Session notes from the booth.

Lovers in the Night by Toto lands here because Norwegian Wood (This Bird Has Flown) (2023 Mix) by The Beatles states the thesis, and Take Me to the River (Live at Berklee Performing Arts Centre, Boston) by Talking Heads answers it with a fresh turn.. The rock edge gives the turn a more precise contour than a plain mood match. Norwegian Wood (This Bird Has Flown) (2023 Mix) can step in after it without the handoff feeling pre-chewed.

On Toto Iv (1982), Lovers in the Night shows Toto 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. It also leaves a lane for Norwegian Wood (This Bird Has Flown) (2023 Mix) to arrive without the segue feeling forced.

Norwegian Wood (This Bird Has Flown) (2023 Mix) answers Lovers in the Night by Toto 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. Take Me to the River (Live at Berklee Performing Arts Centre, Boston) can step in after it without the handoff feeling pre-chewed.

On The Beatles 1962 – 1966 (2023 Edition) (2023), Norwegian Wood (This Bird Has Flown) (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 Lovers in the Night without borrowing the same emotional weight. It also leaves a lane for Take Me to the River (Live at Berklee Performing Arts Centre, Boston) to arrive without the segue feeling forced.

Take Me to the River (Live at Berklee Performing Arts Centre, Boston) answers Norwegian Wood (This Bird Has Flown) (2023 Mix) by The Beatles 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), Take Me to the River (Live at Berklee Performing Arts Centre, Boston) shows Talking Heads 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 Norwegian Wood (This Bird Has Flown) (2023 Mix) without borrowing the same emotional weight.

Bye Bye Blackbird (From The Album 'Round About Midnight) by Miles Davis lands here because Keeps the emotional pressure steady after 'Boy, What A Night' by Lee Morgan and turns the color from 1960s into 1990s.. The jazz edge gives the turn a more precise contour than a plain mood match. Ptolemy can step in after it without the handoff feeling pre-chewed.

On The Columbia Years 1955-1985 (2) (1988), Bye Bye Blackbird (From The Album 'Round About Midnight) shows Miles Davis working in a 1980s pocket with jazz in the grain. The cut moves with a bright electric charge, which is why it can hold this turn without flattening it. Inside Aphex Twin close-up, it reads as curation rather than stunt programming.

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

Ptolemy keeps aphex twin close-up honest by sounding like a real choice inside that lane, not a decorative gesture. The electronic, ambient, experimental edge gives the turn a more precise contour than a plain mood match. Father can step in after it without the handoff feeling pre-chewed.

On Selected Ambient Works 85-92 (1992), Ptolemy 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. Inside Aphex Twin close-up, it reads as curation rather than stunt programming.

Listen for the electronic, ambient, experimental texture in the pocket, especially in the way the arrangement keeps color moving under the lead. You can hear how it answers Bye Bye Blackbird (From The Album 'Round About Midnight) without borrowing the same emotional weight. It also leaves a lane for Father to arrive without the segue feeling forced.

Father keeps aphex twin close-up honest by sounding like a real choice inside that lane, not a decorative gesture. The electronic, ambient, experimental edge gives the turn a more precise contour than a plain mood match.

On Disc 2 - Drukqs (2001), Father shows Aphex Twin working in a 2000s 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. Inside Aphex Twin close-up, it reads as curation rather than stunt programming.

Listen for the electronic, ambient, experimental texture in the pocket, especially in the way the arrangement keeps color moving under the lead. You can hear how it answers Ptolemy without borrowing the same emotional weight.

There She Goes Again by R.E.M. lands here because Let Ian's shelves feel visible through the choices. California (Hustle And Flow) by Social Distortion states the thesis and Lyrics to Go by A Tribe Called Quest answers it with a fresh turn.. The rock edge gives the turn a more precise contour than a plain mood match. California (Hustle And Flow) can step in after it without the handoff feeling pre-chewed.

On Dead Letter Office (1987), There She Goes Again shows R.E.M. 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. It also leaves a lane for California (Hustle And Flow) to arrive without the segue feeling forced.

