Best segueways between album tracks

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- The climactic car crash bridging the gap between "Detroit Rock City" and "King of the Night Time World" on Kiss' Destroyer, where Ace's guitar wobbles like a spinning hubcab before Gene, Paul and Peter bust into the second track.

- The hazy, blurring guitars before the sudden burst of riffage between "Hannah" and "Shine On" on the House of Love's 1990 album (eponymous).

- The subtle, mournful shift from toy koto, guitar harp and piano between the whispering end of "The Prophet's Song" and "Love of My Life" on Queen's A Night At the Opera.

- The manic switch from guitar frenzy to overdrive between "Gut Feeling" and "Slap Your Mammy" on Devo's Q:Are We Not Men?

Others?

― Alex in NYC (vassifer), Saturday, 2 August 2003 01:28 (twenty-two years ago)

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― unknown or illegal user (doorag), Saturday, 2 August 2003 01:40 (twenty-two years ago)

The ending of 'Egg Man' on the Beasties' Paul's Boutique with the Jaws and Psycho samples going into overdrive before the cocking gun sample at the start of 'High Plains Drifter' ends it-and leaves a few seconds before the track begins. Definitely a 'catch your breath' thing. Then 'HPD' ends as if someone pressed the 'start/stop' button on a turntable and the weird Beatles aircan sounds on 'Sounds of Science' kick in.

Cornelius is pretty good at them. On 69/96, the final part of 'Heavy Metal Thunder' becomes his own version of that Black Sabbath track that speeds up at the end, complete with said ending, only he's added samples of a witch who ends the track claiming "I control energy". Then we hear the sounds of lovers achieving orgasms fading in for the best song, 'Rock/96'. The ending of 'Last Night In Africa' is pretty much inseperable frrom the start of '1996', since it pretty much crashes into it. Fantasma has some great ones, especially the ones between 'God Only Knows' and 'Thank You For The Music', 'Free Fall' and '2010' and the great one between 'Clash' and 'Count Five Or Six'-just when you wonder when 'Clash's' lead out chorus is gonna end, he reaches over and scratches the tonearm across the 'record' and the robot voices start counting. CM greatly improves on the 'Star Fruits'/'Chapter 8' segue via his Money Mark/Buffalo Daughter remixes.

I don't seem to have much else in the way of such segues-too many 90s/00s albums, I guess.

― Barima (Barima), Saturday, 2 August 2003 01:55 (twenty-two years ago)

The pulse like bass that ominously linke "A Dream Within a Dream" with "The Raven" on Tales of Mystery and Imagination by the Alan Parsons Project (talk about a guilty pleasure album) is pretty cool (if such an adjective could be applied to an Alan Parsons album).

― Alex in NYC (vassifer), Saturday, 2 August 2003 02:46 (twenty-two years ago)

for some reason i am hooked on the segue between tracks 2 and 3 on "Life after Death". tragic ghetto mayhem fades out into the sound of rain on blacktop, and then, apropos of nothing, some random guy goes "GET THAT! GET THAT! GET THAT!" and all of a sudden the beat to "hypnotize" kicks in. somehow it's perfect.

― vahid (vahid), Saturday, 2 August 2003 03:05 (twenty-two years ago)

"Break."
--Outkast

― My name is Kenny (My name is Kenny), Saturday, 2 August 2003 03:08 (twenty-two years ago)

The proto-industrial noise jam between "Dead Finks Don't Talk" and "Some of Them Are Old."

The threshold-of-hearing fade down/fade up between "End of the Line" and "Sentimental Fool."

Boththe transitions from "Sweet Thing" to "Candidate" and back agsain.

― jackson anderville, Saturday, 2 August 2003 03:14 (twenty-two years ago)

Yeah, thanks.
I like "You Never Give Me Your Money/Sun King" from Abbey Road because of the references to Beethoven in the former and to the Jesuits in the latter.
Yeah, thanks.

― jackson anderville, Saturday, 2 August 2003 03:19 (twenty-two years ago)

oh man... the answer is the crazily similar synth squiggles which bridge both of these two transitions-

"Uptown", "Head" and "Sister" by Prince from Dirty Mind

"The Red and the Black" and "OD'd on Life Itself" by Blue Oyster Cult from Tyranny and Mutation

― Mr. Diamond (diamond), Saturday, 2 August 2003 04:00 (twenty-two years ago)

"Get Up, Get Into It and Get Involved" into "Soul Power" and back again on _Revolution of the Mind_--amazingly enough, the first of these was where the side break used to be on the vinyl version: "face to face (face to face) face to face (face to face) BRING IT UP (bring it on up) BRING IT UP (bring it on up) BRING IT UP (bring it on up) AAAAAAAHHHH--"

And then the downbeat-and-gasp. Amazing.

― Douglas (Douglas), Saturday, 2 August 2003 04:07 (twenty-two years ago)

The finishing seconds of 'Optimistic', where a hotel elevator version of the song's theme kicks in briefly before sliding into 'In Limbo on Kid A. A moment of realization - Radiohead could actually be quite overtly clever and discrete all at once...

― Michael Dieter, Saturday, 2 August 2003 05:09 (twenty-two years ago)

the noisy loops in my bloody valentine's "loveless"

― manuel, Saturday, 2 August 2003 09:08 (twenty-two years ago)

"Any Colour You Like" to "Brain Damage" on Dark Side
"Have a Cigar" to "Wish You Were Here" on Wish You Were Here
"Another Brick in the Wall Part Two" to "Mother" on The Wall

Pink Floyd are great at this.

