Session notes from the booth.

Exit Stonehenge by Soundgarden lands here because Keeps the emotional pressure steady after Houses in Motion (Live at Werchterpark Festival, Belgium) by Talking Heads and keeps pop in the grain.. The pop, rock edge gives the turn a more precise contour than a plain mood match. You Learn (Live at Subterranea, London 09/28/95) can step in after it without the handoff feeling pre-chewed.

On Echo Of Miles: Scattered Tracks Across The Path (2014), Exit Stonehenge shows Soundgarden working in a 2010s pocket with pop, rock in the grain. The cut moves with a slow-burn glide, which is why it can hold this turn without flattening it.

Listen for the pop, rock texture in the pocket, especially in the way the arrangement keeps color moving under the lead. It also leaves a lane for You Learn (Live at Subterranea, London 09/28/95) to arrive without the segue feeling forced.

You Learn (Live at Subterranea, London 09/28/95) answers Exit Stonehenge by Soundgarden 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. Caroline No (Stereo) can step in after it without the handoff feeling pre-chewed.

On Live at Subterranea, London 09/28/95 (Previously Unreleased) (2015), You Learn (Live at Subterranea, London 09/28/95) shows Alanis Morissette 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 Exit Stonehenge without borrowing the same emotional weight. It also leaves a lane for Caroline No (Stereo) to arrive without the segue feeling forced.

Caroline No (Stereo) answers You Learn (Live at Subterranea, London 09/28/95) by Alanis Morissette 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.

On Pet Sounds (CD 1) [50th Anniversary Edition] (2016), Caroline No (Stereo) shows The Beach Boys working in a 2010s 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 You Learn (Live at Subterranea, London 09/28/95) without borrowing the same emotional weight.

East River Drive by Grover Washington, Jr. lands here because Tron Legacy (End Titles) by Daft Punk states the thesis, and Cover Me by Björk answers it with a fresh turn.. The jazz edge gives the turn a more precise contour than a plain mood match. Tron Legacy (End Titles) can step in after it without the handoff feeling pre-chewed.

On Dynamic Audiophile Jazz Vol.1 (2019), East River Drive shows Grover Washington, Jr. working in a 2010s 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 House pocket, 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 Tron Legacy (End Titles) to arrive without the segue feeling forced.

Tron Legacy (End Titles) 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. Cover Me can step in after it without the handoff feeling pre-chewed.

On Tron: Legacy (Original Motion Picture Soundtrack) (18), Tron Legacy (End Titles) shows Daft Punk working in a 10s pocket with electronic / leftfield in the grain. The cut moves with a steady shoulder-roll, 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 East River Drive without borrowing the same emotional weight. It also leaves a lane for Cover Me to arrive without the segue feeling forced.

Cover Me 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 Post (1995), Cover Me shows Björk working in a 1990s pocket with electronic / leftfield in the grain. The cut moves with a steady shoulder-roll, 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 Tron Legacy (End Titles) without borrowing the same emotional weight.

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

On Miles Ahead: Original Motion Picture Soundtrack (2016), Dialogue: 'It takes a long time...' shows Miles Davis working in a 2010s pocket with jazz in the grain. The cut moves with a steady shoulder-roll, which is why it can hold this turn without flattening it.

Listen for the jazz texture in the pocket, especially in the way the arrangement keeps color moving under the lead. It also leaves a lane for Yesterdays (Live At Carnegie Hall/1956) to arrive without the segue feeling forced.

Yesterdays (Live At Carnegie Hall/1956) answers Dialogue: 'It takes a long time...' by Miles Davis with a related tension instead of a copycat move, so the sequence keeps opening out. The jazz edge gives the turn a more precise contour than a plain mood match. The Fool on the Hill can step in after it without the handoff feeling pre-chewed.

On The Essential Billie Holiday: Carnegie Hall Concert Recorded Live (1961), Yesterdays (Live At Carnegie Hall/1956) shows Billie Holiday working in a 1960s pocket with jazz in the grain. The cut moves with a slow-burn glide, which is why it can hold this turn without flattening it.

