Session notes from the booth.

Sable on Blond (Alternate Version) by Stevie Nicks lands here because Keeps the emotional pressure steady after Look Me In The Heart by Tina Turner and turns the color from 2000s into 1990s. Soul, Funk, R&B is the pocket, and these cuts keep that lane feeling intentional.. The rock edge gives the turn a more precise contour than a plain mood match. Maria (You Were The Only One) (Single Version) can step in after it without the handoff feeling pre-chewed.

On The Wild Heart (Deluxe Edition) (2016), Sable on Blond (Alternate Version) shows Stevie Nicks working in a 2010s 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. Inside Soul, Funk, R&B pocket, 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 Maria (You Were The Only One) (Single Version) to arrive without the segue feeling forced.

Maria (You Were The Only One) (Single Version) keeps soul, funk, r&b pocket honest by sounding like a real choice inside that lane, not a decorative gesture. The soul, funk, r&b edge gives the turn a more precise contour than a plain mood match. Waterfalls can step in after it without the handoff feeling pre-chewed.

On Got To Be There (1972), Maria (You Were The Only One) (Single Version) shows Michael Jackson working in a 1970s pocket with soul, funk, r&b in the grain. The cut moves with a slow-burn glide, which is why it can hold this turn without flattening it. Inside Soul, Funk, R&B pocket, it reads as curation rather than stunt programming.

Listen for the soul, funk, r&b texture in the pocket, especially in the way the arrangement keeps color moving under the lead. You can hear how it answers Sable on Blond (Alternate Version) without borrowing the same emotional weight. It also leaves a lane for Waterfalls to arrive without the segue feeling forced.

Waterfalls keeps soul, funk, r&b pocket honest by sounding like a real choice inside that lane, not a decorative gesture. The soul, funk, r&b edge gives the turn a more precise contour than a plain mood match.

On Crazysexycool (1994), Waterfalls shows TLC working in a 1990s pocket with soul, funk, r&b in the grain. The cut moves with a slow-burn glide, which is why it can hold this turn without flattening it. Inside Soul, Funk, R&B pocket, it reads as curation rather than stunt programming.

Listen for the soul, funk, r&b texture in the pocket, especially in the way the arrangement keeps color moving under the lead. You can hear how it answers Maria (You Were The Only One) (Single Version) without borrowing the same emotional weight.

My Blue Heaven by Fats Domino lands here because Keeps the emotional pressure steady and changes the sentence enough to keep the hour feeling authored.. The rock & roll edge gives the turn a more precise contour than a plain mood match. Mr Magic (Through The Smoke) can step in after it without the handoff feeling pre-chewed.

On Greatest Hits: Walking To New Orleans (2007), My Blue Heaven shows Fats Domino working in a 2000s pocket with rock & roll 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 & roll texture in the pocket, especially in the way the arrangement keeps color moving under the lead. It also leaves a lane for Mr Magic (Through The Smoke) to arrive without the segue feeling forced.

Mr Magic (Through The Smoke) answers My Blue Heaven by Fats Domino with a related tension instead of a copycat move, so the sequence keeps opening out. The soul edge gives the turn a more precise contour than a plain mood match. Sable on Blond (Alternate Version) can step in after it without the handoff feeling pre-chewed.

On Frank (2015), Mr Magic (Through The Smoke) shows Amy Winehouse working in a 2010s pocket with soul 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 soul texture in the pocket, especially in the way the arrangement keeps color moving under the lead. You can hear how it answers My Blue Heaven without borrowing the same emotional weight. It also leaves a lane for Sable on Blond (Alternate Version) to arrive without the segue feeling forced.

Sable on Blond (Alternate Version) answers Mr Magic (Through The Smoke) by Amy Winehouse 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 The Wild Heart (Deluxe Edition) (2016), Sable on Blond (Alternate Version) 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. You can hear how it answers Mr Magic (Through The Smoke) without borrowing the same emotional weight.

Joy To The World by Three Dog Night lands here because Warm Tape by Red Hot Chili Peppers states the thesis and My Blue Heaven by Fats Domino answers it with a fresh turn.. The rock edge gives the turn a more precise contour than a plain mood match. Warm Tape can step in after it without the handoff feeling pre-chewed.

Joy To The World comes off Sounds Of The Seventies - Super '70s, where Three Dog Night leans into rock. 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 Warm Tape to arrive without the segue feeling forced.

Warm Tape answers Joy To The World by Three Dog Night 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. My Blue Heaven can step in after it without the handoff feeling pre-chewed.

