Session notes from the booth.

Thank You Friends by Big Star lands here because keeps the emotional pressure steady after Rock 'n' Roll With Me (Live) by David Bowie and turns the color from 2020s into 1960s. The Beatles 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. The Prophet Returns can step in after it without the handoff feeling pre-chewed.

On Sounds Of The Seventies - Punk And New Wave (1993), Thank You Friends shows Big Star 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 The Prophet Returns to arrive without the segue feeling forced.

The Prophet Returns answers Thank You Friends by Big Star 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. Here Comes the Sun can step in after it without the handoff feeling pre-chewed.

On Prophet (2022), The Prophet Returns shows The Sun Ra Arkestra working in a 2020s pocket with jazz in the grain. The cut moves with a slow-burn glide, which is why it can hold this turn without flattening it.

This one is airing as a clipped passage, so listen for the section Mr Rassy chose to stand in for the whole piece. The choice was deliberate: The Prophet Returns is an album-side suite that benefits from a clipped opening to maintain the listener's interest without overwhelming the set.. Here Comes the Sun is waiting on the far side of that seam.

Here Comes the Sun answers The Prophet Returns by The Sun Ra Arkestra with a related tension instead of a copycat move, so the sequence keeps opening out. The rock edge gives the turn a more precise contour than a plain mood match.

On Abbey Road (1969), Here Comes 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 The Prophet Returns without borrowing the same emotional weight.

I Want To Be The Boy To Warm Your Mother's Heart (Live at The Aragon Ballroom, July 2, 2003) by The White Stripes lands here because David Bowie keeps the emotional pressure steady after Thank You Friends by Big Star and turns the color from 1990s into 2020s.. The pop, rock, alternatif et indé edge gives the turn a more precise contour than a plain mood match. Fooled Around and Fell in Love can step in after it without the handoff feeling pre-chewed.

On Elephant (2023), I Want To Be The Boy To Warm Your Mother's Heart (Live at The Aragon Ballroom, July 2, 2003) shows The White Stripes working in a 2020s pocket with pop, rock, alternatif et indé in the grain. The cut moves with a steady shoulder-roll, 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. It also leaves a lane for Fooled Around and Fell in Love to arrive without the segue feeling forced.

Fooled Around and Fell in Love answers I Want To Be The Boy To Warm Your Mother's Heart (Live at The Aragon Ballroom, July 2, 2003) by The White Stripes with a related tension instead of a copycat move, so the sequence keeps opening out. The classic rock edge gives the turn a more precise contour than a plain mood match. Rock ’n’ Roll With Me (Live) can step in after it without the handoff feeling pre-chewed.

On Sounds of the Seventies - '70s Gold (1998), Fooled Around and Fell in Love shows Elvin Bishop working in a 1990s pocket with classic rock in the grain. The cut moves with a slow-burn glide, which is why it can hold this turn without flattening it.

Listen for the classic rock texture in the pocket, especially in the way the arrangement keeps color moving under the lead. You can hear how it answers I Want To Be The Boy To Warm Your Mother's Heart (Live at The Aragon Ballroom, July 2, 2003) without borrowing the same emotional weight. It also leaves a lane for Rock ’n’ Roll With Me (Live) to arrive without the segue feeling forced.

Rock ’n’ Roll With Me (Live) answers Fooled Around and Fell in Love by Elvin Bishop 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 Moonage Daydream: A Film by Brett Morgen (2022), Rock ’n’ Roll With Me (Live) shows David Bowie working in a 2020s 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 Fooled Around and Fell in Love without borrowing the same emotional weight.

Doxy (From The Album Bags'Groove) by Miles Davis lands here because To maintain the emotional arc from Still Summer by Jamie xx into a soulful yet grounded feel.. The jazz edge gives the turn a more precise contour than a plain mood match. And It Stoned Me can step in after it without the handoff feeling pre-chewed.

On Bags' Groove (1957), Doxy (From The Album Bags'Groove) 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. It also leaves a lane for And It Stoned Me to arrive without the segue feeling forced.

And It Stoned Me answers Doxy (From The Album Bags'Groove) 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. Thank You Friends can step in after it without the handoff feeling pre-chewed.

On The Essential Van Morrison (1) (2015), And It Stoned Me shows Van Morrison 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 Doxy (From The Album Bags'Groove) without borrowing the same emotional weight. It also leaves a lane for Thank You Friends to arrive without the segue feeling forced.

Thank You Friends answers And It Stoned Me by Van Morrison 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 - Punk And New Wave (1993), Thank You Friends shows Big Star 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 And It Stoned Me without borrowing the same emotional weight.