Listen for the jazz texture in the pocket, especially in the way the arrangement keeps color moving under the lead. You can hear how it answers Dialogue: 'It takes a long time...' without borrowing the same emotional weight. It also leaves a lane for The Fool on the Hill to arrive without the segue feeling forced.

The Fool on the Hill answers Yesterdays (Live At Carnegie Hall/1956) by Billie Holiday with a related tension instead of a copycat move, so the sequence keeps opening out. The rock edge gives the turn a more precise contour than a plain mood match.

On Magical Mystery Tour (1967), The Fool on the Hill shows The Beatles working in a 1960s pocket with rock in the grain. The cut moves with a steady shoulder-roll, which is why it can hold this turn without flattening it.

Listen for the rock texture in the pocket, especially in the way the arrangement keeps color moving under the lead. You can hear how it answers Yesterdays (Live At Carnegie Hall/1956) without borrowing the same emotional weight.

Strode Rode by Sonny Rollins lands here because Doxy (From The Album Bags'Groove) by Miles Davis keeps the emotional pressure steady after Dialogue: 'It takes a long time...' and maintains jazz in the grain. It's a real hand that fits well within the hour's mood.. The jazz edge gives the turn a more precise contour than a plain mood match. You Go To My Head (Remastered 2025) can step in after it without the handoff feeling pre-chewed.

On Saxophone Colossus (2011), Strode Rode shows Sonny Rollins working in a 2010s pocket with jazz in the grain. The cut moves with a steady shoulder-roll, which is why it can hold this turn without flattening it.

Listen for the jazz texture in the pocket, especially in the way the arrangement keeps color moving under the lead. It also leaves a lane for You Go To My Head (Remastered 2025) to arrive without the segue feeling forced.

You Go To My Head (Remastered 2025) answers Strode Rode by Sonny Rollins 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. East River Drive can step in after it without the handoff feeling pre-chewed.

On Interplay (2025), You Go To My Head (Remastered 2025) shows Bill Evans working in a 2020s 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 Strode Rode without borrowing the same emotional weight. It also leaves a lane for East River Drive to arrive without the segue feeling forced.

East River Drive answers You Go To My Head (Remastered 2025) by Bill Evans 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 Dynamic Audiophile Jazz Vol.1 (2019), East River Drive shows Grover Washington, Jr. working in a 2010s 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.

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 You Go To My Head (Remastered 2025) without borrowing the same emotional weight.

The Telephantasm by Soundgarden lands here because People of the Sun (Live) by Rage Against The Machine and Cortez the Killer by Neil Young & Crazy Horse provide a strong emotional arc and keep pop, rock in the grain.. The pop, rock 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 The Telephantasm (2010), The Telephantasm shows Soundgarden working in a 2010s pocket with pop, rock in the grain. The cut moves with a steady shoulder-roll, which is why it can hold this turn without flattening it.

Listen for the pop, rock texture in the pocket, especially in the way the arrangement keeps color moving under the lead. 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) answers The Telephantasm by Soundgarden 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. Cortez the Killer can step in after it without the handoff feeling pre-chewed.

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.

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 Telephantasm without borrowing the same emotional weight. It also leaves a lane for Cortez the Killer to arrive without the segue feeling forced.

Cortez the Killer answers People of the Sun (Live, Mexico City, Mexico, October 28, 1999) by Rage Against The Machine 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 Zuma (1975), Cortez the Killer shows Neil Young & Crazy Horse working in a 1970s 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 People of the Sun (Live, Mexico City, Mexico, October 28, 1999) without borrowing the same emotional weight.

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

On The Complete BBC Sessions (2016), Immigrant Song (Remaster) shows Led Zeppelin working in a 2010s pocket with rock in the grain. The cut moves with a steady shoulder-roll, which is why it can hold this turn without flattening it.

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

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

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

Listen for the alternative-rock texture in the pocket, especially in the way the arrangement keeps color moving under the lead. You can hear how it answers Immigrant Song (Remaster) without borrowing the same emotional weight. It also leaves a lane for Houses in Motion (Live at Werchterpark Festival, Belgium) to arrive without the segue feeling forced.

