Session notes from the booth.

Supersonic Rocket Ship by The Kinks lands here because The Ballad Of John And Yoko (2015 Mix) by The Beatles keeps the emotional pressure steady after She’s Leaving Home by The Beatles and maintains the rock genre, providing a fresh accent to keep the hour feeling authored.. The rock edge gives the turn a more precise contour than a plain mood match. This Is The Day can step in after it without the handoff feeling pre-chewed.

On The Ultimate Collection (1) (2002), Supersonic Rocket Ship shows The Kinks 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. It also leaves a lane for This Is The Day to arrive without the segue feeling forced.

This Is The Day answers Supersonic Rocket Ship by The Kinks 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 Ballad Of John And Yoko (2015 Mix) can step in after it without the handoff feeling pre-chewed.

On Unconditionally Guaranteed (1974), This Is The Day shows Captain Beefheart And The Magic Band 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 Supersonic Rocket Ship without borrowing the same emotional weight. It also leaves a lane for The Ballad Of John And Yoko (2015 Mix) to arrive without the segue feeling forced.

The Ballad Of John And Yoko (2015 Mix) answers This Is The Day by Captain Beefheart And The Magic Band 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 1967 – 1970 (2023 Edition) (2023), The Ballad Of John And Yoko (2015 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 This Is The Day without borrowing the same emotional weight.

Black Mirror by Arcade Fire lands here because Supersonic Rocket Ship by The Kinks and Uninvited by Alanis Morissette provide a fresh, left-turn arc that extends the emotional pressure from Loaded CD1 by Velvet Underground without sounding automatic.. The indie rock edge gives the turn a more precise contour than a plain mood match. Supersonic Rocket Ship can step in after it without the handoff feeling pre-chewed.

On Neon Bible (2007), Black Mirror shows Arcade Fire working in a 2000s pocket with 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 indie rock texture in the pocket, especially in the way the arrangement keeps color moving under the lead. It also leaves a lane for Supersonic Rocket Ship to arrive without the segue feeling forced.

Supersonic Rocket Ship answers Black Mirror by Arcade Fire 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. Uninvited can step in after it without the handoff feeling pre-chewed.

On The Ultimate Collection (1) (2002), Supersonic Rocket Ship shows The Kinks 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 Black Mirror without borrowing the same emotional weight. It also leaves a lane for Uninvited to arrive without the segue feeling forced.

Uninvited answers Supersonic Rocket Ship by The Kinks 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 The Collection (2005), Uninvited shows Alanis Morissette working in a 2000s 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 Supersonic Rocket Ship without borrowing the same emotional weight.

Cactus by David Bowie lands here because it keeps the soulful / restless glow pull alive without sanding off the grain that makes this hour interesting. The art rock edge gives the turn a more precise contour than a plain mood match. You can step in after it without the handoff feeling pre-chewed.

On Heathen (2002), Cactus shows David Bowie working in a 2000s 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 You to arrive without the segue feeling forced.

You answers Cactus by David Bowie with a related tension instead of a copycat move, so the sequence keeps opening out. Loaded CD1 can step in after it without the handoff feeling pre-chewed.

On PAblo HONEY (1993), You shows Radiohead working in a 1990s pocket. The cut moves with a candlelit drift, 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 Cactus without borrowing the same emotional weight. It also leaves a lane for Loaded CD1 to arrive without the segue feeling forced.

Loaded CD1 answers You by Radiohead with a related tension instead of a copycat move, so the sequence keeps opening out.

Loaded CD1 comes off CD1, where Velvet Underground leans into a more tactile side of the catalog. 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: Mr Rassy kept the strongest passage of the long-form piece in the set instead of taking the full side..

A Clean Break (Let's Work) (Live; 2004 Remaster) by Talking Heads lands here because The Party by Justice is the perfect left turn after Roadhouse Blues (Screamin' Ray Daniels a.k.a. Ray Manzarek On Vocals) by The Doors, keeping the emotional pressure steady while shifting the color from the 1960s into the 2020s.. The pop, rock edge gives the turn a more precise contour than a plain mood match. The Party can step in after it without the handoff feeling pre-chewed.

On Once in a Lifetime: The Talking Heads Box (2003), A Clean Break (Let's Work) (Live; 2004 Remaster) 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. 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. It also leaves a lane for The Party to arrive without the segue feeling forced.

