“Rusty Cage” by Soundgarden has a very abrupt and severe change at the end.
Weird–I was gonna start a thread on this topic the other day.
And the song I was listening to when I thought of it hasn’t been mentioned yet–
Feelin’ That Way/Anytime–Journey
So many mentions of The Beatles and no-one thought of Golden Slumbers/Carry That Weight?
This kind of thing seems to be something of a McCartney specialty, actually.
Good call: that album is so light-psychedelia/british invasion influenced that I never noticed that in particular: the chord and tune change didn’t seem too strange for that style of music. On their other albums I’d remember it as a two different song instance though.
The Vibrators’ “Interstellar Overdrive” smashes together their covers of the intro from Pink Floyd’s “Interstellar Overdrive” segueing into a cover of The Beatles’ “Daytripper”. It totally works, too.
Andy Partridge has talked about how XTC’s “The Wheel and the Maypole” simply stitched together two song fragments that he didn’t want to discard – but in retrospect, the song works because the two themes are complementary.
I could be wrong, but I thought that was the order of the guitar chords. A, then B, and so on.
As for a song for the OP, how’s about Robert Palmer’s Marvin Gaye tribute “Mercy Mercy Me/I Want You”. Two totally different songs, on two completely different themes.
[Nitpick]I’d say three partial songs [/Nitpick]
It’s sort of been stated already, but those are actually A and B sides of a single, that, while they’re often played back to back on classic rock radio stations, were not written to be performed that way.
In The Music Man, ‘76 Trombones’ and '‘Til there was you’ start off as separate songs, but end up being sung together in a complementary fashion (as, I believe, do ‘Pick a little, talk a little’ and ‘Goodnight Ladies’).
I’m a trifle embarrassed to admit that I know this…
I think in this case the first “pair” is actually the same tune but with a different time-signatures and tempos .
Slight nitpick , I thought the matching song for ‘76 Trombones’ is actually ‘Goodnight My Sweetheart , Goodnight’
What, I’m the first to mention “Shine On You Crazy Diamond” parts I-V and parts VI-IX?
Hmm, that does make a lot more sense, given that each one is the theme for the romantic leads. I will have to raid my dad’s tape collection next time I’m at my parents’ house.
And to correct myself , the actual song is 'Goodnight My Someone , Goodnight.
I thought I understood what the OP was asking, but a lot of the examples (the ones with two titles) are making me doubt that. Oh well. The Offspring’s “Have You Ever?” is two songs put together - at 2 minutes, 40 seconds the “song” becomes another song all together.
The Lettermen had a huge 1968 hit with **Goin’ Out of My Head/Can’t Take My Eyes Off You," ** and a followup with “Traces/Memories.” In both cases, the songs switch back and forth smoothly, yet are distinct melodies.
“Carry On” by Crosby, Stills, Nash & Young segues into “Questions” which is an old Buffalo Springfield song
“Harry’s House” by Joni Mitchell has another little song in the middle.
mm
“Behind the Wheel/Route 66” by Depeche Mode complement each other nicely.
A lot of the songs cited are what I was thinking of. Not the songs, but the idea of putting basically two songs together for whatever reason. They have become what we expect of the song because it is what we learned IS the song in each case.
Cool about the Billy Joel song, “Scenes From An Italian Restaurant”. Not only am I surprised to hear this, but I thought that Billy had specifically crafted a scenario then given us a great reminiscence shared by some friends sitting around the table in said restaurant. See? You never know.
OTOH there are songs like the Pink Floyd listed that I don’t feel qualify. ( Qualify? Hmph. ). After all, songs like “And You And I” by Yes is basically a quintet sonata. They set out very clearly to write the piece in sections, and did so. This is unlike some other songs, which they all admit were a real pastiche of different bits and ideas worked and re-worked by the band and Eddie Offerd their producer in the salad days until they got some… thing. Some quilted arrangement that pleased them all, and Bob’s yer uncle, another song emerged.
Cartooniverse
Whenever I hear Simon and Garfunkel’s Hazy Shade of Winter on the radio, if they let it end withut immediately playing At the Zoo, it makes me want to throw something at the programmer.
Similarly when Crosby, Stills, and Nash finish singing Suite: Judy Blue Eyes, I expect to hear the opening notes of Marrekesh.
Les Miserables’s “One Day More” is several songs that blend into the ending.