Rock And Roll All Nite by Kiss lands here because Extend the feeling that follows Doxy (From The Album Bags'Groove) by Miles Davis without sounding automatic.. The pop, rock edge gives the turn a more precise contour than a plain mood match. I Want To Be The Boy To Warm Your Mother's Heart (Live at The Aragon Ballroom, July 2, 2003) can step in after it without the handoff feeling pre-chewed.

On Dressed To Kill (1975), Rock And Roll All Nite shows Kiss 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. Inside Deep shelf drift, it reads as curation rather than stunt programming.

Listen for the pop, rock texture in the pocket, especially in the way the arrangement keeps color moving under the lead. It also leaves a lane for I Want To Be The Boy To Warm Your Mother's Heart (Live at The Aragon Ballroom, July 2, 2003) to arrive without the segue feeling forced.

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

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

Listen for the pop, rock, alternatif et indé texture in the pocket, especially in the way the arrangement keeps color moving under the lead. You can hear how it answers Rock And Roll All Nite without borrowing the same emotional weight. It also leaves a lane for Still Summer to arrive without the segue feeling forced.

Still Summer keeps deep shelf drift honest by sounding like a real choice inside that lane, not a decorative gesture. The electronic edge gives the turn a more precise contour than a plain mood match.

On In Waves (2024), Still Summer shows Jamie xx working in a 2020s pocket with electronic in the grain. The cut moves with a slow-burn glide, which is why it can hold this turn without flattening it. Inside Deep shelf drift, it reads as curation rather than stunt programming.

Listen for the electronic texture in the pocket, especially in the way the arrangement keeps color moving under the lead. You can hear how it answers I Want To Be The Boy To Warm Your Mother's Heart (Live at The Aragon Ballroom, July 2, 2003) without borrowing the same emotional weight.

Let It Go by Bangles lands here because Extend the feeling that follows Rock And Roll All Nite by Kiss without sounding automatic.. The pop/rock edge gives the turn a more precise contour than a plain mood match. People of the Sun (Live, Mexico City, Mexico, October 28, 1999) can step in after it without the handoff feeling pre-chewed.

On Gold (1) (2020), Let It Go shows Bangles working in a 2020s pocket with pop/rock in the grain. The cut moves with a steady shoulder-roll, which is why it can hold this turn without flattening it.

Listen for the pop/rock texture in the pocket, especially in the way the arrangement keeps color moving under the lead. It also leaves a lane for People of the Sun (Live, Mexico City, Mexico, October 28, 1999) to arrive without the segue feeling forced.

People of the Sun (Live, Mexico City, Mexico, October 28, 1999) answers Let It Go by Bangles 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. Doxy (From The Album Bags'Groove) can step in after it without the handoff feeling pre-chewed.

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

Listen for the pop, rock texture in the pocket, especially in the way the arrangement keeps color moving under the lead. You can hear how it answers Let It Go without borrowing the same emotional weight. It also leaves a lane for Doxy (From The Album Bags'Groove) to arrive without the segue feeling forced.

Doxy (From The Album Bags'Groove) answers People of the Sun (Live, Mexico City, Mexico, October 28, 1999) by Rage Against The Machine with a related tension instead of a copycat move, so the sequence keeps opening out. The jazz edge gives the turn a more precise contour than a plain mood match.

On INTEGRAL MILES DAVIS 1951-1956 (2024), Doxy (From The Album Bags'Groove) shows Miles Davis working in a 2020s pocket with jazz in the grain. The cut moves with a steady shoulder-roll, which is why it can hold this turn without flattening it.

Listen for the jazz texture in the pocket, especially in the way the arrangement keeps color moving under the lead. You can hear how it answers People of the Sun (Live, Mexico City, Mexico, October 28, 1999) without borrowing the same emotional weight.

Rock And Roll Hoochie Koo by Rick Derringer lands here because After The Gold Rush (Live) by Neil Young & Crazy Horse keeps the emotional pressure steady after Let It Go by Bangles and changes the palette without cutting the thread. It's a 2020s record that fits well with the station's grain.. The rock edge gives the turn a more precise contour than a plain mood match. After The Gold Rush (Live) can step in after it without the handoff feeling pre-chewed.

On Sounds Of The Seventies - 1974: Take Two (1991), Rock And Roll Hoochie Koo shows Rick Derringer working in a 1990s pocket with rock in the grain. The cut moves with a candlelit drift, which is why it can hold this turn without flattening it.

Listen for the rock texture in the pocket, especially in the way the arrangement keeps color moving under the lead. It also leaves a lane for After The Gold Rush (Live) to arrive without the segue feeling forced.

After The Gold Rush (Live) answers Rock And Roll Hoochie Koo by Rick Derringer with a related tension instead of a copycat move, so the sequence keeps opening out. The country/folk/rock edge gives the turn a more precise contour than a plain mood match. Rock And Roll All Nite can step in after it without the handoff feeling pre-chewed.