On By The Way (2002), Warm Tape shows Red Hot Chili Peppers working in a 2000s 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 Joy To The World without borrowing the same emotional weight. It also leaves a lane for My Blue Heaven to arrive without the segue feeling forced.

My Blue Heaven answers Warm Tape by Red Hot Chili Peppers with a related tension instead of a copycat move, so the sequence keeps opening out. The rock & roll edge gives the turn a more precise contour than a plain mood match.

On Greatest Hits: Walking To New Orleans (2007), My Blue Heaven shows Fats Domino working in a 2000s pocket with rock & roll 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 & roll texture in the pocket, especially in the way the arrangement keeps color moving under the lead. You can hear how it answers Warm Tape without borrowing the same emotional weight.

Shhh by Prince lands here because Suck My Kiss (Live) by Red Hot Chili Peppers keeps the emotional pressure steady after Low by R.E.M. and maintains a sense of rock in the set.. The funk/soul/pop edge gives the turn a more precise contour than a plain mood match. White Summer can step in after it without the handoff feeling pre-chewed.

On Anthology: 1995-2010 (2018), Shhh shows Prince working in a 2010s pocket with funk/soul/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 funk/soul/pop texture in the pocket, especially in the way the arrangement keeps color moving under the lead. It also leaves a lane for White Summer to arrive without the segue feeling forced.

White Summer answers Shhh by Prince with a related tension instead of a copycat move, so the sequence keeps opening out. The hard rock edge gives the turn a more precise contour than a plain mood match. Suck My Kiss (Live) can step in after it without the handoff feeling pre-chewed.

On The Complete Bbc Sessions (1997), White Summer shows Led Zeppelin working in a 1990s pocket with hard 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 hard rock texture in the pocket, especially in the way the arrangement keeps color moving under the lead. You can hear how it answers Shhh without borrowing the same emotional weight. It also leaves a lane for Suck My Kiss (Live) to arrive without the segue feeling forced.

Suck My Kiss (Live) answers White Summer by Led Zeppelin 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 Soul To Squeeze (CD2) (1993), Suck My Kiss (Live) shows Red Hot Chili Peppers 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 White Summer without borrowing the same emotional weight.

Houses in Motion (Live at Werchterpark Festival, Belgium) by Talking Heads lands here because Joy To The World by Three Dog Night states the thesis, and Low by R.E.M. answers it with a fresh turn.. The rock edge gives the turn a more precise contour than a plain mood match. Joy To The World can step in after it without the handoff feeling pre-chewed.

On Remain in Light (Deluxe Version) (1980), Houses in Motion (Live at Werchterpark Festival, Belgium) shows Talking Heads working in a 1980s pocket with rock in the grain. The cut moves with a candlelit drift, which is why it can hold this turn without flattening it. 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 Joy To The World to arrive without the segue feeling forced.

Joy To The World 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. Low can step in after it without the handoff feeling pre-chewed.

On Sounds Of The Seventies - 1971 (1989), Joy To The World shows Three Dog Night 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 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 Houses in Motion (Live at Werchterpark Festival, Belgium) without borrowing the same emotional weight. It also leaves a lane for Low to arrive without the segue feeling forced.

Low 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 Out Of Time (1991), Low shows R.E.M. 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 Joy To The World without borrowing the same emotional weight.

Michelle by The Beatles lands here because This track keeps the emotional pressure steady after Houses in Motion (Live at Werchterpark Festival, Belgium) by Talking Heads and turns the color from 2010s into 2000s. 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. All-Night Vigil, Op. 37: Matins: V. My Soul Magnifies the Lord can step in after it without the handoff feeling pre-chewed.

On Rubber Soul (1965), Michelle 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 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 All-Night Vigil, Op. 37: Matins: V. My Soul Magnifies the Lord to arrive without the segue feeling forced.

All-Night Vigil, Op. 37: Matins: V. My Soul Magnifies the Lord keeps deep shelf drift 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. Shhh can step in after it without the handoff feeling pre-chewed.

On All-Night Vigil (2005), All-Night Vigil, Op. 37: Matins: V. My Soul Magnifies the Lord shows Sergei Rachmaninoff working in a 2000s 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 Deep shelf drift, 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 Michelle without borrowing the same emotional weight. It also leaves a lane for Shhh to arrive without the segue feeling forced.