The Party keeps 2020s pressure honest by sounding like a real choice inside that lane, not a decorative gesture. The electronic edge gives the turn a more precise contour than a plain mood match. Break My Stride (Remix) (Club Version) can step in after it without the handoff feeling pre-chewed.

On † (2022), The Party shows Justice working in a 2020s pocket with electronic in the grain. The cut moves with a slow-burn glide, which is why it can hold this turn without flattening it. Inside 2020s pressure, it reads as curation rather than stunt programming.

Listen for the electronic texture in the pocket, especially in the way the arrangement keeps color moving under the lead. You can hear how it answers A Clean Break (Let's Work) (Live; 2004 Remaster) without borrowing the same emotional weight. It also leaves a lane for Break My Stride (Remix) (Club Version) to arrive without the segue feeling forced.

Break My Stride (Remix) (Club Version) keeps 2020s pressure honest by sounding like a real choice inside that lane, not a decorative gesture.

On Now That’s What I Call 12' 80s (2021), Break My Stride (Remix) (Club Version) shows Matthew Wilder working in a 2020s pocket. The cut moves with a slow-burn glide, 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 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 The Party without borrowing the same emotional weight.

Tonight (with David Bowie) by Tina Turner lands here because Clouds by Chaka Khan provides a smooth transition from the previous track and maintains the soulful mood of the hour.. The soul 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 Platinum Collection [Disc 3] (2009), Tonight (with David Bowie) shows Tina Turner working in a 2000s pocket with soul 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 soul texture in the pocket, especially in the way the arrangement keeps color moving under the lead. It also leaves a lane for Suck My Kiss (Live) to arrive without the segue feeling forced.

Suck My Kiss (Live) answers Tonight (with David Bowie) by Tina Turner 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. Clouds can step in after it without the handoff feeling pre-chewed.

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 Tonight (with David Bowie) without borrowing the same emotional weight. It also leaves a lane for Clouds to arrive without the segue feeling forced.

Clouds 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 soul edge gives the turn a more precise contour than a plain mood match.

On The Essential Chaka Khan (1) (2011), Clouds shows Chaka Khan working in a 2010s pocket with soul 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 soul 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.

Honey Chile by Fats Domino lands here because Keeps the emotional pressure steady after Eurythmics and turns the color from 2000s into 2020s. It feels more like a shelf move than an obvious front-window pick.. The rock & roll 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 Greatest Hits: Walking To New Orleans (2007), Honey Chile 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. Inside Deep shelf drift, it reads as curation rather than stunt programming.

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 I Want To Be The Boy To Warm Your Mother's Heart (Live at The Aragon Ballroom, July 2, 2003) to arrive without the segue feeling forced.

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

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

Listen for the pop, rock, alternatif et indé texture in the pocket, especially in the way the arrangement keeps color moving under the lead. You can hear how it answers Honey Chile without borrowing the same emotional weight. It also leaves a lane for Tonight (with David Bowie) to arrive without the segue feeling forced.

Tonight (with David Bowie) keeps deep shelf drift honest by sounding like a real choice inside that lane, not a decorative gesture. The soul edge gives the turn a more precise contour than a plain mood match.

On The Platinum Collection [Disc 1] (2009), Tonight (with David Bowie) shows Tina Turner working in a 2000s pocket with soul 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 soul 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.

A Clean Break (Let's Work) (Live; 2004 Remaster) by Talking Heads lands here because Keeps the emotional pressure steady after Sister Sledge and turns the color from 2000s into 1950s.. The pop, rock edge gives the turn a more precise contour than a plain mood match. Green Aphrodisiac can step in after it without the handoff feeling pre-chewed.

On Once in a Lifetime: The Talking Heads Box (2003), A Clean Break (Let's Work) (Live; 2004 Remaster) 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 Green Aphrodisiac to arrive without the segue feeling forced.

Green Aphrodisiac answers A Clean Break (Let's Work) (Live; 2004 Remaster) by Talking Heads with a related tension instead of a copycat move, so the sequence keeps opening out. The soul, funk, r&b edge gives the turn a more precise contour than a plain mood match. Inner City Blues (Makes Me Wanna Holler) (Live) can step in after it without the handoff feeling pre-chewed.

On The Heart Speaks In Whispers (2016), Green Aphrodisiac shows Corinne Bailey Rae working in a 2010s 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.

