Session notes from the booth.

Symphonie Nr. 7 a*Dur, Op. 92: Iv. Allegro Con Brio by Ludwig Van Beethoven lands here because And The Healing Has Begun by Van Morrison provides a smooth transition from Why Would You Wanna Live by Wilco while keeping the emotional pressure steady. It also adds a new element of rock to the set, maintaining the station's focus.. The classical edge gives the turn a more precise contour than a plain mood match. Artists Only (2005 Remaster) can step in after it without the handoff feeling pre-chewed.

On Symphonien Nos. 5 & 7 (1995), Symphonie Nr. 7 a*Dur, Op. 92: Iv. Allegro Con Brio shows Ludwig Van Beethoven 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. It also leaves a lane for Artists Only (2005 Remaster) to arrive without the segue feeling forced.

Artists Only (2005 Remaster) answers Symphonie Nr. 7 a*Dur, Op. 92: Iv. Allegro Con Brio by Ludwig Van Beethoven 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. Show And Tell can step in after it without the handoff feeling pre-chewed.

On More Songs About Buildings and Food (Deluxe Version) (1978), Artists Only (2005 Remaster) shows Talking Heads 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 Symphonie Nr. 7 a*Dur, Op. 92: Iv. Allegro Con Brio without borrowing the same emotional weight. It also leaves a lane for Show And Tell to arrive without the segue feeling forced.

Show And Tell answers Artists Only (2005 Remaster) 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 Sounds Of The Seventies - 1974 (1990), Show And Tell shows Al Wilson 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 Artists Only (2005 Remaster) without borrowing the same emotional weight.

Mercure by Satie lands here because keeps the emotional pressure steady after Requiem in D Minor, K. 626: Viii. Lacrimosa by Wolfgang Amadeus Mozart and changes the palette without cutting the thread.. 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 shows Satie working in a 1990s pocket with classical in the grain. The cut moves with a steady shoulder-roll, which is why it can hold this turn without flattening it.

Listen for the classical texture in the pocket, especially in the way the arrangement keeps color moving under the lead. 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 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. Why Would You Wanna Live can step in after it without the handoff feeling pre-chewed.

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 without borrowing the same emotional weight. It also leaves a lane for Why Would You Wanna Live to arrive without the segue feeling forced.

Why Would You Wanna Live answers A Thousand Days Before (Live From The Artists Den) by Soundgarden 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 Being There (2013), Why Would You Wanna Live shows Wilco 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 A Thousand Days Before (Live From The Artists Den) without borrowing the same emotional weight.

And I Love Her by The Beatles lands here because Scary Monsters (And Super Creeps) by David Bowie states the thesis, and Requiem in D Minor, K. 626: Viii. Lacrimosa by Wolfgang Amadeus Mozart answers it with a fresh turn.. The rock edge gives the turn a more precise contour than a plain mood match. Symphonie Nr. 7 a‐Dur, Op. 92: Iv. Allegro Con Brio can step in after it without the handoff feeling pre-chewed.

On A Hard Day’s Night (1964), And I Love Her shows The Beatles working in a 1960s pocket with rock in the grain. The cut moves with a bright electric charge, which is why it can hold this turn without flattening it.

Listen for the rock texture in the pocket, especially in the way the arrangement keeps color moving under the lead. It also leaves a lane for Symphonie Nr. 7 a‐Dur, Op. 92: Iv. Allegro Con Brio to arrive without the segue feeling forced.

Symphonie Nr. 7 a‐Dur, Op. 92: Iv. Allegro Con Brio answers And I Love Her by The Beatles 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. Requiem in D Minor, K. 626: Viii. Lacrimosa can step in after it without the handoff feeling pre-chewed.

On Symphonien Nos. 5 & 7 (1995), Symphonie Nr. 7 a‐Dur, Op. 92: Iv. Allegro Con Brio shows Ludwig Van Beethoven 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 And I Love Her without borrowing the same emotional weight. It also leaves a lane for Requiem in D Minor, K. 626: Viii. Lacrimosa to arrive without the segue feeling forced.

Requiem in D Minor, K. 626: Viii. Lacrimosa answers Symphonie Nr. 7 a‐Dur, Op. 92: Iv. Allegro Con Brio by Ludwig Van Beethoven with a related tension instead of a copycat move, so the sequence keeps opening out. The classical edge gives the turn a more precise contour than a plain mood match.