On Archives, Vol. II: 1972–1976 (10) (2021), After The Gold Rush (Live) shows Neil Young & Crazy Horse working in a 2020s pocket with country/folk/rock in the grain. The cut moves with a steady shoulder-roll, which is why it can hold this turn without flattening it.

Listen for the country/folk/rock texture in the pocket, especially in the way the arrangement keeps color moving under the lead. You can hear how it answers Rock And Roll Hoochie Koo without borrowing the same emotional weight. It also leaves a lane for Rock And Roll All Nite to arrive without the segue feeling forced.

Rock And Roll All Nite answers After The Gold Rush (Live) by Neil Young & Crazy Horse 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 Dressed To Kill (1975), Rock And Roll All Nite shows Kiss working in a 1970s pocket with pop, rock in the grain. The cut moves with a steady shoulder-roll, which is why it can hold this turn without flattening it.

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

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

On Once in a Lifetime: The Talking Heads Box (2003), A Clean Break (Let's Work) (Live; 2004 Remaster) shows Talking Heads working in a 2000s pocket with pop, rock in the grain. The cut moves with a bright electric charge, which is why it can hold this turn without flattening it. Inside Deep shelf drift, it reads as curation rather than stunt programming.

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

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

On Sounds of the Seventies - '70s Gold (1998), Bad Girls shows Donna Summer working in a 1990s pocket with classic rock in the grain. The cut moves with a slow-burn glide, which is why it can hold this turn without flattening it. Inside Deep shelf drift, it reads as curation rather than stunt programming.

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

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

On Gold (1) (2020), Let It Go shows Bangles working in a 2020s pocket with pop/rock in the grain. The cut moves with a steady shoulder-roll, which is why it can hold this turn without flattening it. Inside Deep shelf drift, it reads as curation rather than stunt programming.

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

Rock 'N' Roll Fantasy by Bad Company lands here because Roll Over Beethoven (2023 Mix) by The Beatles and Rock And Roll Hoochie Koo by Rick Derringer provide a sharp two-step emotional arc, maintaining the station's mood while offering fresh turns.. The rock edge gives the turn a more precise contour than a plain mood match. Roll Over Beethoven (2023 Mix) can step in after it without the handoff feeling pre-chewed.

On Sounds Of The Seventies - 1979 (1990), Rock 'N' Roll Fantasy shows Bad Company working in a 1990s 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 Roll Over Beethoven (2023 Mix) to arrive without the segue feeling forced.

Roll Over Beethoven (2023 Mix) answers Rock 'N' Roll Fantasy by Bad Company with a related tension instead of a copycat move, so the sequence keeps opening out. The rock edge gives the turn a more precise contour than a plain mood match. Rock And Roll Hoochie Koo can step in after it without the handoff feeling pre-chewed.

On The Beatles 1962 – 1966 (2023 Edition) (2023), Roll Over Beethoven (2023 Mix) shows The Beatles working in a 2020s pocket with rock in the grain. The cut moves with a slow-burn glide, which is why it can hold this turn without flattening it.

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

Rock And Roll Hoochie Koo answers Roll Over Beethoven (2023 Mix) 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 Sounds Of The Seventies - 1974: Take Two (1991), Rock And Roll Hoochie Koo shows Rick Derringer working in a 1990s 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 Roll Over Beethoven (2023 Mix) without borrowing the same emotional weight.

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

On Around The Sun (2004), Electron Blue shows R.E.M. working in a 2000s pocket with rock in the grain. The cut moves with a steady shoulder-roll, which is why it can hold this turn without flattening it.

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

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

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

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

A Clean Break (Let's Work) (Live; 2004 Remaster) answers Honey Pie by The Beatles with a related tension instead of a copycat move, so the sequence keeps opening out. The alternative / indie rock edge gives the turn a more precise contour than a plain mood match.

On The Name of This Band Is Talking Heads (Expanded 2004 Remaster) (2004), A Clean Break (Let's Work) (Live; 2004 Remaster) shows Talking Heads working in a 2000s pocket with alternative / indie rock in the grain. The cut moves with a slow-burn glide, which is why it can hold this turn without flattening it.

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

Summer Wind by Frank Sinatra lands here because Keeps the emotional pressure steady and changes the palette without cutting the thread.. The jazz edge gives the turn a more precise contour than a plain mood match. Blueberry Hill can step in after it without the handoff feeling pre-chewed.

On Ultimate Sinatra (2015), Summer Wind shows Frank Sinatra working in a 2010s pocket with jazz in the grain. The cut moves with a candlelit drift, which is why it can hold this turn without flattening it.

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 Blueberry Hill to arrive without the segue feeling forced.

