Session notes from the booth.

Want Ads by Honey Cone lands here because Honey Pie by The Beatles provides an immediate emotional hook, while Unchained Melody (Live) by Heart offers a perfect landing spot to conclude our set.. 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 - Seventies Generation (1992), Want Ads shows Honey Cone working in a 1990s pocket with rock in the grain. The cut moves with a bright electric charge, which is why it can hold this turn without flattening it.

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

Honey Pie answers Want Ads by Honey Cone 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. Unchained Melody (Live) 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 Want Ads without borrowing the same emotional weight. It also leaves a lane for Unchained Melody (Live) to arrive without the segue feeling forced.

Unchained Melody (Live) answers Honey Pie 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 Greatest Hits / Live (1980), Unchained Melody (Live) shows Heart working in a 1980s 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 Honey Pie without borrowing the same emotional weight.

Suck My Kiss (Live) by Red Hot Chili Peppers lands here because To extend the feeling that follows Want Ads by Honey Cone without sounding automatic.. The rock edge gives the turn a more precise contour than a plain mood match. Be My Wife can step in after it without the handoff feeling pre-chewed.

On Suck My Kiss (Australia CD5) (1992), Suck My Kiss (Live) shows Red Hot Chili Peppers working in a 1990s pocket with rock in the grain. The cut moves with a bright electric charge, which is why it can hold this turn without flattening it.

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

Be My Wife answers Suck My Kiss (Live) by Red Hot Chili Peppers with a related tension instead of a copycat move, so the sequence keeps opening out. The art rock edge gives the turn a more precise contour than a plain mood match. Low can step in after it without the handoff feeling pre-chewed.

On Low (1977), Be My Wife 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 Suck My Kiss (Live) without borrowing the same emotional weight. It also leaves a lane for Low to arrive without the segue feeling forced.

Low answers Be My Wife by David Bowie with a related tension instead of a copycat move, so the sequence keeps opening out. The rock edge gives the turn a more precise contour than a plain mood match.

On Out Of Time (1991), Low shows R.E.M. 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 Be My Wife without borrowing the same emotional weight.

I Heard It Through the Grapevine (Live) by Marvin Gaye lands here because A Place In My Heart by Social Distortion keeps the emotional pressure steady after Suck My Kiss (Live) by Red Hot Chili Peppers and changes the palette without cutting the thread. It's part of the station's grain, which helps the choice feel rooted instead of random.. The soul, funk, r&b edge gives the turn a more precise contour than a plain mood match. A Place In My Heart can step in after it without the handoff feeling pre-chewed.

On The Marvin Gaye Collection (2014), I Heard It Through the Grapevine (Live) shows Marvin Gaye working in a 2010s pocket with soul, funk, r&b 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 soul, funk, r&b texture in the pocket, especially in the way the arrangement keeps color moving under the lead. It also leaves a lane for A Place In My Heart to arrive without the segue feeling forced.

A Place In My Heart answers I Heard It Through the Grapevine (Live) by Marvin Gaye with a related tension instead of a copycat move, so the sequence keeps opening out. The punk rock edge gives the turn a more precise contour than a plain mood match. Want Ads can step in after it without the handoff feeling pre-chewed.

On Social Distortion (1990), A Place In My Heart shows Social Distortion working in a 1990s pocket with punk rock in the grain. The cut moves with a slow-burn glide, which is why it can hold this turn without flattening it.

Listen for the punk rock texture in the pocket, especially in the way the arrangement keeps color moving under the lead. You can hear how it answers I Heard It Through the Grapevine (Live) without borrowing the same emotional weight. It also leaves a lane for Want Ads to arrive without the segue feeling forced.

Want Ads answers A Place In My Heart by Social Distortion 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 - Seventies Generation (1992), Want Ads shows Honey Cone working in a 1990s pocket with rock in the grain. The cut moves with a bright electric charge, which is why it can hold this turn without flattening it.

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

Time Machine by Alicia Keys lands here because Keeps the emotional pressure steady and turns the color from 2020s into 1990s.. The soul, funk, r&b 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 ALICIA (Explicit) (2020), Time Machine shows Alicia Keys working in a 2020s pocket with soul, funk, 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 soul, funk, r&b 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) answers Time Machine by Alicia Keys 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. Suck My Kiss (Live) 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.

