Siamese Twin Songs

Siamese Twin Songs (or, if you prefer Conjoined Twin Songs, but it doesn't have the same ring) are those which are separate, consecutive tracks on an album where the first one leads into the second as if they were one song. If the first is played without the second, it sounds as if it has been cut off in the middle. If played on the radio, they are almost always played together. Many times the first track is an Epic Instrumental Opener.

If downloaded, they generally come as separate files; if ripped from a CD, they always do. Fortunately, there is software to combine them into one file, at least if they are in either MP3 or open source formats, thus eliminating the annoyance of hearing what sounds like a song ending in the middle when playing songs in random order (shuffle mode).

A very distant cousin to the Cliffhanger. Also compare Fading into the Next Song.

Not to be confused with "We Are Siamese (If You Please)", or any songs about actual Siamese twins.

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Examples:

Alternative

• "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)".
• Weezer's "Pink Triangle" continues directly into "Falling for You" via a guitar melody and Studio Chatter noise.
• 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 the 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.
• Primal Scream's "Higher Than the Sun" and "Higher Than the Sun (A Dub Symphony in Two Parts)" on Screamadelica, even though the latter is a remix of the former.
  • This also happens on XTRMNTR with the Jagz Kooner and The Chemical Brothers mixes of "Swastika Eyes".
• Pop Will Eat Itself's "Wise Up! Sucker" and "Sixteen Different Flavours of Hell" on This Is the Day... This Is the Hour... This Is This!.
  • Also, "Nightmare at 20,000 Feet" and "The Beat That Refused to Die" on Cure for Sanity.
• 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, of course, 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 of "I Write Sins, Not Tragedies".
• My Chemical Romance's "The Ghost of You" leads directly into "The Jetset Life is Gonna Kill You" on their album Three Cheers for Sweet Revenge, with the organ playing at the end of the former fading out as the drums at the start of the latter start to fade in. When "The Ghost of You" was included on its own on their Greatest Hits Album you get to hear the organ play for quite a bit longer before reaching a crescendo and cutting out, rather than just fading away as it did in the original. The song "The End." also directly leads into "Dead!"
• While generally, Neil Cicierega's Mouth Albums make use of Fading into the Next Song, Mouth Dreams has "Fredhammer" and "Limp Wicket", which both feature samples from the same Limp Bizkit song. The ending of "Fredhammer" transitions right into the opening of "Limp Wicket".

Classical

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.
  • The string quartets provide more examples. No.7 in F major has a slow movement that goes straight into the Russian-influenced finale without stopping. No.10 in E-flat major has a scherzo that makes a harmonic shift in the coda to lead directly into the concluding theme and variations. And 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.

Disco

• 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").

Electronic

• Pendulum:
  • "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.".
• Kraftwerk:
  • Autobahn has "Kometenmelodie 1 & 2".
  • Trans-Europe Express has "Trans Europe Express" and "Metal on Metal" on the English version.^note The original German version and the international remaster list the bridge between the two as a third song in its own right, titled "Abzug".
  • Computerworld has "Numbers" into "Computerworld 2".
  • Electric Cafe has "Boing Boom Tschak" into "Techno Pop".
• 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 "NUXX"->"Telematic" on the B-side of their Born Slippy EP, and "Crocodile"->"Beautiful Burnout" on Oblivion With Bells.
• Perturbator does this quite a bit. On I Am The Night, The New Black segues into Retrogenesis, Eclipse into the I Am The Night. Dangerous Days has Welcome Back as the intro to Perturbator's Theme, War Against Machines into Hard Wired, etc.
• Cut Copy has "That Was Just a Dream" and "Zap Zap" on Bright Like Neon Love.
• Yellow Magic Orchestra's self-titled album has "Computer Game (Theme from The Circus)" lead into "Firecracker" on Side 1, and a Siamese quintuplet comprised of "Tong Poo", "La Femme Chinoise", "Bridge Over Troubled Music", "Mad Pierrot", and "Acrobat" on Side 2.
• Orbital had "Lush 3-1"/"Lush 3-2"/"Impact (The Earth is Burning)"/"Remind" on the Brown album. Even the "Lush 3" single maintains this: you hear the start of "Impact" before it fades out.
• Jean-Michel Jarre has "Equinoxe 5" through "7" which even mostly share the same drum sequence and a bass line that leads from the end of "Equinoxe 5" to the intro of "Equinoxe 7", chord changes not withstanding. Nonetheless, "Equinoxe 5" and "7" have been played as stand-alone songs at concerts.
• On Second Person's The Elements, the end of "Fire" leads directly into the beginning of "Earth", and "Metal" leads into "Water".
• S'Express's Original Soundtrack album has "Overture"->"Theme From S'Express" and "Superfly Guy"->"Blow Me Another Lollypop".

