Session notes from the booth.

Sunshine of Your Love by Cream lands here because Mardi Gras Day by Dr. John provides a smooth transition from Police Station by Red Hot Chili Peppers, maintaining the subtle lift and midday glide mood while introducing a new era (1980s) that feels like a natural shelf move.. The rock / psychedelic rock edge gives the turn a more precise contour than a plain mood match. All by Myself can step in after it without the handoff feeling pre-chewed.

On The Psychedelic Years 1966-1969 (1990), Sunshine of Your Love shows Cream working in a 1990s pocket with rock / 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 Deep shelf drift, it reads as curation rather than stunt programming.

Listen for the rock / psychedelic rock texture in the pocket, especially in the way the arrangement keeps color moving under the lead. It also leaves a lane for All by Myself to arrive without the segue feeling forced.

All by Myself keeps deep shelf drift 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. Mardi Gras Day can step in after it without the handoff feeling pre-chewed.

On Dookie (1994), All by Myself shows Green Day working in a 1990s pocket with punk rock in the grain. The cut moves with a slow-burn glide, which is why it can hold this turn without flattening it. Inside Deep shelf drift, 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 Sunshine of Your Love without borrowing the same emotional weight. It also leaves a lane for Mardi Gras Day to arrive without the segue feeling forced.

Mardi Gras Day keeps deep shelf drift honest by sounding like a real choice inside that lane, not a decorative gesture. The r&b edge gives the turn a more precise contour than a plain mood match.

On The Ultimate Dr. John (1987), Mardi Gras Day shows Dr. John working in a 1980s pocket with r&b in the grain. The cut moves with a steady shoulder-roll, which is why it can hold this turn without flattening it. Inside Deep shelf drift, it reads as curation rather than stunt programming.

Listen for the r&b texture in the pocket, especially in the way the arrangement keeps color moving under the lead. You can hear how it answers All by Myself without borrowing the same emotional weight.

Run Joey Run by David Geddes lands here because Keeps the emotional pressure steady after Tell Me Why by The Beatles and keeps rock in the grain.. The rock edge gives the turn a more precise contour than a plain mood match. Black Magic Woman can step in after it without the handoff feeling pre-chewed.

On Sounds Of The Seventies - AM Top Twenty (1993), Run Joey Run shows David Geddes 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. It also leaves a lane for Black Magic Woman to arrive without the segue feeling forced.

Black Magic Woman answers Run Joey Run by David Geddes 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. Sunshine of Your Love can step in after it without the handoff feeling pre-chewed.

On Sounds Of The Seventies - 1970 (1989), Black Magic Woman shows Santana 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 Run Joey Run without borrowing the same emotional weight. It also leaves a lane for Sunshine of Your Love to arrive without the segue feeling forced.

Sunshine of Your Love answers Black Magic Woman by Santana with a related tension instead of a copycat move, so the sequence keeps opening out. The rock / psychedelic rock edge gives the turn a more precise contour than a plain mood match.

On The Psychedelic Years 1966-1969 (1990), Sunshine of Your Love shows Cream working in a 1990s pocket with rock / psychedelic 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 / 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 Magic Woman without borrowing the same emotional weight.

Fresh Garbage by Spirit lands here because Bastards Of Light by Red Hot Chili Peppers provides a fresh turn after Got To Give It Up (Part 1) by Marvin Gaye, keeping the emotional pressure steady and changing the palette without cutting the thread.. The rock / psychedelic rock edge gives the turn a more precise contour than a plain mood match. But Not for Me (Take 1) can step in after it without the handoff feeling pre-chewed.

On The Psychedelic Years 1966-1969 (1990), Fresh Garbage shows Spirit working in a 1990s pocket with rock / psychedelic rock in the grain. The cut moves with a steady shoulder-roll, which is why it can hold this turn without flattening it. Inside Deep shelf drift, it reads as curation rather than stunt programming.

Listen for the rock / psychedelic rock texture in the pocket, especially in the way the arrangement keeps color moving under the lead. It also leaves a lane for But Not for Me (Take 1) to arrive without the segue feeling forced.