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 Time Machine without borrowing the same emotional weight. It also leaves a lane for Suck My Kiss (Live) to arrive without the segue feeling forced.

Suck My Kiss (Live) 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 rock edge gives the turn a more precise contour than a plain mood match.

On Soul To Squeeze (CD2) (1993), Suck My Kiss (Live) shows Red Hot Chili Peppers working in a 1990s pocket with rock in the grain. The cut moves with a slow-burn glide, which is why it can hold this turn without flattening it.

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

New York Kiss (Home Demo) by Spoon lands here because To maintain an emotional arc and keep the station's mood consistent with the hour.. The pop, rock, alternatif et indé 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 They Want My Soul (2024), New York Kiss (Home Demo) shows Spoon working in a 2020s pocket with pop, rock, alternatif et indé 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, 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 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 New York Kiss (Home Demo) by Spoon 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. I Heard It Through the Grapevine (Live) can step in after it without the handoff feeling pre-chewed.

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

Listen for the alternative / indie rock texture in the pocket, especially in the way the arrangement keeps color moving under the lead. You can hear how it answers New York Kiss (Home Demo) without borrowing the same emotional weight. It also leaves a lane for I Heard It Through the Grapevine (Live) to arrive without the segue feeling forced.

I Heard It Through the Grapevine (Live) answers A Clean Break (Let's Work) (Live; 2004 Remaster) by Talking Heads with a related tension instead of a copycat move, so the sequence keeps opening out. The soul, funk, r&b edge gives the turn a more precise contour than a plain mood match.

On Live in Tokyo 1979 (2025), I Heard It Through the Grapevine (Live) shows Marvin Gaye working in a 2020s pocket with soul, funk, r&b in the grain. The cut moves with a slow-burn glide, which is why it can hold this turn without flattening it.

Listen for the soul, funk, r&b texture in the pocket, especially in the way the arrangement keeps color moving under the lead. You can hear how it answers A Clean Break (Let's Work) (Live; 2004 Remaster) without borrowing the same emotional weight.

On An Evening In Roma (Sott'er Celo De Roma) (Remastered) by Dean Martin lands here because To extend the feeling of Marvin Gaye's performance with a fresh turn that maintains the emotional arc.. The électronique, lounge edge gives the turn a more precise contour than a plain mood match. How's Your Life Baby can step in after it without the handoff feeling pre-chewed.

On Italian Love Songs (Remastered) (1962), On An Evening In Roma (Sott'er Celo De Roma) (Remastered) shows Dean Martin working in a 1960s pocket with électronique, lounge in the grain. The cut moves with a candlelit drift, which is why it can hold this turn without flattening it.

Listen for the électronique, lounge texture in the pocket, especially in the way the arrangement keeps color moving under the lead. It also leaves a lane for How's Your Life Baby to arrive without the segue feeling forced.

How's Your Life Baby answers On An Evening In Roma (Sott'er Celo De Roma) (Remastered) by Dean Martin 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. Time Machine can step in after it without the handoff feeling pre-chewed.

On Vintage '78 (2015), How's Your Life Baby shows Eddie Kendricks working in a 2010s pocket with soul, funk, r&b in the grain. The cut moves with a slow-burn glide, which is why it can hold this turn without flattening it.

Listen for the soul, funk, r&b texture in the pocket, especially in the way the arrangement keeps color moving under the lead. You can hear how it answers On An Evening In Roma (Sott'er Celo De Roma) (Remastered) without borrowing the same emotional weight. It also leaves a lane for Time Machine to arrive without the segue feeling forced.

Time Machine answers How's Your Life Baby by Eddie Kendricks 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 ALICIA (Explicit) (2020), Time Machine shows Alicia Keys working in a 2020s pocket with soul, funk, 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 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 How's Your Life Baby without borrowing the same emotional weight.

