered By Steven Wilson) shows Jethro Tull 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. Inside 2010s pressure, it reads as curation rather than stunt programming.

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 It's The End Of The World As We Know It (And I Feel Fine) (Live - Greensboro Coliseum, NC 11/10/1989) without borrowing the same emotional weight.