Experimental

• 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.
• Klaus Schulze's Irrlicht has "Ebene"->"Gewitter(Energy Rise - Energy Collapse)", which are effectively one continuous suite, on Side 1.

Fan Works

• 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.
  • History Repeating: Red has another downplayed example in "The Red Song". This is essentially a minute-long intro consisting primarily of sound effects to give the impression of the leadup to Mega Man and Proto Man's first major encounter and ending with a count into "I'm Not the Breakman", Proto Man's first big number. It's hard not to see some justice in splitting it off; "I'm Not the Breakman" is a major part of the album arc, and is also five and a half minutes long, so an extra minute of ambient noise probably wouldn't help for solo listening.
• Steam Powered Giraffe's The 2¢ Show has two pairs of these: "Prelude to a Dream"/"Make Believe" and "The Ballad of Lily"/"Airheart".

Folk

• 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. They also have their last tracks on the album Bridge Over Troubled Water, namely a live recording of the classic "Bye Bye Love" by The Everly Brothers and "Song for the Asking", which fade into each other; it sounds like if also the latter song was recorded live. The same happens on their 1972 Greatest Hits Album, which has live recordings of "The 59th Street Bridge Song" and "Homeward Bound" fading into "The Sound of Silence" and "Bridge Over Troubled Water", respectively.

Indie

• 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.
• The Orchids' "The Sadness of Sex (Part 1)" and "Waiting for the Storm" on Unholy Soul. Some issues of the CD index them separately, some don't.

Industrial

• 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". Where All Roads Lead has "Northpark(Only a Memory)->We Will Never Be Together".
• 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.
• Skinny Puppy's Remission, in its cassette and CD editions, has "Incision" into "Far Too Frail" and "Manwhole" into "Icebreaker"(which were merged into a single track on Bites). The non-vinyl editions of Bites likewise have "Tomorrow" lead into "Dead Doll".

Jazz

• 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".

Metal

• 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 play the coda, which is a reprise of the first song.
  • Firepower gives us "Guardians" and "Rising from Ruin".
• 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).
• 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:
  • "Parabol" and "Parabola" from Lateralus directly lead into one another with no silence. Even the music video labelled solely for "Parabola" uses both songs.
  • 10,000 Days also has "Lost Keys (Blame Hofmann)" and "Rosetta Stoned", with the former acting as a sort of introduction to the latter.
• 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 trope and make it seem like the albums had more songs.
• Sabaton's album The Last Stand: "Diary of an Unknown Soldier" is a spoken entry of a soldier's experiences during the Meuse-Argonne Offensive set over recordings of gunfire to create the beat for "The Lost Battalion."
• On Godsmack's independent demo album All Wound Up, the song "Get Up, Get Out!" was presented as a five minute track with an Epic Instrumental Opener; When they remixed and re-released most of the same material as their Self-Titled Album, the song was split into two parts, with the two minute intro getting its own separate track and title ("Someone In London"), resulting in this trope instead.

New Wave

• 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), "Moving In Stereo"->"All Mixed Up" (The Cars), "Think It Over"->"Maybe Baby (Shake It Up) and "Coming Up You"->"Wound Up On You" (Door To Door).
• Sparks has "Propaganda"/"At Home, At Work, At Play", which were written separately but found to work perfectly together.