Honey Pie by The Beatles lands here because Extend the feeling that follows Outlier (Band Demo) by Spoon without sounding automatic.. The rock edge gives the turn a more precise contour than a plain mood match. New York Kiss (Home Demo) 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 New York Kiss (Home Demo) to arrive without the segue feeling forced.

New York Kiss (Home Demo) answers Honey Pie by The Beatles with a related tension instead of a copycat move, so the sequence keeps opening out. The pop, rock, alternatif et indé edge gives the turn a more precise contour than a plain mood match. I Heard It Through the Grapevine (Live) can step in after it without the handoff feeling pre-chewed.

On They Want My Soul (2024), New York Kiss (Home Demo) shows Spoon working in a 2020s pocket with pop, rock, alternatif et indé 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, alternatif et indé texture in the pocket, especially in the way the arrangement keeps color moving under the lead. You can hear how it answers Honey Pie without borrowing the same emotional weight. It also leaves a lane for I Heard It Through the Grapevine (Live) to arrive without the segue feeling forced.

I Heard It Through the Grapevine (Live) answers New York Kiss (Home Demo) by Spoon with a related tension instead of a copycat move, so the sequence keeps opening out. The soul, funk, r&b edge gives the turn a more precise contour than a plain mood match.

On Live in Tokyo 1979 (2025), I Heard It Through the Grapevine (Live) shows Marvin Gaye working in a 2020s pocket with soul, funk, r&b in the grain. The cut moves with a slow-burn glide, which is why it can hold this turn without flattening it.

Listen for the soul, funk, r&b texture in the pocket, especially in the way the arrangement keeps color moving under the lead. You can hear how it answers New York Kiss (Home Demo) without borrowing the same emotional weight.

Fuck Me Pumps by Amy Winehouse lands here because On An Evening In Roma (Sott'er Celo De Roma) (Remastered) by Dean Martin states the thesis and Outlier (Band Demo) by Spoon answers it with a fresh turn.. The soul edge gives the turn a more precise contour than a plain mood match. On An Evening In Roma (Sott'er Celo De Roma) (Remastered) can step in after it without the handoff feeling pre-chewed.

On Frank (2015), Fuck Me Pumps shows Amy Winehouse working in a 2010s pocket with soul in the grain. The cut moves with a slow-burn glide, which is why it can hold this turn without flattening it.

Listen for the soul texture in the pocket, especially in the way the arrangement keeps color moving under the lead. It also leaves a lane for On An Evening In Roma (Sott'er Celo De Roma) (Remastered) to arrive without the segue feeling forced.

On An Evening In Roma (Sott'er Celo De Roma) (Remastered) answers Fuck Me Pumps by Amy Winehouse with a related tension instead of a copycat move, so the sequence keeps opening out. The électronique, lounge edge gives the turn a more precise contour than a plain mood match. Outlier (Band Demo) can step in after it without the handoff feeling pre-chewed.

On Italian Love Songs (Remastered) (1962), On An Evening In Roma (Sott'er Celo De Roma) (Remastered) shows Dean Martin working in a 1960s pocket with électronique, lounge in the grain. The cut moves with a candlelit drift, which is why it can hold this turn without flattening it.

Listen for the électronique, lounge texture in the pocket, especially in the way the arrangement keeps color moving under the lead. You can hear how it answers Fuck Me Pumps without borrowing the same emotional weight. It also leaves a lane for Outlier (Band Demo) to arrive without the segue feeling forced.

Outlier (Band Demo) answers On An Evening In Roma (Sott'er Celo De Roma) (Remastered) by Dean Martin 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 They Want My Soul (2024), Outlier (Band Demo) shows Spoon 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 On An Evening In Roma (Sott'er Celo De Roma) (Remastered) without borrowing the same emotional weight.

Suck My Kiss (Live) by Red Hot Chili Peppers lands here because Hit Single by Heart and Honey Pie by The Beatles provide a strong emotional arc after Fuck Me Pumps by Amy Winehouse.. The rock edge gives the turn a more precise contour than a plain mood match. Hit Single can step in after it without the handoff feeling pre-chewed.

