Session notes from the booth.

A Clean Break (Live) by Talking Heads lands here because This Boy (2023 Mix) by The Beatles and Wide Open Space (Remastered) by Mansun provide a smooth emotional arc, transitioning from A‐Ha's upbeat sound to a more introspective pop rock track.. The pop, rock edge gives the turn a more precise contour than a plain mood match. This Boy (2023 Mix) can step in after it without the handoff feeling pre-chewed.

On Once in a Lifetime: The Talking Heads Box (2003), A Clean Break (Live) shows Talking Heads working in a 2000s pocket with pop, rock 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 pop, rock texture in the pocket, especially in the way the arrangement keeps color moving under the lead. It also leaves a lane for This Boy (2023 Mix) to arrive without the segue feeling forced.

This Boy (2023 Mix) answers A Clean Break (Live) by Talking Heads 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. Wide Open Space (Remastered) can step in after it without the handoff feeling pre-chewed.

On The Beatles 1962 – 1966 (2023 Edition) (2023), This Boy (2023 Mix) shows The Beatles 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.

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 A Clean Break (Live) without borrowing the same emotional weight. It also leaves a lane for Wide Open Space (Remastered) to arrive without the segue feeling forced.

Wide Open Space (Remastered) answers This Boy (2023 Mix) by The Beatles with a related tension instead of a copycat move, so the sequence keeps opening out. The pop, rock, alternatif et indé edge gives the turn a more precise contour than a plain mood match.

On Attack of the Grey Lantern (1996), Wide Open Space (Remastered) shows Mansun working in a 1990s 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.

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 This Boy (2023 Mix) without borrowing the same emotional weight.

Gold und Silber (Gold and Silver), Op. 79 by Slovak Radio Symphony Orchestra, Michael Dittrich lands here because it keeps the soulful / crisp charge pull alive without sanding off the grain that makes this hour interesting. The classical edge gives the turn a more precise contour than a plain mood match. Ballad of Sir Frankie Crisp (Let It Roll) can step in after it without the handoff feeling pre-chewed.

On 101 Classics - CD 1 (8) The Great Waltzes (2008), Gold und Silber (Gold and Silver), Op. 79 shows Slovak Radio Symphony Orchestra, Michael Dittrich working in a 2000s pocket with classical 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 classical texture in the pocket, especially in the way the arrangement keeps color moving under the lead. It also leaves a lane for Ballad of Sir Frankie Crisp (Let It Roll) to arrive without the segue feeling forced.

Ballad of Sir Frankie Crisp (Let It Roll) answers Gold und Silber (Gold and Silver), Op. 79 by Slovak Radio Symphony Orchestra, Michael Dittrich 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. The Sun Always Shines On T.V. (Extended Mix) can step in after it without the handoff feeling pre-chewed.

On All Things Must Pass (1970), Ballad of Sir Frankie Crisp (Let It Roll) shows George Harrison working in a 1970s 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 Gold und Silber (Gold and Silver), Op. 79 without borrowing the same emotional weight. It also leaves a lane for The Sun Always Shines On T.V. (Extended Mix) to arrive without the segue feeling forced.

The Sun Always Shines On T.V. (Extended Mix) answers Ballad of Sir Frankie Crisp (Let It Roll) by George Harrison with a related tension instead of a copycat move, so the sequence keeps opening out.

On Now That’s What I Call 12' 80s (2021), The Sun Always Shines On T.V. (Extended Mix) shows A‐Ha working in a 2020s pocket. The cut moves with a slow-burn glide, which is why it can hold this turn without flattening it.

Listen for the arrangement hinge where the rhythm section and the lead line stop shadowing each other and start pulling against each other. You can hear how it answers Ballad of Sir Frankie Crisp (Let It Roll) without borrowing the same emotional weight.

Drive by Blind Melon lands here because Extend the feeling that follows Gold und Silber (Gold and Silver), Op. 79 by Slovak Radio Symphony Orchestra, Michael Dittrich without sounding automatic.. The alternative rock edge gives the turn a more precise contour than a plain mood match. Cinéma (For Piano 4 Hands): Chûte Du Cerceuil Et Sortie De Börlin can step in after it without the handoff feeling pre-chewed.

On Blind Melon (1992), Drive shows Blind Melon working in a 1990s pocket with alternative 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 alternative rock texture in the pocket, especially in the way the arrangement keeps color moving under the lead. It also leaves a lane for Cinéma (For Piano 4 Hands): Chûte Du Cerceuil Et Sortie De Börlin to arrive without the segue feeling forced.

