Session notes from the booth.

Dialogue: 'It takes a long time...' by Miles Davis lands here because Yesterdays (Live At Carnegie Hall/1956) by Billie Holiday and The Fool on the Hill by The Beatles provide a fresh turn after East River Drive by Grover Washington, Jr., maintaining emotional pressure while changing palette.. The jazz edge gives the turn a more precise contour than a plain mood match. Yesterdays (Live At Carnegie Hall/1956) can step in after it without the handoff feeling pre-chewed.

On Miles Ahead: Original Motion Picture Soundtrack (2016), Dialogue: 'It takes a long time...' shows Miles Davis working in a 2010s pocket with jazz 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 jazz texture in the pocket, especially in the way the arrangement keeps color moving under the lead. It also leaves a lane for Yesterdays (Live At Carnegie Hall/1956) to arrive without the segue feeling forced.

Yesterdays (Live At Carnegie Hall/1956) answers Dialogue: 'It takes a long time...' by Miles Davis 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. The Fool on the Hill can step in after it without the handoff feeling pre-chewed.

On The Essential Billie Holiday: Carnegie Hall Concert Recorded Live (1961), Yesterdays (Live At Carnegie Hall/1956) shows Billie Holiday working in a 1960s 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 Dialogue: 'It takes a long time...' without borrowing the same emotional weight. It also leaves a lane for The Fool on the Hill to arrive without the segue feeling forced.

The Fool on the Hill answers Yesterdays (Live At Carnegie Hall/1956) by Billie Holiday 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 Magical Mystery Tour (1967), The Fool on the Hill 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. You can hear how it answers Yesterdays (Live At Carnegie Hall/1956) without borrowing the same emotional weight.

Immigrant Song (Remaster) by Led Zeppelin lands here because Houses in Motion (Live at Werchterpark Festival, Belgium) by Talking Heads and Wet Sand by Red Hot Chili Peppers provide a sharp two-step that keeps the emotional pressure steady after War by The Cardigans and turns the color from 2020s into 2010s and 2000s respectively.. The rock edge gives the turn a more precise contour than a plain mood match. Wet Sand can step in after it without the handoff feeling pre-chewed.

On The Complete BBC Sessions (2016), Immigrant Song (Remaster) shows Led Zeppelin 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. It also leaves a lane for Wet Sand to arrive without the segue feeling forced.

Wet Sand answers Immigrant Song (Remaster) by Led Zeppelin with a related tension instead of a copycat move, so the sequence keeps opening out. The alternative-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 Stadium Arcadium - Jupiter (2006), Wet Sand shows Red Hot Chili Peppers working in a 2000s 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.

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 Immigrant Song (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 Wet Sand by Red Hot Chili Peppers 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 Wet Sand without borrowing the same emotional weight.

All The Beautiful Worlds (Unreleased Version) by Stevie Nicks lands here because Daysleeper by R.E.M. and Tones Of Home by Blind Melon provide a fresh turn while keeping the emotional pressure steady after Burden In My Hand by Soundgarden.. The rock edge gives the turn a more precise contour than a plain mood match. Daysleeper can step in after it without the handoff feeling pre-chewed.

On The Wild Heart (Deluxe Edition) (2016), All The Beautiful Worlds (Unreleased Version) shows Stevie Nicks 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.

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 Daysleeper to arrive without the segue feeling forced.

Daysleeper answers All The Beautiful Worlds (Unreleased Version) by Stevie Nicks with a related tension instead of a copycat move, so the sequence keeps opening out. The alternative edge gives the turn a more precise contour than a plain mood match. Tones Of Home can step in after it without the handoff feeling pre-chewed.

On Up (1998), Daysleeper shows R.E.M. working in a 1990s pocket with alternative 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 texture in the pocket, especially in the way the arrangement keeps color moving under the lead. You can hear how it answers All The Beautiful Worlds (Unreleased Version) without borrowing the same emotional weight. It also leaves a lane for Tones Of Home to arrive without the segue feeling forced.

Tones Of Home answers Daysleeper by R.E.M. with a related tension instead of a copycat move, so the sequence keeps opening out. The alternative rock edge gives the turn a more precise contour than a plain mood match.

On Blind Melon (1992), Tones Of Home shows Blind Melon 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.

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 Daysleeper without borrowing the same emotional weight.

Stand Back (Remastered) by Stevie Nicks lands here because Build a real arc instead of stacking safe mood matches.. The rock edge gives the turn a more precise contour than a plain mood match. Tequila Sunrise 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. It also leaves a lane for Tequila Sunrise to arrive without the segue feeling forced.

