Session notes from the booth.

Black Hole Sun (Album Version) by Soundgarden lands here because This sharp two-step keeps the emotional pressure steady after Atlantic City and introduces a new flavor without being too abrupt.. The pop, rock edge gives the turn a more precise contour than a plain mood match. Rope can step in after it without the handoff feeling pre-chewed.

On Superunknown (1994), Black Hole Sun (Album Version) shows Soundgarden working in a 1990s 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 Rope to arrive without the segue feeling forced.

Rope answers Black Hole Sun (Album Version) 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. I’ll Follow the Sun can step in after it without the handoff feeling pre-chewed.

On Wasting Light (2011), Rope shows Foo Fighters 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 Black Hole Sun (Album Version) without borrowing the same emotional weight. It also leaves a lane for I’ll Follow the Sun to arrive without the segue feeling forced.

I’ll Follow the Sun answers Rope by Foo Fighters 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 Beatles for Sale (1964), I’ll Follow the Sun 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 Rope without borrowing the same emotional weight.

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

On Beethoven. Piano Sonatas Nos. 1, 2, 3 (2008), Piano Sonata No.1 in F Minor Op.2 shows Mari Kodama working in a 2000s pocket with classical in the grain. The cut moves with a steady shoulder-roll, which is why it can hold this turn without flattening it.

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

The Getaway answers Piano Sonata No.1 in F Minor Op.2 by Mari Kodama with a related tension instead of a copycat move, so the sequence keeps opening out. The alternative-rock edge gives the turn a more precise contour than a plain mood match. Atlantic City can step in after it without the handoff feeling pre-chewed.

On The Getaway (2016), The Getaway shows Red Hot Chili Peppers working in a 2010s pocket with alternative-rock in the grain. The cut moves with a slow-burn glide, which is why it can hold this turn without flattening it.

Listen for the alternative-rock texture in the pocket, especially in the way the arrangement keeps color moving under the lead. You can hear how it answers Piano Sonata No.1 in F Minor Op.2 without borrowing the same emotional weight. It also leaves a lane for Atlantic City to arrive without the segue feeling forced.

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

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

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

Miles Ahead (Mono Master) by Miles Davis & Gil Evans lands here because Aftermath by R.E.M. keeps the emotional pressure steady after Piano Sonata No.1 in F Minor Op.2 - II. Adagio by Mari Kodama and changes the palette without cutting the thread.. The jazz edge gives the turn a more precise contour than a plain mood match. Aftermath can step in after it without the handoff feeling pre-chewed.

On 1986-1991: The Warner Years (CD4) (2011), Miles Ahead (Mono Master) shows Miles Davis & Gil Evans 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. 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. It also leaves a lane for Aftermath to arrive without the segue feeling forced.

Aftermath 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. Black Hole Sun (Album Version) can step in after it without the handoff feeling pre-chewed.

On Around The Sun (2004), Aftermath 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. 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 Miles Ahead (Mono Master) without borrowing the same emotional weight. It also leaves a lane for Black Hole Sun (Album Version) to arrive without the segue feeling forced.

Black Hole Sun (Album Version) keeps deep shelf drift honest by sounding like a real choice inside that lane, not a decorative gesture. The pop, rock edge gives the turn a more precise contour than a plain mood match.

On Telephantasm (2010), Black Hole Sun (Album Version) 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. Inside Deep shelf drift, it reads as curation rather than stunt programming.

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

The Jam Session by Miles Davis lands here because Requiem in D Minor, K. 626: Xv. Lux Aeterna by Wolfgang Amadeus Mozart and Piano Sonata No.1 in F Minor Op.2 - II. Adagio by Mari Kodama provide a fresh turn after Je Te Veux by Satie without cutting the thread.. The jazz edge gives the turn a more precise contour than a plain mood match. Requiem in D Minor, K. 626: Xv. Lux Aeterna can step in after it without the handoff feeling pre-chewed.

On 1986-1991: The Warner Years (CD2) (2011), The Jam Session shows Miles Davis working in a 2010s pocket with jazz in the grain. The cut moves with a slow-burn glide, which is why it can hold this turn without flattening it.

Listen for the jazz texture in the pocket, especially in the way the arrangement keeps color moving under the lead. It also leaves a lane for Requiem in D Minor, K. 626: Xv. Lux Aeterna to arrive without the segue feeling forced.