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 A Clean Break (Let's Work) (Live; 2004 Remaster) without borrowing the same emotional weight. It also leaves a lane for Inner City Blues (Makes Me Wanna Holler) (Live) to arrive without the segue feeling forced.

Inner City Blues (Makes Me Wanna Holler) (Live) answers Green Aphrodisiac by Corinne Bailey Rae with a related tension instead of a copycat move, so the sequence keeps opening out. The soul, funk, r&b edge gives the turn a more precise contour than a plain mood match.

On Live in Tokyo 1979 (2025), Inner City Blues (Makes Me Wanna Holler) (Live) shows Marvin Gaye working in a 2020s 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.

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 Green Aphrodisiac without borrowing the same emotional weight.

A Clean Break (Let's Work) (Live; 2004 Remaster) by Talking Heads lands here because Bad Girls by Donna Summer keeps the emotional pressure steady after Rock And Roll Hoochie Koo by Rick Derringer and changes the palette without cutting the thread.. The pop, rock edge gives the turn a more precise contour than a plain mood match. Bad Girls can step in after it without the handoff feeling pre-chewed.

On Once in a Lifetime: The Talking Heads Box (2003), A Clean Break (Let's Work) (Live; 2004 Remaster) 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. Inside Deep shelf drift, it reads as curation rather than stunt programming.

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

Bad Girls keeps deep shelf drift honest by sounding like a real choice inside that lane, not a decorative gesture. The classic rock edge gives the turn a more precise contour than a plain mood match. Let It Go can step in after it without the handoff feeling pre-chewed.

On Sounds of the Seventies - '70s Gold (1998), Bad Girls shows Donna Summer working in a 1990s pocket with classic 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 classic 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 (Let's Work) (Live; 2004 Remaster) without borrowing the same emotional weight. It also leaves a lane for Let It Go to arrive without the segue feeling forced.

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

On Gold (1) (2020), Let It Go 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. Inside Deep shelf drift, it reads as curation rather than stunt programming.

Listen for the pop/rock texture in the pocket, especially in the way the arrangement keeps color moving under the lead. You can hear how it answers Bad Girls without borrowing the same emotional weight.

Electron Blue by R.E.M. lands here because Moonlight Drive by The Doors and A Clean Break (Let's Work) (Live; 2004 Remaster) by Talking Heads keep the emotional pressure steady after Rock 'N' Roll Fantasy by Bad Company and maintain a sharp, two-step feel.. The rock edge gives the turn a more precise contour than a plain mood match. Honey Pie can step in after it without the handoff feeling pre-chewed.

On Around The Sun (2004), Electron Blue 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 Honey Pie to arrive without the segue feeling forced.

Honey Pie answers Electron Blue by R.E.M. 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 Clean Break (Let's Work) (Live; 2004 Remaster) 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 Electron Blue 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 Honey Pie by The Beatles 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 Honey Pie without borrowing the same emotional weight.

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.

A Clean Break (Let's Work) (Live; 2004 Remaster) by Talking Heads lands here because Keeps the emotional pressure steady after People of the Sun by Rage Against The Machine and turns the color from 2020s into 1990s. 1990s grain is the point of the special, so the era stamp matters here.. The pop, rock edge gives the turn a more precise contour than a plain mood match. Midnight Rider can step in after it without the handoff feeling pre-chewed.

On Once in a Lifetime: The Talking Heads Box (2003), A Clean Break (Let's Work) (Live; 2004 Remaster) 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. Inside 1990s 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. It also leaves a lane for Midnight Rider to arrive without the segue feeling forced.

Midnight Rider keeps 1990s pressure honest by sounding like a real choice inside that lane, not a decorative gesture. The classic rock edge gives the turn a more precise contour than a plain mood match. One Summer Night can step in after it without the handoff feeling pre-chewed.

On Sounds of the Seventies - '70s Gold (1998), Midnight Rider shows Gregg Allman 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. Inside 1990s pressure, it reads as curation rather than stunt programming.

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 A Clean Break (Let's Work) (Live; 2004 Remaster) without borrowing the same emotional weight. It also leaves a lane for One Summer Night to arrive without the segue feeling forced.

One Summer Night keeps 1990s pressure honest by sounding like a real choice inside that lane, not a decorative gesture. The doo-wop edge gives the turn a more precise contour than a plain mood match.