On Requiem: Reconstruction of First Performance (2014), Requiem in D Minor, K. 626: Viii. Lacrimosa shows Wolfgang Amadeus Mozart working in a 2010s 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 Symphonie Nr. 7 a‐Dur, Op. 92: Iv. Allegro Con Brio without borrowing the same emotional weight.

Wake Up (Acoustic Version) by Alanis Morissette lands here because Johnny, Kick A Hole In The Sky by Red Hot Chili Peppers. The pop edge gives the turn a more precise contour than a plain mood match. Johnny, Kick A Hole In The Sky can step in after it without the handoff feeling pre-chewed.

On Jagged Little Pill (2015 Remastered) (2015), Wake Up (Acoustic Version) shows Alanis Morissette working in a 2010s pocket with pop 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 texture in the pocket, especially in the way the arrangement keeps color moving under the lead. It also leaves a lane for Johnny, Kick A Hole In The Sky to arrive without the segue feeling forced.

Johnny, Kick A Hole In The Sky answers Wake Up (Acoustic Version) by Alanis Morissette 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. Mercure - Poses Plastiques: Deuxième Tableau, Colère De Cerbère can step in after it without the handoff feeling pre-chewed.

On Mother's Milk (2013), Johnny, Kick A Hole In The Sky shows Red Hot Chili Peppers 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 Wake Up (Acoustic Version) without borrowing the same emotional weight. 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 Johnny, Kick A Hole In The Sky by Red Hot Chili Peppers with a related tension instead of a copycat move, so the sequence keeps opening out. The classical edge gives the turn a more precise contour than a plain mood match.

On Complete Piano Works, Volume 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 Johnny, Kick A Hole In The Sky without borrowing the same emotional weight.

All Blues by Miles Davis lands here because You And Me Together keeps the emotional pressure steady after Wake Up (Acoustic Version) by Alanis Morissette and changes the palette without cutting the thread.. The jazz edge gives the turn a more precise contour than a plain mood match. And I Love Her can step in after it without the handoff feeling pre-chewed.

On The Complete Live at the Plugged Nickel 1965 (CD7) (1965), All Blues shows Miles Davis working in a 1960s pocket with jazz in the grain. The cut moves with a slow-burn glide, which is why it can hold this turn without flattening it.

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

And I Love Her answers All Blues by Miles Davis with a related tension instead of a copycat move, so the sequence keeps opening out. The rock edge gives the turn a more precise contour than a plain mood match. You And Me Together can step in after it without the handoff feeling pre-chewed.

On A Hard Day’s Night (1964), And I Love Her 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 All Blues without borrowing the same emotional weight. It also leaves a lane for You And Me Together to arrive without the segue feeling forced.

You And Me Together answers And I Love Her by The Beatles 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 Hannah Montana 2 (2007), You And Me Together shows Hannah Montana working in a 2000s 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 And I Love Her without borrowing the same emotional weight.

The Time Of The Barracudas (2022 Remaster) by Miles Davis lands here because Lemon Glow by Beach House provides a fresh turn after All Blues and maintains the soulful mood.. The jazz edge gives the turn a more precise contour than a plain mood match. Lemon Glow can step in after it without the handoff feeling pre-chewed.

On The Complete Columbia Studio Recordings - Disc 4 (1963), The Time Of The Barracudas (2022 Remaster) shows Miles Davis working in a 1960s pocket with jazz in the grain. The cut moves with a steady shoulder-roll, which is why it can hold this turn without flattening it.

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

Lemon Glow answers The Time Of The Barracudas (2022 Remaster) by Miles Davis 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. Wake Up (Acoustic Version) can step in after it without the handoff feeling pre-chewed.

On 7 (2018), Lemon Glow shows Beach House 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 The Time Of The Barracudas (2022 Remaster) without borrowing the same emotional weight. It also leaves a lane for Wake Up (Acoustic Version) to arrive without the segue feeling forced.

Wake Up (Acoustic Version) answers Lemon Glow by Beach House 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 Jagged Little Pill Acoustic (2015), Wake Up (Acoustic Version) 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 Lemon Glow without borrowing the same emotional weight.

The Captain by The Flaming Lips lands here because The Time Of The Barracudas (2022 Remaster) by Miles Davis -> All Blues by Miles Davis -> Take Me To The Alley by Gregory Porter. The psychedelic rock edge gives the turn a more precise contour than a plain mood match. Take Me To The Alley can step in after it without the handoff feeling pre-chewed.

On The Soft Bulletin Companion (1999), The Captain 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.