Houses in Motion (Live at Werchterpark Festival, Belgium) answers Wet Sand by Red Hot Chili Peppers with a related tension instead of a copycat move, so the sequence keeps opening out. The pop / rock edge gives the turn a more precise contour than a plain mood match.

On Radio Waves 1978-1983: Psycho Killers, Vol. 2 (Live) (2016), Houses in Motion (Live at Werchterpark Festival, Belgium) shows Talking Heads working in a 2010s pocket with pop / rock in the grain. The cut moves with a steady shoulder-roll, which is why it can hold this turn without flattening it.

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

Boys (The Co-Ed Remix) by Britney Spears feat. Pharrell Williams of N.E.R.D. lands here because Keeps the emotional pressure steady after Préludes Flasques: Idylle Cynique by Satie and changes the palette without cutting the thread.. The pop edge gives the turn a more precise contour than a plain mood match. The Apologist can step in after it without the handoff feeling pre-chewed.

On The Essential Britney Spears (1) (2013), Boys (The Co-Ed Remix) shows Britney Spears feat. Pharrell Williams of N.E.R.D. 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. It also leaves a lane for The Apologist to arrive without the segue feeling forced.

The Apologist answers Boys (The Co-Ed Remix) by Britney Spears feat. Pharrell Williams of N.E.R.D. with a related tension instead of a copycat move, so the sequence keeps opening out. The alternative edge gives the turn a more precise contour than a plain mood match. Rhinosaur can step in after it without the handoff feeling pre-chewed.

On Up (1998), The Apologist shows R.E.M. working in a 1990s pocket with alternative in the grain. The cut moves with a slow-burn glide, which is why it can hold this turn without flattening it.

Listen for the alternative texture in the pocket, especially in the way the arrangement keeps color moving under the lead. You can hear how it answers Boys (The Co-Ed Remix) without borrowing the same emotional weight. It also leaves a lane for Rhinosaur to arrive without the segue feeling forced.

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

On Down On The Upside (1993), Rhinosaur shows Soundgarden working in a 1990s pocket with pop, rock in the grain. The cut moves with a slow-burn glide, which is why it can hold this turn without flattening it.

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

Faith (Remastered) by George Michael lands here because Electro pocket - keeps the emotional pressure steady after Long Day by Various Interprets and turns the color from 1990s into 0s.. The pop, rock edge gives the turn a more precise contour than a plain mood match. Baptism can step in after it without the handoff feeling pre-chewed.

On George Michael & Wham! Last Christmas: The Original Motion Picture Soundtrack (2019), Faith (Remastered) shows George Michael working in a 2010s pocket with pop, rock in the grain. The cut moves with a steady shoulder-roll, which is why it can hold this turn without flattening it. Inside Electro pocket, 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 Baptism to arrive without the segue feeling forced.

Baptism keeps electro pocket honest by sounding like a real choice inside that lane, not a decorative gesture. The electroclash / leftfield edge gives the turn a more precise contour than a plain mood match. The Game Has Changed can step in after it without the handoff feeling pre-chewed.

On Crystal Castles (4), Baptism shows Crystal Castles working in a 0s pocket with electroclash / leftfield in the grain. The cut moves with a slow-burn glide, which is why it can hold this turn without flattening it. Inside Electro pocket, it reads as curation rather than stunt programming.

Listen for the electroclash / leftfield texture in the pocket, especially in the way the arrangement keeps color moving under the lead. You can hear how it answers Faith (Remastered) without borrowing the same emotional weight. It also leaves a lane for The Game Has Changed to arrive without the segue feeling forced.

The Game Has Changed keeps electro 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), The Game Has Changed 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 Electro 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 Baptism without borrowing the same emotional weight.

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

On The Wild Heart (Deluxe Edition) (2016), All The Beautiful Worlds (Unreleased Version) shows Stevie Nicks working in a 2010s pocket with rock in the grain. The cut moves with a slow-burn glide, which is why it can hold this turn without flattening it.

