[[caption-width-right:350:Um... "All You Need Is Love"?!]]

Wait, this is about the Fab Four right? [[TemptingFate There's no way they can be scary, right?]] ''Wrong.''

!!! Albums

[[folder: ''Music/Rubber Soul'' ]]

* "Run For Your Life," [[LyricalDissonance despite its pleasant jangly sound]], is about a man threatening to murder his girlfriend if she is unfaithful.
* "Norwegian Wood (This Bird Has Flown)" tells the story of a man who gets invited to a girl's house. When she won't let him into her bed, he sleeps in the tub. When she leaves the next morning, he sets the place on fire.


[[folder: ''Music/Revolver'' ]]

* Those electronic "seagulls" on "Tomorrow Never Knows". It's a '''''heavily''''' distorted clip of Paul laughing.
** It's not just the "seagulls" that are terrifying: the distorted quality of John's vocals, occurrences of percussive sound-effects played backwards, and the sound of tape being [[BrokenRecord looped rapidly through a tape-recorder]], in addition to this song's overall [[UncannyValley freakishness]].
** Not to mention the drum part. Geez, Ringo, that drum part. Paul had the idea for it, but it was Ringo who played it.
*** And if the original song didn't creep you out, Jad Fair and Music/DanielJohnston's cover should do it. Not only is the general tone off-key and creepy, but a monologue interpolated halfway through presents the [[AlternateCharacterInterpretation interpretation]] that [[spoiler:[[TheCoverChangesTheMeaning the entire song is an effort to get you, the listener, to "surrender to the void" so that you'll be possessed by demons]].]]
* "Eleanor Rigby". Where to start... First, there's the haunting instrumentals featuring several strings instruments. Then there's the lyrics, which are about a two very lonely people: The title character and a lonely priest named Father Mackenzie. Their story is very disturbing on its own, considering that they never had the chance to meet. Eleanor Rigby died lonely with Father Mackenzie being the only one at her funeral.
--> ''Eleanor Rigby,''
--> ''Died in a church and was buried along with her name;''
--> ''Nobody came.''
--> ''Father Mackenzie,''
--> ''Wiping the dirt from his hands as he walks from her grave;''
--> ''No one was saved.''
--> ''All the lonely people;''
--> ''Where do they all come from?''
--> ''All the lonely people;''
--> ''Where do they all belong?''
* The entire album in general can be seen as this. It's a strangely random record, which, like their self-titled double album released two years later, never sticks to a constant theme, going from a dark opening rocker ("Taxman") to a sad ballad with cellos ("Eleanor Rigby"), an eerie psychedelic song about extreme tiredness ("I'm Only Sleeping") to a sitar-heavy raga song ("Love You To"), a pleasant love ballad ("Here, There, and Everywhere") to an oddball kiddie song ("Yellow Submarine"), an edgy hard rock song with a high-pitched sound ("She Said She Said") to a deliberately cheesy piano pop track about the summer ("Good Day Sunshine"), a somewhat unfinished rocker with cryptic lyrics ("And Your Bird Can Sing") another sad ballad ("For No One"), another rocker ("Doctor Robert") to a dissonant pop rock track with surreal vocals ("I Want to Tell You"), and then finally two of the least family-friendly Beatles songs - a loud {{Soul}}[=/=]{{Jazz}} fusion number that's secretly about an addiction to marijuana and the finale ("Got to Get You Into My Life"), a demonic experimental piece designed to terrify anyone not already disturbed by the eclecticism ("Tomorrow Never Knows").