California (Hustle And Flow) keeps deep shelf drift honest by sounding like a real choice inside that lane, not a decorative gesture. The punk rock edge gives the turn a more precise contour than a plain mood match. Lyrics to Go can step in after it without the handoff feeling pre-chewed.

On Hard Times And Nursery Rhymes (2011), California (Hustle And Flow) shows Social Distortion working in a 2010s pocket with punk rock in the grain. The cut moves with a slow-burn glide, which is why it can hold this turn without flattening it. Inside Deep shelf drift, it reads as curation rather than stunt programming.

Listen for the punk rock texture in the pocket, especially in the way the arrangement keeps color moving under the lead. You can hear how it answers There She Goes Again without borrowing the same emotional weight. It also leaves a lane for Lyrics to Go to arrive without the segue feeling forced.

Lyrics to Go keeps deep shelf drift honest by sounding like a real choice inside that lane, not a decorative gesture. The hip hop edge gives the turn a more precise contour than a plain mood match.

On Midnight Marauders (1993), Lyrics to Go shows A Tribe Called Quest working in a 1990s pocket with hip hop 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 hip hop texture in the pocket, especially in the way the arrangement keeps color moving under the lead. You can hear how it answers California (Hustle And Flow) without borrowing the same emotional weight.

Honky Tonk by Miles Davis lands here because keeps the emotional pressure steady after Loaded CD4 by Velvet Underground and changes the palette without cutting the thread. R.E.M. is one of Ian's steadier shelf presences, so the pick already reads like a real hand.. The jazz edge gives the turn a more precise contour than a plain mood match. There She Goes Again can step in after it without the handoff feeling pre-chewed.

On The Columbia Years 1955-1985 (Disc 4) (1988), Honky Tonk shows Miles Davis working in a 1980s 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 There She Goes Again to arrive without the segue feeling forced.

There She Goes Again answers Honky Tonk by Miles Davis 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. Raining in Baltimore can step in after it without the handoff feeling pre-chewed.

On Dead Letter Office (1987), There She Goes Again shows R.E.M. 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 Honky Tonk without borrowing the same emotional weight. It also leaves a lane for Raining in Baltimore to arrive without the segue feeling forced.

Raining in Baltimore answers There She Goes Again 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 August and Everything After (1993), Raining in Baltimore shows Counting Crows 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 There She Goes Again without borrowing the same emotional weight.

Houses in Motion (Live at Werchterpark Festival, Belgium) by Talking Heads lands here because Skin And Bone by Kinks keeps the emotional pressure steady after Lonely Boy by Andrew Gold and keeps rock in the grain. It is a fresh turn that fits well with the 2010s theme.. The rock edge gives the turn a more precise contour than a plain mood match. Skin And Bone 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 2010s 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 Skin And Bone to arrive without the segue feeling forced.

Skin And Bone keeps 2010s pressure 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. Go And Say Goodbye can step in after it without the handoff feeling pre-chewed.

On Kinks At The BBC Disc 2 (2012), Skin And Bone shows Kinks working in a 2010s 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 2010s 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. 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 Go And Say Goodbye to arrive without the segue feeling forced.

Go And Say Goodbye keeps 2010s pressure 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 What's That Sound? Complete Albums Collection: Disc 2 - Buffalo Springfield (stereo mix) (2018), Go And Say Goodbye shows Buffalo Springfield working in a 2010s 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 2010s 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. You can hear how it answers Skin And Bone 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.

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.

Houses in Motion (Live at Werchterpark Festival, Belgium) by Talking Heads lands here because it keeps the forward motion / sun-laced cruise pull alive without sanding off the grain that makes this hour interesting. The rock edge gives the turn a more precise contour than a plain mood match. Industrial Disease 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 Industrial Disease to arrive without the segue feeling forced.

Industrial Disease 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 rock edge gives the turn a more precise contour than a plain mood match. A Teenager In Love can step in after it without the handoff feeling pre-chewed.

On Love Over Gold (1982), Industrial Disease shows Dire Straits 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 Houses in Motion (Live at Werchterpark Festival, Belgium) without borrowing the same emotional weight. It also leaves a lane for A Teenager In Love to arrive without the segue feeling forced.

