Boston - Foreplay/Longtime
Maybe?
Brain Stew/Jaded by Green Day always went together when rock radio stations played anything besides numetal and rap.
The Electric Light Orchestra’s “So Fine/Living Thing” from A New World Record.
November Rain…by uhh…someone 
Also Heavy Duty/Defenders of the Faith
How about “Tainted Love / Where Did Our Love Go?” by **Soft Cell ** ?
Chicago’s Hard to Say I’m Sorry/Get Away. Back when AM stations played music, and not simply blathering talkradio idiots, they’d always chop Get Away off.
The ultimate Segue: The entire second half of Abbey Road.
Our local classic rock station often plays the whole side together (the only album I can think of that they do that with), because it all fits so well.
There is a segue song on the new Loretta Lynn/Jack White CD. “God Makes No Mistakes” shifts into “Women’s Prison”, which has the same basic melody but with different lyrics and arrangement.
I hate these segue songs, because it usually ends up where I hate one and love the other. And usually the one I hate comes first, so I have to sit through it to hear the one I like.
Case in point, “No Sugar Tonight/New Mother Nature” by the Guess Who.
The coda is part of Layla, though, it’s not a separate track. And when it was first released, there was a radio edit which (I think) dropped the coda. Very sad. But these days, the whole thing gets played, and once in a while the DJ is smart enough not to talk over the bird calls at the end.
One day I hope to actually contribute to a thread, make it breathe life, give it new energy and direction.
Today is not the day.
My useless contribution: Camper Van Beethoven - We Saw Jerry’s Daughter/Surprise Truck
We saw Jerry’s daughter…well some people say that its an ice cream truck… but… its not…
Ummmm? Heh.
Fellow Atlantan checking in…
Mine definitely had one on one side and one on the other. It looked just like the first picture on this site, minus the autographs:
Although I prefer to listen to most of my classic albums from beginning to end, it’s jarring when I listen to a CD on “shuffle”, and the breaks between segued tracks are badly done. (It’s sad that most albums today are just random collections of songs, rather than one coherent work in theme and/or sound.)
I just had to pull my cheap CD copy of Black Sabbath’s first album off the shelf. There are ten songs listed on the album, but on the CD there are only five tracks. :eek: “Wasp”, “Behind The Wall of Sleep”, “Bassically” and “N.I.B.” are all one track on the CD, as are “A Bit of Finger”, “Sleeping Village” and “Warning”.
Definitely avoids awkward breaks when listening to it on shuffle. I sometimes wish “Years Ago”, “Steven” and “The Awakening”, and “Devil’s Food” and “The Black Widow” on my Alice Cooper Welcome To My Nightmare CD were single tracks. Not as jarring on shuffle as the Black Sabbath segues would be, but…
Anyhoo…
XTC’s Skylarking album was shaped as a song cycle (by producer Todd Rundgren) about a man’s life. In this case, the two segues – between “Summer’s Cauldron” and “Grass” (which was released as a single, but failed to sell well), and “Ballet for a Rainy Day” and “1000 Umbrellas” – help to suggest to the listener that there’s a unifying concept at work, tying the tracks together like chapters in a book. I reckon that’s the general logic behind many artists’ choice to use segues.
Also w/Pink Floyd:
Dark Side Of The Moon’s: Speak To Me/Breathe/On The Run/Time (On Side #1)
and
The Wall’s: Empty Space/Young Lust
More importantly, Led Zeppelin’s I Can’t Quit You Baby / How Many More Times (From Led Zeppelin I)
After releasing their self-entitled first album, songwriters Iommi & Osborne started combining many of their works under one title (only sometimes keeping both). You hear it what sounds like the start of a new song in so many tracks, where the tempo, rhythm, etc. completely change gears in a song. The best example that come to mind are: Wheels Of Confusion-The Straightner & Under The Sun-Everyday Comes And Goes from Vol. 4.
I’ll nominate:
John Baldry’s: Conditional Discharge / Don’t Try To Lay No Boogie Woogie On The King Of Rock And Roll
Frank Zappa: You can’t even listen to “We’re Only In It For The Money” as seperate tracks. Both Apostrophe’s Don’t Eat the Yellow Snow / Nanook Rubs It/ St Alphonzo’s Pancake Breakfast / Father O’blivion segue and Joe’s Garage Central Scrutinizer / Joe’s Garage / Catholic Girls / Crew Slut got airplay as a whole as opposed to their parts.
Mountain’s: Sammy’s Tune / Nantucket Sleighride
Quicksilver Messenger Service’s: Who Do You Love - Part 1 / When-Where-How And Which Do You Love / Who Do You Love - Part 2
Oasis: I think a couple of times on “What’s the Story Morning Glory”.
If you started enumerating all the prog bands like King Crimson, ELP, Yes, et al that do it, the list would get too long. Not to mention Eminem & Ice T doing it quite often.
So, when does a segue become a medley? If there are three or more songs quoted, a la “Stars on 45?”
Not mentioned so far is the 1968 Lettermen hit “Goin’ Out of My Head/Can’t Take My Eyes off You” combo. They also got some airplay in 1970 with “Traces/Memories.”
Other transitions done nicely on the original albums but rarely included on airplat was the "Superflabbergasted/“Like To Get to Know You” set of tracks from Spanky and Our Gang’s 1968 Like to Get to Know You album. The short (1:05) Superflabbergasted piece was a conversation over party noises. A guy is trying to hit on a girl aks “Is this your slipper?” and she replies “I’m here with a date!.” to which he riposts, “Maybe it’s his slipper.” Violins swell and he eases into the first line of the song, “But I’d like to get to know you…”
A very smooth, sophisticated transition and one of my alltime favorites.
Trivia bonus: that was the Spanky and Our Gang album where the song listings were printed spirally on the label, to make it easy toread while the album was spinning.
Then of course, there was Paul McCartney’s “Uncle Albert/Admiral Halsey” from Ram.
And the Wings Venus & Mars / Rock Show