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

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

On Up (1998), Daysleeper shows R.E.M. working in a 1990s pocket with alternative in the grain. The cut moves with a slow-burn glide, which is why it can hold this turn without flattening it.

Listen for the alternative texture in the pocket, especially in the way the arrangement keeps color moving under the lead. You can hear how it answers All The Beautiful Worlds (Unreleased Version) without borrowing the same emotional weight. It also leaves a lane for Tones Of Home to arrive without the segue feeling forced.

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

On Blind Melon (1992), Tones Of Home shows Blind Melon working in a 1990s pocket with alternative rock in the grain. The cut moves with a slow-burn glide, which is why it can hold this turn without flattening it.

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

Stand Back (Remastered) by Stevie Nicks lands here because Build a real arc instead of stacking safe mood matches.. The rock edge gives the turn a more precise contour than a plain mood match. Tequila Sunrise can step in after it without the handoff feeling pre-chewed.

On The Wild Heart (Deluxe Edition) (2016), Stand Back (Remastered) shows Stevie Nicks working in a 2010s pocket with rock in the grain. The cut moves with a steady shoulder-roll, which is why it can hold this turn without flattening it.

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

Tequila Sunrise answers Stand Back (Remastered) by Stevie Nicks with a related tension instead of a copycat move, so the sequence keeps opening out. The rock edge gives the turn a more precise contour than a plain mood match. Burden In My Hand can step in after it without the handoff feeling pre-chewed.

On The Very Best Of (2003), Tequila Sunrise shows Eagles working in a 2000s pocket with rock in the grain. The cut moves with a slow-burn glide, which is why it can hold this turn without flattening it.

Listen for the rock texture in the pocket, especially in the way the arrangement keeps color moving under the lead. You can hear how it answers Stand Back (Remastered) without borrowing the same emotional weight. It also leaves a lane for Burden In My Hand to arrive without the segue feeling forced.

Burden In My Hand answers Tequila Sunrise by Eagles with a related tension instead of a copycat move, so the sequence keeps opening out. The pop, rock edge gives the turn a more precise contour than a plain mood match.

On A-Sides (1997), Burden In My Hand shows Soundgarden working in a 1990s pocket with pop, rock in the grain. The cut moves with a slow-burn glide, which is why it can hold this turn without flattening it.

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

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

On ÷ (2017), Shape of You shows Ed Sheeran working in a 2010s pocket with pop, rock in the grain. The cut moves with a slow-burn glide, which is why it can hold this turn without flattening it.

Listen for the pop, rock texture in the pocket, especially in the way the arrangement keeps color moving under the lead. It also leaves a lane for I Will Run To You (with Tom Petty) [Remastered] to arrive without the segue feeling forced.

I Will Run To You (with Tom Petty) [Remastered] answers Shape of You by Ed Sheeran with a related tension instead of a copycat move, so the sequence keeps opening out. The rock edge gives the turn a more precise contour than a plain mood match. Rock and Roll can step in after it without the handoff feeling pre-chewed.

On The Wild Heart (Deluxe Edition) (2016), I Will Run To You (with Tom Petty) [Remastered] shows Stevie Nicks working in a 2010s pocket with rock in the grain. The cut moves with a slow-burn glide, which is why it can hold this turn without flattening it.

Listen for the rock texture in the pocket, especially in the way the arrangement keeps color moving under the lead. You can hear how it answers Shape of You without borrowing the same emotional weight. It also leaves a lane for Rock and Roll to arrive without the segue feeling forced.

Rock and Roll answers I Will Run To You (with Tom Petty) [Remastered] by Stevie Nicks with a related tension instead of a copycat move, so the sequence keeps opening out. The rock edge gives the turn a more precise contour than a plain mood match.

On Greatest Hits / Live (1980), Rock and Roll shows Heart working in a 1980s pocket with rock in the grain. The cut moves with a slow-burn glide, which is why it can hold this turn without flattening it.

