Session notes from the booth.

Space Oddity (2015 Remaster) by David Bowie lands here because lets the next turn breathe after Through These Eyes by Social Distortion and keeps punk rock in the grain. 1990s records are part of the station's grain, so the era color means something here.. The glam rock edge gives the turn a more precise contour than a plain mood match. Dialogue: 'I don't like the word jazz...' can step in after it without the handoff feeling pre-chewed.

On Changesbowie (1990), Space Oddity (2015 Remaster) shows David Bowie working in a 1990s pocket with glam 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 glam rock texture in the pocket, especially in the way the arrangement keeps color moving under the lead. It also leaves a lane for Dialogue: 'I don't like the word jazz...' to arrive without the segue feeling forced.

Dialogue: 'I don't like the word jazz...' answers Space Oddity (2015 Remaster) by David Bowie 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. Houses in Motion (Live at Werchterpark Festival, Belgium) can step in after it without the handoff feeling pre-chewed.

On Miles Ahead: Original Motion Picture Soundtrack (2016), Dialogue: 'I don't like the word jazz...' shows Miles Davis working in a 2010s 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.

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 Space Oddity (2015 Remaster) without borrowing the same emotional weight. It also leaves a lane for Houses in Motion (Live at Werchterpark Festival, Belgium) to arrive without the segue feeling forced.

Houses in Motion (Live at Werchterpark Festival, Belgium) answers Dialogue: 'I don't like the word jazz...' 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), Houses in Motion (Live at Werchterpark Festival, Belgium) shows Talking Heads 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. You can hear how it answers Dialogue: 'I don't like the word jazz...' without borrowing the same emotional weight.

Black Velvet by Alannah Myles lands here because To maintain the emotional arc and keep the station feeling authored while transitioning to a new decade.. The pop edge gives the turn a more precise contour than a plain mood match. I Can't Help But Deceive You Little Girl 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. Inside 1990s 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. It also leaves a lane for I Can't Help But Deceive You Little Girl to arrive without the segue feeling forced.

I Can't Help But Deceive You Little Girl keeps 1990s pressure honest by sounding like a real choice inside that lane, not a decorative gesture. The psychedelic rock edge gives the turn a more precise contour than a plain mood match. Through These Eyes can step in after it without the handoff feeling pre-chewed.

On Light And Heavy: The Best Of Iron Butterfly (1993), I Can't Help But Deceive You Little Girl shows Iron Butterfly working in a 1990s pocket with psychedelic rock in the grain. The cut moves with a slow-burn glide, which is why it can hold this turn without flattening it. Inside 1990s pressure, it reads as curation rather than stunt programming.

Listen for the psychedelic rock 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. It also leaves a lane for Through These Eyes to arrive without the segue feeling forced.

Through These Eyes keeps 1990s pressure honest by sounding like a real choice inside that lane, not a decorative gesture. The punk rock edge gives the turn a more precise contour than a plain mood match.

On White Light White Heat White Trash (1996), Through These Eyes shows Social Distortion working in a 1990s pocket with punk rock in the grain. The cut moves with a steady shoulder-roll, which is why it can hold this turn without flattening it. Inside 1990s pressure, it reads as curation rather than stunt programming.

Listen for the punk rock texture in the pocket, especially in the way the arrangement keeps color moving under the lead. You can hear how it answers I Can't Help But Deceive You Little Girl without borrowing the same emotional weight.

Electric (Pokemon 25 Version) by Katy Perry lands here because Space Oddity by David Bowie and Houses in Motion by Talking Heads provide a fresh turn while maintaining the overall mood of open-window lift.. The pop edge gives the turn a more precise contour than a plain mood match. Space Oddity (2015 Remaster) can step in after it without the handoff feeling pre-chewed.

On Essentials (2) (2024), Electric (Pokemon 25 Version) shows Katy Perry working in a 2020s 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. It also leaves a lane for Space Oddity (2015 Remaster) to arrive without the segue feeling forced.

Space Oddity (2015 Remaster) answers Electric (Pokemon 25 Version) by Katy Perry 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. Houses in Motion (Live at Werchterpark Festival, Belgium) can step in after it without the handoff feeling pre-chewed.