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

Take Me To The Alley answers The Captain by The Flaming Lips 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. All Blues can step in after it without the handoff feeling pre-chewed.

On Take Me To The Alley (2016), Take Me To The Alley shows Gregory Porter 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 The Captain without borrowing the same emotional weight. It also leaves a lane for All Blues to arrive without the segue feeling forced.

All Blues answers Take Me To The Alley by Gregory Porter 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 Kind Of Blue (1959), All Blues shows Miles Davis working in a 1950s 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 Take Me To The Alley without borrowing the same emotional weight.

Livin' Thing by Electric Light Orchestra lands here because A Clean Break (Let's Work) (Live; 2004 Remaster) by Talking Heads and The Time Of The Barracudas (2022 Remaster) by Miles Davis provide a sharp two-step that maintains the emotional arc while introducing a new era.. The pop, 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 A New World Record (1976), Livin' Thing shows Electric Light Orchestra working in a 1970s 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 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 Livin' Thing by Electric Light Orchestra 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. The Time Of The Barracudas (2022 Remaster) can step in after it without the handoff feeling pre-chewed.

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 Livin' Thing without borrowing the same emotional weight. It also leaves a lane for The Time Of The Barracudas (2022 Remaster) to arrive without the segue feeling forced.

The Time Of The Barracudas (2022 Remaster) 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 jazz edge gives the turn a more precise contour than a plain mood match.

On Quiet Nights (2022), The Time Of The Barracudas (2022 Remaster) 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.

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 Time Of The Barracudas is a deep dive into Miles Davis' work, and playing a clip from the middle will give listeners a taste without overwhelming them..

Even It Up by Heart lands here because The Captain by The Flaming Lips keeps the emotional pressure steady after Livin' Thing by Electric Light Orchestra and turns the color from 1970s into 1990s. The Flaming Lips keeps the close-up honest, so the special reads like a deliberate stay instead of a gimmick. Compared with the last few turns, it changes the sentence enough to keep the hour feeling authored. The risk level matches the hour's appetite for surprise.. The rock edge gives the turn a more precise contour than a plain mood match. Little Hands (Rough Mix) can step in after it without the handoff feeling pre-chewed.

On Greatest Hits / Live (1980), Even It Up 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. Inside The Flaming Lips close-up, 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 Little Hands (Rough Mix) to arrive without the segue feeling forced.

Little Hands (Rough Mix) keeps the flaming lips close-up 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. The Captain can step in after it without the handoff feeling pre-chewed.

On The Soft Bulletin Companion (1999), Little Hands (Rough Mix) shows The Flaming Lips working in a 1990s pocket with psychedelic rock in the grain. The cut moves with a candlelit drift, which is why it can hold this turn without flattening it. Inside The Flaming Lips close-up, 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 Even It Up without borrowing the same emotional weight. It also leaves a lane for The Captain to arrive without the segue feeling forced.

The Captain keeps the flaming lips close-up honest by sounding like a real choice inside that lane, not a decorative gesture. The psychedelic rock edge gives the turn a more precise contour than a plain mood match.

On The Soft Bulletin Companion (1999), The Captain 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 The Flaming Lips close-up, 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 Little Hands (Rough Mix) without borrowing the same emotional weight.

Hold The Line by Toto lands here because To maintain the emotional arc and transition pressure from Even It Up by Heart to a new mood.. The rock edge gives the turn a more precise contour than a plain mood match. This Is Radio Clash can step in after it without the handoff feeling pre-chewed.

On Sounds Of The Seventies - Rock 'N' Soul Seventies (1991), Hold The Line shows Toto working in a 1990s pocket with rock in the grain. The cut moves with a bright electric charge, which is why it can hold this turn without flattening it.

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

This Is Radio Clash answers Hold The Line by Toto 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. Livin' Thing can step in after it without the handoff feeling pre-chewed.

On The Essential Clash (2) (2003), This Is Radio Clash shows The Clash 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 Hold The Line without borrowing the same emotional weight. It also leaves a lane for Livin' Thing to arrive without the segue feeling forced.

Livin' Thing answers This Is Radio Clash by The Clash 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 New World Record (1976), Livin' Thing shows Electric Light Orchestra working in a 1970s 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 This Is Radio Clash without borrowing the same emotional weight.