Shhh keeps deep shelf drift honest by sounding like a real choice inside that lane, not a decorative gesture. The funk/soul/pop edge gives the turn a more precise contour than a plain mood match.

On Anthology: 1995-2010 (2018), Shhh shows Prince working in a 2010s pocket with funk/soul/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 funk/soul/pop texture in the pocket, especially in the way the arrangement keeps color moving under the lead. You can hear how it answers All-Night Vigil, Op. 37: Matins: V. My Soul Magnifies the Lord without borrowing the same emotional weight.

tonite by LCD Soundsystem lands here because Keeps the emotional pressure steady after Michelle by The Beatles, keeps rock in the grain, and maintains the hour's authored feel.. The électronique edge gives the turn a more precise contour than a plain mood match. Barracuda can step in after it without the handoff feeling pre-chewed.

On american dream (2017), tonite shows LCD Soundsystem working in a 2010s pocket with électronique in the grain. The cut moves with a candlelit drift, which is why it can hold this turn without flattening it.

Listen for the électronique texture in the pocket, especially in the way the arrangement keeps color moving under the lead. It also leaves a lane for Barracuda to arrive without the segue feeling forced.

Barracuda answers tonite by LCD Soundsystem with a related tension instead of a copycat move, so the sequence keeps opening out. The rock edge gives the turn a more precise contour than a plain mood match. Houses in Motion (Live at Werchterpark Festival, Belgium) can step in after it without the handoff feeling pre-chewed.

On Greatest Hits / Live (1980), Barracuda shows Heart working in a 1980s pocket with rock in the grain. The cut moves with a candlelit drift, which is why it can hold this turn without flattening it.

Listen for the rock texture in the pocket, especially in the way the arrangement keeps color moving under the lead. You can hear how it answers tonite 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 Barracuda by Heart 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 Barracuda without borrowing the same emotional weight.

Feel Good Inc (featuring De La Soul) by Gorillaz lands here because I Sing For The Things (Unreleased Version) by Stevie Nicks and Michelle by The Beatles provide a strong emotional arc after tonite by LCD Soundsystem.. The pop, rock, alternatif et indé edge gives the turn a more precise contour than a plain mood match. I Sing For The Things (Unreleased Version) can step in after it without the handoff feeling pre-chewed.

On Demon Days (2014), Feel Good Inc (featuring De La Soul) shows Gorillaz working in a 2010s pocket with pop, rock, alternatif et indé 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, alternatif et indé texture in the pocket, especially in the way the arrangement keeps color moving under the lead. It also leaves a lane for I Sing For The Things (Unreleased Version) to arrive without the segue feeling forced.

I Sing For The Things (Unreleased Version) answers Feel Good Inc (featuring De La Soul) by Gorillaz 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. Michelle can step in after it without the handoff feeling pre-chewed.

On The Wild Heart (Deluxe Edition) (2016), I Sing For The Things (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. You can hear how it answers Feel Good Inc (featuring De La Soul) without borrowing the same emotional weight. It also leaves a lane for Michelle to arrive without the segue feeling forced.

Michelle answers I Sing For The Things (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.

On Rubber Soul (1965), Michelle 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. You can hear how it answers I Sing For The Things (Unreleased Version) without borrowing the same emotional weight.

Suck My Kiss (Live) by Red Hot Chili Peppers lands here because Feel Good Inc (featuring De La Soul) by Gorillaz keeps the emotional pressure steady after So What by Miles Davis and changes the palette without cutting the thread. Pop, Rock, Alternatif et Indé 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. Feel Good Inc (featuring De La Soul) can step in after it without the handoff feeling pre-chewed.

On Suck My Kiss (Australia CD5) (1992), Suck My Kiss (Live) 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. It also leaves a lane for Feel Good Inc (featuring De La Soul) to arrive without the segue feeling forced.

Feel Good Inc (featuring De La Soul) answers Suck My Kiss (Live) by Red Hot Chili Peppers 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. Here Come De Honey Man can step in after it without the handoff feeling pre-chewed.

On Demon Days (2014), Feel Good Inc (featuring De La Soul) shows Gorillaz 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 Suck My Kiss (Live) without borrowing the same emotional weight. It also leaves a lane for Here Come De Honey Man to arrive without the segue feeling forced.

Here Come De Honey Man answers Feel Good Inc (featuring De La Soul) by Gorillaz 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.

On Gershwin's World (1998), Here Come De Honey Man shows Herbie Hancock working in a 1990s pocket with jazz in the grain. The cut moves with a candlelit drift, which is why it can hold this turn without flattening it.