But Not for Me (Take 1) keeps deep shelf drift honest by sounding like a real choice inside that lane, not a decorative gesture. The jazz edge gives the turn a more precise contour than a plain mood match. Bastards Of Light can step in after it without the handoff feeling pre-chewed.

On Bags' Groove (1957), But Not for Me (Take 1) shows Miles Davis working in a 1950s 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. Inside Deep shelf drift, it reads as curation rather than stunt programming.

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 Fresh Garbage without borrowing the same emotional weight. It also leaves a lane for Bastards Of Light to arrive without the segue feeling forced.

Bastards Of Light keeps deep shelf drift 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.

On Unlimited Love (2022), Bastards Of Light shows Red Hot Chili Peppers working in a 2020s 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 Deep shelf drift, 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 But Not for Me (Take 1) without borrowing the same emotional weight.

American Woman by Guess Who lands here because Götterdämmerung: Act I, Scene I. "Nun Hör, Hagen" by Richard Wagner to open the set, followed by Fresh Garbage by Spirit to provide a fresh turn into the 1990s era.. The rock edge gives the turn a more precise contour than a plain mood match. Götterdämmerung: Act I, Scene I. "Nun Hör, Hagen" can step in after it without the handoff feeling pre-chewed.

On Sounds Of The Seventies - 1970 (1989), American Woman shows Guess Who 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. 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. It also leaves a lane for Götterdämmerung: Act I, Scene I. "Nun Hör, Hagen" to arrive without the segue feeling forced.

Götterdämmerung: Act I, Scene I. "Nun Hör, Hagen" keeps 1990s pressure honest by sounding like a real choice inside that lane, not a decorative gesture. The classical edge gives the turn a more precise contour than a plain mood match. Fresh Garbage can step in after it without the handoff feeling pre-chewed.

On Götterdämmerung (1997), Götterdämmerung: Act I, Scene I. "Nun Hör, Hagen" shows Richard Wagner 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. Inside 1990s pressure, it reads as curation rather than stunt programming.

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 American Woman without borrowing the same emotional weight. It also leaves a lane for Fresh Garbage to arrive without the segue feeling forced.

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

On The Psychedelic Years 1966-1969 (1990), Fresh Garbage shows Spirit working in a 1990s pocket with rock / psychedelic 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 rock / psychedelic rock texture in the pocket, especially in the way the arrangement keeps color moving under the lead. You can hear how it answers Götterdämmerung: Act I, Scene I. "Nun Hör, Hagen" without borrowing the same emotional weight.

Soldier (In Our Town) by Iron Butterfly lands here because Imitation Of Life by R.E.M. states the thesis and Love for Sale (Extended Mix) by Talking Heads answers it with a fresh turn.. The psychedelic rock edge gives the turn a more precise contour than a plain mood match. Imitation Of Life can step in after it without the handoff feeling pre-chewed.

On Light And Heavy: The Best Of Iron Butterfly (1993), Soldier (In Our Town) 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.

Listen for the psychedelic rock texture in the pocket, especially in the way the arrangement keeps color moving under the lead. It also leaves a lane for Imitation Of Life to arrive without the segue feeling forced.

Imitation Of Life answers Soldier (In Our Town) by Iron Butterfly 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. Love for Sale (Extended Mix) can step in after it without the handoff feeling pre-chewed.

On Reveal (2001), Imitation Of Life shows R.E.M. working in a 2000s 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 Soldier (In Our Town) without borrowing the same emotional weight. It also leaves a lane for Love for Sale (Extended Mix) to arrive without the segue feeling forced.

Love for Sale (Extended Mix) answers Imitation Of Life by R.E.M. 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 Remixed (1999), Love for Sale (Extended Mix) shows Talking Heads 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 Imitation Of Life without borrowing the same emotional weight.