OST

• 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".
• RayStorm's OST segues the Final Boss's intro cue, "Heart Land", to its Battle Theme Music, "Intolerance".
• Norrin Radd's "Battaglia Dietro la Cascata A" and "B" were originally a single track, but separated for their inclusion in Retro City Rampage.
• Celeste's OST has "Madeline and Theo"—>"Starjump".
• On Furi's OST, the Final Boss suite by Danger is a Siamese Quartet comprised of the last four tracks: "7:53", "8:02", "19:06", and "19:07".
• ULTRAKILL's OST for Act II has both "Altars of Apostasy" mixed with "Hall of Sacrilegious Remains", and "The Death of God's Will" mixed with "Horns of Insurrection", respectively.

Pop

• Katzenjammer's "A Kiss Before You Go" and "I Will Dance (When I Walk Away)".
• Madonna:
  • "Dear Jessie" and "Oh Father" from Like a Prayer. Interestingly, both were released as singles, but in the opposite at which they play.
  • "Holiday" and "Everybody", both from Madonna's debut Madonna, both about singing and partying and talking about "leaving troubles behind".
• Cyndi Lauper's "He's So Unusual" and "Yeah Yeah".
• "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 12" version of Soft Cell's cover of "Tainted Love" segues into a cover of The Supremes' "Where Did Our Love Go?", although in this case the two are part of the same track.
• Vicious Pink's "8:15 to Nowhere" and "Great Balls of Fire". The former song was also released as a separate single.
• 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).
• Jackson Browne with "The Load Out" and his cover of "Stay".

Prog Rock

• Genesis:
  • "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 several CD releases have mis-indexed them to make "Broadway Melody" seem like a 33 second interlude, give or take (it actually starts right on 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.
  • Their self-titled album Genesis contains "Home By The Sea" and "Second Home By The Sea" which are intended to be listened to together as one 11-minute song.
  • Duke has the opening medley of "Behind The Lines"->"Duchess"->"Guide Vocal" and the closers "Duke's Travels"->"Duke's End". Adding the song "Turn It On Again" in the middle creates the six-part, 28-minute "Duke Suite" which was intended to be placed on the album as one song but was split up to discourage comparisons to their major epic Supper's Ready.
• 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)". On rare occasions "Another Brick in the Wall (Part 1)" will be thrown in to make a triple.
  • "Brain Damage" and "Eclipse" off The Dark Side of the Moon. 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 Though it's still present in the film version, 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.^note Came Down begins with part of the ending of Leap of Faith, causing Came Down to begin somewhat awkwardly on its own, and Leap of Faith to end very awkwardly.
• 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 album^note (Bursting at the Seams), 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 has several, of which "Sirius" and "Eye in the Sky" are the most popular. "I Robot" and "I Wouldn't Want to Be Like You" also air together on occasion. Other examples include "Nucleus" and "Day After Day (The Show Must Go On)" (featured in the "Laseruim" show), "Children of the Moon" and "Gemini", and the triplets "Voyager", "What Goes Up..." and "The Eagle Will Rise Again".
• 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 U.K. 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.
• 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's track "I've Seen All Good People" is two different songs joined at the hip, "Your Move" and "All Good People."
  • "Long Distance Runaround" and "The Fish (Schindleria Praematurus)" from Fragile.
  • There are also "Cinema" and "Leave It" from 90125. However, the single remix of the latter allows it to be played safely without the former, leaving it to the album's fans to appreciate the pairing.
• King Crimson's "Formentera Lady" ends with a cymbal riff that continues in the intro to "Sailor's Tale".
  • "VROOOM" and "Coda: Marine 475" are split on the THRAK album, but indexed as a single track on the earlier VROOOM EP.
  • On CD releases of The ConstruKction of Light, "Larks' Tongues in Aspic: Part IV" is split into three identically-titled tracks plus a fourth titled "Coda: I Have a Dream". Digital releases combine the four tracks into one, totalling at 13 minutes.
    • ProjeKct Four's West Coast Live does something similar with the two parts of "Ghost", respectively split into four and five identically-titled tracks on the disc.
  • The Radical Action suite, consisting of "Radical Action (to Unseat the Hold of Monkey Mind)", "Meltdown", "Radical Action II", and "Level Five"^note from The Power to Believe, also titled "Larks' Tongues in Aspic, Part Five", is usually split into separate tracks, though the Radical Action live album combines the former three into one track on streaming.
• Caravan have many suites each made up of several songs stitched together. Typically, they're indexed as one track, but the track's title often is made up of those of the individual songs; for example, the track "Can't Be Long Now / Françoise / For Richard / Warlock".
• The Moody Blues quite have a few.
  • The suites 'The Afternoon' (Tuesday Afternoon/Time to Get Away) and 'Evening' (The Sunset/Twilight Time) from Days of Future Passed. 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. Though 'Nights in White Satin' could do fine on its own, the poem called 'Late Lament' was often played alongside it.
  • 'Departure' and 'Ride My See-Saw' from In Search of the Lost Chord were often played together.
  • The Pinder-composed 'Have You Heard' suite from On the Threshold of a Dream, starting with a poem that included the Title Drop.
  • 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".
  • The Thomas-composed 'Painted Smile' suite, starting the song in question before moving onto a spoken monologue which then ends with the rock-heavy 'Veteran Cosmic Rocker'.
  • The Present has two: 'Hole in the World'/'Under My Feet' and 'I Am'/'Sorry'.
• Styx: "Prelude 12" into "Suite Madame Blue" on Equinox. Also, "A.D. 1928" into "Rockin' the Paradise" on Paradise Theatre.
• Rishloo's "Turning Sheep Into Goats" (off of Feathergun) ends with a riff that leads directly into the following song, "Systematomatic".