Listen for the rock texture in the pocket, especially in the way the arrangement keeps color moving under the lead. You can hear how it answers I Will Run To You (with Tom Petty) [Remastered] without borrowing the same emotional weight.

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

On The Essential Britney Spears (1) (2013), (You Drive Me) Crazy (The Stop! Remix) shows Britney Spears working in a 2010s pocket with pop in the grain. The cut moves with a slow-burn glide, which is why it can hold this turn without flattening it. Inside Deep shelf drift, it reads as curation rather than stunt programming.

Listen for the pop texture in the pocket, especially in the way the arrangement keeps color moving under the lead. It also leaves a lane for Slow Motion (Early Mix) to arrive without the segue feeling forced.

Slow Motion (Early Mix) keeps deep shelf drift honest by sounding like a real choice inside that lane, not a decorative gesture. The psychedelic rock edge gives the turn a more precise contour than a plain mood match. Seminary School (a.k.a. Petition the Lord with Prayer) can step in after it without the handoff feeling pre-chewed.

On The Soft Bulletin Companion (1999), Slow Motion (Early Mix) shows The Flaming Lips working in a 1990s pocket with psychedelic rock in the grain. The cut moves with a slow-burn glide, which is why it can hold this turn without flattening it. Inside Deep shelf drift, it reads as curation rather than stunt programming.

Listen for the psychedelic rock texture in the pocket, especially in the way the arrangement keeps color moving under the lead. You can hear how it answers (You Drive Me) Crazy (The Stop! Remix) without borrowing the same emotional weight. It also leaves a lane for Seminary School (a.k.a. Petition the Lord with Prayer) to arrive without the segue feeling forced.

Seminary School (a.k.a. Petition the Lord with Prayer) keeps deep shelf drift honest by sounding like a real choice inside that lane, not a decorative gesture. The rock edge gives the turn a more precise contour than a plain mood match.

On The Soft Parade (50th Anniversary Deluxe Edition) (1969), Seminary School (a.k.a. Petition the Lord with Prayer) shows The Doors working in a 1960s pocket with rock in the grain. The cut moves with a slow-burn glide, which is why it can hold this turn without flattening it. Inside Deep shelf drift, it reads as curation rather than stunt programming.

Listen for the rock texture in the pocket, especially in the way the arrangement keeps color moving under the lead. You can hear how it answers Slow Motion (Early Mix) without borrowing the same emotional weight.

Requiem in D minor, K. 626 by Dunedin Consort lands here because St. Elmo's Fire (Man in Motion) by John Parr and Shape of You by Ed Sheeran provide a sharp two-step that keeps the emotional pressure steady after (You Drive Me) Crazy (The Stop! Remix) by Britney Spears, changes the palette without cutting the thread, and maintains pop in the grain.. The classical edge gives the turn a more precise contour than a plain mood match. St. Elmo's Fire (Man in Motion) can step in after it without the handoff feeling pre-chewed.

On Mozart: Requiem (Reconstruction of first performance) (2014), Requiem in D minor, K. 626 shows Dunedin Consort working in a 2010s pocket with classical in the grain. The cut moves with a candlelit drift, 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 St. Elmo's Fire (Man in Motion) to arrive without the segue feeling forced.

St. Elmo's Fire (Man in Motion) answers Requiem in D minor, K. 626 by Dunedin Consort 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. Shape of You can step in after it without the handoff feeling pre-chewed.

On 80s Radio Hits (3), St. Elmo's Fire (Man in Motion) shows John Parr working in a 0s pocket with pop in the grain. The cut moves with a slow-burn glide, which is why it can hold this turn without flattening it.

Listen for the pop texture in the pocket, especially in the way the arrangement keeps color moving under the lead. You can hear how it answers Requiem in D minor, K. 626 without borrowing the same emotional weight. It also leaves a lane for Shape of You to arrive without the segue feeling forced.

Shape of You answers St. Elmo's Fire (Man in Motion) by John Parr 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 ÷ (2017), Shape of You shows Ed Sheeran working in a 2010s pocket with pop, rock in the grain. The cut moves with a slow-burn glide, which is why it can hold this turn without flattening it.