Switch Opens by Soundgarden lands here because New Day and Soldier (In Our Town) by Iron Butterfly keep the emotional pressure steady after Castor by Daft Punk and turn the color from 10s into 1990s. Iron Butterfly keeps the close-up honest, so the special reads like a deliberate stay instead of a gimmick.. The pop, rock edge gives the turn a more precise contour than a plain mood match. New Day can step in after it without the handoff feeling pre-chewed.

On Down On The Upside (1993), Switch Opens shows Soundgarden working in a 1990s 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. Inside Iron Butterfly close-up, it reads as curation rather than stunt programming.

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 New Day to arrive without the segue feeling forced.

New Day keeps iron butterfly close-up 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. Soldier (In Our Town) can step in after it without the handoff feeling pre-chewed.

On Light And Heavy: The Best Of Iron Butterfly (1993), New Day 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 Iron Butterfly close-up, 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 Switch Opens without borrowing the same emotional weight. It also leaves a lane for Soldier (In Our Town) to arrive without the segue feeling forced.

Soldier (In Our Town) keeps iron butterfly close-up 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.

On Light And Heavy: The Best Of Iron Butterfly (1993), Soldier (In Our Town) 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 Iron Butterfly close-up, 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 New Day without borrowing the same emotional weight.

So-Lo by Iron Butterfly lands here because Love On The Brain by Rihanna and New Millennium Homes by Rage Against The Machine provide a clear emotional arc that builds on Rusty Cage (Live At The Paramount Theatre, Seattle / 1992) by Soundgarden without sounding automatic.. The psychedelic rock edge gives the turn a more precise contour than a plain mood match. Love On The Brain can step in after it without the handoff feeling pre-chewed.

On Light And Heavy: The Best Of Iron Butterfly (1993), So-Lo 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.

Listen for the psychedelic rock texture in the pocket, especially in the way the arrangement keeps color moving under the lead. It also leaves a lane for Love On The Brain to arrive without the segue feeling forced.

Love On The Brain answers So-Lo by Iron Butterfly 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. New Millennium Homes can step in after it without the handoff feeling pre-chewed.

On ANTI (2015), Love On The Brain shows Rihanna 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 So-Lo without borrowing the same emotional weight. It also leaves a lane for New Millennium Homes to arrive without the segue feeling forced.

New Millennium Homes answers Love On The Brain by Rihanna 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 Battle Of Los Angeles (1999), New Millennium Homes shows Rage Against The Machine working in a 1990s 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 Love On The Brain without borrowing the same emotional weight.

Wake Up (Acoustic Version) by Alanis Morissette lands here because keeps the emotional pressure steady after Man Of The Universe by The Teskey Brothers and turns the color from 2010s into 1990s. Light And Heavy: The Best Of Iron Butterfly is the actual record under the microscope, so this keeps the album run coherent. Compared with the last few turns, it changes the sentence enough to keep the hour feeling authored.. The pop edge gives the turn a more precise contour than a plain mood match. It Must Be Love can step in after it without the handoff feeling pre-chewed.

On Jagged Little Pill (2015 Remastered) (2015), Wake Up (Acoustic Version) shows Alanis Morissette working in a 2010s pocket with pop in the grain. The cut moves with a bright electric charge, which is why it can hold this turn without flattening it. Inside Light And Heavy: The Best Of Iron Butterfly run, 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 It Must Be Love to arrive without the segue feeling forced.

It Must Be Love keeps light and heavy: the best of iron butterfly run 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. So-Lo can step in after it without the handoff feeling pre-chewed.

On Light And Heavy: The Best Of Iron Butterfly (1993), It Must Be Love 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 Light And Heavy: The Best Of Iron Butterfly run, 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 Wake Up (Acoustic Version) without borrowing the same emotional weight. It also leaves a lane for So-Lo to arrive without the segue feeling forced.

So-Lo keeps light and heavy: the best of iron butterfly run 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.

On Light And Heavy: The Best Of Iron Butterfly (1993), So-Lo 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 Light And Heavy: The Best Of Iron Butterfly run, 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 It Must Be Love without borrowing the same emotional weight.