On Suck My Kiss (Australia CD5) (1992), Suck My Kiss (Live) shows Red Hot Chili Peppers working in a 1990s pocket with rock in the grain. The cut moves with a bright electric charge, which is why it can hold this turn without flattening it.

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

Hit Single answers Suck My Kiss (Live) by Red Hot Chili Peppers with a related tension instead of a copycat move, so the sequence keeps opening out. The 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 Greatest Hits / Live (1980), Hit Single shows Heart working in a 1980s pocket with rock in the grain. The cut moves with a slow-burn glide, which is why it can hold this turn without flattening it.

Listen for the rock texture in the pocket, especially in the way the arrangement keeps color moving under the lead. You can hear how it answers Suck My Kiss (Live) without borrowing the same emotional weight. It also leaves a lane for Honey Pie to arrive without the segue feeling forced.

Honey Pie answers Hit Single by Heart 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 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 Hit Single without borrowing the same emotional weight.

Life Is A Dance by Chaka Khan lands here because Love's About To Change My Heart (PWL 7" Mix) by Donna Summer states the thesis, and Fuck Me Pumps by Amy Winehouse answers it with a fresh turn.. The soul edge gives the turn a more precise contour than a plain mood match. Love's About To Change My Heart (PWL 7" Mix) can step in after it without the handoff feeling pre-chewed.

On The Essential Chaka Khan (1) (2011), Life Is A Dance shows Chaka Khan working in a 2010s pocket with soul in the grain. The cut moves with a slow-burn glide, which is why it can hold this turn without flattening it.

Listen for the soul texture in the pocket, especially in the way the arrangement keeps color moving under the lead. It also leaves a lane for Love's About To Change My Heart (PWL 7" Mix) to arrive without the segue feeling forced.

Love's About To Change My Heart (PWL 7" Mix) answers Life Is A Dance by Chaka Khan 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. Fuck Me Pumps can step in after it without the handoff feeling pre-chewed.

On The Ultimate Collection: To Love (2016), Love's About To Change My Heart (PWL 7" Mix) shows Donna Summer working in a 2010s pocket with r&b in the grain. The cut moves with a slow-burn glide, which is why it can hold this turn without flattening it.

Listen for the r&b texture in the pocket, especially in the way the arrangement keeps color moving under the lead. You can hear how it answers Life Is A Dance without borrowing the same emotional weight. It also leaves a lane for Fuck Me Pumps to arrive without the segue feeling forced.

Fuck Me Pumps answers Love's About To Change My Heart (PWL 7" Mix) by Donna Summer with a related tension instead of a copycat move, so the sequence keeps opening out. The soul edge gives the turn a more precise contour than a plain mood match.

On Frank (2015), Fuck Me Pumps shows Amy Winehouse working in a 2010s pocket with soul in the grain. The cut moves with a slow-burn glide, which is why it can hold this turn without flattening it.

Listen for the soul texture in the pocket, especially in the way the arrangement keeps color moving under the lead. You can hear how it answers Love's About To Change My Heart (PWL 7" Mix) without borrowing the same emotional weight.

Tonight (with David Bowie) by Tina Turner lands here because Clouds by Chaka Khan provides a smooth transition from the previous track and maintains the soulful mood of the hour.. The soul edge gives the turn a more precise contour than a plain mood match. Suck My Kiss (Live) can step in after it without the handoff feeling pre-chewed.

On The Platinum Collection [Disc 3] (2009), Tonight (with David Bowie) shows Tina Turner working in a 2000s pocket with soul in the grain. The cut moves with a slow-burn glide, which is why it can hold this turn without flattening it.

Listen for the soul texture in the pocket, especially in the way the arrangement keeps color moving under the lead. It also leaves a lane for Suck My Kiss (Live) to arrive without the segue feeling forced.

Suck My Kiss (Live) answers Tonight (with David Bowie) by Tina Turner with a related tension instead of a copycat move, so the sequence keeps opening out. The rock edge gives the turn a more precise contour than a plain mood match. Clouds can step in after it without the handoff feeling pre-chewed.

On Soul To Squeeze (CD2) (1993), Suck My Kiss (Live) shows Red Hot Chili Peppers working in a 1990s pocket with rock in the grain. The cut moves with a slow-burn glide, which is why it can hold this turn without flattening it.