Tequila Sunrise answers Stand Back (Remastered) by Stevie Nicks 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. Burden In My Hand can step in after it without the handoff feeling pre-chewed.

On The Very Best Of (2003), Tequila Sunrise shows Eagles 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 Stand Back (Remastered) without borrowing the same emotional weight. It also leaves a lane for Burden In My Hand to arrive without the segue feeling forced.

Burden In My Hand answers Tequila Sunrise by Eagles 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 A-Sides (1997), Burden In My Hand 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.

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 Tequila Sunrise without borrowing the same emotional weight.

Shape of You by Ed Sheeran lands here because I Will Run To You (with Tom Petty) by Stevie Nicks and Rock and Roll by Heart provide a compelling emotional arc that moves from the thesis to a left turn.. The pop, rock edge gives the turn a more precise contour than a plain mood match. I Will Run To You (with Tom Petty) [Remastered] can step in after it without the handoff feeling pre-chewed.

On ÷ (2017), Shape of You shows Ed Sheeran 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. It also leaves a lane for I Will Run To You (with Tom Petty) [Remastered] to arrive without the segue feeling forced.

I Will Run To You (with Tom Petty) [Remastered] answers Shape of You by Ed Sheeran 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. Rock and Roll can step in after it without the handoff feeling pre-chewed.

On The Wild Heart (Deluxe Edition) (2016), I Will Run To You (with Tom Petty) [Remastered] shows Stevie Nicks 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.

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 Shape of You without borrowing the same emotional weight. It also leaves a lane for Rock and Roll to arrive without the segue feeling forced.

Rock and Roll answers I Will Run To You (with Tom Petty) [Remastered] by Stevie Nicks 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), Rock and Roll shows Heart 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 I Will Run To You (with Tom Petty) [Remastered] without borrowing the same emotional weight.

(You Drive Me) Crazy (The Stop! Remix) by Britney Spears lands here because it keeps the tender voltage / silver patience pull alive without sanding off the grain that makes this hour interesting. The pop edge gives the turn a more precise contour than a plain mood match. Slow Motion (Early Mix) can step in after it without the handoff feeling pre-chewed.

On The Essential Britney Spears (1) (2013), (You Drive Me) Crazy (The Stop! Remix) shows Britney Spears 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. Inside Deep shelf drift, 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 Slow Motion (Early Mix) to arrive without the segue feeling forced.

Slow Motion (Early Mix) keeps deep shelf drift 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. Seminary School (a.k.a. Petition the Lord with Prayer) can step in after it without the handoff feeling pre-chewed.

On The Soft Bulletin Companion (1999), Slow Motion (Early Mix) shows The Flaming Lips 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 Deep shelf drift, 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 (You Drive Me) Crazy (The Stop! Remix) without borrowing the same emotional weight. It also leaves a lane for Seminary School (a.k.a. Petition the Lord with Prayer) to arrive without the segue feeling forced.

Seminary School (a.k.a. Petition the Lord with Prayer) 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 The Soft Parade (50th Anniversary Deluxe Edition) (1969), Seminary School (a.k.a. Petition the Lord with Prayer) shows The Doors 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 Slow Motion (Early Mix) without borrowing the same emotional weight.

Wild Heart (Remastered) by Stevie Nicks lands here because Search And Destroy [Live] by Red Hot Chili Peppers states the thesis, and Legal Tender by The B‐52s answers it with a fresh turn.. The rock edge gives the turn a more precise contour than a plain mood match. Search And Destroy [Live] can step in after it without the handoff feeling pre-chewed.

On The Wild Heart (Deluxe Edition) (2016), Wild Heart (Remastered) shows Stevie Nicks 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.

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 Search And Destroy [Live] to arrive without the segue feeling forced.

Search And Destroy [Live] answers Wild Heart (Remastered) by Stevie Nicks 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. Legal Tender can step in after it without the handoff feeling pre-chewed.

On By The Way [CD Single 2] (2000), Search And Destroy [Live] shows Red Hot Chili Peppers 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.

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 track is a live medley that benefits from a middle segment to capture the essence of the performance without overwhelming the set.. Legal Tender is waiting on the far side of that seam.

Legal Tender answers Search And Destroy [Live] by Red Hot Chili Peppers 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 Whammy! (1983), Legal Tender shows The B‐52s working in a 1980s 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 Search And Destroy [Live] without borrowing the same emotional weight.

In a Certain Light by Great Lake Swimmers lands here because Shine a Light by The Rolling Stones and Crosseyed and Painless by Talking Heads create a sharp two-step that keeps the emotional pressure steady after Wild Heart (Remastered) by Stevie Nicks without sounding automatic. They offer fresh turns while maintaining the hour's point of view.. The pop, rock edge gives the turn a more precise contour than a plain mood match. Shine a Light can step in after it without the handoff feeling pre-chewed.

