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- "It's Showtime!" and "Down at McDonnellzzz" by Electric Six. They made a video for "McDonellzzz" but they otherwise don't play one without the other.
- Camper Van Beethoven's "Opi Rides Again" and "Club Med Sucks", sort of: On the original version of Telephone Free Landslide Victory they were listed as one song called "Opi Rides Again/Club Med Sucks", but the most recent reissue of the album converted them to separate tracks. They're always played together live, too.
- The White Stripes' "Pricky Thorn, But Sweetly Worn" and "St. Andrew (This Battle Is In the Air)".
- Green Day:
- "Brain Stew" and "Jaded". They were even released as a single together as "Brain Stew/Jaded", shared a music video, and showed up in that sequence on International Superhits.
- On Dookie, the ending breakdown of "Chump" goes straight into the intro to "Longview" with a fading guitar chord and a gradually shifting drumbeat. "Jinx" and "Haushinka" from Nimrod connect in the same way.
- "Last of the American Girls" and "Murder City" from 21st Century Breakdown sound incomplete when separated if you've previously heard them together, but they can work on their own if you like songs that end/start with a random burst of Morse Code.
- "Holiday" and "Boulevard of Broken Dreams" from American Idiot are also conjoined—the last note of "Holiday" runs through the first several measures of "Boulevard"—but are capable of standing alone. It's more obvious if you're watching the music videos.
- Weezer's "Pink Triangle" continues directly into "Falling for You" via a guitar melody and Studio Chatter noise.
- System of a Down:
- "Thetawaves" and "Roulette" is an odd one. The former is a hard rock song and the latter is an acoustic ballad. Somehow they managed to blend them together to seem like one song.
- This actually applies to all the songs on Steal This Album, as the band had the CD deliberately pressed so there would be no track breaks (so it would seem like a home made CD-R). A particularly good example is "Pictures" into "Highway Song". "Pictures" ends abruptly, and immediately goes into the opening drum beats of "Highway Song", so well that you won't notice unless you know the album well. "Highway Song"'s verse begins at 18 seconds in and is more subdued than its intro.
- Same goes for much of the songs at the beginning of the Toxicity album. Also, Mesmerize album opener "Soldier Side" is treated as an intro to "B.Y.O.B" when played live.
- Also, from "Vicinity Of Obscenity" to "She's Like Heroin", combined by a loud beeping sound. It Makes Sense in Context.
- Also, Serj Tankian (The lead singer of SOAD) has an example too, from his third solo-album Harakiri, where "Deafening Silence" goes into "Forget Me Knot" (Even to the level that the first song's final note is played in the first split second of the other song).
- Type O Negative's "Summer Breeze" into "Set Me On Fire", on Bloody Kisses. It was originally one song called "Summer Girl", which was based on "Summer Breeze" but had new lyrics written by the band. Summer Breeze's authors Seals And Crofts got an advance copy, and would only allow the band to release the song if they used the original lyrics. The band duly rerecorded the lyrics as requested, though as the second half of the track was entirely original, they just left it as it originally was and indexed it as a separate track called "Set Me On Fire". The original uninterrupted song can be heard on a promo CD.
- Coldplay used this trope twice on Viva la Vida or Death and All His Friends. First was between "Life in Technicolor" and "Cemeteries of London," but it happens again when "The Escapist" ends the album and flows right back into "Life in Technicolor."
- Gorillaz's "Fire Coming Out of a Monkey's Head" is paired with "Don't Get Lost in Heaven," and "Don't Get Lost in Heaven" is paired with "Demon Days." The three flow into each other quite well, forming the climax of the album.
- The Tea Party did segue on Interzone Mantras. First up is "Cathartik" which plays into "Dust to Gold" which plays into "Requiem."
- Silversun Pickups have "There's No Secrets This Year" and "The Royal We."
- They Might Be Giants has "Au Contraire" and "Damn Good Times" off The Spine.
- Starflyer 59's "I Like Your Photographs" and "...Moves On". Although the former can work as a standalone song (abrupt ending aside), the latter can't, because it's just an extended instrumental coda.
- The Crüxshadows' "Into the Ether" -> "Cassandra" -> "Love and Hatred" are Siamese triplet (or maybe Human Centipede) songs.
- On the Evanescence album Fallen, the final note of "Tourniquet" fades out into a background tone in the intro of "Imaginary." This does not impede your ability to listen to the songs separately.