Requiem in D Minor, K. 626: Xv. Lux Aeterna answers The Jam Session by Miles Davis 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. Piano Sonata No.1 in F Minor Op.2 - II. Adagio can step in after it without the handoff feeling pre-chewed.

On Requiem: Reconstruction of First Performance (2014), Requiem in D Minor, K. 626: Xv. Lux Aeterna 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 The Jam Session without borrowing the same emotional weight. It also leaves a lane for Piano Sonata No.1 in F Minor Op.2 - II. Adagio to arrive without the segue feeling forced.

Piano Sonata No.1 in F Minor Op.2 - II. Adagio answers Requiem in D Minor, K. 626: Xv. Lux Aeterna by Wolfgang Amadeus Mozart 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 Beethoven. Piano Sonatas Nos. 1, 2, 3 (2008), Piano Sonata No.1 in F Minor Op.2 - II. Adagio shows Mari Kodama 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 Requiem in D Minor, K. 626: Xv. Lux Aeterna without borrowing the same emotional weight.

If She Knew What She Wants (Extended Remix) by Bangles lands here because Miles Ahead (Mono Master) by Miles Davis & Gil Evans and Je Te Veux by Satie provide a smooth emotional arc, keeping the station's mood steady while offering fresh turns.. The pop/rock edge gives the turn a more precise contour than a plain mood match. Miles Ahead (Mono Master) can step in after it without the handoff feeling pre-chewed.

On Gold (2) (2020), If She Knew What She Wants (Extended Remix) shows Bangles working in a 2020s pocket with pop/rock in the grain. The cut moves with a candlelit drift, which is why it can hold this turn without flattening it.

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 Miles Ahead (Mono Master) to arrive without the segue feeling forced.

Miles Ahead (Mono Master) answers If She Knew What She Wants (Extended Remix) by Bangles 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. Je Te Veux can step in after it without the handoff feeling pre-chewed.

On The Complete Columbia Studio Recordings [Disc 6] (2004), Miles Ahead (Mono Master) shows Miles Davis & Gil Evans working in a 2000s 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 If She Knew What She Wants (Extended Remix) without borrowing the same emotional weight. It also leaves a lane for Je Te Veux to arrive without the segue feeling forced.

Je Te Veux answers Miles Ahead (Mono Master) by Miles Davis & Gil Evans 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 3 (1994), Je Te Veux 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 Miles Ahead (Mono Master) without borrowing the same emotional weight.

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

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

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

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

On The Human Fear (2025), Build It Up shows Franz Ferdinand working in a 2020s pocket with alternative & indie in the grain. The cut moves with a slow-burn glide, which is why it can hold this turn without flattening it.

Listen for the alternative & indie texture in the pocket, especially in the way the arrangement keeps color moving under the lead. You can hear how it answers Don't Let The Sun Go Down On Me without borrowing the same emotional weight. It also leaves a lane for The Jam Session to arrive without the segue feeling forced.

The Jam Session answers Build It Up by Franz Ferdinand with a related tension instead of a copycat move, so the sequence keeps opening out. The jazz edge gives the turn a more precise contour than a plain mood match.

On 1986-1991: The Warner Years (CD2) (2011), The Jam Session shows Miles Davis working in a 2010s pocket with jazz in the grain. The cut moves with a slow-burn glide, which is why it can hold this turn without flattening it.

Listen for the jazz texture in the pocket, especially in the way the arrangement keeps color moving under the lead. You can hear how it answers Build It Up without borrowing the same emotional weight.

Clothes Line Saga by Bob Dylan & the Band lands here because A Clean Break (Let's Work) by Talking Heads and If She Knew What She Wants by Bangles provide a smooth emotional arc that keeps the station moving forward.. The folk rock edge gives the turn a more precise contour than a plain mood match. A Clean Break (Let's Work) (Live at CBGB's, 10/10/77) can step in after it without the handoff feeling pre-chewed.

On The Basement Tapes (1975), Clothes Line Saga shows Bob Dylan & the Band working in a 1970s pocket with folk 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 folk 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 at CBGB's, 10/10/77) to arrive without the segue feeling forced.

A Clean Break (Let's Work) (Live at CBGB's, 10/10/77) answers Clothes Line Saga by Bob Dylan & the Band 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. If She Knew What She Wants (Extended Remix) can step in after it without the handoff feeling pre-chewed.

