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A Music Trope. When a band records part of a song, they may sometimes leave in some of the talking that occurred during the recording session. It generally appears at the beginning or end of a song.

A subtrope of Throw It In, related to Leave the Camera Running. If you were looking for unintelligible chatter from background characters in other media, see Audience Murmurs.


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  • Mighty Sparrow's "Congo Man" features Sparrow talking to his band members and joking around during the latter part of the song, such as "Joey Lewis, how about you?"

  • Not even kids albums are safe from this practice. The beginning of the Laurie Berkner song "Victor Vito" begins with a musician clearing her throat, then trilling her tongue, which is then followed by the sound of giggling. This even made it to a 2019 music video of the song by Berkner and her band.

    Comedy / Parody 
  • Played with by "Weird Al" Yankovic in his parody of "You're Beautiful", titled "You're Pitiful". Early in the song, he starts to sing, stops, and asks if he was too early, then talks to get ready for the song to actually start.
  • sloshy from Homestar Runner is a stereotype of indie/alternative rock bands like Pavement, so naturally, they did this. At the end of their cover of Limozeen's "Because It's Midnite," the singer says "Alright, we're done here."
  • A Big Daddy album has a track starting with someone yelling in a high-pitched voice "That does it, I'm calling the police!" Then the "Every Breath You Take" cover begins.
  • Neil's "Hurdy Gurdy Mushroom Man" (the B-side of "Hole in my Shoe") has lots of this.
    Neil: OK, here we go, one, two, three... (twang of Jew's harp) No, no, shuddup. One, two, three, four. Finger cymbals! (they play) Penny whistle solo! (it plays) Jug! ...OK, OK, now everybody shuddup, OK, 'cause now comes the verse bit.

    Neil: (singing more and more slowly and dispiritedly) if I didn't know it's shit (spoken) Shall we go on to the next bit now?
    Anonymous musician: Yeah.
    Neil: Yeah!

    Neil: Can we have a bit less children? 'Cause it's all getting too commercial. Oh, no. This is all going horribly wrong. It's all sounding like - white sugar. It's all getting too sugary, soppy. Can't we just keep it like a whole-earth acoustic band? (song finishes) That was the worst experience I've ever had.
  • Tenacious D's song "City Hall" ends with Jack Black fiddling with the final note of the song on guitar for a few seconds, then saying, "Don't... cut that part out." Then Kyle Gass strums out an unrelated riff and proclaims, "We've got it!"
  • Lisa from The Simpsons does this at the beginning of "God Bless The Child" from The Simpsons Sing the Blues.
  • Bad News was a spoof metal band that spun off from Mockumentary appearances in The Comic Strip Presents (concurrently and independently from Spın̈al Tap). Their debut album "Bad News" has more Studio Chatter and Hilarious Outtakes than finished music.
  • Dave Chappelle brings up this trope before the Chappelle's Show skit "Turn My Headphones Up", which is a rap song consisting entirely of studio chatter.
  • Mike Krüger:
    Mike: Oh sorry, can we cut that?
    Sound engineer: No!
    Mike: Oh, Crap!
    • Rudi mit dem gelben Nummernschild features "Anne" which starts out as a (rather short) love ballad. Then we hear the producer talk to Mike and say he isn't satisfied with it. Mike should do a Reggae version of the very same song which he does. The producer still isn't satisfied and has Mike sing yet another version, this time Eurodance.
  • "Liebe ist süß" by Music/JBO starts as a mushy love song which abruptly ends after a few seconds to be replaced by some over-the-top brütal Death Metal. After another few seconds, we hear a studio hand being scolded and beaten to a pulp by the producer who then apologizes to the listener and restarts the actual "Liebe ist süß".

  • The Tractors included a lot of this on its first album, including one instance when a band member says, "When [the song] gets to the smutty part, you can stop me."
  • Session drummer Paul Leim yells "There's your record, hoss" at the end of Shania Twain's "No One Needs to Know." Afterward, another voice (possibly record producer Robert John "Mutt" Lange) says "Yep, there you go, dude."
  • At the end of Dierks Bentley's "How Am I Doin'", one of the musicians says, "You feelin' better, big guy?" and Dierks replies, "Uh, not really, dude."
  • On the Marie Sisters' "Real Bad Mood", the two sisters start chattering over the end solo. After they feign an argument, the talk box guitar player starts making random syllables and another voice (the record producer?) says "Come on, guys, quit messing around in there."
  • On "I Brake for Brunettes" by Rhett Akins, following the sound of a car slamming on the brakes and crashing, someone mutters, "I think somebody got hurt!"
  • At the end of Pinmonkey's "Stay with Us," one of the guitarists says, "That better be it because I just broke my A string on the last bar."
  • Ryan Adams' "To Be Young" is preceded by a brief intro called "Argument With David Rawlings Concerning Morrissey", which is Exactly What It Says on the Tin (more specifically, the argument is over which Morrissey album an unspecified song was on). On the same album, there's "In My Time Of Need", which starts with Ryan Adams mumbling "all right... Sittin' on my foot is weird". Apparently, he was sitting down to play guitar with one leg crossed under the other.
  • Old 97's: Prominent on their two-part The Grand Theatre project, it was intentionally left in; intended to give the albums more of a live feel than past albums. Very prominent examples occur during the intro of "The Actor", with Rhett Miller trying to decide what key the song should be in and then directing the band to follow his lead; a humorous occurrence happens after "White Port" ends: bassist Murry Hammond (who sings lead on the song) makes a joking reference to The Sound of Music, followed by Rhett saying "stop!" while laughing and saying "the spirit took me". Murry then quips, "it's a spirit-filled room alright".
  • Travis Tritt's "Blue Collar Man" has one of the session musicians saying he better make sure he has some "strong wood", which Travis and the rest of the band have a laugh at.