- Panic! at the Disco's first album has "But It's Better If You Do", which leads right into the opening notes of "I Write Sins, Not Tragedies".
Classical music from the 1700s onwards is full of examples of multi-movement instrumental works (symphonies, concerti, sonatas, etc.) where two or more movements are intended to be played without a break (generally with the word attacca over the final measure of the earlier movement). Just to give a few examples:
- Johann Sebastian Bach's vocal and instrumental works feature multiple examples.
- Many oratorios feature movements that are technically separate from each other but are performed as though they are two halves of a whole. In Bach's output, many recordings of the Magnificat in D major split up the parts "Quia respexit humilitatem" and "Omnes generationes" into two distinct tracks, even though the former leads directly into the latter.
- The Mass in B minor has even more examples. If "Gloria in excelsis Deo" and "Et in terra pax" are played separately, the former sounds cut off at the end while the latter sounds as though it starts in the middle. The duet "Domine Deus" is nominally in G major but finishes on a B minor chord to lead straight into "Qui tollis peccata mundi". The bass aria "Quoniam tu solus sanctus" accompanied by hunting horn and two bassoons (a highly unusual combination of instruments in the Baroque era) leads straight into the exuberant "Cum Sancto Spiritu" finale of the "Gloria". And "Confiteor unum baptisma" leads straight into the finale of the "Credo", "Et exspecto resurrectionem mortuorum".
- Some recordings of J.S. Bach's organ toccatas and fugues or preludes and fugues cut off the last second of the toccata or prelude (which is usually just the reverb from the last notes) and stick it onto the beginning of the fugue, resulting in Siamese Twin songs. Usually this is just a result of poor editing, but with some recordings, the toccata or prelude is immediately followed by the fugue, with only a few fractions of a second of silence in between the two parts.
- Ludwig van Beethoven was very fond of this device.
- The most famous examples in Beethoven's work are Symphony No.5, in which the third movement leads directly into the fourth (and returns very briefly in the middle of the fourth) and Symphony No.6, in which the boisterous third movement scherzo cuts off just before the final note for the stormy fourth movement, which in turn ebbs gradually for the finale. Play any of these on their own, and they will sound as though they either cut off or start in the middle of something.
- Beethoven had used the device of having the penultimate movement of a piece lead straight into the finale multiple times in his piano sonatas by the time he composed Symphonies No.5 and 6. The first was the Piano Sonata Op.27 No.1, "Quasi una fantasia" - so named because its four movements (a slow rondo, a scherzo, a slow intermezzo, and a lively finale) are played as if the sonata was a fantasia, a single long-form work exploring many different melodic ideas and moods. While the first two movements reach final resolutions, the third ends with a short cadenza that leads straight into the finale. The slow movements of the Waldstein, Appassionata, and Les adieux sonatas likewise do not end on final resolutions, but rather lead straight into their respective finales.
- There are also multiple examples in Beethoven's works for soloist and orchestra; the slow movements of the triple concerto, the violin concerto, and the Emperor piano concerto all lead straight into their respective finales rather than ending on any sort of final resolution.
- Several of Beethoven's string quartets feature slow movements that lead into their finales without pause, including No.7 in F major and No.10 in E-flat major, but No.14 in C-sharp minor features seven movements which all lead straight into each other without a break; the third, fifth, and sixth movements in particular do not end on final resolutions and would sound disconnected if played on their own.
- Beethoven's final violin sonata is in four movements, and in this case the slow movement leads directly not into the finale, but into the scherzo.
- One of the most striking examples in which it is not the last two movements but the first two movements which lead straight into each other is found in Felix Mendelssohn's Violin Concerto. The coda of the first movement builds and builds in energy until finally the full orchestra finishes on a grim E minor chord. However, the first bassoon holds its note after the rest of the orchestra falls silent, leading directly into the slow movement.
- Gustav Mahler used this device in several of his symphonies. In No.2, the "Resurrection", the third, fourth, and fifth movements are all played without stopping; in No.4, the third movement is in the symphony's nominal home key of G major, but ends on a D major chord to lead straight into the finale (which is also in G major - at first); and in No.5, the celebrated fourth movement Adagietto for strings alone has its lingering final note echoed immediately by a single French horn note which introduces the finale.