Blueberry Hill answers Summer Wind by Frank Sinatra with a related tension instead of a copycat move, so the sequence keeps opening out. The rock & roll edge gives the turn a more precise contour than a plain mood match. Rock 'N' Roll Fantasy can step in after it without the handoff feeling pre-chewed.

On Greatest Hits: Walking To New Orleans (2007), Blueberry Hill shows Fats Domino working in a 2000s pocket with rock & roll in the grain. The cut moves with a slow-burn glide, which is why it can hold this turn without flattening it.

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

Rock 'N' Roll Fantasy answers Blueberry Hill by Fats Domino 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 - 1979 (1990), Rock 'N' Roll Fantasy shows Bad Company working in a 1990s pocket with rock in the grain. The cut moves with a steady shoulder-roll, which is why it can hold this turn without flattening it.

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

But Not For Me (From The Album Bags'Groove) by Miles Davis lands here because Keeps the emotional pressure steady after Summer Wind by Frank Sinatra and changes the palette without cutting the thread.. The jazz edge gives the turn a more precise contour than a plain mood match. Never Lose Your Sense Of Humor can step in after it without the handoff feeling pre-chewed.

On Bags' Groove (1957), But Not For Me (From The Album Bags'Groove) 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. It also leaves a lane for Never Lose Your Sense Of Humor to arrive without the segue feeling forced.

Never Lose Your Sense Of Humor answers But Not For Me (From The Album Bags'Groove) by Miles Davis with a related tension instead of a copycat move, so the sequence keeps opening out. The r&b edge gives the turn a more precise contour than a plain mood match. Electron Blue can step in after it without the handoff feeling pre-chewed.

On The Ultimate Collection: To Remember (2016), Never Lose Your Sense Of Humor shows Donna Summer Feat. Paul Jabara working in a 2010s pocket with r&b in the grain. The cut moves with a candlelit drift, which is why it can hold this turn without flattening it.

Listen for the r&b texture in the pocket, especially in the way the arrangement keeps color moving under the lead. You can hear how it answers But Not For Me (From The Album Bags'Groove) without borrowing the same emotional weight. It also leaves a lane for Electron Blue to arrive without the segue feeling forced.

Electron Blue answers Never Lose Your Sense Of Humor by Donna Summer Feat. Paul Jabara 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), Electron Blue shows R.E.M. working in a 2000s pocket with rock in the grain. The cut moves with a steady shoulder-roll, which is why it can hold this turn without flattening it.

Listen for the rock texture in the pocket, especially in the way the arrangement keeps color moving under the lead. You can hear how it answers Never Lose Your Sense Of Humor without borrowing the same emotional weight.

Tear Drops by Lee Andrews & The Hearts lands here because it keeps the soulful / golden sway pull alive without sanding off the grain that makes this hour interesting. The doo-wop edge gives the turn a more precise contour than a plain mood match. Doxy (From The Album Bags'Groove) can step in after it without the handoff feeling pre-chewed.

On The Rock 'N' Roll Explosion (1955-1957) (1994), Tear Drops shows Lee Andrews & The Hearts working in a 1990s pocket with doo-wop 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 doo-wop texture in the pocket, especially in the way the arrangement keeps color moving under the lead. It also leaves a lane for Doxy (From The Album Bags'Groove) to arrive without the segue feeling forced.

Doxy (From The Album Bags'Groove) answers Tear Drops by Lee Andrews & The Hearts 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. Summer Wind can step in after it without the handoff feeling pre-chewed.

On INTEGRAL MILES DAVIS 1951-1956 (2024), Doxy (From The Album Bags'Groove) shows Miles Davis working in a 2020s pocket with jazz in the grain. The cut moves with a steady shoulder-roll, which is why it can hold this turn without flattening it.

Listen for the jazz texture in the pocket, especially in the way the arrangement keeps color moving under the lead. You can hear how it answers Tear Drops without borrowing the same emotional weight. It also leaves a lane for Summer Wind to arrive without the segue feeling forced.

Summer Wind answers Doxy (From The Album Bags'Groove) by Miles Davis with a related tension instead of a copycat move, so the sequence keeps opening out. The jazz edge gives the turn a more precise contour than a plain mood match.

On Ultimate Sinatra (2015), Summer Wind shows Frank Sinatra working in a 2010s pocket with jazz in the grain. The cut moves with a candlelit drift, which is why it can hold this turn without flattening it.

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 Doxy (From The Album Bags'Groove) without borrowing the same emotional weight.