Listen for the pop, rock texture in the pocket, especially in the way the arrangement keeps color moving under the lead. You can hear how it answers St. Elmo's Fire (Man in Motion) without borrowing the same emotional weight.

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

On The Wild Heart (Deluxe Edition) (2016), Wild Heart (Remastered) shows Stevie Nicks working in a 2010s pocket with rock in the grain. The cut moves with a slow-burn glide, which is why it can hold this turn without flattening it.

Listen for the rock texture in the pocket, especially in the way the arrangement keeps color moving under the lead. It also leaves a lane for Search And Destroy [Live] to arrive without the segue feeling forced.

Search And Destroy [Live] answers Wild Heart (Remastered) by Stevie Nicks with a related tension instead of a copycat move, so the sequence keeps opening out. The rock edge gives the turn a more precise contour than a plain mood match. Legal Tender can step in after it without the handoff feeling pre-chewed.

On By The Way [CD Single 2] (2000), Search And Destroy [Live] shows Red Hot Chili Peppers working in a 2000s pocket with rock in the grain. The cut moves with a slow-burn glide, which is why it can hold this turn without flattening it.

This one is airing as a clipped passage, so listen for the section Mr Rassy chose to stand in for the whole piece. The choice was deliberate: The track is a live medley that benefits from a middle segment to capture the essence of the performance without overwhelming the set.. Legal Tender is waiting on the far side of that seam.

Legal Tender answers Search And Destroy [Live] by Red Hot Chili Peppers with a related tension instead of a copycat move, so the sequence keeps opening out. The pop rock edge gives the turn a more precise contour than a plain mood match.

On Whammy! (1983), Legal Tender shows The B‐52s working in a 1980s pocket with pop rock in the grain. The cut moves with a steady shoulder-roll, which is why it can hold this turn without flattening it.

Listen for the pop rock texture in the pocket, especially in the way the arrangement keeps color moving under the lead. You can hear how it answers Search And Destroy [Live] without borrowing the same emotional weight.

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

On The Waves, The Wake (2018), In a Certain Light shows Great Lake Swimmers working in a 2010s pocket with pop, rock in the grain. The cut moves with a slow-burn glide, which is why it can hold this turn without flattening it.

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

Shine a Light answers In a Certain Light by Great Lake Swimmers with a related tension instead of a copycat move, so the sequence keeps opening out. The rock edge gives the turn a more precise contour than a plain mood match. Crosseyed and Painless can step in after it without the handoff feeling pre-chewed.

On Exile on Main St. (1972), Shine a Light shows The Rolling Stones working in a 1970s pocket with rock in the grain. The cut moves with a slow-burn glide, which is why it can hold this turn without flattening it.

Listen for the rock texture in the pocket, especially in the way the arrangement keeps color moving under the lead. You can hear how it answers In a Certain Light without borrowing the same emotional weight. It also leaves a lane for Crosseyed and Painless to arrive without the segue feeling forced.

Crosseyed and Painless answers Shine a Light by The Rolling Stones with a related tension instead of a copycat move, so the sequence keeps opening out. The pop, rock edge gives the turn a more precise contour than a plain mood match.

On Remain In Light (1980), Crosseyed and Painless shows Talking Heads working in a 1980s pocket with pop, rock in the grain. The cut moves with a slow-burn glide, which is why it can hold this turn without flattening it.

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

Still Alive by Social Distortion lands here because Can I Sit Next to You Girl by Ac/Dc keeps the emotional pressure steady and turns the color from 1990s into 2000s, making it a perfect left turn after Dave Edmunds' 'I Knew The Bride'.. The punk rock edge gives the turn a more precise contour than a plain mood match. Black Wave/Bad Vibrations can step in after it without the handoff feeling pre-chewed.

On Hard Times And Nursery Rhymes (2011), Still Alive 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. It also leaves a lane for Black Wave/Bad Vibrations to arrive without the segue feeling forced.

