The Beatles examples:
- The Abbey Road Medley has a very noticeable skip between "Mean Mr. Mustard" and "Polythene Pam", where "Her Majesty" was cut out.
- While recording "I Am the Walrus," from Magical Mystery Tour John Lennon randomly flipped through radio stations and came across a BBC production of King Lear. He added snippets of dialogue from the scene being broadcast at that moment to the mix, most of which appear in the song's coda.
- The Troubled Production and more direct sound of The White Album resulted in many instances of this, to the point that it seems like most of the entries on the Beatles anomaly list come from here:
- Also, at the end of "Helter Skelter" from The White Album (but not in the rare mono version) you can hear Ringo Starr throw his drumsticks across the room and famously scream: "I got blisters on my fingers!" Your hands would be sore too, if you had played a 27-minute-long version of Helter Skelter earlier in the day. The version captured for the White Album was the band's 18th take of the night.
- "I'm So Tired" ends with John mumbling "Monsieur, monsieur, monsieur, how about another one?", and a "pleh" that supposedly comes from his son Julian. This was one of the things that fueled the "Paul Is Dead" myth, since when reversed, it supposedly sounded like him saying "Paul is dead man, miss him, miss him!".
- While recording "Ob-La-Di, Ob-La-Da", when Paul first gets to the line "Desmond lets the children lend a hand", George and John can be heard chiming in with "Arm!" and "Leg!". Paul managed to keep going, but as a result, got Molly and Desmond's roles backwards in the final verse.
- Jack Fallon's fiddle solo in "Don't Pass Me By" includes some ugly, scraped harmonics and bum notes as the song fades out. Fallon himself said "I was very surprised they kept it in, it was pretty dreadful." Similarly, in the last chorus Ringo added more percussion and drum fills to try and cover for the fact that he accidentally switched the chords on the piano a bar too early.
- That spine-tingling howl at the end of "Long, Long, Long" was caused by an empty wine bottle placed on the organ's amp that started to rattle when Paul hit a certain note, the microphone picking it up and causing feedback, and George immediately answered it with a howl of his own.=]
- "Wild Honey Pie" was, by Paul's account, an entire Throw It In song: he made it up in an experimental mood and they were going to leave it off the album, but George's then-wife Pattie Boyd liked it. This convinced them to keep it on the album.
- "Yer Blues" has audible leftovers from a previous take in the left channel, namely John singing early placeholder lyrics leaking through the drum mic. The solo similarly has the originally-recorded solo bleed through Ringo's microphone in the left channel, while the right features the newly-recorded solo.
- "While My Guitar Gently Weeps" contains a surprising amount of missed notes and flubs, perhaps the most obvious being the ending where the band go out of sync with each other, as Paul ends up being the only one playing the correct chord sequence while the rest of the band switch chords way too early.
- Appended to the very beginning of "Revolution 9" is a barely-audible control room conversation between producer George Martin and Apple office manager Alistair Taylor.
Taylor: ... bottle of claret for you if I'd realised. I'd forgotten all about it, George, I'm sorry.
Martin: Well, do next time.
Taylor: Will you forgive me?
Martin: Mmmm... yes.
Taylor: Cheeky bitch.
- In "I'm Looking Through You," after the line "but not today," there's a tambourine shake on an off-beat. That was one of the Beatles (not entirely sure which; I've seen it credited to all four!) actually dropping the tambourine.
- The U.S. stereo mix of the song includes a false start during the intro.
- "A Day in the Life": Mal Evans set off an alarm clock to signal when the first orchestral interlude would end, but it fit so well with the beginning of the second theme "Woke up, got out of bed, ran a comb across my head..." that they left it in. One can also faintly hear him counting the 24 measures leading up to the end of the section.
- Toward the end of the song's protracted fade-out of the last chord, an air conditioner can be heard. A folding chair can be heard squeaking in the studio as well.
- On their song "Maxwell's Silver Hammer," Paul can be heard laughing at the start of the line "...writing fifty times I must not be so..." around 1:21. This is rumored to be because John mooned him from the control room during the recording (the line preceding it was "so he waits behind").
- About three minutes into "Hey Jude," somebody (it's disputed who said it, but it was either Paul or John) mumbles "Fucking hell!", apparently because Paul hit the wrong note on his piano.
- In the stereo version of the song "Please Please Me" from Please Please Me John flubs a line in the last verse at 1:53: instead of "I know you never even try, girl" he says "I know I never even try, girl" and then giggles. (Remember, the whole album Please Please Me, except for four songs previously recorded for singles, was recorded in a single 10-hour studio session with virtually no edits or overdubs; it was largely the Beatles' live act, warts and all.)
- John screams "YEEEEEEEEEAHHHHH!" at one point in "I Want You (She's So Heavy)", which is followed by some indistinct chatter.
- The song "Hey Bulldog" from Yellow Submarine was originally "Hey Bullfrog"; the band changed the words after Paul improvised a dog's bark.
- "You've Got To Hide Your Love Away" from Help! contains a line that is sung as "If she's gone, I can't go on, feeling two foot small". John flubbed the line, which was originally "two foot tall", but he felt that the new line worked better and kept it.
- In the B-side medley on Abbey Road, at the end of "Polythene Pam" and the start of "She Came In Through the Bathroom Window", John Lennon can be heard saying "We'll listen to that now, hehe" as a reference to the track changing. He then says "Oh, look out!" (presumably telling the others to get ready for the new song), and then another (barely audible) voice says "You should-" before "She Came In Through the Bathroom Window" starts.
- One of the most famous examples is at the very top of their first album, Please Please Me: Paul's count-off "One, two, three, faw!" at the beginning of "I Saw Her Standing There". This would normally have been cut from the final track, but the band liked the way he did it on one take so much that they ended up editing it into the beginning of the take that they actually used. When Greil Marcus first heard it, he was astonished because he thought Paul had said "One, two, three, fuck!"
- John's line "I'd like to say "thank you" on behalf of the group and ourselves, and I hope we passed the audition" at the end of "Get Back" from Let It Be was an ad-lib at the end of the famous rooftop concert, and was added to the studio version. Since they're the last words ever spoken at a public Beatles performance, and would have been the kind of thing that the band would say at auditions back when they were teenage nobodies, they also qualify as a Meaningful Echo.