This Velvet Glove by Red Hot Chili Peppers lands here because David Bowie's 'Rock ’n’ Roll With Me (Live)' and Miles Davis' 'But Not For Me (From The Album Bags'Groove)' provide a smooth emotional arc after Lee Andrews & The Hearts' 'Tear Drops', maintaining the station's warm gravity mood while offering new energy and perspective.. The rock edge gives the turn a more precise contour than a plain mood match. Rock ’n’ Roll With Me (Live) can step in after it without the handoff feeling pre-chewed.

On Californication (1999), This Velvet Glove shows Red Hot Chili Peppers working in a 1990s pocket with rock in the grain. The cut moves with a slow-burn glide, which is why it can hold this turn without flattening it.

Listen for the rock texture in the pocket, especially in the way the arrangement keeps color moving under the lead. It also leaves a lane for Rock ’n’ Roll With Me (Live) to arrive without the segue feeling forced.

Rock ’n’ Roll With Me (Live) answers This Velvet Glove by Red Hot Chili Peppers 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. But Not For Me (From The Album Bags'Groove) can step in after it without the handoff feeling pre-chewed.

On Moonage Daydream: A Film by Brett Morgen (2022), Rock ’n’ Roll With Me (Live) shows David Bowie working in a 2020s 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 This Velvet Glove without borrowing the same emotional weight. It also leaves a lane for But Not For Me (From The Album Bags'Groove) to arrive without the segue feeling forced.

But Not For Me (From The Album Bags'Groove) answers Rock ’n’ Roll With Me (Live) by David Bowie 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 INTEGRAL MILES DAVIS 1951-1956 (2024), But Not For Me (From The Album Bags'Groove) 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.

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 Rock ’n’ Roll With Me (Live) without borrowing the same emotional weight.

Gold by John Stewart lands here because Roll Right by Rage Against the Machine and Tear Drops by Lee Andrews & The Hearts provide a sharp two-step that maintains the emotional arc of the special set while keeping the era stamp alive.. The rock edge gives the turn a more precise contour than a plain mood match. Roll Right can step in after it without the handoff feeling pre-chewed.

On Sounds Of The Seventies - The Late '70s (1993), Gold shows John Stewart working in a 1990s 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. Inside 1990s pressure, it reads as curation rather than stunt programming.

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

Roll Right keeps 1990s pressure honest by sounding like a real choice inside that lane, not a decorative gesture. The alternative metal edge gives the turn a more precise contour than a plain mood match. Tear Drops can step in after it without the handoff feeling pre-chewed.

On Evil Empire (1996), Roll Right shows Rage Against the Machine working in a 1990s pocket with alternative metal in the grain. The cut moves with a slow-burn glide, which is why it can hold this turn without flattening it. Inside 1990s pressure, it reads as curation rather than stunt programming.

Listen for the alternative metal texture in the pocket, especially in the way the arrangement keeps color moving under the lead. You can hear how it answers Gold without borrowing the same emotional weight. It also leaves a lane for Tear Drops to arrive without the segue feeling forced.

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

On The Rock 'N' Roll Explosion (1955-1957) (1994), Tear Drops shows Lee Andrews & The Hearts working in a 1990s pocket with doo-wop in the grain. The cut moves with a slow-burn glide, which is why it can hold this turn without flattening it. Inside 1990s pressure, it reads as curation rather than stunt programming.

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

Honey Pie by The Beatles lands here because A Warm Place by Nine Inch Nails keeps the emotional pressure steady after Gold by John Stewart and changes the palette without cutting the thread. It aligns well with the hour's appetite for surprise.. The rock edge gives the turn a more precise contour than a plain mood match. A Warm Place can step in after it without the handoff feeling pre-chewed.

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

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

A Warm Place answers Honey Pie by The Beatles with a related tension instead of a copycat move, so the sequence keeps opening out. The industrial rock edge gives the turn a more precise contour than a plain mood match. This Velvet Glove can step in after it without the handoff feeling pre-chewed.

On The Downward Spiral (1994), A Warm Place shows Nine Inch Nails working in a 1990s pocket with industrial 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 industrial 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. It also leaves a lane for This Velvet Glove to arrive without the segue feeling forced.

This Velvet Glove answers A Warm Place by Nine Inch Nails 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 Californication (1999), This Velvet Glove shows Red Hot Chili Peppers working in a 1990s pocket with rock in the grain. The cut moves with a slow-burn glide, which is why it can hold this turn without flattening it.

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

Into Gold by London Grammar lands here because A Clean Break (Live) by Talking Heads maintains the emotional pressure steady after Honey Pie by The Beatles, keeping rock in the grain. It's one of Ian's steadier shelf presences, making it feel like a real hand.. The alternative & indie edge gives the turn a more precise contour than a plain mood match. A Clean Break (Live) can step in after it without the handoff feeling pre-chewed.