- Claude Debussy's "Images" for orchestra is divided into three parts: "Gigues," "Ibéria" and "Rondes de printemps," all of which have been performed separately. "Ibéria" is itself divided into three movements, but the slow middle movement, "Les parfums de la nuit," is seamlessly attached to the opening of the final movement "Le matin d'un jour de fête," providing a good reason not to perform the individual movements of "Ibéria" separately.
- Boney M's "Nightflight to Venus" and "Rasputin" are a downplayed example: the latter is most often performed on its own, but if you happen to hear the former, you can bet that "Rasputin" will follow right after (because of the shared drumming theme, borrowed from Cozy Powell's "Dance with the Devil").
- "The Island" Part 1 (Dawn) and Part 2 (Dusk).
- "Prelude" and "Slam".
- Also "Genesis" and "Salt in the Wounds".
- Ayla's "Into The Light" and "Out of the Light". Some MP3 rips combine them into one track.
- The Qemists:
- "S.W.A.G. (intro)" and "S.W.A.G.".
- Cygnus X's "Kinderlied Part 1" and "Kinderlied Part 2" are seperate tracks on the original release of Hypermetrical, but combined into one on the remastered version.
- Juno Reactor: "Rotorblade"->"Mars", "Nitrogen Part 1"->Nitrogen Part 2", and "Conquistador I"->"Conquistador II".
- BT, in addition to regularly using Fading into the Next Song, has several examples of this: "Quark"->"Tripping the Light Fantastic", "Embracing the Future"->"Deeper Sunshine", "Loving You More (Garden of Ima Dub)"->"Loving You More (Final Spiritual Journey)", "Blue Skies (Radio Edit)"->"Blue Skies (Delphinium Days Mix)", "Sasha's Voyage of Ima"->"Divinity", "Solar Plexus"->"Nectar", and "Remember"->"Love, Peace, and Grease" (which had separate single releases).
- Autechre's Quaristice has a Siamese quintet over the tracks Fol3->fwzE->90101-5l-l->bnc Castl->Theswere, as well as the straight examples IO->plyPhon, Perlence->SonDEremawe, and Steels->Tankakern. Also, Eutow->C/Pach on Tri Repetae and Pro Radii->Augmatic Disport on Untilted.
- The album version of "Since I Left You" by The Avalanches goes straight into "Stay Another Season" after the song ends, even keeping the same drumloop and bringing back the titular vocal sample of the former song. "Etoh" and "Summer Crane" also connect in similar ways.
- Their long-awaited second album Wildflower has several examples of this as well, most notably the opener, with "The Leaves Were Falling" -> "Because I'm Me" -> the album version of "Frankie Sinatra" -> "Subways," as well as the three-song psychedelic trip of "Park Music" -> "Livin' Underwater (Is Something Wild)" -> "The Wozard of Iz."
- Cylab's "Unparallel Universe->c21d18no3".
- Covenant's "Slow Motion" and "Tabula Rasa".
- Anamanaguchi "Interlude (Total Tea Time)" and "Meow" on their "Endless Fantasy" album.
- Armin van Buuren has "Prodemium"->"Precious" on 76, "Hymne"->"Sail" on 10 Years, "Desiderium 207"->"Mirage" on Mirage, and "In Ten Years from Now"->"Last Stop Before Heaven" on Intense.
- VNV Nation's Transnational begins with the Epic Instrumental Opener "Generator", which leads into "Everything".
- THYX's "The Endless Journey" and "Network of Light".
- Underworld has "Crocodile"->"Beautiful Burnout" on Oblivion With Bells.
- Frank Zappa's album Apostrophe (') has four linked songs: "Don't Eat The Yellow Snow" leads into "Nanook Rubs It", which leads into "St. Alphonzo's Pancake Breakfast", which finally leads into "Father O'Blivion". From the same album, there's "Excentrifugal Forz," which leads into the titular instrumental.
- Afro Celt Sound System has several. From Sound Magic, there's "Dark Moon, High Tide" and "Whirl-y-Reel 2"—the instrumental motif from the former song is repeated at the beginning of the latter. Release has "Urban Aire", which is an ambient introduction for "Big Cats". Similarly, from Seed, "Rise" is an ambient introduction for "Rise Above It".
- Swans' "Damn You to Hell" and "I'll Swallow You" from the B-side to the "New Mind"single, which were later appended to the Children of God reissue as a single track.
- This became a major component of their post-reformation live performances, to the point that the first half of the title track to The Glowing Man is a rearranged reprise of "Bring the Sun" from their previous album, To Be Kind, to reflect its development from the latter song. The reprise alone is over fifteen minutes long.