A Teenager In Love answers Industrial Disease by Dire Straits 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 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. You can hear how it answers Industrial Disease without borrowing the same emotional weight.

Houses in Motion (Live at Werchterpark Festival, Belgium) by Talking Heads lands here because Motion Picture Soundtrack by Radiohead and After The Gold Rush (Live) by Neil Young & Crazy Horse provide a fresh turn while maintaining the emotional arc.. The rock edge gives the turn a more precise contour than a plain mood match. Walking To New Orleans 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 Walking To New Orleans to arrive without the segue feeling forced.

Walking To New Orleans 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 rock & roll edge gives the turn a more precise contour than a plain mood match. After The Gold Rush (Live) can step in after it without the handoff feeling pre-chewed.

On Greatest Hits: Walking To New Orleans (2007), Walking To New Orleans shows Fats Domino working in a 2000s pocket with rock & roll 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 & roll 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 After The Gold Rush (Live) to arrive without the segue feeling forced.

After The Gold Rush (Live) answers Walking To New Orleans by Fats Domino with a related tension instead of a copycat move, so the sequence keeps opening out. The country/folk/rock edge gives the turn a more precise contour than a plain mood match.

On Archives, Vol. II: 1972–1976 (10) (2021), After The Gold Rush (Live) shows Neil Young & Crazy Horse working in a 2020s pocket with country/folk/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 country/folk/rock texture in the pocket, especially in the way the arrangement keeps color moving under the lead. You can hear how it answers Walking To New Orleans without borrowing the same emotional weight.

Private Investigations by Dire Straits lands here because keeps the emotional pressure steady after Make A Play For Her Now by Bangles and turns the color from 2020s into 1960s.. 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 Love Over Gold (1982), Private Investigations 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. 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 Private Investigations by Dire Straits 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. Honey Pie can step in after it without the handoff feeling pre-chewed.

On Elephant (2023), I Want To Be The Boy To Warm Your Mother's Heart (Live at The Aragon Ballroom, July 2, 2003) shows The White Stripes working in a 2020s pocket with pop, rock, alternatif et indé in the grain. The cut moves with a slow-burn glide, which is why it can hold this turn without flattening it.

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 Private Investigations without borrowing the same emotional weight. It also leaves a lane for Honey Pie to arrive without the segue feeling forced.

Honey Pie 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.

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 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.

Houses in Motion (Live at Werchterpark Festival, Belgium) by Talking Heads lands here because Sharp two-step to extend the feeling that follows Rock & Roll Suicide by David Bowie without sounding automatic.. The rock edge gives the turn a more precise contour than a plain mood match. Takin' Care of Business 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 Takin' Care of Business to arrive without the segue feeling forced.

Takin' Care of Business 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 classic rock edge gives the turn a more precise contour than a plain mood match. Walking Down Your Street/James (Live At Queen Margaret Union) can step in after it without the handoff feeling pre-chewed.

On Sounds of the Seventies - '70s Gold (1998), Takin' Care of Business shows Bachman-Turner Overdrive working in a 1990s pocket with classic 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 classic 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 Walking Down Your Street/James (Live At Queen Margaret Union) to arrive without the segue feeling forced.

Walking Down Your Street/James (Live At Queen Margaret Union) answers Takin' Care of Business by Bachman-Turner Overdrive 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 (3) (2020), Walking Down Your Street/James (Live At Queen Margaret Union) shows Bangles 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.

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 Takin' Care of Business without borrowing the same emotional weight.

Houses in Motion (Live at Werchterpark Festival, Belgium) by Talking Heads lands here because The Girl Is Mine by Michael Jackson and Carnet D'esquisses Et De Croquis: Exercices by Satie provide a sharp two-step that keeps the emotional pressure steady after Caroline No (Stereo) by The Beach Boys.. The rock edge gives the turn a more precise contour than a plain mood match. The Girl Is Mine 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 The Girl Is Mine to arrive without the segue feeling forced.

The Girl Is Mine 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 pop edge gives the turn a more precise contour than a plain mood match. Carnet D'esquisses Et De Croquis: Exercices can step in after it without the handoff feeling pre-chewed.