Cinéma (For Piano 4 Hands): Chûte Du Cerceuil Et Sortie De Börlin answers Drive by Blind Melon with a related tension instead of a copycat move, so the sequence keeps opening out. The classical edge gives the turn a more precise contour than a plain mood match. A Clean Break (Live) can step in after it without the handoff feeling pre-chewed.

On Complete Piano Works, Volume 8 (1995), Cinéma (For Piano 4 Hands): Chûte Du Cerceuil Et Sortie De Börlin shows Satie working in a 1990s pocket with classical 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 classical texture in the pocket, especially in the way the arrangement keeps color moving under the lead. You can hear how it answers Drive without borrowing the same emotional weight. It also leaves a lane for A Clean Break (Live) to arrive without the segue feeling forced.

A Clean Break (Live) answers Cinéma (For Piano 4 Hands): Chûte Du Cerceuil Et Sortie De Börlin by Satie 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 Live: 77 (Live) (2019), A Clean Break (Live) shows Talking Heads working in a 2010s pocket with alternative / 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 alternative / rock texture in the pocket, especially in the way the arrangement keeps color moving under the lead. You can hear how it answers Cinéma (For Piano 4 Hands): Chûte Du Cerceuil Et Sortie De Börlin without borrowing the same emotional weight.

Why Don't You Write Me by The Jacks lands here because I Wanted To Be Wrong by R.E.M. and Drive by Blind Melon provide a smooth emotional arc and keep the station's mood consistent.. The doo-wop edge gives the turn a more precise contour than a plain mood match. I Wanted To Be Wrong can step in after it without the handoff feeling pre-chewed.

On The Birth Of Doo Wop 1948-1955 (1994), Why Don't You Write Me shows The Jacks working in a 1990s pocket with doo-wop 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 doo-wop texture in the pocket, especially in the way the arrangement keeps color moving under the lead. It also leaves a lane for I Wanted To Be Wrong to arrive without the segue feeling forced.

I Wanted To Be Wrong answers Why Don't You Write Me by The Jacks 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. Drive can step in after it without the handoff feeling pre-chewed.

On Around The Sun (2004), I Wanted To Be Wrong shows R.E.M. working in a 2000s 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 Why Don't You Write Me without borrowing the same emotional weight. It also leaves a lane for Drive to arrive without the segue feeling forced.

Drive answers I Wanted To Be Wrong 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), Drive shows Blind Melon working in a 1990s pocket with alternative 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 alternative rock texture in the pocket, especially in the way the arrangement keeps color moving under the lead. You can hear how it answers I Wanted To Be Wrong without borrowing the same emotional weight.

Something by The Beatles lands here because High Ball Stepper by Jack White keeps the emotional pressure steady after A Clean Break (Live) by Talking Heads and changes the palette without cutting the thread.. The rock edge gives the turn a more precise contour than a plain mood match. High Ball Stepper can step in after it without the handoff feeling pre-chewed.

On Abbey Road (1969), Something 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.

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 High Ball Stepper to arrive without the segue feeling forced.

High Ball Stepper answers Something by The Beatles with a related tension instead of a copycat move, so the sequence keeps opening out. The pop, rock, alternatif et indé 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 Lazaretto (2014), High Ball Stepper shows Jack White working in a 2010s 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.

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 Something without borrowing the same emotional weight. 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) answers High Ball Stepper by Jack White with a related tension instead of a copycat move, so the sequence keeps opening out. The alternative / indie rock edge gives the turn a more precise contour than a plain mood match.

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.

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 High Ball Stepper without borrowing the same emotional weight.

Englishman In New York by Sting lands here because The Pan Piper by Miles Davis & Gil Evans pushes the next turn upward after Something by The Beatles and changes the palette without cutting the thread. Jazz is a real lane in this library, which helps the choice feel rooted instead of random.. The pop, rock edge gives the turn a more precise contour than a plain mood match. The Pan Piper [Take 1] can step in after it without the handoff feeling pre-chewed.

On ...Nothing Like The Sun (1987), Englishman In New York shows Sting working in a 1980s 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 The Pan Piper [Take 1] to arrive without the segue feeling forced.

The Pan Piper [Take 1] answers Englishman In New York by Sting 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. A Clean Break (Live) can step in after it without the handoff feeling pre-chewed.