On Bonus Rarities & Outtakes (2006), A Clean Break (Let's Work) (Live at CBGB's, 10/10/77) shows Talking Heads working in a 2000s pocket with pop, rock in the grain. The cut moves with a 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 Clothes Line Saga without borrowing the same emotional weight. It also leaves a lane for If She Knew What She Wants (Extended Remix) to arrive without the segue feeling forced.

If She Knew What She Wants (Extended Remix) answers A Clean Break (Let's Work) (Live at CBGB's, 10/10/77) by Talking Heads with a related tension instead of a copycat move, so the sequence keeps opening out. The pop/rock edge gives the turn a more precise contour than a plain mood match.

On Gold (3) (2020), If She Knew What She Wants (Extended Remix) shows Bangles 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 A Clean Break (Let's Work) (Live at CBGB's, 10/10/77) without borrowing the same emotional weight.

I'm Beginning To See The Light by Frank Sinatra lands here because it keeps the soulful / sun-on-concrete glow pull alive without sanding off the grain that makes this hour interesting. The jazz edge gives the turn a more precise contour than a plain mood match. Concrete Jungle can step in after it without the handoff feeling pre-chewed.

On Sinatra And Swingin' Brass (2014), I'm Beginning To See The Light shows Frank Sinatra working in a 2010s pocket with jazz in the grain. The cut moves with a slow-burn glide, which is why it can hold this turn without flattening it. 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. It also leaves a lane for Concrete Jungle to arrive without the segue feeling forced.

Concrete Jungle keeps deep shelf drift honest by sounding like a real choice inside that lane, not a decorative gesture. The reggae edge gives the turn a more precise contour than a plain mood match. Don't Let The Sun Go Down On Me can step in after it without the handoff feeling pre-chewed.

On Catch a Fire (1973), Concrete Jungle shows Bob Marley & the Wailers working in a 1970s pocket with reggae 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 reggae texture in the pocket, especially in the way the arrangement keeps color moving under the lead. You can hear how it answers I'm Beginning To See The Light without borrowing the same emotional weight. It also leaves a lane for Don't Let The Sun Go Down On Me to arrive without the segue feeling forced.

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

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

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

Finale by Daft Punk lands here because Light of Some Kind by Ani Difranco and Clothes Line Saga by Bob Dylan & the Band maintain the emotional arc while introducing a fresh turn. They feel more like shelf moves than obvious front-window picks, keeping the deep-cuts promise intact.. The electronic / leftfield edge gives the turn a more precise contour than a plain mood match. Light of Some Kind can step in after it without the handoff feeling pre-chewed.

On Tron: Legacy (Original Motion Picture Soundtrack) (18), Finale shows Daft Punk working in a 10s pocket with electronic / leftfield in the grain. The cut moves with a slow-burn glide, which is why it can hold this turn without flattening it. Inside Deep shelf drift, 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. It also leaves a lane for Light of Some Kind to arrive without the segue feeling forced.

Light of Some Kind keeps deep shelf drift honest by sounding like a real choice inside that lane, not a decorative gesture. The folk rock edge gives the turn a more precise contour than a plain mood match. Clothes Line Saga can step in after it without the handoff feeling pre-chewed.

On Not a Pretty Girl (1995), Light of Some Kind shows Ani Difranco working in a 1990s pocket with folk 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 folk rock texture in the pocket, especially in the way the arrangement keeps color moving under the lead. You can hear how it answers Finale without borrowing the same emotional weight. It also leaves a lane for Clothes Line Saga to arrive without the segue feeling forced.

Clothes Line Saga keeps deep shelf drift honest by sounding like a real choice inside that lane, not a decorative gesture. The folk rock edge gives the turn a more precise contour than a plain mood match.

On The Basement Tapes (1975), Clothes Line Saga shows Bob Dylan & the Band working in a 1970s pocket with folk 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 folk rock texture in the pocket, especially in the way the arrangement keeps color moving under the lead. You can hear how it answers Light of Some Kind without borrowing the same emotional weight.

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

On Reveal (2001), I'll Take The Rain shows R.E.M. working in a 2000s pocket with rock in the grain. The cut moves with a slow-burn glide, which is why it can hold this turn without flattening it.

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

Bastards Of Light answers I'll Take The Rain by R.E.M. with a related tension instead of a copycat move, so the sequence keeps opening out. The alternative-rock edge gives the turn a more precise contour than a plain mood match. I'm Beginning To See The Light can step in after it without the handoff feeling pre-chewed.