Black Wave/Bad Vibrations keeps deep shelf drift honest by sounding like a real choice inside that lane, not a decorative gesture. The indie rock edge gives the turn a more precise contour than a plain mood match. Can I Sit Next to You Girl can step in after it without the handoff feeling pre-chewed.

On Neon Bible (2007), Black Wave/Bad Vibrations 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. Inside Deep shelf drift, it reads as curation rather than stunt programming.

Listen for the indie rock texture in the pocket, especially in the way the arrangement keeps color moving under the lead. You can hear how it answers Still Alive without borrowing the same emotional weight. It also leaves a lane for Can I Sit Next to You Girl to arrive without the segue feeling forced.

Can I Sit Next to You Girl keeps deep shelf drift honest by sounding like a real choice inside that lane, not a decorative gesture. The hard rock edge gives the turn a more precise contour than a plain mood match.

On High Voltage (International Version) (2003), Can I Sit Next to You Girl shows Ac/Dc working in a 2000s pocket with hard rock in the grain. The cut moves with a slow-burn glide, which is why it can hold this turn without flattening it. Inside Deep shelf drift, it reads as curation rather than stunt programming.

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

Minipops 67 (source field mix) by Aphex Twin lands here because Mercure - Poses Plastiques: Deuxième Tableau, Colère De Cerbère by Satie and A Thousand Days Before (Live From The Artists Den) by Soundgarden provide a smooth emotional arc and change the palette without cutting the thread.. The electronic, ambient, experimental edge gives the turn a more precise contour than a plain mood match. Mercure - Poses Plastiques: Deuxième Tableau, Colère De Cerbère can step in after it without the handoff feeling pre-chewed.

On Syro (2014), Minipops 67 (source field mix) shows Aphex Twin working in a 2010s pocket with electronic, ambient, experimental in the grain. The cut moves with a slow-burn glide, which is why it can hold this turn without flattening it.

Listen for the electronic, ambient, experimental texture in the pocket, especially in the way the arrangement keeps color moving under the lead. It also leaves a lane for Mercure - Poses Plastiques: Deuxième Tableau, Colère De Cerbère to arrive without the segue feeling forced.

Mercure - Poses Plastiques: Deuxième Tableau, Colère De Cerbère answers Minipops 67 (source field mix) by Aphex Twin with a related tension instead of a copycat move, so the sequence keeps opening out. The classical edge gives the turn a more precise contour than a plain mood match. A Thousand Days Before (Live From The Artists Den) can step in after it without the handoff feeling pre-chewed.

On Complete Piano Works, Volume 8 (1995), Mercure - Poses Plastiques: Deuxième Tableau, Colère De Cerbère 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 Minipops 67 (source field mix) without borrowing the same emotional weight. It also leaves a lane for A Thousand Days Before (Live From The Artists Den) to arrive without the segue feeling forced.

A Thousand Days Before (Live From The Artists Den) answers Mercure - Poses Plastiques: Deuxième Tableau, Colère De Cerbère by Satie 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 Live From The Artists Den (2019), A Thousand Days Before (Live From The Artists Den) shows Soundgarden working in a 2010s pocket with pop, rock, alternatif et indé in the grain. The cut moves with a slow-burn glide, which is why it can hold this turn without flattening it.

Listen for the pop, rock, alternatif et indé texture in the pocket, especially in the way the arrangement keeps color moving under the lead. You can hear how it answers Mercure - Poses Plastiques: Deuxième Tableau, Colère De Cerbère without borrowing the same emotional weight.

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

On The Wild Heart (Deluxe Edition) (2016), Sorcerer (Unreleased Version) shows Stevie Nicks working in a 2010s pocket with rock in the grain. The cut moves with a slow-burn glide, which is why it can hold this turn without flattening it.

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

Honey Pie answers Sorcerer (Unreleased Version) by Stevie Nicks with a related tension instead of a copycat move, so the sequence keeps opening out. The rock edge gives the turn a more precise contour than a plain mood match. Ventolin (Carmarrack Mix) can step in after it without the handoff feeling pre-chewed.