Psychedelic

• Syd Barrett managed one with "Waving My Arms In The Air/I Never Lied To You".
• The Doors with "Peace Frog" and "Blue Sunday".
• On King Gizzard and the Lizard Wizard's masterpiece album Nonagon Infinity, every song on the album bleeds into the next one, and there are several callbacks and callforwards of lyrical and rhythmic quotes between songs, leading to a seamless listening experience. The outro of the closer directly leads into the intro of the opener.
• Super Furry Animals with "Where Do You Wanna Go?" and "Lliwiau Llachar".

Punk

• 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).
• 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.
• 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.
• The first two tracks off The Offspring's Americana, "Have You Ever" and "Staring at the Sun" chain directly into each other- if you just play "Staring at the Sun" on its own you can still hear the last few cymbal hits from "Have You Ever" fading away in the background behind the opening guitar riff.
  • The last two tracks from Days Go By, "Dividing By Zero" and "Slim Pickens Does the Right Thing and Rides the Bomb to Hell" aren't actually joined (you can play either of them individually without a jarring cut that makes them feel incomplete) but are clearly meant to go together, with the first beat of "Slim Pickens" picking up exactly one beat after the last beat of "Zero". The two songs also share a single music video that tells a continuous story, albeit with a significant Art Shift between the first half and the second.

Rap

• 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.
• Eminem's "Castle" and "Arose" are usually referred to as a single song, especially because "Arose" switches back to the "Castle" beat at the end.