― Evan (Evan), Saturday, 2 August 2003 11:30 (twenty-two years ago)

The guitar feedback between "Rhinoceros" and "Bury Me" on SP's Gish

The backwards cut & paste from "Foreman's Dog" to "Arpeggiator" on Fugazi's End Hits

All of the interludes on Skunk Anansie's "Stoosh"

― JP Almeida (JP Almeida), Saturday, 2 August 2003 11:40 (twenty-two years ago)

That beautiful bit of guitar between Honey Power and Moon Song from MBV's Tremolo ep. I could listen to that for hours.

― Brenya, Saturday, 2 August 2003 11:54 (twenty-two years ago)

Papa Negro Blowtorch to BOF
Gotta Get UP to Driving Along

― thomas de'aguirre (biteylove), Saturday, 2 August 2003 12:03 (twenty-two years ago)

When "Lucretia My Reflection" rises up from the feedback after "Flood I" on Floodland I get chills

All the transitions on Loveless terrify me. "To Here Knows When"/"When You Sleep" especially. But it's so great in a sadistic way (turn up the volume, then there's a burst of feedback and Bilinda Butcher is screaming in your ear. Then again I listen to this mostly on headphones; perhaps it's not as powerful w/speakers)

― Curt1s St3ph3ns, Saturday, 2 August 2003 12:54 (twenty-two years ago)

"E5150"/"Mob Rules" Black Sabbath

― dave q, Saturday, 2 August 2003 14:12 (twenty-two years ago)

"yours to keep"/"echos myron" on gbv's "bee thousand" -- the lack of segue employed as segue

― fact checking cuz, Saturday, 2 August 2003 14:28 (twenty-two years ago)

"E5150"/"Mob Rules" Black Sabbath

Once again, dave q demonstrates his inspired brilliance.

― Alex in NYC (vassifer), Saturday, 2 August 2003 15:42 (twenty-two years ago)

Isn't the first 1/2 of What's Going On blurred into one smooth suite? Nice.

― Nag! Nag! Nag! (Nag! Nag! Nag!), Saturday, 2 August 2003 22:43 (twenty-two years ago)

the prince paul bits on "three feet high and rising."

― notfazed (notfazed), Sunday, 3 August 2003 02:52 (twenty-two years ago)

Autechre re reto rr r rrre t re ee e zuy thab sldnkj kxucvm ybv fhlysdjkh sdfht t t t ooo r o eo toooo o thread.

― nestmanso (nestmanso), Sunday, 3 August 2003 04:37 (twenty-two years ago)

Pharrell at the end of Kelis' 'Mars' on Kaleidoscope: "You're fucked". Cue 'Ghetto Children'.

― Barima (Barima), Sunday, 3 August 2003 05:00 (twenty-two years ago)

Pink Floyd are great at this.

Yes. I'd almost rather listen to the transitions than the songs.

― Kenan Hebert (kenan), Sunday, 3 August 2003 05:04 (twenty-two years ago)

It's gotta be the commercials between the tracks on the first Sigue Sigue Sputnik album. (ahem... ducks)

― chr1sb0y (chr1sb0y), Monday, 4 August 2003 15:58 (twenty-two years ago)

the guitar feedback between "where boys fear to tread" and "bodies" on MCIS.

― Felcher (Felcher), Monday, 4 August 2003 16:11 (twenty-two years ago)

Tha fake skips at the end of 'Death Disco' jumping into 'Poptones' on Metal Box.

― rw, Monday, 4 August 2003 16:15 (twenty-two years ago)

The tape slowdown at the end of "New Position" on Parade, the handclap getting thicker, fingersnaps come in, hey presto it's a new song

― Tracer Hand (tracerhand), Monday, 4 August 2003 16:52 (twenty-two years ago)

Beck. Mellow Gold. "Come on motherfucker, put your clothes on, come on!" etc.

Fishbone. Reality of My Surroudings. "If I were a society, IIIIIIIIIIIIIIIIIII'd..."

Mr. Bungle. self-titled. "Don't be a Mr. Bungle."

Wu-Tang Clan. Enter the 36 Chambers. "I'll take ya nutz, right, just ya nutz, and lay 'em on the dresser. Then I'm'a bang dem shitz with a spiked bat...BLAGGOW!!!"

― nickalicious (nickalicious), Monday, 4 August 2003 16:59 (twenty-two years ago)

"If I Were Going" into "Gentlemen" on Gentlemen by Afghan Whigs.
"He Do the Police in Different Voices" into "Sword Swallower" on Plants and Rocks and Birds and Things by The Loud Family.
"Big Balls" into "Rocker" on Dirty Deeds Done Dirt Cheap (U.S. Version) by AC/DC.

― Pleasant Plains (Pleasant Plains), Monday, 4 August 2003 17:31 (twenty-two years ago)

xpost New Position, haven't heard in years! gotta get that again ...

― brian nemtusak (sanlazaro), Monday, 4 August 2003 20:20 (twenty-two years ago)

The creaking door at the end of 'Thriller' closing out side one and allowing 'Beat It's power chords to intro the second side in blazing fashion.

― Barima (Barima), Monday, 4 August 2003 20:23 (twenty-two years ago)

Oh and duh, the link between "Sweet Thing" and "Rebel Rebel" ...

― jackson anderville, Tuesday, 5 August 2003 06:30 (twenty-two years ago)

The Chris Elliot interludes on the Handsome Boy Modeling School album.

― Kenan Hebert (kenan), Tuesday, 5 August 2003 06:32 (twenty-two years ago)

"They made me take off my top".

Prince Paul is a great call. De La Soul Is Dead and A Prince Amongst Thieves to thread.

― Barima (Barima), Tuesday, 5 August 2003 11:06 (twenty-two years ago)

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