    Electronic / Techno 
  • BT's "Never Gonna Come Back Down" off Movement in Still Life ends with guest vocalist Mike Doughty (previously of Soul Coughing) saying "Sherice!," a random name mentioned earlier. (Doughty is known for his wacky stream of consciousness lyrics.) Then someone (Brian Transeau himself, most likely) is heard laughing, saying: "Fucking excellent, man!" then Doughty saying "This is what I do for a living, this right here."
  • It's an unfinished demo-mix, but Devo's album "Recombo DNA" has one track, "No Noise," that ends with singer/bassist Jerry Casale muttering: "I sure as fuck hope it recorded that time."
  • The Prodigy get their studio session interrupted by a phone call at the beginning of "Poison:"
    Liam: Oh, fuck's sake. I'm trying to write this fucking tune, man.
  • At the end of Nephew's song "Sway," a member of the band pronounces it a "great take."
  • Skrillex's "Coast is Clear" begins with The Social Experiment's pianist, Peter, warming up for the song. Once another member grabs his attention:
    Peter: Oh sorry, man. Are we recording?

  • The Kingston Trio's "Greenback Dollar" includes a few false starts at the beginning, an unsure dedication ("This song is for Shirley! * one of the trio, sotto voce :* Shirley whatshername...")... and various swipes at each other during the performance itself. It's a fun recording.
  • Caught at the beginning of the "Simkhes Toyre Time" performed by The Klezmatics with Itzhak Perlman on the album "Klezmer In The Fiddler's House." Just before Itzhak counts off, the recording captures him saying "OK, here we go" very quickly.
  • Melanie Safka's song "Isn't it a Pity" on The Good Book begins with the producer (Probably her husband Peter Sheckyryk) saying "you can do what you wanna do." and Melanie replying "All Right." After the song she asks "Was that good?" and breaks down in laughter.
  • Great Big Sea has chatter on several songs, which makes sense given their history of Audience Participation. For example, in "Jakey's Gin", one singer excitedly tells the other to start singing an entirely different drinking song.
  • As Art Garfunkel came to the end of the recording of 'So Long, Frank Lloyd Wright', he repeatedly sang the line 'So long, so long' so often that producer Roy Halee can be heard yelling "So Long Already, Artie!". As Garfunkel was unaware the song was really a message from Paul Simon telling him their musical partnership was at an end, this was a bit like [[lastdisrepects]].
  • "Holland, 1945" by Neutral Milk Hotel ends with the sound of Jeff Mangum putting down his guitar and walking away.
    • And right at the end of "Oh Comely", you can hear second guitarist Robert Schneider (of The Apples In Stereo fame) yelling "Holy SHIT!" He was amazed that they had gotten everything right on the first take.
  • The Super Time Pilot album Did We Happen To Begin includes a lot of the two lead vocalists bantering over instrumental sections, often cracking jokes at each others' expense. The funniest moment may be in "ET", where Nikki jokingly decides to start singing a glockenspiel part she didn't get to overdub yet ("ding ding ding ding!" "No, you can do the real ones later...")
  • On Sufjan Stevens' second Songs for Christmas EP, someone says "I played terrible," at the end of "I Saw Three Ships".
    • The Avalanche is another Sufjan album chock full of this.
      • "The Henney Buggy Band" ends with Suf quipping, "That sounded pretty good didn't it?" and the rest of the performers laughing - that sounded really good.
      • At the end of "The Mistress Witch from McClure" trumpeter Craig Montoro moans "aw man..."
  • Dan Mangan's "Et les Mots Croisés" begins with someone saying, in the spirit of the title, "Allons-y."
  • "Agree to Disagree" by Meg & Dia ends with a producer's comment: "Ahhh, so close, you two, so close."