On Thriller (1982), The Girl Is Mine shows Michael Jackson working in a 1980s pocket with pop 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 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 Carnet D'esquisses Et De Croquis: Exercices to arrive without the segue feeling forced.

Carnet D'esquisses Et De Croquis: Exercices answers The Girl Is Mine by Michael Jackson 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.

On Complete Piano Works, Volume 5 (1994), Carnet D'esquisses Et De Croquis: Exercices 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 The Girl Is Mine without borrowing the same emotional weight.

Memory by Barry Manilow lands here because Keeps the emotional pressure steady after Cortez the Killer by Neil Young & Crazy Horse and turns the color from 1970s into 2010s. Miles Davis is one of Ian's steadier shelf presences, so the pick already reads like a real hand.. The pop, rock edge gives the turn a more precise contour than a plain mood match. Quatre Ogives: I. Les Anges can step in after it without the handoff feeling pre-chewed.

On Here Comes the Night (1982), Memory shows Barry Manilow 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. It also leaves a lane for Quatre Ogives: I. Les Anges to arrive without the segue feeling forced.

Quatre Ogives: I. Les Anges answers Memory by Barry Manilow 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. Dialogue: 'It takes a long time...' can step in after it without the handoff feeling pre-chewed.

On Complete Piano Works, Volume 1 (1994), Quatre Ogives: I. Les Anges shows Satie working in a 1990s pocket with classical in the grain. The cut moves with a slow-burn glide, which is why it can hold this turn without flattening it.

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 Memory without borrowing the same emotional weight. It also leaves a lane for Dialogue: 'It takes a long time...' to arrive without the segue feeling forced.

Dialogue: 'It takes a long time...' answers Quatre Ogives: I. Les Anges by Satie 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), 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. You can hear how it answers Quatre Ogives: I. Les Anges without borrowing the same emotional weight.

Houses in Motion (Live at Werchterpark Festival, Belgium) by Talking Heads lands here because The Prophet Returns by The Sun Ra Arkestra and Moonlight Drive (Remastered) by The Doors create a sharp two-step that keeps the emotional pressure steady while introducing new elements to the set.. The rock edge gives the turn a more precise contour than a plain mood match. The Prophet Returns 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 The Prophet Returns to arrive without the segue feeling forced.

The Prophet Returns 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 jazz edge gives the turn a more precise contour than a plain mood match. 6 Pièces De La Période: Songe-Creux can step in after it without the handoff feeling pre-chewed.

On Prophet (2022), The Prophet Returns shows The Sun Ra Arkestra 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.

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 an album-side suite and provides a unique listening experience. A clip from the opening will give listeners a taste without overwhelming the set.. 6 Pièces De La Période: Songe-Creux is waiting on the far side of that seam.

6 Pièces De La Période: Songe-Creux answers The Prophet Returns by The Sun Ra Arkestra 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.

On Complete Piano Works, Volume 5 (1994), 6 Pièces De La Période: Songe-Creux 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 The Prophet Returns without borrowing the same emotional weight.

Houses in Motion (Live at Werchterpark Festival, Belgium) by Talking Heads lands here because Keeps the emotional pressure steady after Boys (The Co-Ed Remix) by Britney Spears feat. Pharrell Williams of N.E.R.D. and changes the palette without cutting the thread.. The rock edge gives the turn a more precise contour than a plain mood match. I’ll Take You There 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 I’ll Take You There to arrive without the segue feeling forced.

I’ll Take You There 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 art rock edge gives the turn a more precise contour than a plain mood match. Préludes Flasques: Idylle Cynique can step in after it without the handoff feeling pre-chewed.

On The Next Day (2013), I’ll Take You There 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. 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 Préludes Flasques: Idylle Cynique to arrive without the segue feeling forced.

Préludes Flasques: Idylle Cynique answers I’ll Take You There by David Bowie 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.

On Complete Piano Works, Volume 5 (1994), Préludes Flasques: Idylle Cynique 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 I’ll Take You There without borrowing the same emotional weight.