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

Clouds answers Suck My Kiss (Live) by Red Hot Chili Peppers with a related tension instead of a copycat move, so the sequence keeps opening out. The soul edge gives the turn a more precise contour than a plain mood match.

On The Essential Chaka Khan (1) (2011), Clouds shows Chaka Khan working in a 2010s pocket with soul in the grain. The cut moves with a slow-burn glide, which is why it can hold this turn without flattening it.

Listen for the soul texture in the pocket, especially in the way the arrangement keeps color moving under the lead. You can hear how it answers Suck My Kiss (Live) without borrowing the same emotional weight.

There Must Be An Angel (Playing With My Heart) by Eurythmics lands here because it keeps the soulful / amber patience pull alive without sanding off the grain that makes this hour interesting. The pop, rock edge gives the turn a more precise contour than a plain mood match. Life Is A Dance can step in after it without the handoff feeling pre-chewed.

On Be Yourself Tonight (1985), There Must Be An Angel (Playing With My Heart) shows Eurythmics working in a 1980s 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 Life Is A Dance to arrive without the segue feeling forced.

Life Is A Dance answers There Must Be An Angel (Playing With My Heart) by Eurythmics with a related tension instead of a copycat move, so the sequence keeps opening out. The soul edge gives the turn a more precise contour than a plain mood match. Fuck Me Pumps can step in after it without the handoff feeling pre-chewed.

On The Essential Chaka Khan (1) (2011), Life Is A Dance shows Chaka Khan working in a 2010s pocket with soul in the grain. The cut moves with a slow-burn glide, which is why it can hold this turn without flattening it.

Listen for the soul texture in the pocket, especially in the way the arrangement keeps color moving under the lead. You can hear how it answers There Must Be An Angel (Playing With My Heart) without borrowing the same emotional weight. It also leaves a lane for Fuck Me Pumps to arrive without the segue feeling forced.

Fuck Me Pumps answers Life Is A Dance by Chaka Khan with a related tension instead of a copycat move, so the sequence keeps opening out. The soul edge gives the turn a more precise contour than a plain mood match.

On Frank (2015), Fuck Me Pumps shows Amy Winehouse working in a 2010s pocket with soul in the grain. The cut moves with a slow-burn glide, which is why it can hold this turn without flattening it.

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

Honey Chile by Fats Domino lands here because Keeps the emotional pressure steady after Eurythmics and turns the color from 2000s into 2020s. It feels more like a shelf move than an obvious front-window pick.. The rock & roll edge gives the turn a more precise contour than a plain mood match. I Want To Be The Boy To Warm Your Mother's Heart (Live at The Aragon Ballroom, July 2, 2003) can step in after it without the handoff feeling pre-chewed.

On Greatest Hits: Walking To New Orleans (2007), Honey Chile shows Fats Domino working in a 2000s pocket with rock & roll in the grain. The cut moves with a steady shoulder-roll, which is why it can hold this turn without flattening it. Inside Deep shelf drift, it reads as curation rather than stunt programming.

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

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

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

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

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

On The Platinum Collection [Disc 1] (2009), Tonight (with David Bowie) shows Tina Turner working in a 2000s pocket with soul in the grain. The cut moves with a slow-burn glide, which is why it can hold this turn without flattening it. Inside Deep shelf drift, it reads as curation rather than stunt programming.

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

Theme From Shaft by Isaac Hayes lands here because A Clean Break (Let's Work) (Live; 2004 Remaster) by Talking Heads provides a fresh turn after Honey Chile by Fats Domino, extending the emotional arc without sounding automatic.. 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 Sounds Of The Seventies - 1971: Take Two (1990), Theme From Shaft shows Isaac Hayes 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 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 Theme From Shaft by Isaac Hayes 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. There Must Be An Angel (Playing With My Heart) can step in after it without the handoff feeling pre-chewed.

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

Listen for the alternative / indie rock texture in the pocket, especially in the way the arrangement keeps color moving under the lead. You can hear how it answers Theme From Shaft without borrowing the same emotional weight. It also leaves a lane for There Must Be An Angel (Playing With My Heart) to arrive without the segue feeling forced.