    Hip Hop 
  • The otherwise creepy "Cleaning Out My Closet" by Eminem begins with "Where's my snare? I have no snare in my headphones. There you go. Yeah. Yo, yo..."
  • Lauryn Hill's debut album The Miseducation of Lauryn Hill has an interesting version of this. In between the songs, there is audio of a class of students talking about love and relationships. The audio was actually recorded in Hill's living room, and the "teacher" was poet Ras Baraka.
  • The Beastie Boys' The Mix-Up has a fair amount of chatter after songs, although it's generally quiet enough that you might not initially notice it's there. Presumably, these bits were preserved to add to the "studio jam session" feel, or simply because it's an instrumental album, so that's the only time you do hear their voices.
  • Nas has a legendary example of this on the song "NY State Of Mind". At the beginning of the song, he can be heard "I don't know how to start this..." because he genuinely didn't know where he was supposed to start— and then he proceeded to drop what is widely considered one of the greatest verses in hip-hop, all in one take.
  • The first half of the Fort Minor song "Tools of the Trade" has Mike Shinoda describe and demonstrate how one makes a hip hop instrumental and ends with everyone laughing at a joke one of the rappers made about another one.
  • The intro, ("Summer Knights"), to Joey Bada$$'s 1999 mixtape
  • Gravediggaz's "Six Feet Deep" starts with Poetic announcing a "Gravediggaz jam session" and giving the recording date, followed by Frukwan playing a few terribly out of tune guitar notes to raucous laughter. The out of tune guitar is actually incorporated into the beat for trippy, disorienting effect.

  • In a lot of jazz recordings (especially big band, or simply those with larger bands), there's often indistinct chatter between the musicians (drowned out due to the instruments). They're usually instructions, words of encouragement, laughter, cues or even small chit-chat if you're able to pick out some of the more audible ones. More Egregious in live recordings, obviously.
  • A particularly famous example in jazz is Duke Ellington's Newport Jazz Festival performance. During "Diminuendo and Crescendo in Blue", as Paul Gonsalves takes his famous, minutes-long solo, Ellington and the band can be heard shouting encouragement in the background. "Come on Paul! Dig in, dig in!"
  • Miles Davis' seminal album In A Silent Way has some moments of him softly giving the other musicians instructions — the whole album was improvised, more or less.
    • At the end of a song on the album Somethin' Else, Miles can be heard talking with the producer, Alfred Lion.
    • Several tracks on Miles Smiles end with Miles asking producer Teo Macero to playback the take.
      • Near the end of the song Woody 'n' You on the album Relaxin' With The Miles Davis Quintet, John Coltrane can be heard asking "Where's the beer opener?"

  • Alvin and the Chipmunks' original hit song "The Chipmunk Song (Christmas Don't Be Late)" used a framing device of David Seville attempting to keep the chipmunks on-task in the studio.
    • The Lost Dogs' cover version of the song keeps the format, but changes the dialogue: the various musicians are complaining about getting paid or literally phoning in their performance, and one by one they storm out of the studio and leave a synthesized double to sing for them.
    • Jonathan Coulton's pastiche of the song "Podsafe Christmas Song" also has that framing device, with Coulton trying to keep Adam Curry in particular from flouncing out of the recording.
  • Anthem Lights' "Love You Like the Movies" has the band making jokes about and quoting romantic movies, such as Titanic.
  • "bad guy" by Billie Eilish begins with some chat about Billie taking out her Invisalign (tooth brace).
  • "Bubbly" has Colbie Caillat asking "Will you count me in?" after the first few bars.
  • Hilary Duff in Workin' It Out, "I know, don't move on" and laughing.
  • Kesha kicks off "Woman" by laughing at an unheard joke, ending with an "Okay shut up!" just before the first notes.
  • Miley Cyrus shouts "Rrrrock'N'Rolllll!!!" at the end of East Northumberland High.
  • Nelly Furtado did this several times on her album Loose, where she threw in bits of her own studio speech as well as studio conversations - beginning of "Promiscuous", "Glow", "Do It", end of "No Hay Igual", and an extended 40-second conversation at the end of "In God's Hands".
  • P!nk's song "Missundaztood" ends with someone saying something too quietly to be made out; Pink asks for clarification and then laughs and says, "No I wasn't doin' my Ex-Lax commercial. This my first single, man!" The grunting before the chatter sounds a bit... ambiguous. (The drumming continues through her speech, so it's possible that this was intended.)
  • Britney Spears:
    • "Is this thing on?" on "Rock n Roll".
    • Also "Turn it up, yeah" on "Don't Keep Me Waiting".
  • Taylor Swift:
    • She built "We Are Never Ever Getting Back Together" around it, with the song originating after a friend of one of her exes barged in on a studio session and mentioned that he had heard she and the ex were, well, getting back together. A portion of the resulting rant from Taylor wound up incorporated into the bridge.
    • "Stay Stay Stay" ends with Taylor laughing and exclaiming "It's so fun!"
    • The Red version of "Everything Has Changed", a duet with Ed Sheeran, begins with Sheeran asking "You good to go?".
  • Tears for Fears:
    • An offhanded comment of "Let's take another five minutes" plays during the intro to "Famous Last Words".
    • At the end of the album version of "Secret World," we hear clapping in the recording studio and then a faint male voice saying, "Thank you, thank you very much."
  • At the end of Traffic's "Paper Sun" somebody can be heard saying "That's the one!" It might be the producer confirming the take, but since it happens to rhyme with "paper sun" it fits in with the lyrics.
  • The Veronicas start of "Mother Mother": 1, 2, 3.