On David Bowie (aka Space Oddity) [2015 Remaster] (2015), Space Oddity (2015 Remaster) shows David Bowie 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 Electric (Pokemon 25 Version) without borrowing the same emotional weight. It also leaves a lane for Houses in Motion (Live at Werchterpark Festival, Belgium) to arrive without the segue feeling forced.

Houses in Motion (Live at Werchterpark Festival, Belgium) answers Space Oddity (2015 Remaster) by David Bowie 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), Houses in Motion (Live at Werchterpark Festival, Belgium) shows Talking Heads 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. You can hear how it answers Space Oddity (2015 Remaster) 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.

4th Of July by Soundgarden lands here because She Brakes for Rainbows by The B‐52s and Electric (Pokemon 25 Version) by Katy Perry provide a sharp two-step that extends the feeling of Rosanna (Album Version) by Toto without sounding automatic.. The pop, rock edge gives the turn a more precise contour than a plain mood match. She Brakes for Rainbows can step in after it without the handoff feeling pre-chewed.

On Superunknown (1994), 4th Of July shows Soundgarden working in a 1990s 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. It also leaves a lane for She Brakes for Rainbows to arrive without the segue feeling forced.

She Brakes for Rainbows answers 4th Of July 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. Electric (Pokemon 25 Version) can step in after it without the handoff feeling pre-chewed.

On Bouncing off Satellites (1986), She Brakes for Rainbows shows The B‐52s 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 4th Of July without borrowing the same emotional weight. It also leaves a lane for Electric (Pokemon 25 Version) to arrive without the segue feeling forced.

Electric (Pokemon 25 Version) answers She Brakes for Rainbows by The B‐52s 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), Electric (Pokemon 25 Version) shows Katy Perry working in a 2020s 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 She Brakes for Rainbows without borrowing the same emotional weight.

Mistral Wind (Live) by Heart lands here because Stand Back (Remastered) by Stevie Nicks and Houses in Motion (Live at Werchterpark Festival, Belgium) by Talking Heads provide a sharp two-step that builds on the emotional arc of Fela's Riff (Unfinished Outtake) by Talking Heads without sounding automatic.. The rock edge gives the turn a more precise contour than a plain mood match. Stand Back (Remastered) can step in after it without the handoff feeling pre-chewed.

On Greatest Hits / Live (1980), Mistral Wind (Live) shows Heart 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 Stand Back (Remastered) to arrive without the segue feeling forced.

Stand Back (Remastered) answers Mistral Wind (Live) by Heart 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 (Live at Werchterpark Festival, Belgium) 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. You can hear how it answers Mistral Wind (Live) without borrowing the same emotional weight. It also leaves a lane for Houses in Motion (Live at Werchterpark Festival, Belgium) to arrive without the segue feeling forced.

Houses in Motion (Live at Werchterpark Festival, Belgium) answers Stand Back (Remastered) by Stevie Nicks 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), Houses in Motion (Live at Werchterpark Festival, Belgium) shows Talking Heads 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. You can hear how it answers Stand Back (Remastered) without borrowing the same emotional weight.

Heart Of Glass by Blondie lands here because Cold Heart (Live from the Royal Albert Hall) by Dua Lipa keeps the emotional pressure steady after Let There Be Light by Justice and changes the palette without cutting the thread.. The new wave edge gives the turn a more precise contour than a plain mood match. Cold Heart (Live from the Royal Albert Hall) can step in after it without the handoff feeling pre-chewed.

On Parallel Lines (1978), Heart Of Glass shows Blondie working in a 1970s pocket with new wave 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 new wave texture in the pocket, especially in the way the arrangement keeps color moving under the lead. It also leaves a lane for Cold Heart (Live from the Royal Albert Hall) to arrive without the segue feeling forced.

Cold Heart (Live from the Royal Albert Hall) answers Heart Of Glass by Blondie 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. Magic Man can step in after it without the handoff feeling pre-chewed.

On Dua Lipa Live from the Royal Albert Hall (2024), Cold Heart (Live from the Royal Albert Hall) shows Dua Lipa working in a 2020s 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 Heart Of Glass without borrowing the same emotional weight. It also leaves a lane for Magic Man to arrive without the segue feeling forced.

Magic Man answers Cold Heart (Live from the Royal Albert Hall) by Dua Lipa 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), Magic Man shows Heart 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. You can hear how it answers Cold Heart (Live from the Royal Albert Hall) without borrowing the same emotional weight.