- When The Megas came out with History Repeating: Blue, the title song was split into two parts, the first part being an introduction and the second being a remix of Mega Man 3's ever-famous Title Theme.
- The first album, Get Equipped, has “Programmed To Fight” (Crashman) lead into the final track “Lamentations Of A War Machine” (Mega Man 2 Ending). Downplayed, as “Lamentations” starts cleanly when played separately.
- Steam Powered Giraffe's The 2¢ Show has two pairs of these: "Prelude to a Dream"/"Make Believe" and "The Ballad of Lily"/"Airheart".
- Simon & Garfunkel with "Old Friends"/"Bookends". In fact, both songs were put together as one track when released as the b-side of the "Mrs. Robinson" single.
- Superdrag's "Slot Machine" and "Phaser".
- Bon Iver's "Creature Fear" and Team," as well as "Lisbon OH" and "Beth/Rest."
- Rich Aucoin's We're All Dying to Live is almost an entire album of these, filled with short instrumental tracks that serve primarily as extended intros to the next full song. Of particular note are:
- "1929-1971" and "Watching, Wishing, Waiting", which had formed a single track called "Superman" on the previously released Public Publication EP.
- "Undead Pt. 1 - Estrangement" and "Undead Pt. 2 - Reconciliation", the only set of Siamese Twin Songs on the album that both have unique lyrics.
- "The Little Creatures Know"/"It"/"The Greatest Secret in the World", where the primary song, "It", is given both an extended intro and outro.
- Psyborg Corp's "Lullaby (Blessed By Plutonium)->Technocracy'', the former of which is also the album's opener. Likewise, their second album opens with "Millennia Frost->Polaris".
- Interface's The Perfect World has three Siamese twin pairs: "Ignition->It Begins Today", "In Fidelity->Mirror, Mirror", and "Square One->Back To The Beginning".
- Nine Inch Nails has many examples of these on their albums, which often have tracks running together or one song fading in while another is ending, although most of them are separated on the radio and in concert. For instance, "Head Like a Hole" segues into "Terrible Lie" on Pretty Hate Machine, but the two are almost never played together anywhere else (in fact, most NIN shows put "Terrible Lie" near the beginning of the show and "Head Like a Hole" at the end). A straight example is "The Frail" and "The Wretched". The two play back-to-back on The Fragile and are almost always played together live. They sometimes play "The Frail" without "The Wretched" (usually as an intro to another song), but they never play "The Wretched" by itself.
- KMFDM has "Brute"->"Trust", "Megalomaniac"->"Stray Bullet", "Mercy"->"Torture", "Me & My Gun"->"Take 'em Out", et al.
- "Fetus" and "Little Death" by WASP.
- Jaga Jazzist: "Day" and "Another Day" from The Styx are sonically distinct, but the last echoing note of "Day" is audible as "Another Day" begins, and "Another Day" ends by reprising the main motif from "Day".
- Judas Priest:
- "The Hellion" and "Electric Eye" on Screaming for Vengeance.
- "Dreamer Deceiver" and "Deceiver" from Sad Wings Of Destiny. Most online radio stations usually just play the latter, but still plays the coda, which is a reprise of the first song.
- Dark Tranquillity's "Mine is the Grandeur..." and "... of Melancholy Burning" from The Gallery. Not only do they lead into one another, but the elipses make it clear they're supposed to be played together, and that the title is a single sentence.
- Diablo Swing Orchestra's "How to Organize a Lynch Mob" and "Black Box Messiah". The former song is a brief cello solo which works better as an introduction than as a standalone song, and it gets briefly reprised at the end of the latter song.
- OverClocked ReMix's Kong In Concert album has "Pirate Prelude" and "Thrash the Plank", respectively remixes of the opener and main segment of "Gang-Plank Galleon".
- Savatage "Somewhere in Time / Alone You Breathe" from their Wake of Magellan album.
- Several songs on Korn's Life Is Peachy. They even used to play the opening tracks "Twist" and "Chi" (the former lasting less than a minute) together live (though they've started playing "Twist" on its own life in later years).
- Tool has "Parabol" and "Parabola". Tracks 6 & 7 on the album, directly lead into one another with no silence. Even the video uses both songs.
- Black Sabbath:
- "Behind the Wall Of Sleep" and "N.I.B."