There Must Be An Angel (Playing With My Heart) answers A Clean Break (Let's Work) (Live; 2004 Remaster) by Talking Heads with a related tension instead of a copycat move, so the sequence keeps opening out. The synth pop edge gives the turn a more precise contour than a plain mood match.

On Ultimate Collection (2005), There Must Be An Angel (Playing With My Heart) shows Eurythmics working in a 2000s pocket with synth pop in the grain. The cut moves with a steady shoulder-roll, which is why it can hold this turn without flattening it.

Listen for the synth pop 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.

Honey Pie by The Beatles lands here because How's Your Life Baby by Eddie Kendricks provides a smooth transition after Theme From Shaft and keeps the soul, funk, r&b vibe.. The rock edge gives the turn a more precise contour than a plain mood match. Mine Smell Like Honey 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 Mine Smell Like Honey to arrive without the segue feeling forced.

Mine Smell Like Honey answers Honey Pie by The Beatles 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. Honey Chile can step in after it without the handoff feeling pre-chewed.

On Collapse Into Now (2011), Mine Smell Like Honey shows R.E.M. working in a 2010s pocket with alternative 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 alternative 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 Honey Chile to arrive without the segue feeling forced.

Honey Chile answers Mine Smell Like Honey by R.E.M. 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.

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

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 Mine Smell Like Honey without borrowing the same emotional weight.

Piece of My Heart by Big Brother & the Holding Company lands here because Owner Of A Lonely Heart by Yes and Theme From Shaft by Isaac Hayes create a strong emotional arc that extends the feeling from Honey Pie by The Beatles without sounding automatic.. The rock edge gives the turn a more precise contour than a plain mood match. Owner Of A Lonely Heart can step in after it without the handoff feeling pre-chewed.

On Cheap Thrills (1968), Piece of My Heart shows Big Brother & the Holding Company 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. It also leaves a lane for Owner Of A Lonely Heart to arrive without the segue feeling forced.

Owner Of A Lonely Heart answers Piece of My Heart by Big Brother & the Holding Company 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. Theme From Shaft can step in after it without the handoff feeling pre-chewed.

On 90125 (2013), Owner Of A Lonely Heart shows Yes 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 Piece of My Heart without borrowing the same emotional weight. It also leaves a lane for Theme From Shaft to arrive without the segue feeling forced.

Theme From Shaft answers Owner Of A Lonely Heart by Yes 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 Shaft (2016), Theme From Shaft shows Isaac Hayes working in a 2010s pocket with soul, funk, r&b in the grain. The cut moves with a slow-burn glide, which is why it can hold this turn without flattening it.

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

Suck My Kiss (Live) by Red Hot Chili Peppers lands here because Keeps the emotional pressure steady after Piece of My Heart by Big Brother & the Holding Company and keeps rock in the grain.. The rock edge gives the turn a more precise contour than a plain mood match. Here Come De Honey Man can step in after it without the handoff feeling pre-chewed.

On Suck My Kiss (Australia CD5) (1992), Suck My Kiss (Live) shows Red Hot Chili Peppers working in a 1990s pocket with rock in the grain. The cut moves with a bright electric charge, which is why it can hold this turn without flattening it.

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

Here Come De Honey Man answers Suck My Kiss (Live) by Red Hot Chili Peppers with a related tension instead of a copycat move, so the sequence keeps opening out. The jazz 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 Porgy And Bess (1959), Here Come De Honey Man shows Miles Davis working in a 1950s pocket with jazz in the grain. The cut moves with a slow-burn glide, which is why it can hold this turn without flattening it.

Listen for the jazz texture in the pocket, especially in the way the arrangement keeps color moving under the lead. You can hear how it answers Suck My Kiss (Live) without borrowing the same emotional weight. It also leaves a lane for Honey Pie to arrive without the segue feeling forced.

Honey Pie answers Here Come De Honey Man 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.