On Unlimited Love (2022), Bastards Of Light shows Red Hot Chili Peppers working in a 2020s pocket with alternative-rock in the grain. The cut moves with a slow-burn glide, which is why it can hold this turn without flattening it.

Listen for the alternative-rock texture in the pocket, especially in the way the arrangement keeps color moving under the lead. You can hear how it answers I'll Take The Rain without borrowing the same emotional weight. It also leaves a lane for I'm Beginning To See The Light to arrive without the segue feeling forced.

I'm Beginning To See The Light answers Bastards Of Light by Red Hot Chili Peppers with a related tension instead of a copycat move, so the sequence keeps opening out. The jazz edge gives the turn a more precise contour than a plain mood match.

On Sinatra And Swingin' Brass (2014), I'm Beginning To See The Light shows Frank Sinatra working in a 2010s pocket with jazz in the grain. The cut moves with a slow-burn glide, which is why it can hold this turn without flattening it.

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

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

On The Very Best Of (2003), Wasted Time shows Eagles working in a 2000s pocket with rock in the grain. The cut moves with a slow-burn glide, which is why it can hold this turn without flattening it. Inside House pocket, it reads as curation rather than stunt programming.

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

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

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

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

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

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

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

I Got a Line on You by Spirit lands here because Mean Mr. Mustard by The Beatles followed by I'll Take The Rain by R.E.M. keeps the emotional pressure steady after Wasted Time by Eagles and changes the sentence enough to keep the hour feeling authored.. The rock / psychedelic rock edge gives the turn a more precise contour than a plain mood match. Mean Mr. Mustard can step in after it without the handoff feeling pre-chewed.

On The Psychedelic Years 1966-1969 (1990), I Got a Line on You shows Spirit working in a 1990s pocket with rock / 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 rock / psychedelic rock texture in the pocket, especially in the way the arrangement keeps color moving under the lead. It also leaves a lane for Mean Mr. Mustard to arrive without the segue feeling forced.

Mean Mr. Mustard answers I Got a Line on You by Spirit with a related tension instead of a copycat move, so the sequence keeps opening out. The rock edge gives the turn a more precise contour than a plain mood match. I'll Take The Rain can step in after it without the handoff feeling pre-chewed.

On Abbey Road (1969), Mean Mr. Mustard shows The Beatles working in a 1960s pocket with rock in the grain. The cut moves with a slow-burn glide, which is why it can hold this turn without flattening it.

Listen for the rock texture in the pocket, especially in the way the arrangement keeps color moving under the lead. You can hear how it answers I Got a Line on You without borrowing the same emotional weight. It also leaves a lane for I'll Take The Rain to arrive without the segue feeling forced.

I'll Take The Rain answers Mean Mr. Mustard by The Beatles with a related tension instead of a copycat move, so the sequence keeps opening out. The rock edge gives the turn a more precise contour than a plain mood match.

On Reveal (2001), I'll Take The Rain shows R.E.M. working in a 2000s pocket with rock in the grain. The cut moves with a slow-burn glide, which is why it can hold this turn without flattening it.

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

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

On Once in a Lifetime: The Talking Heads Box (2003), A Clean Break (Let's Work) (Live at CBGB's, 10/10/77) shows Talking Heads working in a 2000s pocket with pop, rock in the grain. The cut moves with a bright electric charge, which is why it can hold this turn without flattening it.

Listen for the pop, rock texture in the pocket, especially in the way the arrangement keeps color moving under the lead. It also leaves a lane for One of Us Must Know (Sooner or Later) (Live at Nippon Budokan Hall, Tokyo, Japan - March 1, 1978) to arrive without the segue feeling forced.

One of Us Must Know (Sooner or Later) (Live at Nippon Budokan Hall, Tokyo, Japan - March 1, 1978) answers A Clean Break (Let's Work) (Live at CBGB's, 10/10/77) by Talking Heads with a related tension instead of a copycat move, so the sequence keeps opening out. The rock edge gives the turn a more precise contour than a plain mood match. Wasted Time can step in after it without the handoff feeling pre-chewed.

On The Complete Budokan 1978 (2023), One of Us Must Know (Sooner or Later) (Live at Nippon Budokan Hall, Tokyo, Japan - March 1, 1978) shows Bob Dylan working in a 2020s pocket with rock in the grain. The cut moves with a slow-burn glide, which is why it can hold this turn without flattening it.

