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Great examples of sequencing

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...between two tracks, within an album.

- The death-country mysteriousness of 'Long Black Veil' followed by Garth Hudson's Bach-on-cocaine introduction to 'Chest Fever' by The Band from the Music From Big Pink album. My favourite, a true hair-raising moment.

- The pulsating beat of 'I'm Waiting For My Man' breaking the celesta-induced trance of the dreamy 'Sunday Morning' within Velvet Underground & Nico.

- "I got blisters on my fingers!!" into 'Long Long Long'... goes without saying.

- 'Revolution 9' into 'Good Night'...ditto.

- '21st Century Schizoid Man' into 'I Talk To The Wind' - King Crimson's idea of a Hell-Heaven transition.

- the whole of The Dark Side of The Moon, Animals, The Wall and Final Cut because f*** it, there is no way I can pick only one moment. Pink Floyd were in their own league when it comes to these things.

- Neil Young's 'Running Dry' into 'Cowgirl In The Sand'. A shame that the second time he tried this (Needle and The Damage Done - Words), the effect was nowhere near as powerful.

My favourite is 'Wintertime Love' following 'Summer's Almost Gone' on 'Waiting For The Sun' by The Doors.
Also, 'Get to You' after 'Wasn't Born To Follow' on 'Notorious Byrd Brothers'.
And, obviously (!), 'Abbey Road'.

I've always liked the first side of blood on the tracks for the excellent sequencing. Going from Tangled Up in Blue to Simple Twist of Fate seems to work musically and lyrically. Separately You're a Big a girl Now to Idiot Wind also flows well

"Drive My Car" (a boy that starts playing with a girl, and at the end the boy becomes the toy of the girl) followed by "Norwegian Wood" (a girl that starts playing with a boy, and at the end the boy is still the toy of the girl).

Hello Goodbye:
My favorites will always be any two consecutive tracks in the Abbey Road Medley.


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