    R & B 
  • "Get Up (I Feel Like Being a) Sex Machine" is about 33% this...but then again, so are most of James Brown's songs.
  • "We're a Winner" by The Impressions, recorded with a live audience, has a listener cheering on their contribution to the Civil Rights Movement: "All right now! Sock it to me, baby!"
  • "Hallucinogen" by Kelela, which materialized from a studio session with Arca where the former attempted to shape a vocal melody by Singing Simlish over the latter's songs, is interrupted about halfway through by Kelela cracking up at the absurdity of the situation and Arca remarking "I can't, I just can't".
  • The instrumental version of The Supremes "Love is Like an Itching in My Heart" by Motown studio band The Funk Brothers starts off with several musicians speaking at once.

  • German singer Peter Fox's album, Stadtaffe, has its first few tracks interspersed with random noise, seemingly from assorted machines around the studio.

  • The Beatles:
    • "Helter Skelter": "I've got blisters on my fingers!"
    • "Revolution #1" (the version on the White Album). "Ah. Take 20. OK."
    • The album version of "Get Back" ends with: "I'd like to say thank you on behalf of the group and ourselves and I hope we've passed the audition." (This in fact was John's joke at the end of the rooftop concert, as they were leaving after the cops showed up.)
    • Many tracks in Let It Be count (the album even starts with "'I Dig a Pygmy', by Charles Hawtrey and the Deaf Aids... Phase One, in which Doris gets her oats!"
    • In "Hey Jude", a very faint "Woah, fucking hell!" from either Lennon or McCartney (reports differ on who) can be heard towards the end of the fourth verse.)
  • The first solo album by Sting, The Dream of the Blue Turtles, contains several examples:
    • At the beginning of "Shadows in the Rain", one of the musicians can be heard yelling, "What key is it in? Wait, wait! What key is it in?" As the music starts, then groaning as no one answers him.
    • As the music ends on the instrumental title track, the entire band cracks up.
    • Sting howls like a wolf at the end of "Moon Over Bourbon Street".
  • "Barbara Ann" by The Beach Boys has all kinds of laughter and general chatter in it, as with other songs from Beach Boys' Party!.
    • On Pet Sounds, some talking can be heard in the background of a few songs. Humorously, in the middle of an instrumental break on "Here Today", some unintelligible chatter is followed by Brian Wilson admonishing "No talking!". When stereo mixes were made for the CD version of the album, the background chatter was removed.
    • A whole bunch of strange studio antics, labelled "Psychedelic sounds", were recorded during the SMiLE sessions. Try googling "Brian Falls Into a Piano" or "Brian Falls Into a Microphone"
  • "Bob Dylan's 115th Dream" opens up with the band missing its cue, causing Dylan and producer Tom Wilson to crack up before regaining their composure and completing a successful take.
    • "To Be Alone With You" starts with the band tuning up and Dylan asking producer Bob Johnston "is it rolling, Bob?" Obviously, it was.
  • Neil Young's Mirrorball often includes chatter or count-ins before songs, along with a couple of false starts. You can hear these on some of his other work, especially with Promise of the Real.
  • The Police song "On Any Other Day" begins with Stewart Copeland saying, "The other ones are complete bullshit."
    • Likewise, at the beginning of "Roxanne," audio can be heard of Sting sitting on a piano he thought was covered and then laughing.
  • Bruce Springsteen's "Seeger Sessions" album was intentionally roughly-hewn and seat-of-their-pants (they did more than one take, but didn't practice TOO much), so sometimes you can hear a bit of studio chatter as Bruce is trying to direct the band during some of the songs. The song where you can hear the most of this is "Pay Me My Money Down," during which you hear him call out two different key shifts ("Take it up to B-flat! A-one, two, three...") and cue the instrumentalists' solos (although it seems for one they got a bit confused who was getting the solo, because he says "Alright, somebody take it..." before the accordian player finally comes in).
    • On Born In The USA near the end of "Darlington County," Bruce howls to Clarence Clemons, "Big Man! Play that saxophone!" and laughs.
  • Oasis is particularly fond of these, throwing in random acoustic riffs every so often (i.e: The intro to "Wonderwall" before the song "Hello" and an acoustic version of the main riff to "Supersonic" at the end of "Wonderwall").
    • Speaking of "Go Let It Out", between the first and second verses, someone (presumably Noel) says something like "Bring up the bass!", signaling the entrance of said instrument into the song.
    • Also "Live Forever", which starts with a little casual whistling and someone muttering "oh yeah".
    • They did it particularly frequently on their early B-sides. "Talk Tonight" begins with Noel announcing that he's removing his watch before strumming the opening chord; "Half the World Away" begins with an acknowledgement that the recording has begun; "The Masterplan" opens with: "Get on with it. 'Cmon. Get the count-in. When is it? One-there-it-is, two... three... FOUR!" and their cover of "I Am the Walrus" begins with the immortal: "What's up? Doesn't matter if it's out of tune, 'cos you're cool!"