On Sketches Of Spain (1960), The Pan Piper [Take 1] shows Miles Davis & Gil Evans working in a 1960s 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. You can hear how it answers Englishman In New York without borrowing the same emotional weight. It also leaves a lane for A Clean Break (Live) to arrive without the segue feeling forced.

A Clean Break (Live) answers The Pan Piper [Take 1] by Miles Davis & Gil Evans 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 Live: 77 (Live) (2019), A Clean Break (Live) shows Talking Heads working in a 2010s pocket with alternative / 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 alternative / rock texture in the pocket, especially in the way the arrangement keeps color moving under the lead. You can hear how it answers The Pan Piper [Take 1] without borrowing the same emotional weight.

New York, New York by Ryan Adams lands here because Keeps the emotional pressure steady after Englishman In New York by Sting and turns the color from 1980s into 1960s. Abbey Road is the actual record under the microscope, so this keeps the album run coherent.. The pop, rock edge gives the turn a more precise contour than a plain mood match. You Never Give Me Your Money can step in after it without the handoff feeling pre-chewed.

On Gold (2001), New York, New York shows Ryan Adams 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. Inside Abbey Road run, 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 You Never Give Me Your Money to arrive without the segue feeling forced.

You Never Give Me Your Money keeps abbey road run 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. Something can step in after it without the handoff feeling pre-chewed.

On Abbey Road (1969), You Never Give Me Your Money 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. Inside Abbey Road run, 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 New York, New York without borrowing the same emotional weight. It also leaves a lane for Something to arrive without the segue feeling forced.

Something keeps abbey road run 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 Abbey Road (1969), Something 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 Abbey Road run, 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 You Never Give Me Your Money without borrowing the same emotional weight.

High Hopes by Pink Floyd lands here because Keeps the emotional pressure steady after New York, New York by Ryan Adams and changes the palette without cutting the thread. R.E.M. is one of Ian's steadier shelf presences.. The pop, rock edge gives the turn a more precise contour than a plain mood match. The Worst Joke Ever can step in after it without the handoff feeling pre-chewed.

On The Division Bell (Hi-Res 24/96 Version) (2014), High Hopes shows Pink Floyd working in a 2010s pocket with pop, rock 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 pop, rock texture in the pocket, especially in the way the arrangement keeps color moving under the lead. It also leaves a lane for The Worst Joke Ever to arrive without the segue feeling forced.

The Worst Joke Ever answers High Hopes by Pink Floyd 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. Englishman In New York can step in after it without the handoff feeling pre-chewed.

On Around The Sun (2004), The Worst Joke Ever 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 High Hopes without borrowing the same emotional weight. It also leaves a lane for Englishman In New York to arrive without the segue feeling forced.

Englishman In New York answers The Worst Joke Ever by R.E.M. 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 ...Nothing Like The Sun (1987), Englishman In New York shows Sting working in a 1980s 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 The Worst Joke Ever without borrowing the same emotional weight.

Drive (2016 Remaster) by The Cars lands here because Doxy (From The Album Bags'Groove) by Miles Davis keeps the emotional pressure steady after High Hopes by Pink Floyd and turns the color from 2010s into 2020s.. The pop edge gives the turn a more precise contour than a plain mood match. Drive-In Saturday (2013 Remaster) can step in after it without the handoff feeling pre-chewed.

On 80s Radio Hits (3), Drive (2016 Remaster) shows The Cars working in a 0s 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. It also leaves a lane for Drive-In Saturday (2013 Remaster) to arrive without the segue feeling forced.

Drive-In Saturday (2013 Remaster) answers Drive (2016 Remaster) by The Cars 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. New York, New York can step in after it without the handoff feeling pre-chewed.

On Aladdin Sane (2013 Remaster) (1973), Drive-In Saturday (2013 Remaster) shows David Bowie 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 Drive (2016 Remaster) without borrowing the same emotional weight. It also leaves a lane for New York, New York to arrive without the segue feeling forced.

New York, New York answers Drive-In Saturday (2013 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 Gold (2001), New York, New York shows Ryan Adams 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-In Saturday (2013 Remaster) without borrowing the same emotional weight.

Skateaway by Dire Straits lands here because keeps the emotional pressure steady after Behind The Sun by Red Hot Chili Peppers and turns the color from 1990s into 2020s. 2020s grain is the point of the special, so the era stamp matters here.. The rock edge gives the turn a more precise contour than a plain mood match. You're The Storm (Sandkvie Session) can step in after it without the handoff feeling pre-chewed.