Yellow Submarine by The Beatles lands here because Keeps the emotional pressure steady after Hold The Line by Toto and turns the color from 1970s into 1990s. Satie is one of Ian's steadier shelf presences, so the pick already reads like a real hand.. The rock 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 Yellow Submarine (1969), Yellow Submarine 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. 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 Yellow Submarine by The Beatles 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. Even It Up 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 Yellow Submarine without borrowing the same emotional weight. It also leaves a lane for Even It Up to arrive without the segue feeling forced.

Even It Up 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 rock edge gives the turn a more precise contour than a plain mood match.

On Greatest Hits / Live (1980), Even It Up 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 Mercure - Poses Plastiques: Deuxième Tableau, Colère De Cerbère without borrowing the same emotional weight.

Roadhouse Blues (Screamin' Ray Daniels a.k.a. Ray Manzarek On Vocals) by The Doors lands here because David Bowie and Toto provide a smooth transition from The Beatles while maintaining the emotional arc.. The pop, rock edge gives the turn a more precise contour than a plain mood match. Chant of the Ever Circling Skeletal Family can step in after it without the handoff feeling pre-chewed.

On Morrison Hotel (1970), Roadhouse Blues (Screamin' Ray Daniels a.k.a. Ray Manzarek On Vocals) shows The Doors 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. It also leaves a lane for Chant of the Ever Circling Skeletal Family to arrive without the segue feeling forced.

Chant of the Ever Circling Skeletal Family answers Roadhouse Blues (Screamin' Ray Daniels a.k.a. Ray Manzarek On Vocals) by The Doors with a related tension instead of a copycat move, so the sequence keeps opening out. The art rock edge gives the turn a more precise contour than a plain mood match. Hold The Line can step in after it without the handoff feeling pre-chewed.

On Diamond Dogs (1974), Chant of the Ever Circling Skeletal Family shows David Bowie working in a 1970s pocket with art rock in the grain. The cut moves with a slow-burn glide, which is why it can hold this turn without flattening it.

Listen for the art rock texture in the pocket, especially in the way the arrangement keeps color moving under the lead. You can hear how it answers Roadhouse Blues (Screamin' Ray Daniels a.k.a. Ray Manzarek On Vocals) without borrowing the same emotional weight. It also leaves a lane for Hold The Line to arrive without the segue feeling forced.

Hold The Line answers Chant of the Ever Circling Skeletal Family by David Bowie with a related tension instead of a copycat move, so the sequence keeps opening out. The rock edge gives the turn a more precise contour than a plain mood match.

On Toto (1978), Hold The Line shows Toto 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 Chant of the Ever Circling Skeletal Family without borrowing the same emotional weight.

Black Rain by Soundgarden lands here because These Days by R.E.M. and Why Would You Wanna Live by Wilco provide a fresh turn while maintaining the emotional arc of the set.. The pop, rock edge gives the turn a more precise contour than a plain mood match. These Days can step in after it without the handoff feeling pre-chewed.

On Telephantasm (2010), Black Rain 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 These Days to arrive without the segue feeling forced.

These Days answers Black Rain by Soundgarden 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. Yellow Submarine can step in after it without the handoff feeling pre-chewed.

On Live At The Olympia (2009), These Days shows R.E.M. working in a 2000s pocket with rock in the grain. The cut moves with a slow-burn glide, which is why it can hold this turn without flattening it.

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

Yellow Submarine answers These Days 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.

On Revolver (1966), Yellow Submarine 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 These Days without borrowing the same emotional weight.

How Do You Sleep? (The Evolution Documentary) by John Lennon lands here because Keeps the emotional pressure steady after Black Rain by Soundgarden and turns the color from 2010s into 1960s. The Soft Parade (50th Anniversary Deluxe Edition) is the actual record under the microscope, so this keeps the album run coherent.. The rock edge gives the turn a more precise contour than a plain mood match. Easy Ride (2019 Remaster) can step in after it without the handoff feeling pre-chewed.

On Imagine (1971), How Do You Sleep? (The Evolution Documentary) shows John Lennon 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. Inside The Soft Parade (50th Anniversary Deluxe Edition) 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. It also leaves a lane for Easy Ride (2019 Remaster) to arrive without the segue feeling forced.

Easy Ride (2019 Remaster) keeps the soft parade (50th anniversary deluxe edition) 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. Roadhouse Blues (Screamin' Ray Daniels a.k.a. Ray Manzarek On Vocals) can step in after it without the handoff feeling pre-chewed.