- "Embryo" and "Orchid" are instrumentals that precede "Children of the Grave" and "Lord Of This World." On CD releases they're included as separate tracks. The band had many other examples, such as "Luke's Wall," "Jack the Stripper," "A Bit of Finger," "The Straightener" and "Death Mask." However, these were just subtitles tacked onto songs with longer instrumental sections in an attempt to invoke this trop and make it seem like the albums had more songs.
- Cyndi Lauper's "He's So Unusual" and "Yeah Yeah."
- INXS "Need You Tonight" not only segues into "Mediate" (a.k.a. "Meditate" on some pressings) on the original album, the 12" single, some greatest hits comps (though not all) and concert performances (at-least up to 1997), but they even had a joint music video.
- Tears for Fears:
- On the album Songs From the Big Chair, the sixth track, "Broken", segues directly into the seventh track, "Head Over Heels", which itself segues directly into a reprise of "Broken". The band had previously released "Broken" as the B-Side to Pale Shelter, and used to play it live to beef up their short set. When they added the new song "Head Over Heels" they played it as a medley with Broken, and liked it so much they recorded this for the album.
- The Seeds Of Love also has "Swords And Knives", "Year Of The Knife" and "Famous Last Words" fade into each other, an effect which isn't done elsewhere on the album. They are linked lyrically in places - "Year Of The Knife" mentions both 'knives' and 'famous final words' tying it in with the other two.
- "Mad World" and "Pale Shelter" from The Hurting.
- The Cars have "Double Life"->"Shoo Be Doo"->"Candy-O" (Candy-O) and "Moving In Stereo"->"All Mixed Up" (The Cars).
- Sparks has "Propaganda"/"At Home, At Work, At Play", which were written separately but found to work perfectly together.
- From the South Park Christmas Album, "O Tannenbaum" (sung by Adolf Hitler and "Christmastime in Hell" (with vocals led by Satan). (Though since "O Tannenbaum" and its English translation "O Christmas Tree" have been around much longer than South Park, it was not "born" a Siamese Twin and this example might be better described as a Frankenstein's Monster or Human Centipede song).
- On many soundtracks for The Wizard of Oz, most of the Munchkinland sequence is present, but cut into many smaller tracks (each less than a minute long), split by main singer. The tracks on one CD are "Come out, Come out" (Glinda), "It Really Was No Miracle" (Dorothy), "We Thank You Very Sweetly" (random Munchkins and Glinda), "Ding-Dong! The Witch is Dead" (Chorus), "As Mayor of the Munchkin City" (Mayor), "As Coroner, I Must Aver" (Coroner), "Ding-Dong! The Witch is Dead (Reprise)" (Chorus), "The Lullaby League" (Girls), "The Lollipop Guild" (Boys), and "We Welcome You To Munchkinland" (Chorus). Combined togeher it's only six minutes, so maybe a split just before "Ding-Dong! The Witch is Dead" is justified as there's the closest thing to a break at that point, but that's it.
- Most of Medal of Honor: Frontline's OST consists of suites running across two or more tracks, namely "Border Town->U-4902" (although they play in opposite order in-game), "Kleveburg->Manor House Rally->The Halftrack Chase" (again, in-game, "Halftrack" is heard before "Manor House"), "Nijmegen Bridge->Rowhouses", "Emmerich Station->Thuringer Wald Express->Sturmgeist's Armored Train", and "Approaching The Tarmac->Clipping Their Wings".
- Professor Layton vs. Ace Attorney features remixes of songs from the first Phoenix Wright: Ace Attorney game exclusive to the first case. In the soundtrack, these songs are arranged so one flows directly into the next to create what is referred to as the "English Court Suite". The order of the songs is as follows: "Courtroom Lounge", "Court Begins", "Logic and Trick", "Suspense", "Cross Examination ~ Moderato", "Objection!", "Cross Examination ~ Allegro", "Confess the Truth", "Cornered", and "Won the Case".
- Fez has "Sync" and "Glitch".
- Katzenjammer's "A Kiss Before You Go" and "I Will Dance (When I Walk Away)".
- "Show Me Love" and "30 Minutes" by t.A.T.u. - the Mama, Papa, forgive me part at the end of "Show Me Love" is sometimes mistaken as the beginning of the song "30 Minutes".
- The Fifth Dimension's cover of "Aquarius" (the opening number of Hair) combined it with "Let The Sun Shine In" (the final chorus of "The Flesh Failures", the closing number).