On The Greatest Love (2024), Into Gold shows London Grammar working in a 2020s pocket with alternative & indie in the grain. The cut moves with a steady shoulder-roll, which is why it can hold this turn without flattening it.

Listen for the alternative & indie texture in the pocket, especially in the way the arrangement keeps color moving under the lead. It also leaves a lane for A Clean Break (Live) to arrive without the segue feeling forced.

A Clean Break (Live) answers Into Gold by London Grammar 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. Gold can step in after it without the handoff feeling pre-chewed.

On Live: 77 (Live) (2019), A Clean Break (Live) shows Talking Heads working in a 2010s pocket with alternative / rock in the grain. The cut moves with a steady shoulder-roll, which is why it can hold this turn without flattening it.

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

Gold answers A Clean Break (Live) by Talking Heads with a related tension instead of a copycat move, so the sequence keeps opening out. The rock edge gives the turn a more precise contour than a plain mood match.

On Sounds Of The Seventies - The Late '70s (1993), Gold shows John Stewart working in a 1990s pocket with rock in the grain. The cut moves with a steady shoulder-roll, which is why it can hold this turn without flattening it.

Listen for the rock texture in the pocket, especially in the way the arrangement keeps color moving under the lead. You can hear how it answers A Clean Break (Live) without borrowing the same emotional weight.

Eternal Flame by Bangles lands here because Roll Out The Barrel (Live) by Neil Young & The Santa Monica Flyers keeps the emotional pressure steady after After The Gold Rush (Live) by Neil Young & Crazy Horse and keeps country/folk/rock in the grain.. The pop/rock edge gives the turn a more precise contour than a plain mood match. Roll Out The Barrel (Live) can step in after it without the handoff feeling pre-chewed.

On Gold (2) (2020), Eternal Flame shows Bangles working in a 2020s pocket with pop/rock in the grain. The cut moves with a steady shoulder-roll, which is why it can hold this turn without flattening it.

Listen for the pop/rock texture in the pocket, especially in the way the arrangement keeps color moving under the lead. It also leaves a lane for Roll Out The Barrel (Live) to arrive without the segue feeling forced.

Roll Out The Barrel (Live) answers Eternal Flame by Bangles with a related tension instead of a copycat move, so the sequence keeps opening out. The country/folk/rock edge gives the turn a more precise contour than a plain mood match. Honey Pie can step in after it without the handoff feeling pre-chewed.

On Archives, Vol. II: 1972–1976 (4) (2021), Roll Out The Barrel (Live) shows Neil Young & The Santa Monica Flyers working in a 2020s pocket with country/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 country/folk/rock texture in the pocket, especially in the way the arrangement keeps color moving under the lead. You can hear how it answers Eternal Flame without borrowing the same emotional weight. It also leaves a lane for Honey Pie to arrive without the segue feeling forced.

Honey Pie answers Roll Out The Barrel (Live) by Neil Young & The Santa Monica Flyers with a related tension instead of a copycat move, so the sequence keeps opening out. The rock edge gives the turn a more precise contour than a plain mood match.

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

Listen for the rock texture in the pocket, especially in the way the arrangement keeps color moving under the lead. You can hear how it answers Roll Out The Barrel (Live) without borrowing the same emotional weight.

I Want To Be The Boy To Warm Your Mother's Heart (Live at The Aragon Ballroom, July 2, 2003) by The White Stripes lands here because Into Gold by London Grammar and After The Gold Rush (Live) by Neil Young & Crazy Horse provide a fresh turn while maintaining the emotional arc.. The pop, rock, alternatif et indé edge gives the turn a more precise contour than a plain mood match. Into Gold can step in after it without the handoff feeling pre-chewed.

On Elephant (2023), I Want To Be The Boy To Warm Your Mother's Heart (Live at The Aragon Ballroom, July 2, 2003) shows The White Stripes working in a 2020s pocket with pop, rock, alternatif et indé in the grain. The cut moves with a steady shoulder-roll, 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. It also leaves a lane for Into Gold to arrive without the segue feeling forced.

Into Gold answers I Want To Be The Boy To Warm Your Mother's Heart (Live at The Aragon Ballroom, July 2, 2003) by The White Stripes with a related tension instead of a copycat move, so the sequence keeps opening out. The alternative & indie edge gives the turn a more precise contour than a plain mood match. After The Gold Rush (Live) can step in after it without the handoff feeling pre-chewed.

On The Greatest Love (2024), Into Gold shows London Grammar working in a 2020s pocket with alternative & indie in the grain. The cut moves with a steady shoulder-roll, which is why it can hold this turn without flattening it.

Listen for the alternative & indie texture in the pocket, especially in the way the arrangement keeps color moving under the lead. You can hear how it answers I Want To Be The Boy To Warm Your Mother's Heart (Live at The Aragon Ballroom, July 2, 2003) without borrowing the same emotional weight. It also leaves a lane for After The Gold Rush (Live) to arrive without the segue feeling forced.