On Doo Wop's Golden Age (1957-1959) (1994), One Summer Night shows The Danleers 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. Inside 1990s pressure, it reads as curation rather than stunt programming.

Listen for the doo-wop texture in the pocket, especially in the way the arrangement keeps color moving under the lead. You can hear how it answers Midnight Rider without borrowing the same emotional weight.

A Clean Break (Live) by Talking Heads lands here because People of the Sun (Live, Mexico City, Mexico, October 28, 1999) by Rage Against The Machine. It pushes the next turn upward after A Clean Break (Let's Work) (Live; 2004 Remaster) by Talking Heads and turns the color from 2000s into 2020s.. The pop, rock edge gives the turn a more precise contour than a plain mood match. White Line Fever 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. Inside Deep shelf drift, it reads as curation rather than stunt programming.

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

White Line Fever keeps deep shelf drift honest by sounding like a real choice inside that lane, not a decorative gesture. The country edge gives the turn a more precise contour than a plain mood match. People of the Sun (Live, Mexico City, Mexico, October 28, 1999) can step in after it without the handoff feeling pre-chewed.

On Live in Amsterdam (1973), White Line Fever shows The Flying Burrito Brothers working in a 1970s pocket with country 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 country 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 People of the Sun (Live, Mexico City, Mexico, October 28, 1999) to arrive without the segue feeling forced.

People of the Sun (Live, Mexico City, Mexico, October 28, 1999) keeps deep shelf drift honest by sounding like a real choice inside that lane, not a decorative gesture. The pop, rock edge gives the turn a more precise contour than a plain mood match.

On The Battle Of Mexico City (2020), People of the Sun (Live, Mexico City, Mexico, October 28, 1999) shows Rage Against The Machine working in a 2020s pocket with pop, rock in the grain. The cut moves with a slow-burn glide, which is why it can hold this turn without flattening it. Inside Deep shelf drift, it reads as curation rather than stunt programming.

Listen for the pop, rock texture in the pocket, especially in the way the arrangement keeps color moving under the lead. You can hear how it answers White Line Fever 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.

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.

All Day And All Of The Night by Kinks lands here because Builds a sharp two-step emotional arc with The Beatles followed by a rock track to keep the energy consistent.. The rock edge gives the turn a more precise contour than a plain mood match. Carefree Country Day can step in after it without the handoff feeling pre-chewed.

On The Ultimate Collection (1) (2002), All Day And All Of The Night shows Kinks 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. It also leaves a lane for Carefree Country Day to arrive without the segue feeling forced.

Carefree Country Day answers All Day And All Of The Night by Kinks 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. Happiness Is a Warm Gun can step in after it without the handoff feeling pre-chewed.

On What's That Sound? Complete Albums Collection: Disc 5 - Last Time Around (2018), Carefree Country Day 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 All Day And All Of The Night without borrowing the same emotional weight. It also leaves a lane for Happiness Is a Warm Gun to arrive without the segue feeling forced.

Happiness Is a Warm Gun answers Carefree Country Day by Buffalo Springfield 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), Happiness Is a Warm Gun 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 Carefree Country Day without borrowing the same emotional weight.

Piano Sonata No.1 in F Minor Op.2 by Mari Kodama lands here because Red Hot Chili Peppers' 'The Getaway' states the thesis, and Bruce Springsteen’s 'Atlantic City' answers it with a fresh turn.. The classical edge gives the turn a more precise contour than a plain mood match. The Getaway can step in after it without the handoff feeling pre-chewed.

On Beethoven. Piano Sonatas Nos. 1, 2, 3 (2008), Piano Sonata No.1 in F Minor Op.2 shows Mari Kodama 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 The Getaway to arrive without the segue feeling forced.

The Getaway answers Piano Sonata No.1 in F Minor Op.2 by Mari Kodama 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. Atlantic City can step in after it without the handoff feeling pre-chewed.

On The Getaway (2016), The Getaway 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 Piano Sonata No.1 in F Minor Op.2 without borrowing the same emotional weight. It also leaves a lane for Atlantic City to arrive without the segue feeling forced.

Atlantic City answers The Getaway by Red Hot Chili Peppers with a related tension instead of a copycat move, so the sequence keeps opening out. The pop, rock edge gives the turn a more precise contour than a plain mood match.