Rock

• Boston has "Foreplay" and "Long Time" at a combined 7:47. The (self-titled) album lists them as a single track.
  • Boston also has "The Launch" and "Cool the Engines" from Third Stage. Those two are the most obvious pairing, though really the entire concept mini-album of "We're Ready", "The Launch", "Cool the Engines" and "My Destination" flows together.
• 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.)
• Queen:
  • "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 (Queen). 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.
• ZZ Top's "Waitin' for the Bus" and "Jesus Just Left Chicago".
• Van Halen:
  • "Eruption" and their version of "You Really Got Me." It's a bit jarring when The Best of Both Worlds separates the two songs.
  • Diver Down has two (which are even combined in Guitar Hero: Van Halen), "Intruder"/"(Oh) Pretty Woman" and "Little Guitars" and its acoustic intro.
  • "1984" and "Jump" arguably qualify, though the first is seldom heard anywhere but the original album.
• 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 Best heard on the original vinyl. For some reason, the tape and CD releases butcher the effect by putting the tracks in the wrong running order. Something is definitely lost.
• The Kings' "This Beat Goes On" and "Switchin' To Glide".
• Journey recorded "Feeling That Way" segueing almost seamlessly into "Anytime", enough that radio stations almost always play them together. In an interesting aversion, the band originally paired "Lovin', Touchin', Squeezin'" and "City of the Angels" the same way, but many fans and radio programmers weren't interested in the second song. Consequently, in the days of vinyl, radio listeners would sometimes hear a tiny sliver of "City of the Angels" as the DJ rushed to replace the record. Journey's record label "solved" this on some CD releases by adding extra silence between the tracks. Thankfully more recent releases have gone back to the original mix.
• 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).
• 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.
• Area 11 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". On her Greatest Hits Album "Outside Society", these two tracks are combined into one. They are also combined for the remix that is featured on the soundtrack album of Natural Born Killers, although in this case, the beginning of "Babelogue" is absent.
• The Radiators (US):
  • "Nightmare on the Misery Train" into the Funkadelics' "Take Your Dead Ass Home" from their Bucket of Fish album.
  • A siamese triplet with "Lucinda" into "The Theme from The Magnificent Seven" into a cover of The Meters' "Cissy Strut" from Live at the Great American Music Hall.
• Bob Seger's live album Live Bullet paired "Travelin' Man" and "Beautiful Loser" this way.
• Steve Miller Band's "Threshold" and "Jet Airliner", as well as "Space Intro" and "Fly Like an Eagle".
• "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).
• On Jailbreak by Thin Lizzy, "Cowboy Song" and "The Boys Are Back In Town" are the 8th and 6th songs on the album respectively. However, on Live and Dangerous, the last chord of "Cowboy Song" segues directly into "The Boys Are Back In Town"; this would subsequently become the standard way they'd play the songs live.
• An odd example with Tom Petty. While it doesn't happen normally, we have a case with his 2019 Greatest Hits Album The Best of Everything. The compilations has the songs remastered and listed in a non-chronological order, and some songs fade into the next one ("Free Fallin'" into "Mary Jane's Last Dance", "Saving Grace" into "You Don't Know How It Feels", "The Waiting" into "Don't Come Around Here No More", "Even the Losers" into "Hungry no More").
• Heart has the acoustic instrumental "Silver Wheels" into "Crazy on You".
• Rod Stewart seems to have a Siamese pair with "Maggie May" and its guitar intro, but the whole thing actually is presented as a single song. The confusion is understandable, since Stewart also added a guitar intro to "You Wear It Well", but this time gave the intro its own name, "Interludings".

Soul

• 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.

Theatre

• In The Hamilton Mixtape, "An Open Letter" begins with the instrumental to "Wait For It" fading out as Watsky addresses John Adams before ripping into him.
• 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 (1989), 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.
• In Cirque du Soleil's VOLTA, the songs for the acro lamp act, "Suspension" and Man Craft", are a continuous suite when performed live, but separate and in opposite order on the soundtrack.
• Most of the score of Of Thee I Sing by George and Ira Gershwin consists of long musical scenes with several short, linked songs: the first-act finale begins with "The Supreme Court Judges," followed by a chorus praising the protagonist ("Hail! Hail!"), followed by a short song for the protagonist ("I have definite ideas...") followed by a longer song for the protagonist and chorus ("A Kiss for Cinderella").

Visual Kei

• D's "Hikari no niwa" is the intro to "Namonaki mori no yumegatari"—they even share the same music video. One could be forgiven for listening to the album version of the latter and thinking "wait, what happened to the acoustic intro?"

World

• Daniel Kahn and The Painted Bird does this twice; once in "Partisans & Parasites" with the songs "Khurbn Katrina" and "The Destruction of New Orleans", and again in "The Butcher's Share" with the songs "Shimke Khazer" and the eponymous "The Butcher's Share".

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