[[folder: ''Music/Sgt Peppers Lonely Hearts Club Band'' ]]

* "A Day in the Life" is a disturbing psychedelic piece, considered by many to be the greatest Beatles track, that can be interpreted as a song about a depressed man, very likely John himself, whose constant use of psychedelic drugs has left him disconnected from his world. The middle section featuring Paul is a cheery track about a man's morning routine, which can be perceived as the first man's nostalgic flashback to when his life was simpler, before he lost control of it.
** The deranged string crescendo, which qualifies as a Middle Note Nightmare, and the creepy looping voices at the very, very end of the song, which qualify as a "secret" LastNoteNightmare.
** Technically, those looping voices are in a secret track - the "Inner Groove." "A Day in the Life" ends with very faded piano and ambient air conditioning. Which are still LastNoteNightmare.
** One of the creepier aspects of the aforementioned "Inner Groove" is that at least in original vinyl version, it was a loop in the ''literal'' sense of the word - it would play endlessly until you turn off your record player. Considering the fact that it was one of the first records to do such a trick, it was pretty much enough to make you believe that your player is haunted.
** The WhamLine:
--> ''He blew his mind out in a carů''[[note]]Paul assumed it meant he was completely stoned in his car, which is why there was a traffic jam.[[/note]]
* "Within You Without You", while a bit eerie in and of itself, ends with a cacophony of voices that you can't really decide whether are laughing, or crying. George said he put it there to "lighten the mood"... umm, good job?
* "Being for the Benefit of Mr. Kite!" Whether it's the creepy circus organ sound-alike (an actual organ accompanied by John, George and Ringo on harmonicas -- ''Anthology 2'' shows their monstrous size), the "waltz" in the middle, or the seemingly ceaseless LastNoteNightmare, you will be scared.


[[folder: ''Music/Magical Mystery Tour'' ]]

* "Strawberry Fields Forever", from Lennon's distorted voice to the funeral brass to the backwards cymbals that sound like ''a shovel digging a grave'', not to mention the LastNoteNightmare. The acoustic version in the Anthology is beautiful, though.
** "Strawberry Fields Forever" could be deeply disturbing to some. The way it fades out and fades back in at the end...
** And the added bonus of John's distorted voice bellowing, "CRANBERRY SAUCE," which could also be interpreted as "I BURIED PAUL" if you subscribe to the Paul Is Dead conspiracy theory.
*** The liner notes of ''Anthology 2'' state that the phrase "has long puzzled listeners." And it has.
** Also, the ParanoiaFuel that can set in should you analyze the lyric "nothing is real" for too long.
* "Blue Jay Way", especially the ending chant, which [[{{Mondegreen}} sounds like]] Music/GeorgeHarrison is singing "don't belong", as if he's disappearing from existence altogether.
--> ''Please don't be long\\
Please don't you be very long...\\
For I may be asleep.''
** In the "Blue Jay Way" segment of the film ''Magical Mystery Tour'', there's a brief shot of a seemingly-headless male torso with the words "Magical Mystery Boy" written on its chest. This is only seen briefly toward the end.
* "I am the Walrus," a bunch of WordSaladLyrics that leaves you uneasy. Whatever Music/JohnLennon was thinking of at the time, it wasn't sanity. It's too scary to think about a song mentioning [[{{Squick}} "yellow matter custard dripping from a dead dog's eye."]] [[FridgeBrilliance Bonus if you've actually found out an interpretation of the song.]]


[[folder: ''Music/The White Album'' ]]

