Session notes from the booth.

Cast No Shadow by Oasis lands here because Midnight Blue (2012 Remaster) by Kenny Burrell and Take Me to the River (Live at Berklee Performing Arts Centre, Boston) by Talking Heads provide a smooth transition from Miles Davis while keeping the emotional pressure steady.. The alternative rock edge gives the turn a more precise contour than a plain mood match. Midnight Blue (2012 Remaster) can step in after it without the handoff feeling pre-chewed.

On (What’s the Story) Morning Glory? (1995), Cast No Shadow shows Oasis working in a 1990s 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. It also leaves a lane for Midnight Blue (2012 Remaster) to arrive without the segue feeling forced.

Midnight Blue (2012 Remaster) answers Cast No Shadow by Oasis 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 Midnight Blue (2012 Remaster) (1963), Midnight Blue (2012 Remaster) shows Kenny Burrell working in a 1960s 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 Cast No Shadow 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 Midnight Blue (2012 Remaster) by Kenny Burrell 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 Midnight Blue (2012 Remaster) 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.

'Round Midnight (Konigin Elizabethzaal, Antwerp, BE, 28th October 1967) by Miles Davis lands here because Walters Theme by R.E.M. states the thesis, and Nobody’s Perfect by Hannah Montana answers it with a fresh turn.. The jazz edge gives the turn a more precise contour than a plain mood match. Walters Theme can step in after it without the handoff feeling pre-chewed.

On At Plugged Nickel, Chicago (CD2) (1965), 'Round Midnight (Konigin Elizabethzaal, Antwerp, BE, 28th October 1967) shows Miles Davis working in a 1960s pocket with jazz 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 jazz texture in the pocket, especially in the way the arrangement keeps color moving under the lead. It also leaves a lane for Walters Theme to arrive without the segue feeling forced.

Walters Theme answers 'Round Midnight (Konigin Elizabethzaal, Antwerp, BE, 28th October 1967) by Miles Davis 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. Nobody’s Perfect can step in after it without the handoff feeling pre-chewed.

On Dead Letter Office (1987), Walters Theme shows R.E.M. 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 'Round Midnight (Konigin Elizabethzaal, Antwerp, BE, 28th October 1967) without borrowing the same emotional weight. It also leaves a lane for Nobody’s Perfect to arrive without the segue feeling forced.

Nobody’s Perfect answers Walters Theme by R.E.M. 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 Hannah Montana 2 (2007), Nobody’s Perfect shows Hannah Montana 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 Walters Theme without borrowing the same emotional weight.

Tadd's Delight (From The Album 'Round About Midnight) by Miles Davis lands here because Drive My Car by The Beatles keeps the emotional pressure steady after 'Round Midnight (Konigin Elizabethzaal, Antwerp, BE, 28th October 1967) by Miles Davis and turns the color from 2010s into 1960s.. The jazz edge gives the turn a more precise contour than a plain mood match. Drive My Car can step in after it without the handoff feeling pre-chewed.

On The Complete Live at the Plugged Nickel 1965 (CD2b) (1965), Tadd's Delight (From The Album 'Round About Midnight) shows Miles Davis working in a 1960s pocket with jazz 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 jazz texture in the pocket, especially in the way the arrangement keeps color moving under the lead. It also leaves a lane for Drive My Car to arrive without the segue feeling forced.

Drive My Car answers Tadd's Delight (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 rock edge gives the turn a more precise contour than a plain mood match. Houses in Motion (2003 Remaster) can step in after it without the handoff feeling pre-chewed.

On Rubber Soul (1965), Drive My Car 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.

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 Tadd's Delight (From The Album 'Round About Midnight) without borrowing the same emotional weight. It also leaves a lane for Houses in Motion (2003 Remaster) to arrive without the segue feeling forced.

Houses in Motion (2003 Remaster) answers Drive My Car by The Beatles 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 Best of Talking Heads (2004), Houses in Motion (2003 Remaster) shows Talking Heads 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.

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 Drive My Car without borrowing the same emotional weight.

Waking Up In Vegas by Katy Perry lands here because Kodachrome by Paul Simon states the thesis and Cactus by David Bowie answers it with a fresh turn.. The pop edge gives the turn a more precise contour than a plain mood match. Kodachrome can step in after it without the handoff feeling pre-chewed.

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. It also leaves a lane for Kodachrome to arrive without the segue feeling forced.

Kodachrome answers Waking Up In Vegas by Katy Perry 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. Cactus can step in after it without the handoff feeling pre-chewed.

On Sounds Of The Seventies - 1973 Take Two (1991), Kodachrome shows Paul Simon 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 Waking Up In Vegas without borrowing the same emotional weight. It also leaves a lane for Cactus to arrive without the segue feeling forced.

Cactus answers Kodachrome by Paul Simon 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.

On Heathen (2002), Cactus 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 Kodachrome without borrowing the same emotional weight.

My God (Mixed And Mastered By Steven Wilson) by Jethro Tull lands here because Keeps the emotional pressure steady after Waking Up In Vegas by Katy Perry and turns the color from 2020s into 1990s. Satie is one of Ian's steadier shelf presences, so the pick already reads like a real hand.. The pop 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 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.

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 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 My God (Mixed And Mastered By Steven Wilson) by Jethro Tull 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. Mercure - Poses Plastiques: Deuxième Tableau, Colère De Cerbère 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 My God (Mixed And Mastered By Steven Wilson) without borrowing the same emotional weight. It also leaves a lane for Mercure - Poses Plastiques: Deuxième Tableau, Colère De Cerbère to arrive without the segue feeling forced.

Mercure - Poses Plastiques: Deuxième Tableau, Colère De Cerbère 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 classical edge gives the turn a more precise contour than a plain mood match.

On Complete Piano Works, Volume 8 (1995), Mercure - Poses Plastiques: Deuxième Tableau, Colère De Cerbère shows Satie working in a 1990s pocket with classical 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 classical 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.

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.