Session notes from the booth.

The Lady Don't Mind (2005 Remaster) by Talking Heads lands here because Keeps the emotional pressure steady after Things We Said Today by The Beatles and turns the color from 1960s into 2020s, maintaining the deep-cuts promise.. The rock edge gives the turn a more precise contour than a plain mood match. I Want To Be The Boy To Warm Your Mother's Heart (Live at The Aragon Ballroom, July 2, 2003) can step in after it without the handoff feeling pre-chewed.

On Fear of Music (Deluxe Version) (1979), The Lady Don't Mind (2005 Remaster) shows Talking Heads 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 Deep shelf drift, 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 I Want To Be The Boy To Warm Your Mother's Heart (Live at The Aragon Ballroom, July 2, 2003) to arrive without the segue feeling forced.

I Want To Be The Boy To Warm Your Mother's Heart (Live at The Aragon Ballroom, July 2, 2003) keeps deep shelf drift honest by sounding like a real choice inside that lane, not a decorative gesture. The pop, rock, alternatif et indé edge gives the turn a more precise contour than a plain mood match. I’ll Cry Instead can step in after it without the handoff feeling pre-chewed.

On Elephant (2023), I Want To Be The Boy To Warm Your Mother's Heart (Live at The Aragon Ballroom, July 2, 2003) shows The White Stripes working in a 2020s pocket with pop, rock, alternatif et indé 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 pop, rock, alternatif et indé texture in the pocket, especially in the way the arrangement keeps color moving under the lead. You can hear how it answers The Lady Don't Mind (2005 Remaster) without borrowing the same emotional weight. It also leaves a lane for I’ll Cry Instead to arrive without the segue feeling forced.

I’ll Cry Instead keeps deep shelf drift 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 A Hard Day’s Night (1964), I’ll Cry Instead shows The Beatles working in a 1960s 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 Deep shelf drift, 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 I Want To Be The Boy To Warm Your Mother's Heart (Live at The Aragon Ballroom, July 2, 2003) without borrowing the same emotional weight.

What A Day That Was (Live) by Talking Heads lands here because All Day And All Of The Night by Kinks keeps the emotional pressure steady after The Lady Don't Mind (2005 Remaster) by Talking Heads and changes the palette without cutting the thread. It feels more like a shelf move than an obvious front-window pick, which keeps the deep-cuts promise intact.. The pop, rock, punk - new wave edge gives the turn a more precise contour than a plain mood match. All Day And All Of The Night can step in after it without the handoff feeling pre-chewed.

On Stop Making Sense (Special New Edition) (1984), What A Day That Was (Live) shows Talking Heads working in a 1980s pocket with pop, rock, punk - new wave 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 pop, rock, punk - new wave texture in the pocket, especially in the way the arrangement keeps color moving under the lead. It also leaves a lane for All Day And All Of The Night to arrive without the segue feeling forced.

All Day And All Of The Night keeps deep shelf drift 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. Things We Said Today can step in after it without the handoff feeling pre-chewed.

On Kinks At The BBC Disc 1 (2012), All Day And All Of The Night shows Kinks working in a 2010s 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 Deep shelf drift, 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 What A Day That Was (Live) without borrowing the same emotional weight. It also leaves a lane for Things We Said Today to arrive without the segue feeling forced.

Things We Said Today keeps deep shelf drift 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 A Hard Day’s Night (1964), Things We Said Today shows The Beatles working in a 1960s 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 Deep shelf drift, 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 All Day And All Of The Night without borrowing the same emotional weight.

Beggars Day by Crazy Horse lands here because Building a real arc after You Keep Me Hangin' On by Vanilla Fudge without sounding automatic.. The rock edge gives the turn a more precise contour than a plain mood match. Easy Living can step in after it without the handoff feeling pre-chewed.

On Sounds Of The Seventies - Guitar Power (1992), Beggars Day shows Crazy Horse 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. Inside Deep shelf drift, 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 Easy Living to arrive without the segue feeling forced.

Easy Living 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. You Make It Easy can step in after it without the handoff feeling pre-chewed.

On Spring Is Here (1992), Easy Living shows Stan Getz working in a 1990s 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 Beggars Day without borrowing the same emotional weight. It also leaves a lane for You Make It Easy to arrive without the segue feeling forced.

You Make It Easy keeps deep shelf drift honest by sounding like a real choice inside that lane, not a decorative gesture. The electronic edge gives the turn a more precise contour than a plain mood match.

On Moon Safari (1998), You Make It Easy shows Air working in a 1990s pocket with electronic 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 electronic texture in the pocket, especially in the way the arrangement keeps color moving under the lead. You can hear how it answers Easy Living without borrowing the same emotional weight.