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 Here Come De Honey Man 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 Speed of Life by David Bowie keeps the emotional pressure steady and transitions from 1990s rock to 1970s art rock, maintaining the station's mood.. The pop, rock, alternatif et indé edge gives the turn a more precise contour than a plain mood match. Speed of Life 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 Speed of Life to arrive without the segue feeling forced.

Speed of Life 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 art rock edge gives the turn a more precise contour than a plain mood match. Piece of My Heart can step in after it without the handoff feeling pre-chewed.

On Low (1977), Speed of Life 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 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 Piece of My Heart to arrive without the segue feeling forced.

Piece of My Heart answers Speed of Life by David Bowie with a related tension instead of a copycat move, so the sequence keeps opening out. The rock edge gives the turn a more precise contour than a plain mood match.

On Cheap Thrills (1968), Piece of My Heart shows Big Brother & the Holding Company 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 Speed of Life without borrowing the same emotional weight.

Inner City Blues (Makes Me Wanna Holler) (Live) by Marvin Gaye lands here because Keeps the emotional pressure steady and maintains the soulful, funk, R&B essence of Marvin Gaye's set.. The soul, funk, r&b edge gives the turn a more precise contour than a plain mood match. Whatta Man can step in after it without the handoff feeling pre-chewed.

On Live in Tokyo 1979 (2025), Inner City Blues (Makes Me Wanna Holler) (Live) shows Marvin Gaye working in a 2020s pocket with soul, funk, r&b in the grain. The cut moves with a slow-burn glide, which is why it can hold this turn without flattening it.

Listen for the soul, funk, r&b texture in the pocket, especially in the way the arrangement keeps color moving under the lead. It also leaves a lane for Whatta Man to arrive without the segue feeling forced.

Whatta Man answers Inner City Blues (Makes Me Wanna Holler) (Live) by Marvin Gaye 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. Suck My Kiss (Live) can step in after it without the handoff feeling pre-chewed.

On Very Necessary (1993), Whatta Man shows Salt-N-Pepa working in a 1990s pocket with soul, funk, r&b in the grain. The cut moves with a slow-burn glide, which is why it can hold this turn without flattening it.

Listen for the soul, funk, r&b texture in the pocket, especially in the way the arrangement keeps color moving under the lead. You can hear how it answers Inner City Blues (Makes Me Wanna Holler) (Live) without borrowing the same emotional weight. It also leaves a lane for Suck My Kiss (Live) to arrive without the segue feeling forced.

Suck My Kiss (Live) answers Whatta Man by Salt-N-Pepa 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 Soul To Squeeze (CD2) (1993), Suck My Kiss (Live) shows Red Hot Chili Peppers working in a 1990s pocket with rock in the grain. The cut moves with a slow-burn glide, which is why it can hold this turn without flattening it.

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

He's the Greatest Dancer by Sister Sledge lands here because Extend the feeling that follows Inner City Blues (Makes Me Wanna Holler) (Live) by Marvin Gaye without sounding automatic.. 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.

He's the Greatest Dancer comes off Time-Life - Sounds Of The Seventies - Dance Fever, where Sister Sledge leans into a more tactile side of the catalog. 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 arrangement hinge where the rhythm section and the lead line stop shadowing each other and start pulling against each other. 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. Pride and Joy (Live) 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 He's the Greatest Dancer without borrowing the same emotional weight. It also leaves a lane for Pride and Joy (Live) to arrive without the segue feeling forced.

Pride and Joy (Live) keeps deep shelf drift honest by sounding like a real choice inside that lane, not a decorative gesture. The soul, funk, r&b edge gives the turn a more precise contour than a plain mood match.

On Live in Tokyo 1979 (2025), Pride and Joy (Live) shows Marvin Gaye working in a 2020s pocket with soul, funk, r&b in the grain. The cut moves with a slow-burn glide, which is why it can hold this turn without flattening it. Inside Deep shelf drift, it reads as curation rather than stunt programming.

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 I Want To Be The Boy To Warm Your Mother's Heart (Live at The Aragon Ballroom, July 2, 2003) without borrowing the same emotional weight.