- Pink Floyd's The Wall does this with "Outside the Wall" and "In The Flesh?". While it's common for this to happen on a Rock Opera Concept Album, this example sees the end of the album segue into the beginning.
"Isn't this where...we came in?"
- This also occurs with "The Happiest Days of Our Lives" and "Another Brick in the Wall, Part 2".
- "Brain Damage" and "Eclipse" off The Dark Side of the Moon are so inseparable that they're often collectively mistaken for the title track of the album. There is no title track for that album.
- "Young Lust" is only rarely played on radio without its slow-paced lead-in, "Empty Spaces", and "Empty Spaces" is never played on its own.
- However, it was not meant to be that way. "Empty Spaces" was originally going to be a reprise of a longer version of that same song, "What Shall We Do Now?"note , and "Young Lust" was originally going to be a song in its own right.
- "Money" and "Us and Them". The two are more often than not played live together.
- Considering how many Pink Floyd songs Fade into the Next Song, it's surprising that this doesn't happen more often.
- IQ's "Leap of Faith" and "Came Down", such that it seems surreal to listen to one without the other.
- Rishloo's "Turning Sheep Into Goats" and "Systematomatic".
- Dream Theater:
- "The Mirror" and "Lie."
- Also "Overture 1928" and "Strange Deja Vu" are frequently played together, like most songs from Metropolis, Pt. 2.
- Often subverted by "The Dance of Eternity" and "One Last Time". The first note of "One Last Time" resolves "The Dance of Eternity", but "Dance of Eternity" is often played alone, leaving the end hanging.
- While "Six Degrees of Inner Turbulence" is a single suite, "War Inside My Head" and "The Test That Stumped Them All" are usually played together.
- While also an example of Book Ends, if you have Octivarium on disc-repeat, the end of the last song on the disc plays into the first song on the disc. The song even mentions "the story ends where it begins."
- The Strawbs' "The River" and "Down by the Sea". While easily separable, they are presented this way on the albumnote , and usually performed this way live. Ironically, they originally appeared on vinyl pressings in reverse order, for fear that the heavy bass on "Down By the Sea" would cause needles to jump off the groove. (Near the end of a side the soundwaves encoded on the groove are closer together due to the smaller circumference).
- The Alan Parsons Project's "Sirius" and "Eye in the Sky". Also "Nucleus" and "Day After Day (The Show Must Go On)"; those two were included in that fashion in the "Laseruim" show.
- Rush "Overture" and "The Temples of Syrinx" from 2112. While all 7 tracks that make up the 2112 suite are strung together (and are often recorded as a single track onto a CD rather than as separate parts) the "Overture" and "The Temples of Syrinx" are almost ALWAYS played together on the radio and in concert.
- Progressive Rock supergroup UK have, from their debut Self-Titled Album, "In The Dead Of Night"->"By The Light Of Day"->"Presto Vivace And Reprise" starting side one, and "Alaska"->"Time To Kill" starting side two.
- Genesis have "Unquiet Slumbers For The Sleepers..." -> "...In That Quiet Earth" -> "Afterglow" from Wind And Wuthering, and "The Cinema Show" -> "Aisle Of Plenty" on Selling England By The Pound. "Fly on a Windshield" and "Broadway Melody of 1974" from The Lamb Lies Down on Broadway also qualify, although every single CD release has mis-indexed them to make "Broadway Melody" seem like a song snippet (it's intended to start at the line "Echoes of the Broadway Everglades"). Actually, most of the first side of The Lamb and quite a few other songs on the other three sides could be considered to qualify for this trope, although just as often the band uses Fading into the Next Song.
- Hawkwind several times, notably "Automotion"/"25 Years", and "Assault and Battery"/"The Golden Void".
- Emerson, Lake & Palmer:
- On CD releases of Tarkus, the titular suite is always presented as one long track.
- Trilogy: "The Endless Enigma, Part 1"->"Fugue"->"The Endless Enigma, Part 2"
- Yes have "Long Distance Runaround" and "The Fish (Schindleria Praematurus" from Fragile.
- A rather large number of song transitions by Crass use either this or Fading into the Next Song; they were particularly fond of using guitar feedback to connect two songs. This reached a fever pitch on Yes Sir, I Will, where all the tracks were considered part of one lengthy composition that took up the entire album (a forty-three-minute running time).