* ''Music/TheWhiteAlbum'' in general has plenty of odd, dissonant chord progressions, textures and voicings throughout, and a loose, disjointed, ramshackle feel, that create a tense atmosphere through most of the songs. There's also a distant, thin, eerie, often distorted or lo-fi tone to ''how'' it was recorded, which doesn't help matters.
** Potentially made even scarier by reading the lyrics to "Helter Skelter". The album is infamous for being associated with UsefulNotes/CharlesManson. Ringo's scream of "I got blisters on mah fingers" at the end of "Helter Skelter"[[note]]omitted in the mono version[[/note]] also has an unsettling, deranged quality.
* The ending of "Long, Long, Long" when everything starts shaking and rattling (achieved by placing an empty bottle on top of a Leslie speaker) and George starts howling into the night.
* "Revolution 1": John shouting "all right" over and over and over.
** In 2009, an audio tape of an almost 9 (!) minute unreleased take of the song, titled "Take 20" leaked to the internet. It descends from a blues anthem into a deranged, psychedelic jam, and at the same time, it showed what scary influence Music/YokoOno had on the Beatles. [[TrueArtIsIncomprehensible Not that her Fluxus work was confusing enough already...]]
*** [[http://youtu.be/bQDDfW2pMhk?t=9m43s IT IS THAT!!!]]
* "Cry Baby Cry", where Lennon sings about "seances in the dark" and a group of children that are always mentioned, but never seen, make one's imagination fear the worst about their fate. Where are they? Are they still alive?
** The children are seen twice - when the queen plays piano for them, and when they put on voices for the seance. It's still an unsettling song.
* "Can you take me back where I came from, brother can you take me back?" The song has a very unsettling feel and Paul sounds like he's desperate for help.
* "Revolution 9". God, ''"Revolution 9"''.
** ''[[BrokenRecord Number nine. Number nine. Number nine. Number nine. Number nine. Number nine. Number nine. Number nine. Number nine. Number nine. Number nine.]] [[DepartmentOfRedundancyDepartment Number nine.]]''
*** [[spoiler: Number nine.]]
** The normal version is TAME compared to the [[http://www.youtube.com/watch?v=PG0wksBzKSc backwards]] version. "Turn me on dead man..."
*** SATAN LOOK AT ME!!! And ''[[YokoOhNo Yoko Friggin' Ono]]'' said that.
*** S-since the (pause) His suicide was...
*** "GET ME OUT!"
*** Throughout the track, the sound of a crowd shouting in anger plays, and this was at a time when race riots were rampant in America, not to mention, a relatively short time after Lennon himself had inspired mob violence with his infamous statement about the Beatles being "bigger than Jesus."
*** There is a part towards the middle where a frenzied moaning and heavy breathing fades in and out. To some, it sounds sexual, but to others it sounds like someone having a panic attack while being tortured. Given that John Lennon wanted this track to portray an actual revolution under way, it may have been intended to be the latter.
** There is another part where it sounds like someone's panicking while being suffocated!
** Made worse for being the longest track (8:15) the group released. If you can sit through the whole thing, congratulations.
** Fittingly enough? The Japanese word for the number 9[[note]]九/く (pronounced "ku")[[/note]] is pronounced the same as the japanese term for pain and suffering[[note]]苦/く[[/note]]. This may or may not have been intentional.
* "Piggies": In which "bigger piggies" whack the smaller "piggies" to death and eat them afterwards! Its nursery rhyme style makes it a shocking LyricalDissonance with a TwistEnding.
** Even more disturbing is the fact that UsefulNotes/CharlesManson took this song literally. He orderded his cult members to start killing random people. On the wall of Sharon Tate's apartment the word "pig" was found being smeared in her own blood.
* "Glass Onion" ends rather abruptly on a discordant, depressing string section that doesn't so much "end" as it just ''dies out''... going directly into the super-cheery "Ob-La-Di, Ob-La-Da". Early mixes of the song featured a different ending; the sound of glass shattering out nowhere, and someone repeating the sentence "It's a goal!".
* "Rocky Raccoon", anyone? A bright, happy and cheerful little ditty about [[LyricalDissonance a young boy murdering his love interest's new boyfriend]]... ''[[WouldHurtAChild only for the antagonist to]] [[DownerEnding end up winning]]''. One must wonder what the boys' stance on relationships were by this song alone... -shudder-...


[[folder: ''Music/Yellow Submarine'' ]]

* John's [[EvilLaugh undistorted laughter]] near the end of "Hey Bulldog".
* The beginning of "Only a Northern Song" is a bit unnerving and spooky.