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

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

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

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

On The Heart Speaks In Whispers (2016), Green Aphrodisiac shows Corinne Bailey Rae working in a 2010s pocket with soul, funk, r&b in the grain. The cut moves with a slow-burn glide, which is why it can hold this turn without flattening it.

Listen for the soul, funk, r&b texture in the pocket, especially in the way the arrangement keeps color moving under the lead. You can hear how it answers A Clean Break (Let's Work) (Live; 2004 Remaster) without borrowing the same emotional weight. It also leaves a lane for Inner City Blues (Makes Me Wanna Holler) (Live) to arrive without the segue feeling forced.

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

On Live in Tokyo 1979 (2025), Inner City Blues (Makes Me Wanna Holler) (Live) shows Marvin Gaye working in a 2020s pocket with soul, funk, r&b in the grain. The cut moves with a slow-burn glide, which is why it can hold this turn without flattening it.

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

Dial the Number (Unreleased Version) by Stevie Nicks lands here because Straight On by Heart and He's the Greatest Dancer by Sister Sledge keep the emotional pressure steady after A Clean Break (Let's Work) (Live; 2004 Remaster) by Talking Heads and change the palette without cutting the thread.. The rock edge gives the turn a more precise contour than a plain mood match. Straight On can step in after it without the handoff feeling pre-chewed.

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

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

Straight On answers Dial the Number (Unreleased Version) by Stevie Nicks with a related tension instead of a copycat move, so the sequence keeps opening out. The rock edge gives the turn a more precise contour than a plain mood match. He's the Greatest Dancer can step in after it without the handoff feeling pre-chewed.

On Greatest Hits / Live (1980), Straight On shows Heart working in a 1980s 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 Dial the Number (Unreleased Version) without borrowing the same emotional weight. It also leaves a lane for He's the Greatest Dancer to arrive without the segue feeling forced.

He's the Greatest Dancer answers Straight On by Heart 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 We Are Family (2003), He's the Greatest Dancer shows Sister Sledge working in a 2000s pocket with soul, funk, r&b in the grain. The cut moves with a slow-burn glide, which is why it can hold this turn without flattening it.

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

Here Comes the Sun by The Beatles lands here because A Clean Break (Let's Work) (Live; 2004 Remaster) by Talking Heads. The rock edge gives the turn a more precise contour than a plain mood match. Wild Honey Pie can step in after it without the handoff feeling pre-chewed.

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. It also leaves a lane for Wild Honey Pie to arrive without the segue feeling forced.

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

On Pixies at the Bbc (1998), Wild Honey Pie shows Pixies working in a 1990s pocket with alternative rock in the grain. The cut moves with a candlelit drift, which is why it can hold this turn without flattening it.

Listen for the alternative rock texture in the pocket, especially in the way the arrangement keeps color moving under the lead. You can hear how it answers Here Comes the Sun 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 Wild Honey Pie by Pixies 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 Wild Honey Pie without borrowing the same emotional weight.

Rock *n* Roll With Me (Live) by David Bowie lands here because Dial the Number (Unreleased Version) by Stevie Nicks and Me In Honey by R.E.M. create a strong arc that deepens the feeling established by Here Comes the Sun by The Beatles, while maintaining rock in the grain.. The art rock edge gives the turn a more precise contour than a plain mood match. Dial the Number (Unreleased Version) 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 Dial the Number (Unreleased Version) to arrive without the segue feeling forced.

Dial the Number (Unreleased Version) 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 rock edge gives the turn a more precise contour than a plain mood match. Me In Honey can step in after it without the handoff feeling pre-chewed.

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

Listen for the rock texture in the pocket, especially in the way the arrangement keeps color moving under the lead. You can hear how it answers Rock *n* Roll With Me (Live) without borrowing the same emotional weight. It also leaves a lane for Me In Honey to arrive without the segue feeling forced.

Me In Honey answers Dial the Number (Unreleased Version) by Stevie Nicks with a related tension instead of a copycat move, so the sequence keeps opening out. The rock edge gives the turn a more precise contour than a plain mood match.

On Out Of Time (1991), Me In Honey shows R.E.M. 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 Dial the Number (Unreleased Version) without borrowing the same emotional weight.