On The Waves, The Wake (2018), In a Certain Light shows Great Lake Swimmers 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. It also leaves a lane for Shine a Light to arrive without the segue feeling forced.

Shine a Light answers In a Certain Light by Great Lake Swimmers 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. Crosseyed and Painless can step in after it without the handoff feeling pre-chewed.

On Exile on Main St. (1972), Shine a Light shows The Rolling Stones 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.

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 In a Certain Light without borrowing the same emotional weight. It also leaves a lane for Crosseyed and Painless to arrive without the segue feeling forced.

Crosseyed and Painless answers Shine a Light by The Rolling Stones 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 Remain In Light (1980), Crosseyed and Painless shows Talking Heads 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 Shine a Light without borrowing the same emotional weight.

Sorcerer (Unreleased Version) by Stevie Nicks lands here because Keeps the emotional pressure steady and changes the palette without cutting the thread.. The rock edge gives the turn a more precise contour than a plain mood match. Honey Pie can step in after it without the handoff feeling pre-chewed.

On The Wild Heart (Deluxe Edition) (2016), Sorcerer (Unreleased Version) shows Stevie Nicks 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.

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 Honey Pie to arrive without the segue feeling forced.

Honey Pie answers Sorcerer (Unreleased Version) by Stevie Nicks 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. Ventolin (Carmarrack Mix) can step in after it without the handoff feeling pre-chewed.

On The Beatles (1968), Honey Pie 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 Sorcerer (Unreleased Version) without borrowing the same emotional weight. It also leaves a lane for Ventolin (Carmarrack Mix) to arrive without the segue feeling forced.

Ventolin (Carmarrack Mix) answers Honey Pie by The Beatles with a related tension instead of a copycat move, so the sequence keeps opening out. The electronic, ambient, experimental edge gives the turn a more precise contour than a plain mood match.

On Ventolin (EP) (1995), Ventolin (Carmarrack Mix) shows Aphex Twin working in a 1990s pocket with electronic, ambient, experimental 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 electronic, ambient, experimental texture in the pocket, especially in the way the arrangement keeps color moving under the lead. You can hear how it answers Honey Pie without borrowing the same emotional weight.

The Hard Way by Kinks lands here because keeps the emotional pressure steady after Dreamboat Annie by Heart and turns the color from 1980s into 2020s. It feels more like a shelf move than an obvious front-window pick, which keeps the deep-cuts promise intact.. The rock edge gives the turn a more precise contour than a plain mood match. 'Round Midnight (Remastered 2013) can step in after it without the handoff feeling pre-chewed.

On Kinks At The BBC Disc 2 (2012), The Hard Way 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. It also leaves a lane for 'Round Midnight (Remastered 2013) to arrive without the segue feeling forced.

'Round Midnight (Remastered 2013) 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. Tadd's Delight (From The Album 'Round About Midnight) can step in after it without the handoff feeling pre-chewed.

On Genius Of Modern Music (2013), 'Round Midnight (Remastered 2013) shows Thelonious Monk working in a 2010s pocket with jazz 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 jazz texture in the pocket, especially in the way the arrangement keeps color moving under the lead. You can hear how it answers The Hard Way 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 'Round Midnight (Remastered 2013) without borrowing the same emotional weight.

We Take Care of Our Own by Bruce Springsteen lands here because Black Night by Deep Purple and Copperbelly by Red Hot Chili Peppers provide a fresh emotional arc that maintains the spell while introducing new elements.. The pop, rock edge gives the turn a more precise contour than a plain mood match. Black Night can step in after it without the handoff feeling pre-chewed.

On Wrecking Ball (2012), We Take Care of Our Own shows Bruce Springsteen 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. It also leaves a lane for Black Night to arrive without the segue feeling forced.

Black Night answers We Take Care of Our Own by Bruce Springsteen 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. Copperbelly can step in after it without the handoff feeling pre-chewed.

On Sounds Of The Seventies - Guitar Power (1992), Black Night shows Deep Purple 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 We Take Care of Our Own without borrowing the same emotional weight. It also leaves a lane for Copperbelly to arrive without the segue feeling forced.

Copperbelly answers Black Night by Deep Purple with a related tension instead of a copycat move, so the sequence keeps opening out. The alternative-rock edge gives the turn a more precise contour than a plain mood match.

On Return Of The Dream Canteen (2022), Copperbelly shows Red Hot Chili Peppers working in a 2020s 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. You can hear how it answers Black Night without borrowing the same emotional weight.