On The Beatles (1968), Honey Pie shows The Beatles working in a 1960s pocket with rock in the grain. The cut moves with a candlelit drift, which is why it can hold this turn without flattening it.

Listen for the rock texture in the pocket, especially in the way the arrangement keeps color moving under the lead. You can hear how it answers Sorcerer (Unreleased Version) without borrowing the same emotional weight. It also leaves a lane for Ventolin (Carmarrack Mix) to arrive without the segue feeling forced.

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

On Ventolin (EP) (1995), Ventolin (Carmarrack Mix) shows Aphex Twin working in a 1990s pocket with electronic, ambient, experimental in the grain. The cut moves with a slow-burn glide, which is why it can hold this turn without flattening it.

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

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

On Kinks At The BBC Disc 2 (2012), The Hard Way shows Kinks working in a 2010s pocket with rock in the grain. The cut moves with a slow-burn glide, which is why it can hold this turn without flattening it. Inside Deep shelf drift, it reads as curation rather than stunt programming.

Listen for the rock texture in the pocket, especially in the way the arrangement keeps color moving under the lead. It also leaves a lane for 'Round Midnight (Remastered 2013) to arrive without the segue feeling forced.

'Round Midnight (Remastered 2013) keeps deep shelf drift honest by sounding like a real choice inside that lane, not a decorative gesture. The jazz edge gives the turn a more precise contour than a plain mood match. Tadd's Delight (From The Album 'Round About Midnight) can step in after it without the handoff feeling pre-chewed.

On Genius Of Modern Music (2013), 'Round Midnight (Remastered 2013) shows Thelonious Monk working in a 2010s pocket with jazz in the grain. The cut moves with a candlelit drift, which is why it can hold this turn without flattening it. Inside Deep shelf drift, it reads as curation rather than stunt programming.

Listen for the jazz texture in the pocket, especially in the way the arrangement keeps color moving under the lead. You can hear how it answers The Hard Way without borrowing the same emotional weight. It also leaves a lane for Tadd's Delight (From The Album 'Round About Midnight) to arrive without the segue feeling forced.

Tadd's Delight (From The Album 'Round About Midnight) keeps deep shelf drift honest by sounding like a real choice inside that lane, not a decorative gesture. The jazz edge gives the turn a more precise contour than a plain mood match.

On INTEGRAL MILES DAVIS 1951-1956 (2024), Tadd's Delight (From The Album 'Round About Midnight) shows Miles Davis working in a 2020s pocket with jazz in the grain. The cut moves with a slow-burn glide, which is why it can hold this turn without flattening it. Inside Deep shelf drift, it reads as curation rather than stunt programming.

Listen for the jazz texture in the pocket, especially in the way the arrangement keeps color moving under the lead. You can hear how it answers 'Round Midnight (Remastered 2013) without borrowing the same emotional weight.

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

On Wrecking Ball (2012), We Take Care of Our Own shows Bruce Springsteen working in a 2010s pocket with pop, rock in the grain. The cut moves with a slow-burn glide, which is why it can hold this turn without flattening it.

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

Black Night answers We Take Care of Our Own by Bruce Springsteen with a related tension instead of a copycat move, so the sequence keeps opening out. The rock edge gives the turn a more precise contour than a plain mood match. Copperbelly can step in after it without the handoff feeling pre-chewed.

On Sounds Of The Seventies - Guitar Power (1992), Black Night shows Deep Purple working in a 1990s pocket with rock in the grain. The cut moves with a slow-burn glide, which is why it can hold this turn without flattening it.

Listen for the rock texture in the pocket, especially in the way the arrangement keeps color moving under the lead. You can hear how it answers We Take Care of Our Own without borrowing the same emotional weight. It also leaves a lane for Copperbelly to arrive without the segue feeling forced.

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

On Return Of The Dream Canteen (2022), Copperbelly shows Red Hot Chili Peppers working in a 2020s pocket with alternative-rock in the grain. The cut moves with a candlelit drift, which is why it can hold this turn without flattening it.

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