  • "Happy Jack" by The Who: at the end of the song guitarist Pete Townshend yells "I saw ya!" at drummer Keith Moon, who was banned from the vocal recordings due to his exceptionally terrible voice — Moon was trying to sneak back into the studio.
  • The studio recording of the song "Hockey Monkey" begins with the band explaining that they wrote the song because they wanted to appeal to kids, and they decided that they (kids) like both hockey and monkeys.
  • Laughter from band members can be heard at the end of "Six Shooter" by Queens of the Stone Age
  • "David Watts" by The Kinks starts with "This is the master," and "Nice and smooth."
  • David Bowie's "Life on Mars?" ends with a soft but dramatic piano playout, but you can also hear a ringing phone that's answered.
    • "Andy Warhol" starts off with the engineer announcing the song name and take number, followed by David Bowie correcting his pronunciation of "Warhol".
  • Nic Cester of Jet could be heard saying "No, that's good" before the song "Rip It Up."
  • Everything Else like to leave in bits of chatter. Most obviously in "Fool", but there is also some buried in "The Enemies".
  • T. Rex's Electric Warrior has a couple of instances: "Lean Woman Blues" starts with the end of a botched take followed by Marc Bolan laughing "Uh, take ten!", then starting the song off with "one, n' two, n' buckle my shoe!". "Planet Queen" also starts with a tiny bit of chatter, the most intelligible part being Bolan saying "lovely".
  • "Louie Louie" by the Kingsmen includes an F-Bomb when the drummer makes a mistake. Since the song was recorded in one pass they had no choice but to leave that in there. Hilariously, the FBI agents who analyzed the song to try and find if the unintelligible lyrics were vulgar never noticed that noticeable outburst.
  • Matchbox Twenty - The beginning of "Bent": You can hear Rob saying "All right, let's all try to sing the same song now... just for the sake of our sanities."
  • During the bridge of The Strokes' "Someday", Albert Hammond Jr. can be heard informing the engineer to either "keep rolling" or "keep going". Also, Julian Casablancas can be heard saying "initiating robot voice" following the first chorus of "Life Is Simple in the Moonlight", although this is somewhat buried in the mix.
    • Also, at the end of "Why Are Sundays So Depressing"
    "Hold on hold on hold-"
    "The click was always in you, Fab-"
    "It was never on-"
    "It was never on."
  • Stereophonics - on the album "Just Enough Education To Perform", the song "Vegas Two Times" opens with a minute or so of background noise and singers warming up.
  • Catatonia - "Don't Need The Sunshine", at first lead singer Cerys Matthews doesn't seem to know they've started recording - she can be heard singing the first line of the second verse to herself a few times, before one of the others says "Cerys!" and the band starts actually playing.
  • Hard to tell if it's planned or a mixture of this and Throw It In, but on the Tom Jones/Cerys Matthews version of "Baby It's Cold Outside", after the music ends she can be heard saying to him (in a heavy Welsh accent) "Bloody freezing, innit?".
  • Modest Mouse, at the beginning of "The Good Times Are Killing Me":
    "Daaa da da daaa... Is there an ashtray in here or what?"
    "Can we smoke in here?"
    "Yeah, Eric's got those pockets." *metronome starts*
    • "What People Are Made Of" starts with someone asking "What's up? Make love?".
    • "Bukowski" ends with Isaac saying "I fucked up the last line."
  • The end of The Used's "The Taste of Ink" has an outtake with band members complimenting the vocalist.
  • Counting Crows' song "Recovering the Satellites" has an extended bit at the end that's repeated several times; before the last one, we hear the lead singer telling everyone else, "Last one!"
  • The acoustic songs in Barenaked Ladies' album Everything to Everyone has some very funny chatter at the end where they call each other silly nicknames in Scottish accents.
    • There's also the stuff at the end of the Gordon album. This includes messing up a line in Grade 9 and some improvised stuff in the style of If I Had $1000000.
  • The Smiths, at the end of "I Started Something I Couldn't Finish". "Okay Stephen, let's do that again" to their producer, Stephen Street.
    • And later, an alternate take of Morrissey's solo song "I Know Very Well How I Got My Name" was released as "I Know Very Well How I Got My Note Wrong". In that version the guitarist messes up near the very end and both he and Morrissey laugh about it.
  • Frank Zappa's got a few, most notably at the end of "Bobby Brown Goes Down".
    "Yeah, I'd knew you'd be surprised!"
  • Tons and tons on Ben Folds Five's album Whatever and Ever, Amen. According the liner notes, this was part of the concept, to provide a more raw and intimate listening experience. It works.
    • The version of the Ben Folds solo song "Dog" on the Speed Graphic EP includes an impromptu phone conversation with his then wife. note  Apparently, he had been recording the vocals and she happened to call his cellphone just in time for the song's instrumental outro. After she chides him for picking up without saying hello, the following exchange happens:
      Frally: What are you doin'?
      Ben: Makin' a record.
      Frally: ...You're a cumquat.
      Ben: (laughs) We're doin' a vocal track. Um, you're all over it now.
      Frally: (sarcastically) Aw, great.
  • Blind Melon's "Mouthful of Cavities" starts with Shannon Hoon saying "Listen, man, I got the window open, hear the cats?". Evidently there were some cats just outside the studio, since you can faintly hear some meowing in the background as he says this.
  • The album version of Faith No More's cover of The Commodores' "Easy" starts with Mike Patton saying "Turn the lights on, baby", followed by another of the band members saying "This one's for the ladies in the house!" during the first notes. This is removed in the radio version.
  • The Pixies' Surfer Rosa has a few examples of this throughout. Most well-known among fans is a bit before "Vamos" where Frank Black shouts "You fuckin' die!", then awkwardly explains that he was just jokingly finishing Kim Deal's (apparently unrecorded) warning to not touch her belongings. And also before "I'm Amazed" we have:
    Kim Deal: ...and fucked 'em at school, all I know is that... there were rumours... he was into field hockey players. There were rumours.
    Black Francis: (chuckle) So I applied, basically.
    Kim Deal: He was gone the next day I went out for the team. It's like, he was go- they'd just like, it was like so hush hush, they were so... quiet about it, and then the next thing you know...
  • "Metal Man" on The Breeders' Pod album contains studio chatter. The end of their cover of "Happiness Is a Warm Gun" has the following exchange:
    Britt Walford (drummer): Josephine, do you think you're going bald?
    Josephine Wiggs (bassist): No, you've asked me that before, and the answer is no!
  • Radiohead's "2+2=5" opens with guitarist Jonny Greenwood plugging his guitar in and saying "We're on," and lead vocalist Thom Yorke replying, "That's a nice way to start, Jonny..."
    • At the beginning of "Polyethylene (Parts 1&2)," someone says "go" before the song starts.
  • At the beginning of Coldplay's "Strawberry Swing", when the clapping starts you can hear producer Brian Eno say, "It's a bit fast."
  • The song "MC5" by the Stone Temple Pilots ends with some guitar noise after a string is broken.
    "I broke a string!" (Laughter, followed by counting off into the next song.)
    • The song itself is mainly Spoken Word in Music to begin with, but "Wet The Bed" ends with producer Brendan O'Brien asking "All right, now what?".
  • At the beginning of Tori Amos's song "Not The Red Baron," the voices of "pilots" radioing each other can be heard over the piano. The voices are actually the sound engineers communicating. This is particularly cool because the song is something of an improv, recorded in a single take.
  • Beck can clearly be heard saying "One more time" at the beginning of "Whiskeyclone, Hotel City 1997."
    • He mutters unintelligibly at the end of "Cold Brains", possibly saying something along the lines of "I like the Moogs, man, they sounded good" — the song does include a Moog synthesizer part.
    • Also at the beginning of "Truckdrivin Neighbors Downstairs (Yellow Sweat)," kind of. The title refers to an actual pair of truck drivers that Beck lived above. Their shouting matches got so loud that Beck's recording equipment picked them up, and the argument was placed as an intro to the track.
    • Between its Fake-Out Fade-Out and its actual Last Note Nightmare ending, "Fume" has a snippet of Beck's friend Steve Moramarco apparently coming up with a mock-bowdlerized version of the chorus: "...And I really don't think I know what, do you? There's an ant... in my shoe!"
  • Pearl Jam's "Dirty Frank" ends with a brief guitar solo. Toward the end of the solo, Eddie Vedder can faintly be heard saying "That's enough," cuing the end of the solo and song.
    • At the end of Rearviewmirror, you can hear drummer Dave Abbruzzese say something unintelligible before hurling his sticks at the wall. According to Vedder, this was due to the producer really pressing Abbruzzese to play harder through several takes of the song.
  • Towards the end of Steriogram's hit "Walkie Talkie Man", you can hear someone sneezing. According to The Other Wiki, that's Brad Carter.
  • At the beginning of the Red Hot Chili Peppers song "Tearjerker" Anthony Kiedis asks the producer "Can you turn the track up, please?"
  • Ween's album GodWeenSatan: The Oneness is full of both this as well as spoken lines that were probably intentionally recorded as a joke, such as the unnecessarily lengthy count-in during "Wayne's Pet Youngin.'"
  • Butthole Surfers' "Birds" begins with Gibby Haynes saying "alright, what are we doin' here?" over the intro, then laughing and clearing his throat, before starting the song more properly with a scream.
    • "Lady Sniff" has a brief sampled musical interlude (if it could be called that) where a barely audible "Got it?" can be heard before it cuts back to the song itself.
  • Big Star has two examples. "She's A Mover" from Radio City starts with Alex Chilton saying "Think so, maybe", before drummer Jody Stephens counts the band in. "Don't Lie to Me" from #1 Record starts with two of the members saying "The last one?" "Let's just take it from the break" while Andy Hummel fiddles around with his bass guitar.