On Making Movies (1980), Skateaway shows Dire Straits 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. Inside 2020s 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 You're The Storm (Sandkvie Session) to arrive without the segue feeling forced.

You're The Storm (Sandkvie Session) keeps 2020s pressure 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. Hey Baby (New Rising Sun) / Midnight Lightning can step in after it without the handoff feeling pre-chewed.

On The Rest Of The Best (2024), You're The Storm (Sandkvie Session) shows The Cardigans working in a 2020s 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. Inside 2020s pressure, 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 Skateaway without borrowing the same emotional weight. It also leaves a lane for Hey Baby (New Rising Sun) / Midnight Lightning to arrive without the segue feeling forced.

Hey Baby (New Rising Sun) / Midnight Lightning keeps 2020s 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.

On Live In Maui (2) (2020), Hey Baby (New Rising Sun) / Midnight Lightning shows The Jimi Hendrix Experience working in a 2020s pocket with 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 2020s 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 You're The Storm (Sandkvie Session) without borrowing the same emotional weight.

Final Straw by R.E.M. lands here because I've Got To Use My Imagination by Gladys Knight And The Pips keeps the emotional pressure steady after Bad Time by Grand Funk and keeps rock in the grain. Rock is a real lane in this library, which helps the choice feel rooted instead of random.. The rock edge gives the turn a more precise contour than a plain mood match. A Clean Break (Live) can step in after it without the handoff feeling pre-chewed.

On Around The Sun (2004), Final Straw shows R.E.M. working in a 2000s 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 A Clean Break (Live) to arrive without the segue feeling forced.

A Clean Break (Live) answers Final Straw 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. Behind The Sun can step in after it without the handoff feeling pre-chewed.

On Live: 77 (Live) (2019), A Clean Break (Live) shows Talking Heads working in a 2010s pocket with alternative / 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 alternative / rock texture in the pocket, especially in the way the arrangement keeps color moving under the lead. You can hear how it answers Final Straw without borrowing the same emotional weight. It also leaves a lane for Behind The Sun to arrive without the segue feeling forced.

Behind The Sun answers A Clean Break (Live) by Talking Heads 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 What Hits!? (1992), Behind The Sun shows Red Hot Chili Peppers working in a 1990s pocket with rock 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 rock 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 (Live) without borrowing the same emotional weight.

I*d Rather Be High by David Bowie lands here because Skateaway by Dire Straits and Bad Time by Grand Funk provide a sharp two-step that keeps the emotional pressure steady after Final Straw by R.E.M. and keeps rock in the grain.. The art rock edge gives the turn a more precise contour than a plain mood match. Skateaway can step in after it without the handoff feeling pre-chewed.

On The Next Day (2013), I*d Rather Be High shows David Bowie working in a 2010s pocket with art 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 art rock texture in the pocket, especially in the way the arrangement keeps color moving under the lead. It also leaves a lane for Skateaway to arrive without the segue feeling forced.

Skateaway answers I*d Rather Be High by David Bowie 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. Bad Time can step in after it without the handoff feeling pre-chewed.

On Making Movies (1980), Skateaway shows Dire Straits 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 I*d Rather Be High without borrowing the same emotional weight. It also leaves a lane for Bad Time to arrive without the segue feeling forced.

Bad Time answers Skateaway by Dire Straits 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 Sounds Of The Seventies - 1975: Take Two (1991), Bad Time shows Grand Funk 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.

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 Skateaway without borrowing the same emotional weight.

Walkin' by Miles Davis lands here because Cheap Thrills by Sia and Final Straw by R.E.M. provide a sharp two-step that extends the feeling of David Bowie's I’d Rather Be High without sounding automatic.. The jazz edge gives the turn a more precise contour than a plain mood match. Cheap Thrills can step in after it without the handoff feeling pre-chewed.

On At Plugged Nickel, Chicago (CD1) (1965), Walkin' shows Miles Davis 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. It also leaves a lane for Cheap Thrills to arrive without the segue feeling forced.

Cheap Thrills answers Walkin' 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. Final Straw can step in after it without the handoff feeling pre-chewed.

On This Is Acting (2016), Cheap Thrills shows Sia 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 Walkin' without borrowing the same emotional weight. It also leaves a lane for Final Straw to arrive without the segue feeling forced.

Final Straw answers Cheap Thrills by Sia 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 Around The Sun (2004), Final Straw shows R.E.M. working in a 2000s 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 Cheap Thrills without borrowing the same emotional weight.