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

On Archives, Vol. II: 1972–1976 (10) (2021), After The Gold Rush (Live) shows Neil Young & Crazy Horse working in a 2020s pocket with country/folk/rock in the grain. The cut moves with a steady shoulder-roll, which is why it can hold this turn without flattening it.

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

Rock *n* Roll With Me (Live) by David Bowie lands here because Concerto for Piano, Violin, Violoncello and Orchestra in C Major “Triple Concerto”, Op. 56: 1. Allegro by Ludwig Van Beethoven states the thesis, and Eternal Flame by Bangles answers it with a fresh turn.. The art rock edge gives the turn a more precise contour than a plain mood match. Concerto for Piano, Violin, Violoncello and Orchestra in C Major “Triple Concerto”, Op. 56: 1. Allegro can step in after it without the handoff feeling pre-chewed.

On Diamond Dogs (1974), Rock *n* Roll With Me (Live) 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. It also leaves a lane for Concerto for Piano, Violin, Violoncello and Orchestra in C Major “Triple Concerto”, Op. 56: 1. Allegro to arrive without the segue feeling forced.

Concerto for Piano, Violin, Violoncello and Orchestra in C Major “Triple Concerto”, Op. 56: 1. Allegro answers Rock *n* Roll With Me (Live) by David Bowie with a related tension instead of a copycat move, so the sequence keeps opening out. The classical edge gives the turn a more precise contour than a plain mood match. Eternal Flame can step in after it without the handoff feeling pre-chewed.

On Triple Concerto / Symphony No. 7 (2020), Concerto for Piano, Violin, Violoncello and Orchestra in C Major “Triple Concerto”, Op. 56: 1. Allegro shows Ludwig Van Beethoven working in a 2020s 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.

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 live performance sets the mood and energy, so a clip from the opening gives listeners the right hit without swallowing the set.. Eternal Flame is waiting on the far side of that seam.

Eternal Flame answers Concerto for Piano, Violin, Violoncello and Orchestra in C Major “Triple Concerto”, Op. 56: 1. Allegro by Ludwig Van Beethoven 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 (2) (2020), Eternal Flame shows Bangles working in a 2020s pocket with pop/rock in the grain. The cut moves with a steady shoulder-roll, which is why it can hold this turn without flattening it.

Listen for the pop/rock texture in the pocket, especially in the way the arrangement keeps color moving under the lead. You can hear how it answers Concerto for Piano, Violin, Violoncello and Orchestra in C Major “Triple Concerto”, Op. 56: 1. Allegro without borrowing the same emotional weight.

Bags' Groove (Take 1) by Kenny Clarke lands here because But Not For Me (From The Album Bags'Groove) by Miles Davis and I Want To Be The Boy To Warm Your Mother's Heart (Live at The Aragon Ballroom, July 2, 2003) by The White Stripes provide a sharp two-step that deepens the emotional arc after Rock 'n' Roll With Me (Live) by David Bowie. They keep the energy steady and change the palette without cutting the thread.. The jazz edge gives the turn a more precise contour than a plain mood match. But Not For Me (From The Album Bags'Groove) can step in after it without the handoff feeling pre-chewed.

On Bags' Groove (2016), Bags' Groove (Take 1) shows Kenny Clarke 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 But Not For Me (From The Album Bags'Groove) to arrive without the segue feeling forced.

But Not For Me (From The Album Bags'Groove) answers Bags' Groove (Take 1) by Kenny Clarke 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. I Want To Be The Boy To Warm Your Mother's Heart (Live at The Aragon Ballroom, July 2, 2003) can step in after it without the handoff feeling pre-chewed.

On INTEGRAL MILES DAVIS 1951-1956 (2024), But Not For Me (From The Album Bags'Groove) 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.

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 Bags' Groove (Take 1) without borrowing the same emotional weight. It also leaves a lane for I Want To Be The Boy To Warm Your Mother's Heart (Live at The Aragon Ballroom, July 2, 2003) to arrive without the segue feeling forced.

I Want To Be The Boy To Warm Your Mother's Heart (Live at The Aragon Ballroom, July 2, 2003) answers But Not For Me (From The Album Bags'Groove) 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.

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

Listen for the pop, rock, alternatif et indé texture in the pocket, especially in the way the arrangement keeps color moving under the lead. You can hear how it answers But Not For Me (From The Album Bags'Groove) without borrowing the same emotional weight.