[[folder: ''Music/Abbey Road'' ]]

* The way "I Want You (She's So Heavy)" just cuts off abruptly.
** [[WordOfGod It is said]] that John had this done intentionally during the final edit. ''[[VideoGame/RockBand The Beatles: Rock Band]]'' does a fine job putting a visual to the increasing volume and distortion before the cutoff.
* After listening to the strings fade out on "The End" in ''Abbey Road'', you sit there letting the musical food digest in your brain. All is quiet, until [[ScareChord DUNNNN!]] "Her Majesty", ladies and gentlemen. Of course, this is a subversion, since "Her Majesty" turns out to be a cheerful little ditty.
** The ScareChord is what would have been the end of "Mean Mr. Mustard". That's where "Her Majesty" was originally supposed to go, but Paul thought it didn't sound well in the medley, so it was taken out, though it ended up being tacked on to the end of the album.
* "Gnik Nus" sounds spooky thanks to the backmasking.
* John is actually chanting "Shoot me" in the background of the song "Come Together" (according to Bob Spitz's biography) - Paul was supposedly so disturbed by it that he covered up the end of the phrase with a loud cymbal hit, so that it sounds like "shooook!"
** Five words make that even more disturbing: "I just shot John Lennon".
* "Maxwell's Silver Hammer". MY GOD, talk about LyricalDissonance. A very cheerful and happy tune about some guy who kills other people with his hammer. So, yeah.
** To put it bluntly, it has the same lyrical theme as [[Music/CannibalCorpse Hammer Smashed Face.]]
** CrossesTheLineTwice: Gets to ridiculous proportions when Maxwell kills the judge ''at his own trial'' while people were previously demanding he be set free.
** John gleefully anticipates the judge's murder in an odd, sadistic way.
* "Because" can be found unnerving to some, least of all for its unresolved ending. One wonders how high John must have been when he wrote it. ''Music/TheBeatlesAnthology'' has an a capella version of the song that sounds scarier, and it was revealed to have '''''nine voices''''' -- three each from John, Paul and George.


[[folder: ''Music/The Beatles Anthology'' ]]

* The track "What's the New Mary Jane" was cut from ''Music/TheWhiteAlbum''. [[UpToEleven Some consider this song to be even scarier than Revolution 9.]] It starts out as a fairly cheery yet somewhat melancholic ditty with pretty nonsensical lyrics. [[MoodWhiplash However, around the 2 minute mark,]] [[AndIMustScream you start hearing demented, tortured screams]] [[NothingIsScarier backed to faint, cacophonous instrumentals]] until the cheerful part of the song fades completely with the creepy instrumentals and screams taking lead. No wonder it was cut.
** around 2:30 it starts to sound really creepy and unsettling! [[https://youtu.be/u1U-doJEmns really creepy]]
!!! Other
* The "Butcher Cover" (see image) which at least was nightmare fuel in its time.
* The "Paul is dead" urban legend.
** Many of these examples involve the name "Paul" usually in the context of a misheard lyric or line being played backwards. In 1969, a rumor circulated that band member Music/PaulMcCartney had been killed in a car accident and replaced with a double, while the rest of the Beatles supposedly put clues in the album covers or the lyrics. Most people would agree that this was a complete invention of obsessed fans (or perhaps a publicity stunt by the band), but it has found new life in the internet age.
* The ''LOVE'' mash-up album is filled with a bunch of strange transitions that make heavy use of stuff like clips of the boys laughing, Paul's aforementioned "seagull" noises, and other elements from the more psychedelic tracks. Due to the way song elements are combined, sometimes it's hard to make out what songs are used, rendering the final product unfamiliar and difficult to place, often making you doubt whether they really are Beatles-sourced elements...
** The version of "Being for the Benefit of Mr. Kite!" on ''LOVE'' proceeds as normal for about a minute and a half, right up until the line "And tonight Mr. Kite is topping the bill!", at which point it segues not into the circus music you're expecting, but rather the riff from "I Want You (She's So Heavy)", with various sounds - including the vocals from "Helter Skelter" - laced through it. Also a major case of MoodWhiplash.
*** Bonus points for combining the scariest parts of the scariest Beatles songs into one, complete with ominous winds following the negative ScareChord. Brr!