Listen for the rock texture in the pocket, especially in the way the arrangement keeps color moving under the lead. You can hear how it answers A Clean Break (Let's Work) (Live at CBGB's, 10/10/77) without borrowing the same emotional weight. It also leaves a lane for Wasted Time to arrive without the segue feeling forced.

Wasted Time answers One of Us Must Know (Sooner or Later) (Live at Nippon Budokan Hall, Tokyo, Japan - March 1, 1978) by Bob Dylan with a related tension instead of a copycat move, so the sequence keeps opening out. The rock edge gives the turn a more precise contour than a plain mood match.

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

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

Fresh Out The Slammer by Taylor Swift lands here because The Spirit Of Radio (Album Version) by Rush and I Got a Line on You by Spirit provide a smooth transition from Slaves & Bulldozers (Remastered) by Soundgarden, maintaining the emotional arc while introducing new elements.. The pop, rock edge gives the turn a more precise contour than a plain mood match. The Spirit Of Radio (Album Version) can step in after it without the handoff feeling pre-chewed.

On THE TORTURED POETS DEPARTMENT: THE ANTHOLOGY (2024), Fresh Out The Slammer shows Taylor Swift working in a 2020s pocket with pop, rock in the grain. The cut moves with a steady shoulder-roll, which is why it can hold this turn without flattening it.

Listen for the pop, rock texture in the pocket, especially in the way the arrangement keeps color moving under the lead. It also leaves a lane for The Spirit Of Radio (Album Version) to arrive without the segue feeling forced.

The Spirit Of Radio (Album Version) answers Fresh Out The Slammer by Taylor Swift 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. I Got a Line on You can step in after it without the handoff feeling pre-chewed.

On Permanent Waves (1980), The Spirit Of Radio (Album Version) shows Rush 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 Fresh Out The Slammer without borrowing the same emotional weight. It also leaves a lane for I Got a Line on You to arrive without the segue feeling forced.

I Got a Line on You answers The Spirit Of Radio (Album Version) by Rush with a related tension instead of a copycat move, so the sequence keeps opening out. The rock / psychedelic rock edge gives the turn a more precise contour than a plain mood match.

On The Psychedelic Years 1966-1969 (1990), I Got a Line on You shows Spirit working in a 1990s pocket with rock / 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 rock / psychedelic rock texture in the pocket, especially in the way the arrangement keeps color moving under the lead. You can hear how it answers The Spirit Of Radio (Album Version) without borrowing the same emotional weight.

Maybe I*m Amazed (2011 Remaster) by Paul McCartney lands here because Slaves & Bulldozers (Remastered) by Soundgarden keeps the emotional pressure steady after Fresh Out The Slammer by Taylor Swift and keeps pop, rock in the grain.. The pop, rock edge gives the turn a more precise contour than a plain mood match. A Clean Break (Let's Work) (Live at CBGB's, 10/10/77) can step in after it without the handoff feeling pre-chewed.

On McCartney (1970), Maybe I*m Amazed (2011 Remaster) shows Paul McCartney 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 at CBGB's, 10/10/77) to arrive without the segue feeling forced.

A Clean Break (Let's Work) (Live at CBGB's, 10/10/77) answers Maybe I*m Amazed (2011 Remaster) by Paul McCartney 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. Slaves & Bulldozers (Remastered) can step in after it without the handoff feeling pre-chewed.

On Bonus Rarities & Outtakes (2006), A Clean Break (Let's Work) (Live at CBGB's, 10/10/77) shows Talking Heads working in a 2000s pocket with pop, rock in the grain. The cut moves with a 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 Maybe I*m Amazed (2011 Remaster) without borrowing the same emotional weight. It also leaves a lane for Slaves & Bulldozers (Remastered) to arrive without the segue feeling forced.

Slaves & Bulldozers (Remastered) answers A Clean Break (Let's Work) (Live at CBGB's, 10/10/77) by Talking Heads with a related tension instead of a copycat move, so the sequence keeps opening out. The pop, rock edge gives the turn a more precise contour than a plain mood match.

On Badmotorfinger (1991), Slaves & Bulldozers (Remastered) 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 A Clean Break (Let's Work) (Live at CBGB's, 10/10/77) without borrowing the same emotional weight.