On Nebraska (2014), Atlantic City shows Bruce Springsteen working in a 2010s pocket with pop, rock in the grain. The cut moves with a slow-burn glide, which is why it can hold this turn without flattening it.

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

Don't Let The Sun Go Down On Me by Elton John lands here because Keeps the emotional pressure steady after If She Knew What She Wants (Extended Remix) by Bangles and turns the color from 2020s into 2010s.. The pop/rock edge gives the turn a more precise contour than a plain mood match. Build It Up can step in after it without the handoff feeling pre-chewed.

On Rocket Man: The Definitive Hits (2007), Don't Let The Sun Go Down On Me shows Elton John working in a 2000s pocket with pop/rock in the grain. The cut moves with a slow-burn glide, which is why it can hold this turn without flattening it.

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

Build It Up answers Don't Let The Sun Go Down On Me by Elton John with a related tension instead of a copycat move, so the sequence keeps opening out. The alternative & indie edge gives the turn a more precise contour than a plain mood match. The Jam Session can step in after it without the handoff feeling pre-chewed.

On The Human Fear (2025), Build It Up shows Franz Ferdinand working in a 2020s pocket with alternative & indie 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 texture in the pocket, especially in the way the arrangement keeps color moving under the lead. You can hear how it answers Don't Let The Sun Go Down On Me without borrowing the same emotional weight. It also leaves a lane for The Jam Session to arrive without the segue feeling forced.

The Jam Session answers Build It Up by Franz Ferdinand 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 1986-1991: The Warner Years (CD2) (2011), The Jam Session 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 Build It Up without borrowing the same emotional weight.

I'll Take The Rain by R.E.M. lands here because Keeps the emotional pressure steady after Finale by Daft Punk and turns the color from 10s into 2020s.. The rock edge gives the turn a more precise contour than a plain mood match. Bastards Of Light can step in after it without the handoff feeling pre-chewed.

On Reveal (2001), I'll Take The Rain 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. It also leaves a lane for Bastards Of Light to arrive without the segue feeling forced.

Bastards Of Light answers I'll Take The Rain 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. I'm Beginning To See The Light can step in after it without the handoff feeling pre-chewed.

On Unlimited Love (2022), Bastards Of Light shows Red Hot Chili Peppers working in a 2020s 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 I'll Take The Rain without borrowing the same emotional weight. It also leaves a lane for I'm Beginning To See The Light to arrive without the segue feeling forced.

I'm Beginning To See The Light answers Bastards Of Light by Red Hot Chili Peppers 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 Sinatra And Swingin' Brass (2014), I'm Beginning To See The Light shows Frank Sinatra 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 Bastards Of Light without borrowing the same emotional weight.

Wasted Time by Eagles lands here because Keeps the emotional pressure steady after I'll Take The Rain by R.E.M. and turns the color from 2000s into 1990s.. The rock edge gives the turn a more precise contour than a plain mood match. You’ve Been Flirting Again can step in after it without the handoff feeling pre-chewed.

On The Very Best Of (2003), Wasted Time shows Eagles working in a 2000s pocket with rock in the grain. The cut moves with a slow-burn glide, which is why it can hold this turn without flattening it. Inside House 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 You’ve Been Flirting Again to arrive without the segue feeling forced.

You’ve Been Flirting Again keeps house pocket honest by sounding like a real choice inside that lane, not a decorative gesture. The electronic / leftfield edge gives the turn a more precise contour than a plain mood match. Finale can step in after it without the handoff feeling pre-chewed.

On Post (1995), You’ve Been Flirting Again shows Björk working in a 1990s pocket with electronic / leftfield in the grain. The cut moves with a slow-burn glide, which is why it can hold this turn without flattening it. Inside House pocket, it reads as curation rather than stunt programming.

Listen for the electronic / leftfield texture in the pocket, especially in the way the arrangement keeps color moving under the lead. You can hear how it answers Wasted Time without borrowing the same emotional weight. It also leaves a lane for Finale to arrive without the segue feeling forced.

Finale keeps house pocket honest by sounding like a real choice inside that lane, not a decorative gesture. The electronic / leftfield edge gives the turn a more precise contour than a plain mood match.