  • Belly's "Untogether" starts with the following snippet of conversation:
    Unknown band member: ...Sour mash.
    Tanya Donnelly (probably): (coughs loudly and clears throat)
    Same band member: Ooh, ouch!
  • Jamie T's "Brand New Bass Guitar" opens and closes with a couple of great examples:
    "I think that's the scrappiest version I've ever done of that in my life ..."
  • The Cribs "Be Safe", featuring special guest Lee Ranaldo, finishes with this exchange:
    Ryan: Yeah, mine were alright. Weren't my best one but who cares?
    Lee: (laughs) That's the spirit
  • Right before the coda to They Might Be Giants' "She Thinks She's Edith Head," one of the bandmembers can be heard shouting "One more! Go! Go!"
  • It's not audible in the song itself, but someone in Cracker apparently had a loudly ticking watch on during the recording of "Someday" - at the end of the song, the band are joking about it and comparing it to the beginning of 60 Minutes.
  • "Senator's Daughter" by Fountains of Wayne starts with a barely audible count-in, followed by Adam Schleisinger starting with the wrong note and muttering "Jesus..."
  • The Violent Femmes' "American Music":
    Gordon Gano: Can I... Can I put in somethin' like 'this is American music, take one'? One, two, three, four...
  • "Olympia" by Hole starts with a couple of false starts from Courtney Love. Later, after something of a Fake-Out Fade-Out, she says "no, we're not done..." to either the Record Producer or the rest of the band.
  • Red House Painters have a song off of Ocean Beach titled "Over My Head". The beginning of the track has about 45 seconds worth of the band just talking in the recording studio about random stuff, as if someone accidentally left the tape rolling. The ending 15 seconds has the same thing.
  • Sebadoh's "Prince-S":
    Jason Lowenstein: (laughs) Count it off, shmaht guy!
    (Bob Faye clicks his drum sticks together to count off the song, but no one starts playing)
    Jason Lowenstein: Now what the hell are we doin'? (unintelligble)
    (song starts up again)
  • "Decided To Break It" by Canadian band Marianas Trench begins with this:
    "What the fuck?"
    "Just play the fuckin' part!"
    "ONE - TWO - THREE - FOUR -"
  • Elastica's "Spastica" starts with drummer Justin Welch adopting a silly high-pitched shrieking voice to announce:
    And we will all enjoy ourselves! You've got to enjoy your music, or else there's no point in doin' it!".
    • He continues to shriek through the choruses.
    • "How He Wrote Elastica Man" seems to be half studio chatter and half nonsensical Spelling Song.
  • "Steady Gaze" by Scott Lucas And The Married Men ends with a bit of chatter, including violinist Rebecca Brooke complaining "I did horrible, but they can take me out..."
  • "It's Time" by Imagine Dragons ends with a few members of the band cheering inaudibly under the music, and then finally someone going, "Wooooo!"
  • The title track from Dinosaur Jr.'s "Green Mind" starts with J Mascis affecting a comically high voice and asking "how ya doin'?"
    • "Flying Cloud", on the same album, ends with someone saying "oh yeah". It's most likely whoever was playing percussion on that song - the song features a bass drum track with Echoing Acoustics, and that same effect is heard in the subsequent studio chatter.
  • The beginning of System of a Down's "Chop Suey": "We're rolling 'Suicide'." "Suicide" was the Working Title of the song.
  • Guitarist Mick Grabham asking "Is it on, Tommy?" at the start of "Nothing But The Truth" by Procol Harum.
  • Emilie Autumn starts off "Let the Record Show" with this. ("How's that?" "Good.")
  • Relient K's "Mood Rings" ends with the singer mumbling, "That was terrible..."
  • Velvet Underground's "Temptation Inside Your Heart" is almost entirely this, since they accidentally recorded the backing vocals on the same track as the lead.
  • The Melvins' album The Maggot starts with Dale Crover shouting "Heeey, Mr. Tambourine Man! Play a song for me." and Buzz gently replying "OK!," then instantly breaking out into the face smashingly heavy and fast first song "Amazon."
  • The remaster of Deep Purple's classic In Rock included 6 tracks of studio chatter, flubbed intro's and general goofing around.
  • Right before the beginning of "Black Country Woman" by Led Zeppelin, an airplane can be heard flying overhead, as the band were recording outside. Engineer Eddie Kramer asks "should we roll it, Jimmy? We're rolling on what, one, no, one again. Don't want to get this airplane on...", and vocalist Robert Plant can be heard saying "Nah, leave it."
    • John Bonham's low-in-the-mix, "rapped" count-in before "The Ocean": "We've done four already, but now we're steady and then they went one, two, three, four!". The "four already" refers to the fact that the band had screwed up four previous takes of the song due to its tricky rhythm and structure, and Bonham was trying to encourage them. As it happened, they nailed the take and kept Bonham's count-in.