On The Soft Parade (50th Anniversary Deluxe Edition) (1969), Easy Ride (2019 Remaster) shows The Doors 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 The Soft Parade (50th Anniversary Deluxe Edition) 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 How Do You Sleep? (The Evolution Documentary) without borrowing the same emotional weight. It also leaves a lane for Roadhouse Blues (Screamin' Ray Daniels a.k.a. Ray Manzarek On Vocals) to arrive without the segue feeling forced.

Roadhouse Blues (Screamin' Ray Daniels a.k.a. Ray Manzarek On Vocals) keeps the soft parade (50th anniversary deluxe edition) 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 The Soft Parade (50th Anniversary Deluxe Edition) (1969), Roadhouse Blues (Screamin' Ray Daniels a.k.a. Ray Manzarek On Vocals) 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 The Soft Parade (50th Anniversary Deluxe Edition) 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 Easy Ride (2019 Remaster) without borrowing the same emotional weight.

A Clean Break (Let's Work) (Live; 2004 Remaster) by Talking Heads lands here because The Time Of The Barracudas (2022 Remaster) by Miles Davis and Black Rain by Soundgarden provide a sharp two-step after How Do You Sleep? (The Evolution Documentary) by John Lennon, keeping the feeling of quiet bloom while moving to the next horizon.. The pop, rock edge gives the turn a more precise contour than a plain mood match. The Time Of The Barracudas (2022 Remaster) 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 The Time Of The Barracudas (2022 Remaster) to arrive without the segue feeling forced.

The Time Of The Barracudas (2022 Remaster) 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 jazz edge gives the turn a more precise contour than a plain mood match. Black Rain can step in after it without the handoff feeling pre-chewed.

On Quiet Nights (2022), The Time Of The Barracudas (2022 Remaster) 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.

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 long-form piece that benefits from a middle segment to capture the listener's interest without overwhelming it.. Black Rain is waiting on the far side of that seam.

Black Rain answers The Time Of The Barracudas (2022 Remaster) by Miles Davis with a related tension instead of a copycat move, so the sequence keeps opening out. The pop, rock edge gives the turn a more precise contour than a plain mood match.

On Telephantasm (2010), Black Rain 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. You can hear how it answers The Time Of The Barracudas (2022 Remaster) without borrowing the same emotional weight.

September by Earth Wind And Fire lands here because Break of Dawn by Michael Jackson and How Do You Sleep? (The Evolution Documentary) by John Lennon provide a fresh arc after A Clean Break (Let's Work) (Live; 2004 Remaster) by Talking Heads, keeping the emotional pressure steady while changing the palette.. The funk edge gives the turn a more precise contour than a plain mood match. Break of Dawn can step in after it without the handoff feeling pre-chewed.

On The Best of Earth, Wind & Fire, Volume 1 (1978), September shows Earth Wind And Fire working in a 1970s pocket with funk 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 funk texture in the pocket, especially in the way the arrangement keeps color moving under the lead. It also leaves a lane for Break of Dawn to arrive without the segue feeling forced.

Break of Dawn answers September by Earth Wind And Fire 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. How Do You Sleep? (The Evolution Documentary) can step in after it without the handoff feeling pre-chewed.

On Number Ones (2003), Break of Dawn shows Michael Jackson working in a 2000s pocket with pop in the grain. The cut moves with a candlelit drift, which is why it can hold this turn without flattening it.

Listen for the pop texture in the pocket, especially in the way the arrangement keeps color moving under the lead. You can hear how it answers September without borrowing the same emotional weight. It also leaves a lane for How Do You Sleep? (The Evolution Documentary) to arrive without the segue feeling forced.

How Do You Sleep? (The Evolution Documentary) answers Break of Dawn by Michael Jackson 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 Imagine (1971), How Do You Sleep? (The Evolution Documentary) shows John Lennon 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 Break of Dawn without borrowing the same emotional weight.

Mercure by Satie lands here because One Way Traffic by Red Hot Chili Peppers and A Clean Break (Let's Work) (Live; 2004 Remaster) by Talking Heads provide a fresh turn while maintaining the emotional arc.. The classical edge gives the turn a more precise contour than a plain mood match. One Way Traffic can step in after it without the handoff feeling pre-chewed.

On Complete Piano Works, Volume 8 (1995), Mercure shows Satie working in a 1990s pocket with classical in the grain. The cut moves with a steady shoulder-roll, which is why it can hold this turn without flattening it.