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

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

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

Let's Go Away Foe A While (Highlights from Tracking Date) answers Slow Cheetah by Red Hot Chili Peppers with a related tension instead of a copycat move, so the sequence keeps opening out. The pop edge gives the turn a more precise contour than a plain mood match. Fresh Out The Slammer can step in after it without the handoff feeling pre-chewed.

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

Listen for the pop texture in the pocket, especially in the way the arrangement keeps color moving under the lead. You can hear how it answers Slow Cheetah without borrowing the same emotional weight. It also leaves a lane for Fresh Out The Slammer to arrive without the segue feeling forced.

Fresh Out The Slammer answers Let's Go Away Foe A While (Highlights from Tracking Date) by The Beach Boys with a related tension instead of a copycat move, so the sequence keeps opening out. The pop, rock edge gives the turn a more precise contour than a plain mood match.

On THE TORTURED POETS DEPARTMENT: THE ANTHOLOGY (2024), Fresh Out The Slammer shows Taylor Swift working in a 2020s pocket with pop, rock in the grain. The cut moves with a steady shoulder-roll, which is why it can hold this turn without flattening it.

Listen for the pop, rock texture in the pocket, especially in the way the arrangement keeps color moving under the lead. You can hear how it answers Let's Go Away Foe A While (Highlights from Tracking Date) without borrowing the same emotional weight.

Nocturne by Daft Punk lands here because Lay Down Sally by Eric Clapton provides a fresh turn after Slide by Slave, setting up an emotional arc that builds from the soulful and current.. The electronic / leftfield edge gives the turn a more precise contour than a plain mood match. Lay Down Sally can step in after it without the handoff feeling pre-chewed.

On Tron: Legacy (Original Motion Picture Soundtrack) (18), Nocturne 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.

Listen for the electronic / leftfield texture in the pocket, especially in the way the arrangement keeps color moving under the lead. It also leaves a lane for Lay Down Sally to arrive without the segue feeling forced.

Lay Down Sally answers Nocturne by Daft Punk 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. Maybe I’m Amazed (2011 Remaster) can step in after it without the handoff feeling pre-chewed.

On Slowhand (1977), Lay Down Sally shows Eric Clapton 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 Nocturne without borrowing the same emotional weight. It also leaves a lane for Maybe I’m Amazed (2011 Remaster) to arrive without the segue feeling forced.

Maybe I’m Amazed (2011 Remaster) answers Lay Down Sally by Eric Clapton 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 McCartney (1970), Maybe I’m Amazed (2011 Remaster) shows Paul McCartney 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 Lay Down Sally without borrowing the same emotional weight.

Wild Eyed Boy From Freecloud by David Bowie lands here because Sunrise Prelude by Daft Punk keeps the emotional pressure steady after Nocturne and maintains electronic/leftfield in the grain.. The art rock edge gives the turn a more precise contour than a plain mood match. Slow Cheetah can step in after it without the handoff feeling pre-chewed.

On Moonage Daydream: A Film by Brett Morgen (2022), Wild Eyed Boy From Freecloud shows David Bowie working in a 2020s pocket with art 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 art rock texture in the pocket, especially in the way the arrangement keeps color moving under the lead. It also leaves a lane for Slow Cheetah to arrive without the segue feeling forced.

Slow Cheetah answers Wild Eyed Boy From Freecloud by David Bowie 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. Slide can step in after it without the handoff feeling pre-chewed.

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

Listen for the alternative-rock texture in the pocket, especially in the way the arrangement keeps color moving under the lead. You can hear how it answers Wild Eyed Boy From Freecloud without borrowing the same emotional weight. It also leaves a lane for Slide to arrive without the segue feeling forced.

Slide answers Slow Cheetah by Red Hot Chili Peppers with a related tension instead of a copycat move, so the sequence keeps opening out. The soul, funk, r&b edge gives the turn a more precise contour than a plain mood match.

On Slave (1977), Slide shows Slave working in a 1970s pocket with soul, funk, r&b in the grain. The cut moves with a steady shoulder-roll, which is why it can hold this turn without flattening it.

Listen for the soul, funk, r&b texture in the pocket, especially in the way the arrangement keeps color moving under the lead. You can hear how it answers Slow Cheetah without borrowing the same emotional weight.

Slow Burn by David Bowie lands here because Keeps the emotional pressure steady after Wild Eyed Boy From Freecloud by David Bowie and turns the color from 1960s into 10s. Daft Punk keeps the close-up honest, so the special reads like a deliberate stay instead of a gimmick.. The art rock edge gives the turn a more precise contour than a plain mood match. Castor can step in after it without the handoff feeling pre-chewed.