Listen for the jazz texture in the pocket, especially in the way the arrangement keeps color moving under the lead. You can hear how it answers Feel Good Inc (featuring De La Soul) without borrowing the same emotional weight.

I Want To Be The Boy To Warm Your Mother's Heart (Live at The Aragon Ballroom, July 2, 2003) by The White Stripes lands here because Keeps the emotional pressure steady after Suck My Kiss (Live) by Red Hot Chili Peppers and keeps rock in the grain.. The pop, rock, alternatif et indé edge gives the turn a more precise contour than a plain mood match. Mr. Soul 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 steady shoulder-roll, 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. It also leaves a lane for Mr. Soul to arrive without the segue feeling forced.

Mr. Soul answers I Want To Be The Boy To Warm Your Mother's Heart (Live at The Aragon Ballroom, July 2, 2003) by The White Stripes 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. So What can step in after it without the handoff feeling pre-chewed.

On What's That Sound? Complete Albums Collection: Disc 3 - Buffalo Springfield Again (mono mix) (2018), Mr. Soul shows Buffalo Springfield 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 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. It also leaves a lane for So What to arrive without the segue feeling forced.

So What answers Mr. Soul by Buffalo Springfield 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.

On Miles Ahead: Original Motion Picture Soundtrack (2016), So What shows Miles Davis 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.

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 Mr. Soul without borrowing the same emotional weight.

Houses in Motion (Live at Werchterpark Festival, Belgium) by Talking Heads lands here because Red Hot Chili Peppers by Suck My Kiss (Live) sets a steady tone after The White Stripes and transitions smoothly into the 1990s. Kendrick Lamar's Heart Pt. 6 adds a fresh perspective to the hour, maintaining emotional pressure without being too obvious.. The rock edge gives the turn a more precise contour than a plain mood match. Heart Pt. 6 can step in after it without the handoff feeling pre-chewed.

On Remain in Light (Deluxe Version) (1980), Houses in Motion (Live at Werchterpark Festival, Belgium) shows Talking Heads working in a 1980s pocket with rock in the grain. The cut moves with a candlelit drift, which is why it can hold this turn without flattening it.

Listen for the rock texture in the pocket, especially in the way the arrangement keeps color moving under the lead. It also leaves a lane for Heart Pt. 6 to arrive without the segue feeling forced.

Heart Pt. 6 answers Houses in Motion (Live at Werchterpark Festival, Belgium) by Talking Heads with a related tension instead of a copycat move, so the sequence keeps opening out. The rap/hip hop edge gives the turn a more precise contour than a plain mood match. Suck My Kiss (Live) can step in after it without the handoff feeling pre-chewed.

On GNX (2024), Heart Pt. 6 shows Kendrick Lamar working in a 2020s pocket with rap/hip hop 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 rap/hip hop texture in the pocket, especially in the way the arrangement keeps color moving under the lead. You can hear how it answers Houses in Motion (Live at Werchterpark Festival, Belgium) without borrowing the same emotional weight. It also leaves a lane for Suck My Kiss (Live) to arrive without the segue feeling forced.

Suck My Kiss (Live) answers Heart Pt. 6 by Kendrick Lamar 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 Soul To Squeeze (CD2) (1993), Suck My Kiss (Live) shows Red Hot Chili Peppers 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 Heart Pt. 6 without borrowing the same emotional weight.

Tupelo Honey by Van Morrison lands here because Wishful Sinful (Doors Only Mix) (Robby Krieger Overdub) by The Doors and I Want To Be The Boy To Warm Your Mother's Heart (Live at The Aragon Ballroom, July 2, 2003) by The White Stripes create a strong emotional arc that keeps the set moving forward.. The rock edge gives the turn a more precise contour than a plain mood match. Wishful Sinful (Doors Only Mix) (Robby Krieger Overdub) can step in after it without the handoff feeling pre-chewed.

On The Essential Van Morrison (1) (2015), Tupelo Honey shows Van Morrison working in a 2010s 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. It also leaves a lane for Wishful Sinful (Doors Only Mix) (Robby Krieger Overdub) to arrive without the segue feeling forced.

Wishful Sinful (Doors Only Mix) (Robby Krieger Overdub) answers Tupelo Honey by Van Morrison 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. 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 The Soft Parade (50th Anniversary Deluxe Edition) (1969), Wishful Sinful (Doors Only Mix) (Robby Krieger Overdub) 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.