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

One Way Traffic answers Mercure by Satie with a related tension instead of a copycat move, so the sequence keeps opening out. The alternative-rock edge gives the turn a more precise contour than a plain mood match. A Clean Break (Let's Work) (Live; 2004 Remaster) can step in after it without the handoff feeling pre-chewed.

On Unlimited Love (2022), One Way Traffic 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 Mercure 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 One Way Traffic by Red Hot Chili Peppers 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 One Way Traffic without borrowing the same emotional weight.

Xxplosive by Dr. Dre Featuring Hittman, Kurupt, Nate Dogg & Six-2 lands here because Nineteen Hundred And Eighty Five (Rough Mix) by Paul McCartney & Wings keeps the emotional pressure steady after Mercure - Poses Plastiques: Deuxième Tableau, Colère De Cerbère by Satie and turns the color from 1990s into 2020s. It feels more like a shelf move than an obvious front-window pick, which keeps the deep-cuts promise intact. Compared with the last few turns, it changes the sentence enough to keep the hour feeling authored.. The hip hop edge gives the turn a more precise contour than a plain mood match. September can step in after it without the handoff feeling pre-chewed.

On 2001 (1999), Xxplosive shows Dr. Dre Featuring Hittman, Kurupt, Nate Dogg & Six-2 working in a 1990s pocket with hip hop 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 hip hop texture in the pocket, especially in the way the arrangement keeps color moving under the lead. It also leaves a lane for September to arrive without the segue feeling forced.

September 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. Nineteen Hundred And Eighty Five (Rough Mix) can step in after it without the handoff feeling pre-chewed.

On Sounds Of The Seventies - 1978: Take Two (1991), September shows Earth Wind And Fire working in a 1990s pocket with rock in the grain. The cut moves with a slow-burn glide, which is why it can hold this turn without flattening it. Inside Deep shelf drift, it reads as curation rather than stunt programming.

Listen for the rock texture in the pocket, especially in the way the arrangement keeps color moving under the lead. You can hear how it answers Xxplosive without borrowing the same emotional weight. It also leaves a lane for Nineteen Hundred And Eighty Five (Rough Mix) to arrive without the segue feeling forced.

Nineteen Hundred And Eighty Five (Rough Mix) 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 Band On The Run (50th Anniversary) (2) (2024), Nineteen Hundred And Eighty Five (Rough Mix) shows Paul McCartney & Wings 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. 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 September without borrowing the same emotional weight.

Lyrics to Go by A Tribe Called Quest lands here because keeps the emotional pressure steady after Pablo Picasso by David Bowie and turns the color from 2000s into 1990s.. The hip hop edge gives the turn a more precise contour than a plain mood match. Nabucco, Act III; Va, pensiero, ''Chorus of the Hebrew Slaves'' can step in after it without the handoff feeling pre-chewed.

On Oh My God (1993), Lyrics to Go shows A Tribe Called Quest working in a 1990s pocket with hip hop in the grain. The cut moves with a candlelit drift, which is why it can hold this turn without flattening it.

Listen for the hip hop texture in the pocket, especially in the way the arrangement keeps color moving under the lead. It also leaves a lane for Nabucco, Act III; Va, pensiero, ''Chorus of the Hebrew Slaves'' to arrive without the segue feeling forced.

Nabucco, Act III; Va, pensiero, ''Chorus of the Hebrew Slaves'' answers Lyrics to Go by A Tribe Called Quest 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. Mercure - Poses Plastiques: Deuxième Tableau, Colère De Cerbère can step in after it without the handoff feeling pre-chewed.

On 101 Classics - CD 3 (8) Mighty Choruses (2008), Nabucco, Act III; Va, pensiero, ''Chorus of the Hebrew Slaves'' shows Slovak Philharmonic Chorus, Slovak Radio Symphony Orchestra, Oliver Dohnanyi working in a 2000s pocket with classical in the grain. The cut moves with a slow-burn glide, which is why it can hold this turn without flattening it.

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 Lyrics to Go without borrowing the same emotional weight. 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 Nabucco, Act III; Va, pensiero, ''Chorus of the Hebrew Slaves'' by Slovak Philharmonic Chorus, Slovak Radio Symphony Orchestra, Oliver Dohnanyi with a related tension instead of a copycat move, so the sequence keeps opening out. The classical edge gives the turn a more precise contour than a plain mood match.

On Complete Piano Works, Volume 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 Nabucco, Act III; Va, pensiero, ''Chorus of the Hebrew Slaves'' without borrowing the same emotional weight.