On Tron: Legacy (Original Motion Picture Soundtrack) (18), Finale shows Daft Punk working in a 10s pocket with electronic / leftfield in the grain. The cut moves with a slow-burn glide, which is why it can hold this turn without flattening it. Inside House pocket, it reads as curation rather than stunt programming.

Listen for the electronic / leftfield texture in the pocket, especially in the way the arrangement keeps color moving under the lead. You can hear how it answers You’ve Been Flirting Again without borrowing the same emotional weight.

A Clean Break (Let's Work) (Live at CBGB's, 10/10/77) by Talking Heads lands here because Wasted Time by Eagles keeps the emotional pressure steady after I Got a Line on You by Spirit and keeps rock in the grain. It provides a fresh turn while maintaining the hour's mood.. The pop, rock edge gives the turn a more precise contour than a plain mood match. One of Us Must Know (Sooner or Later) (Live at Nippon Budokan Hall, Tokyo, Japan - March 1, 1978) can step in after it without the handoff feeling pre-chewed.

On Once in a Lifetime: The Talking Heads Box (2003), A Clean Break (Let's Work) (Live at CBGB's, 10/10/77) 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 One of Us Must Know (Sooner or Later) (Live at Nippon Budokan Hall, Tokyo, Japan - March 1, 1978) to arrive without the segue feeling forced.

One of Us Must Know (Sooner or Later) (Live at Nippon Budokan Hall, Tokyo, Japan - March 1, 1978) answers A Clean Break (Let's Work) (Live at CBGB's, 10/10/77) 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. Wasted Time can step in after it without the handoff feeling pre-chewed.

On The Complete Budokan 1978 (2023), One of Us Must Know (Sooner or Later) (Live at Nippon Budokan Hall, Tokyo, Japan - March 1, 1978) shows Bob Dylan 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 (Let's Work) (Live at CBGB's, 10/10/77) without borrowing the same emotional weight. It also leaves a lane for Wasted Time to arrive without the segue feeling forced.

Wasted Time answers One of Us Must Know (Sooner or Later) (Live at Nippon Budokan Hall, Tokyo, Japan - March 1, 1978) by Bob Dylan 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 Very Best Of (2003), Wasted Time shows Eagles working in a 2000s pocket with rock in the grain. The cut moves with a slow-burn glide, which is why it can hold this turn without flattening it.

Listen for the rock texture in the pocket, especially in the way the arrangement keeps color moving under the lead. You can hear how it answers One of Us Must Know (Sooner or Later) (Live at Nippon Budokan Hall, Tokyo, Japan - March 1, 1978) without borrowing the same emotional weight.

Slow Cheetah by Red Hot Chili Peppers lands here because it keeps the soulful / fresh current pull alive without sanding off the grain that makes this hour interesting. The alternative-rock edge gives the turn a more precise contour than a plain mood match. Let's Go Away Foe A While (Highlights from Tracking Date) can step in after it without the handoff feeling pre-chewed.

On Stadium Arcadium - Jupiter (2006), Slow Cheetah shows Red Hot Chili Peppers working in a 2000s pocket with alternative-rock in the grain. The cut moves with a slow-burn glide, which is why it can hold this turn without flattening it.

Listen for the alternative-rock texture in the pocket, especially in the way the arrangement keeps color moving under the lead. It also leaves a lane for Let's Go Away Foe A While (Highlights from Tracking Date) to arrive without the segue feeling forced.

Let's Go Away Foe A While (Highlights from Tracking Date) answers Slow Cheetah by Red Hot Chili Peppers 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. Fresh Out The Slammer can step in after it without the handoff feeling pre-chewed.

On Pet Sounds (CD 2) [50th Anniversary Edition] (2016), Let's Go Away Foe A While (Highlights from Tracking Date) shows The Beach Boys working in a 2010s pocket with pop in the grain. The cut moves with a slow-burn glide, which is why it can hold this turn without flattening it.

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 Slow Cheetah without borrowing the same emotional weight. It also leaves a lane for Fresh Out The Slammer to arrive without the segue feeling forced.

Fresh Out The Slammer answers Let's Go Away Foe A While (Highlights from Tracking Date) by The Beach Boys 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 THE TORTURED POETS DEPARTMENT: THE ANTHOLOGY (2024), Fresh Out The Slammer shows Taylor Swift 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 Let's Go Away Foe A While (Highlights from Tracking Date) without borrowing the same emotional weight.