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 Tupelo Honey without borrowing the same emotional weight. 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) answers Wishful Sinful (Doors Only Mix) (Robby Krieger Overdub) by The Doors 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 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.

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 Wishful Sinful (Doors Only Mix) (Robby Krieger Overdub) without borrowing the same emotional weight.

Smoke On The Water by Deep Purple lands here because Bloom by Radiohead states the thesis, and Houses in Motion (Live at Werchterpark Festival, Belgium) by Talking Heads answers it with a fresh turn.. The hard rock edge gives the turn a more precise contour than a plain mood match. Bloom can step in after it without the handoff feeling pre-chewed.

On Machine Head (1972), Smoke On The Water shows Deep Purple working in a 1970s pocket with hard 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 hard rock texture in the pocket, especially in the way the arrangement keeps color moving under the lead. It also leaves a lane for Bloom to arrive without the segue feeling forced.

Bloom answers Smoke On The Water 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. Houses in Motion (Live at Werchterpark Festival, Belgium) can step in after it without the handoff feeling pre-chewed.

On The King of Limbs (2011), Bloom shows Radiohead 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 Smoke On The Water 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 Bloom by Radiohead 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 Bloom without borrowing the same emotional weight.

Anticipation by Carly Simon lands here because This track bridges the emotional arc from 'Smoke On The Water' and keeps us grounded in the rock genre.. The rock edge gives the turn a more precise contour than a plain mood match. So Very Hard To Go can step in after it without the handoff feeling pre-chewed.

On Sounds Of The Seventies - Rock 'N' Soul Seventies (1991), Anticipation shows Carly Simon 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. It also leaves a lane for So Very Hard To Go to arrive without the segue feeling forced.

So Very Hard To Go answers Anticipation by Carly Simon 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. Tupelo Honey can step in after it without the handoff feeling pre-chewed.

On Sounds Of The Seventies - Rock 'N' Soul Seventies (1991), So Very Hard To Go shows Tower Of Power 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 Anticipation without borrowing the same emotional weight. It also leaves a lane for Tupelo Honey to arrive without the segue feeling forced.

Tupelo Honey answers So Very Hard To Go by Tower Of Power 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 The Essential Van Morrison (1) (2015), Tupelo Honey shows Van Morrison working in a 2010s 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 So Very Hard To Go without borrowing the same emotional weight.

Love's Unkind by Donna Summer lands here because Keeps the emotional pressure steady after Anticipation by Carly Simon and keeps rock in the grain.. The r&b edge gives the turn a more precise contour than a plain mood match. Tell It Like It Is (Live) can step in after it without the handoff feeling pre-chewed.

On The Ultimate Collection: To Love (2016), Love's Unkind shows Donna Summer working in a 2010s 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.

Listen for the r&b texture in the pocket, especially in the way the arrangement keeps color moving under the lead. It also leaves a lane for Tell It Like It Is (Live) to arrive without the segue feeling forced.

Tell It Like It Is (Live) answers Love's Unkind by Donna Summer 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. Smoke On The Water can step in after it without the handoff feeling pre-chewed.

On Greatest Hits / Live (1980), Tell It Like It Is (Live) shows Heart 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 Love's Unkind without borrowing the same emotional weight. It also leaves a lane for Smoke On The Water to arrive without the segue feeling forced.

Smoke On The Water answers Tell It Like It Is (Live) by Heart 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 - 1973 (1990), Smoke On The Water 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 Tell It Like It Is (Live) without borrowing the same emotional weight.

A Teenager In Love by Red Hot Chili Peppers lands here because Honey Pie by The Beatles keeps the emotional pressure steady after Love's Unkind by Donna Summer and turns the color from 2010s into 1960s. The Beatles is one of Ian's steadier shelf presences, so the pick already reads like a real hand.. The alternative-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 Rock & Roll Hall Of Fame Covers (EP) (2012), A Teenager In Love shows Red Hot Chili Peppers working in a 2010s 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. It also leaves a lane for Honey Pie to arrive without the segue feeling forced.

Honey Pie answers A Teenager In Love by Red Hot Chili Peppers 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. Anticipation 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 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 Teenager In Love without borrowing the same emotional weight. It also leaves a lane for Anticipation to arrive without the segue feeling forced.

Anticipation answers Honey Pie by The Beatles 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 - Rock 'N' Soul Seventies (1991), Anticipation shows Carly Simon 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 Honey Pie without borrowing the same emotional weight.