- Their friends in Flux of Pink Indians did something similar with all three of their albums. Uncarved Block uses mostly Fading into the Next Song instead, but their first two albums use this extensively and mostly have gaps only for LP side breaks.
- Childish Gambino's "All the Shine" and "Letter Home" follow each other on the album, and feature the same riff. "Letter Home" is short enough that it probably qualifies more as a coda to "All the Shine" than as an actual song.
- Kanye West's "Lost in the World" and "Who Will Survive in America" from My Beautiful Dark Twisted Fantasy.
- "Remember Me" and "I'm Back" from Eminem's Marshall Mathers LP.
- Led Zeppelin's "Heartbreaker" and "Living Loving Maid (She's Just a Woman)" from Led Zeppelin II.
- Also "Friends" and "Celebration Day".
- "The Song Remains the Same" and "Rain Song". Unlike the above two examples, this pairing carried over into their concerts for a few tours, with Jimmy using his doubleneck to play the 12-string and alternatively-tuned six-string songs back-to-back.
- Stevie Wright's "Evie", parts I, II and III, would be examples of Siamese Triplet Songs.
- AC/DC's "Big Balls" and "Rocker", though they may have been separated some time after birth.
- The Beatles:
- Sgt. Pepper's Lonely Hearts Club Band has both "Sgt. Pepper's Lonely Hearts Club Band" and its reprise with "With a Little Help From My Friends" and "A Day In The Life", respectively.
- Also, the Abbey Road medley, with "You Never Give Me Your Money", "Sun King", "Mean Mr. Mustard", "Polythene Pam", "She Came In Through the Bathroom Window", "Golden Slumbers", "Carry That Weight", and "The End" being a Siamese octet. (While "Her Majesty" is a ninth sibling on whom separation surgery was performed... not quite successfully.)
- "We Will Rock You" and "We Are The Champions", although they were separate songs on the single, opposite the album order on News of the World. Though both are definitely complete songs on their own, radio DJs (and listeners) nonetheless got accustomed to playing them together.
- A straighter example would be the Siamese Triplet Songs "Tenement Funster", "Flick of the Wrist", and "Lily of the Valley".
- "Death On Two Legs", "Lazing On A Sunday Afternoon", and "I'm In Love With My Car" from A Night at the Opera.
- "Fat Bottomed Girls" and "Bicycle Race" could also count, especially with the latter song mentioning that "fat bottomed girls, they'll be riding today"
- ZZ Top's "Waitin' for the Bus" and "Jesus Just Left Chicago".
- Van Halen:
- Creedence Clearwater Revival's "Poorboy Shuffle" and "Feelin' Blue."
- Pure Prairie League's "Falling In and Out of Love" and "Amie" on their Bustin' Out album.
- Almost all of Blue Öyster Cult's Secret Treaties album does this, with "Career of Evil" leading into "Subhuman" leading into "Dominance and Submission" leading into "ME 262." Then after the side break, "Cagey Cretins" stands on its own, but "Harvester of Eyes" leads into "Flaming Telepaths," which has No Ending, leading into "Astronomy" which starts without any gap after Telepaths' sudden stop.note
- The Kings' "This Beat Goes On" and "Switchin' To Glide".
- Journey's "Feeling That Way" into "Anytime".
- Sometimes averted on the radio, but Santana's "Black Magic Woman/Gypsy Queen" and "Oye Como Va" have faithfully retained their Siamese Twin status in concert and on compilations (sometimes reversed in the case of the latter).
- The Moody Blues:
- "The Afternoon: Tuesday Afternoon (Forever?)", "Sunset: The Sunset", and "Evening: Time to Get Away" and "Twilight Time". These sets of two songs couldn't live without their counterparts, often get live radio play together, and might even argue as one, four long track as a whole. You could also count "Twilight Time" leading into "The Night: Nights In White Satin", if the last weren't so famous already.
- Again, the same band also did this for nearly the entire Side B of To Our Children's Children's Children. Four songs, "Gypsy", "Eternity Road", "Candle of Light", and "Sun Is Still Shining" all transition into one another, though the outtakes on the remastered version show that they were originally separate. The same thing happened with A Question of Balance's "Dawning is the Day" and "Minstrel's Song".
- Styx "Prelude 12" into "Suite Madame Blue" on Equinox.
- This also occurs on Paradise Theatre with "A.D. 1928" into "Rockin' the Paradise".