Everybody Knows This Is Nowhere (Live) by Red Hot Chili Peppers lands here because Summer Turns To High by R.E.M. states the thesis, and Rock ’n’ Roll With Me (Live) by David Bowie answers it with a fresh turn.. The alternative-rock edge gives the turn a more precise contour than a plain mood match. Summer Turns To High can step in after it without the handoff feeling pre-chewed.

On Rock & Roll Hall Of Fame Covers (EP) (2012), Everybody Knows This Is Nowhere (Live) 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. It also leaves a lane for Summer Turns To High to arrive without the segue feeling forced.

Summer Turns To High answers Everybody Knows This Is Nowhere (Live) by Red Hot Chili Peppers with a related tension instead of a copycat move, so the sequence keeps opening out. The rock edge gives the turn a more precise contour than a plain mood match. Rock ’n’ Roll With Me (Live) can step in after it without the handoff feeling pre-chewed.

On Reveal (2001), Summer Turns To High 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 Everybody Knows This Is Nowhere (Live) without borrowing the same emotional weight. It also leaves a lane for Rock ’n’ Roll With Me (Live) to arrive without the segue feeling forced.

Rock ’n’ Roll With Me (Live) answers Summer Turns To High by R.E.M. 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 Moonage Daydream: A Film by Brett Morgen (2022), Rock ’n’ Roll With Me (Live) shows David Bowie working in a 2020s 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 Summer Turns To High without borrowing the same emotional weight.

Wide Open Space (Remastered) by Mansun lands here because keeps the emotional pressure steady after Everybody Knows This Is Nowhere (Live) by Red Hot Chili Peppers and changes the palette without cutting the thread. Jazz is a real lane in this library, which helps the choice feel rooted instead of random. Compared with the last few turns, it changes the sentence enough to keep the hour feeling authored.. The pop, rock, alternatif et indé edge gives the turn a more precise contour than a plain mood match. Bags' Groove (Take 1) can step in after it without the handoff feeling pre-chewed.

On Attack of the Grey Lantern (1996), Wide Open Space (Remastered) shows Mansun working in a 1990s pocket with pop, rock, alternatif et indé in the grain. The cut moves with a slow-burn glide, which is why it can hold this turn without flattening it.

Listen for the pop, rock, alternatif et indé texture in the pocket, especially in the way the arrangement keeps color moving under the lead. It also leaves a lane for Bags' Groove (Take 1) to arrive without the segue feeling forced.

Bags' Groove (Take 1) answers Wide Open Space (Remastered) by Mansun 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. Rock ’n’ Roll With Me can step in after it without the handoff feeling pre-chewed.

On Bags' Groove (2016), Bags' Groove (Take 1) shows Kenny Clarke 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 Wide Open Space (Remastered) without borrowing the same emotional weight. It also leaves a lane for Rock ’n’ Roll With Me to arrive without the segue feeling forced.

Rock ’n’ Roll With Me answers Bags' Groove (Take 1) by Kenny Clarke 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 Diamond Dogs (1974), Rock ’n’ Roll With Me 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 Bags' Groove (Take 1) without borrowing the same emotional weight.

Ballad of Sir Frankie Crisp (Let It Roll) by George Harrison lands here because To keep the emotional pressure steady after Wide Open Space (Remastered) by Mansun and change the palette without cutting the thread.. The rock edge gives the turn a more precise contour than a plain mood match. Sex And Drugs And Rock And Roll can step in after it without the handoff feeling pre-chewed.

On All Things Must Pass (1970), Ballad of Sir Frankie Crisp (Let It Roll) shows George Harrison working in a 1970s pocket with rock in the grain. The cut moves with a candlelit drift, which is why it can hold this turn without flattening it.

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

Sex And Drugs And Rock And Roll answers Ballad of Sir Frankie Crisp (Let It Roll) by George Harrison with a related tension instead of a copycat move, so the sequence keeps opening out. The rock edge gives the turn a more precise contour than a plain mood match. Everybody Knows This Is Nowhere (Live) can step in after it without the handoff feeling pre-chewed.

On Sounds Of The Seventies - Punk And New Wave (1993), Sex And Drugs And Rock And Roll shows Ian Dury And The Blockheads working in a 1990s 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 Ballad of Sir Frankie Crisp (Let It Roll) without borrowing the same emotional weight. It also leaves a lane for Everybody Knows This Is Nowhere (Live) to arrive without the segue feeling forced.

Everybody Knows This Is Nowhere (Live) answers Sex And Drugs And Rock And Roll by Ian Dury And The Blockheads with a related tension instead of a copycat move, so the sequence keeps opening out. The alternative-rock edge gives the turn a more precise contour than a plain mood match.

On Rock & Roll Hall Of Fame Covers (EP) (2012), Everybody Knows This Is Nowhere (Live) 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 Sex And Drugs And Rock And Roll without borrowing the same emotional weight.