Miles Ahead (Mono Master) by Miles Davis & Gil Evans lands here because Aftermath by R.E.M. keeps the emotional pressure steady after Piano Sonata No.1 in F Minor Op.2 - II. Adagio by Mari Kodama and changes the palette without cutting the thread.. The jazz edge gives the turn a more precise contour than a plain mood match. Aftermath can step in after it without the handoff feeling pre-chewed.

On 1986-1991: The Warner Years (CD4) (2011), Miles Ahead (Mono Master) shows Miles Davis & Gil Evans 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. 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. It also leaves a lane for Aftermath to arrive without the segue feeling forced.

Aftermath keeps deep shelf drift 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. Black Hole Sun (Album Version) can step in after it without the handoff feeling pre-chewed.

On Around The Sun (2004), Aftermath 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. Inside Deep shelf drift, 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 Miles Ahead (Mono Master) without borrowing the same emotional weight. It also leaves a lane for Black Hole Sun (Album Version) to arrive without the segue feeling forced.

Black Hole Sun (Album Version) keeps deep shelf drift honest by sounding like a real choice inside that lane, not a decorative gesture. The pop, rock edge gives the turn a more precise contour than a plain mood match.

On Telephantasm (2010), Black Hole Sun (Album Version) shows Soundgarden 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. Inside Deep shelf drift, 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. You can hear how it answers Aftermath without borrowing the same emotional weight.

Xxplosive by Dr. Dre Featuring Hittman, Kurupt, Nate Dogg & Six-2 lands here because Nineteen Hundred And Eighty Five (Rough Mix) by Paul McCartney & Wings keeps the emotional pressure steady after Mercure - Poses Plastiques: Deuxième Tableau, Colère De Cerbère by Satie and turns the color from 1990s into 2020s. It feels more like a shelf move than an obvious front-window pick, which keeps the deep-cuts promise intact. Compared with the last few turns, it changes the sentence enough to keep the hour feeling authored.. The hip hop edge gives the turn a more precise contour than a plain mood match. September can step in after it without the handoff feeling pre-chewed.

On 2001 (1999), Xxplosive shows Dr. Dre Featuring Hittman, Kurupt, Nate Dogg & Six-2 working in a 1990s pocket with hip hop 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 hip hop texture in the pocket, especially in the way the arrangement keeps color moving under the lead. It also leaves a lane for September to arrive without the segue feeling forced.

September keeps deep shelf drift 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. Nineteen Hundred And Eighty Five (Rough Mix) can step in after it without the handoff feeling pre-chewed.

On Sounds Of The Seventies - 1978: Take Two (1991), September shows Earth Wind And Fire 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 Deep shelf drift, 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 Xxplosive without borrowing the same emotional weight. It also leaves a lane for Nineteen Hundred And Eighty Five (Rough Mix) to arrive without the segue feeling forced.

Nineteen Hundred And Eighty Five (Rough Mix) keeps deep shelf drift 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 Band On The Run (50th Anniversary) (2) (2024), Nineteen Hundred And Eighty Five (Rough Mix) shows Paul McCartney & Wings working in a 2020s 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 Deep shelf drift, 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 September without borrowing the same emotional weight.

Marchromt30a Edit 2b 96 by Aphex Twin lands here because A Clean Break (Let's Work) (Live; 2004 Remaster) by Talking Heads and Tadd's Delight (From The Album 'Round About Midnight) by Miles Davis provide a fresh turn after White Blur 2 by Aphex Twin, keeping the emotional pressure steady while changing the color from 1990s into 2020s. It feels more like a shelf move than an obvious front-window pick, which keeps the deep-cuts promise intact.. The electronic, ambient, experimental 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 Syro (2014), Marchromt30a Edit 2b 96 shows Aphex Twin working in a 2010s pocket with electronic, ambient, experimental in the grain. The cut moves with a candlelit drift, 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 electronic, ambient, experimental 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) keeps deep shelf drift honest by sounding like a real choice inside that lane, not a decorative gesture. The alternative / indie rock edge gives the turn a more precise contour than a plain mood match. Tadd's Delight (From The Album 'Round About Midnight) 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. Inside Deep shelf drift, it reads as curation rather than stunt programming.

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 Marchromt30a Edit 2b 96 without borrowing the same emotional weight. It also leaves a lane for Tadd's Delight (From The Album 'Round About Midnight) to arrive without the segue feeling forced.

Tadd's Delight (From The Album 'Round About Midnight) 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.

On INTEGRAL MILES DAVIS 1951-1956 (2024), Tadd's Delight (From The Album 'Round About Midnight) 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. 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 A Clean Break (Let's Work) (Live; 2004 Remaster) without borrowing the same emotional weight.