- Elton John's "Funeral for a Friend/Love Lies Bleeding" which kicks off his Goodbye Yellow Brick Road album. The CD version doesn't separate them and instead has it as one 11-minute-plus track.
- Area11 do this with "Vectors" and "Euphemia" in their debut album, All the Lights in the Sky.
- David Bowie has, from Diamond Dogs, "Sweet Thing" lead into "Candidate", which then leads into a reprise of "Sweet Thing. On "Heroes", "Sense of Doubt", "Moss Garden" and "Neuköln" form a suite towards the end.
- Badfinger have "Money" -> "Flying" from ''Straight Up".
- Sixx:A.M. had a few instances of this on "The Heroin Diaries Soundtrack". Most notably, the second track, "Van Nuys", just feels wrong without Nikki Sixx's monologue in "Xmas In Hell", more so since the music, quiet as it is, actually leads from "Xmas In Hell" into "Van Nuys". Likewise, "Girl With Golden Eyes", "Courtesy Call" and "Permission" just don't have the same effect when you don't hear them right after eachother in that order. They don't sound wrong or anything, they just become far less powerful. Heck, everything between "Interlude" and "Life After Death" should be heard in the correct order, because they're written specifically to be played in that order without interruptions, unlike the first half (Van Nuys, Life Is Beautiful, Pray For Me and Accidents Can Happen are less dependent on eachother).
- The Guess Who have "No Sugar Tonight" and "New Mother Nature".
- Sirius Satellite Radio stations such as "Classic Vinyl" would often play several album cuts that flowed into one another back-to-back, such as Pink Floyd's "Speak To Me/Breathe/On the Run", Aerosmith's "Train Kept A-Rollin'/Seasons of Wither", and The Cars's "Bye, Bye Love/Moving In Stereo".
- Inverted by Fleetwood Mac: "Oh Well" is supposed to be a single 9-minute track, but the instrumental Part 2 is rarely heard.
- Little Richard specifically wrote "Hey-Hey-Hey-Hey" to be performed as a medley with "Kansas City".
- Patti Smith's "Babelogue" and "Rock 'n' Roll Nigger".
- The Radiators (US):
- Bob Seger's live album Live Bullet paired "Travelin' Man" and "Beautiful Loser" this way.
- "Ventilator Blues" and "I Just Want to See His Face" from The Rolling Stones' Exile on Main St..
- The Iron City Houserockers' "Old Man Bar" and "Junior's Bar", which use the same melody and take place in ... well, bars (the former song is a slow tune about a young man who goes to a bar frequented entirely by old war veterans simply because the beer is cheap; the latter is more up-tempo and takes place at a more happening bar, and the song focuses on a man trying desperately to score a date).
- Nearly every song on Marvin Gaye's What's Going On does this. The title track is an exception, as is the gap between vinyl sides. In addition to the title track, "Mercy Mercy Me (The Ecology)" and "Inner City Blues (Make Me Wanna Holler)" managed to get significant amounts of airplay because they ended their respective vinyl sides.
- Seussical features the songs "Alone in the Universe (Reprise)" and "Solla Sollew." The first is only a minute long and acts as a prelude for the second. Furthermore, the track break is put in the middle of a rising transition note. Five seconds later would've made the jump much less jarring.
- Next to Normal does this with "You Don't Know" into "I Am The One", as well as "Why Stay/A Promise" into "I'm Alive (Reprise)" into "The Break".
- The Silent City has two examples. The first is between "It's the Start/Overture" and "Commercial (Do It Anyway)," where the first song leaves you hanging for the conclusive note until the beginning of the next. The second is between "Set a Fire" and "The Riot," where the drum beat that leads into the second song starts at the ending of the first.
- In the Spamalot soundtrack, "Come With Me" leads directly into the "Laker Girls Cheer".
- The Broadway cast recording for Matilda divides the 9 1/2 minute long opening number "Miracle" into three tracks. Later, "Chalk Writing" segues to "Revolting Children". The London cast album has the Entr'acte lead into "When I Grow Up".
- In the revised stage musical of The Little Mermaid, Ariel's opening number "The World Above" segues directly to "Fathoms Below" (they were separate songs in the Broadway production and on its cast album), and at the end, "If Only (Reprise)" leads into the final reprise of "Part of Your World".
- The rock musical adaptation of American Idiot does this in spades; "Favorite Son" > "Are We the Waiting" > "St. Jimmy" and "Last of the American Girls" > "Last Night on Earth" are the most notable examples.