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.

Nobody*s Perfect by Hannah Montana lands here because Geek U.S.A. by The Smashing Pumpkins and How Deep Is Your Love by Bee Gees provide a smooth transition from the industrial rock of Nine Inch Nails, maintaining the 1990s theme while offering fresh energy and palette changes.. The pop edge gives the turn a more precise contour than a plain mood match. Geek U.S.A. can step in after it without the handoff feeling pre-chewed.

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. 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 Geek U.S.A. to arrive without the segue feeling forced.

Geek U.S.A. keeps 1990s pressure honest by sounding like a real choice inside that lane, not a decorative gesture. The alternative rock edge gives the turn a more precise contour than a plain mood match. How Deep Is Your Love can step in after it without the handoff feeling pre-chewed.

On Siamese Dream (1993), Geek U.S.A. shows The Smashing Pumpkins working in a 1990s 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. Inside 1990s pressure, it reads as curation rather than stunt programming.

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 Nobody*s Perfect without borrowing the same emotional weight. It also leaves a lane for How Deep Is Your Love to arrive without the segue feeling forced.

How Deep Is Your Love keeps 1990s pressure honest by sounding like a real choice inside that lane, not a decorative gesture. The rock edge gives the turn a more precise contour than a plain mood match.

On Sounds Of The Seventies - 1977 (1990), How Deep Is Your Love shows Bee Gees 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. Inside 1990s 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. You can hear how it answers Geek U.S.A. 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.