On Heathen (2002), Slow Burn shows David Bowie working in a 2000s pocket with art rock in the grain. The cut moves with a steady shoulder-roll, which is why it can hold this turn without flattening it. Inside Daft Punk close-up, it reads as curation rather than stunt programming.

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

Castor keeps daft punk close-up 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. Nocturne can step in after it without the handoff feeling pre-chewed.

On Tron: Legacy (Original Motion Picture Soundtrack) (18), Castor 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 Daft Punk close-up, 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 Slow Burn without borrowing the same emotional weight. It also leaves a lane for Nocturne to arrive without the segue feeling forced.

Nocturne keeps daft punk close-up 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), Nocturne 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 Daft Punk close-up, 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 Castor without borrowing the same emotional weight.

Draggin' The Line by Tommy James lands here because keeps the emotional pressure steady after Slow Burn by David Bowie and keeps art rock in the grain.. 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 Sounds Of The Seventies - 1971: Take Two (1990), Draggin' The Line shows Tommy James 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. It also leaves a lane for Honey Pie to arrive without the segue feeling forced.

Honey Pie answers Draggin' The Line by Tommy James 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. Wild Eyed Boy From Freecloud can step in after it without the handoff feeling pre-chewed.

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

Listen for the rock texture in the pocket, especially in the way the arrangement keeps color moving under the lead. You can hear how it answers Draggin' The Line without borrowing the same emotional weight. It also leaves a lane for Wild Eyed Boy From Freecloud to arrive without the segue feeling forced.

Wild Eyed Boy From Freecloud answers Honey Pie by The Beatles 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.

On Man of Words/Man of Music (1969), Wild Eyed Boy From Freecloud shows David Bowie working in a 1960s pocket with art 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 art rock texture in the pocket, especially in the way the arrangement keeps color moving under the lead. You can hear how it answers Honey Pie without borrowing the same emotional weight.

Show And Tell by Al Wilson lands here because Miles Ahead (Mono Master) by Miles Davis & Gil Evans states the thesis, and Slow Burn by David Bowie answers it with a fresh turn.. The rock edge gives the turn a more precise contour than a plain mood match. Miles Ahead (Mono Master) can step in after it without the handoff feeling pre-chewed.

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. It also leaves a lane for Miles Ahead (Mono Master) to arrive without the segue feeling forced.

Miles Ahead (Mono Master) answers Show And Tell by Al Wilson 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. Slow Burn can step in after it without the handoff feeling pre-chewed.

On The Complete Columbia Studio Recordings [Disc 6] (2004), Miles Ahead (Mono Master) shows Miles Davis & Gil Evans working in a 2000s 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 Show And Tell without borrowing the same emotional weight. It also leaves a lane for Slow Burn to arrive without the segue feeling forced.

Slow Burn answers Miles Ahead (Mono Master) by Miles Davis & Gil Evans 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.

On Heathen (2002), Slow Burn shows David Bowie working in a 2000s pocket with art 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 art rock texture in the pocket, especially in the way the arrangement keeps color moving under the lead. You can hear how it answers Miles Ahead (Mono Master) without borrowing the same emotional weight.

A Thousand Days Before (Live From The Artists Den) by Soundgarden lands here because Draggin' The Line by Tommy James keeps the emotional pressure steady after Show And Tell by Al Wilson and keeps rock in the grain.. The pop, rock edge gives the turn a more precise contour than a plain mood match. Draggin' The Line can step in after it without the handoff feeling pre-chewed.

On King Animal (2012), A Thousand Days Before (Live From The Artists Den) shows Soundgarden working in a 2010s pocket with pop, rock in the grain. The cut moves with a candlelit drift, which is why it can hold this turn without flattening it.

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 Draggin' The Line to arrive without the segue feeling forced.

Draggin' The Line 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. Around The Sun can step in after it without the handoff feeling pre-chewed.

On Sounds Of The Seventies - 1971: Take Two (1990), Draggin' The Line shows Tommy James 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 A Thousand Days Before (Live From The Artists Den) without borrowing the same emotional weight. It also leaves a lane for Around The Sun to arrive without the segue feeling forced.

Around The Sun answers Draggin' The Line by Tommy James 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 Around The Sun (2004), Around The Sun 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 Draggin' The Line without borrowing the same emotional weight.