    • And In My Time of Dying ends with studio chatter, since it was largely improvised and lacked a proper ending. The song itself ends with Plant singing "I'm goin' to make it my dying, dying, dying...", followed by a Beat of silence. John Bonham coughs loudly, so Plant sings "...cough!" as an improvised ending. Then, while Jimmy Page audibly dicks a bit on his guitar, Bonham excitedly yells "That's gonna be the one, isn't it!". Engineer Andy Johns can then be heard on the talkback saying "Come have a listen, then.", to which Bonham replies "Oh, yes, thank you." and releases his hi-hat clutch.
  • Van Halen's "Poundcake" starts with the volume turned really low, during an exchange between two band members (one of them safely assumed to be Eddie Van Halen). As per some lyrics, someone says "Ain't that some shit?", followed by "Okay, ya ready to go?" "Yeah."
    • Also, in "Unchained", Ted Templeman interrupts David Lee Roth's trash talking with "Come on, Dave, gimme a break!" (and he replies "He-he-he-hey! One break, coming up!").
  • The Faces song "Too Bad" has the producer speaking over the count in to tell Ron Wood that he has to lower his guitar.
  • Metallica:
    • "Anesthesia: Pulling Teeth" starts with the words, "bass solo, take one". It is, of course, largely a bass solo with some drums.
    • As "Blitzkrieg" winds down and sort of flounders, James Hetfield belches into the mic and laughs, prompting Lars Ulrich to say, "We fucked up in just one place.."
    • At the end of the cover of "Helpless" on the Garage Days Re-Revisited EP, you can hear Lars saying something like "Keep it dull, keep it ringing out, let it ring out.", and then "Okay, turn it off now." after a few seconds pass. The entire EP has little bits of chatter actually, adding to the "garage" ambiance (including a Throw It In out-of-tune cover of Iron Maiden's "Run to the Hills" intro).
  • Iron Maiden:
    • The band's albums from Brave New World to A Matter of Life and Death include each a spoken part with drummer Nicko McBrain, one finishing ("Awww, I fucking missed him", with the record producer's response as well, in "The Thin Line Between Love and Hate") and two opening the album ("One, two, one, two, three, four!" in "Wildest Dreams", and "AYEEE!" in "Different World").
    • At the end of "The Unbeliever" after the guitars have rung out a voice can be be heard saying "That's the one", followed by another saying "Yeah that's it, let's go and listen".
    • At the end of "Still Life" drummer Nicko McBrain can be heard saying "Yeah, that's was fucking great".
    • The last two minutes of B side "Black Bart Blues" is made up of outtakes from the album Seventh Son of a Seventh Son, including plenty of studio chatter from drummer Nicko McBrain.
    • Leading into the end of "Space Station No. 5" (a Montrose cover), Bruce Dickinson starts fooling around and imitating a horse race announcer as the solo speeds up. When the song ends, he continues with "And at the finish it's prick, followed by the wanker, followed by, uh, cunt, with arsehole finishing a close fourth." Someone then asks "Why did you say that?", and Bruce laughs in response.
    • "Mission from 'Arry" is all this. It's a recorded argument between Steve Harris, Bruce and Nicko about a roadie who couldn't tell Nicko to extend his drum solo and got yelled at later. When they found the tape (which Bruce had hidden beforehand), they decided it was hilarious enough to be put on the B-side of "2 Minutes to Midnight".
  • The end of Slipknot's "Scissors" has the band watching scat porn while high. It's been said that this was kind of an initiation for percussionist Chris Fehn (who can pretty clearly be heard puking his guts out).
  • Megadeth's cover of "Paranoid" ends with drummer Nick Menza still playing the song even after it ends, prompting this.
    Dave Mustaine: Nick. Nick! Nick!!!
    Nick Menza: (stops playing) "Fuck. Me. Running."
  • Ozzy Osbourne's "No Bone Movies" starts with a count-off. Nothing out of place there, except the person doing it sounds like he's laughing his ass off.
  • Motion City Soundtrack's "Shiver": "I think that was finally one of the better ones."
  • Spoon's songs "U Got Your Cherry Bomb" and "Don't You Evah" end and start (respectively) with a bit of studio banter. It can get a bit annoying when listening to the album on shuffle.
  • Eels' "All The Beautiful Things" has a slightly humorous variation on the count-off: "One... hmm, I'm not gonna count, sorry".
  • If you listen closely to Starflyer 59's "First Heart Attack", you can hear someone say "Stop," immediately before the song and the album ends.
  • In Pavement's "Grave Architecture," Stephen Malkmus says "come on in" to the rest of the band after the intro.
    • "Cut Your Hair" starts with a little bit of feedback followed by someone whispering "Stop it!"
  • Centrifuge by Pomplamoose has a bridge/outro-first-half consisting largely of technical fumbles in the booth.
  • Rogue Wave's "Harmonium" ends with something that is mostly unintelligible, but it has something to do with a screw popping off and something landing perfectly on the other note.
  • The version of "Treatment Bound" by The Replacements that appeared on Hootenanny was a home demo recorded while the band were still learning the song. At one point Paul Westerberg apparently goes into the chorus too early, so you get something like:
    (sung) We're gettin' no-
    (spoken) Wait... Keep goin'.
  • At the beginning of fun.'s "All the Pretty Girls," you can hear, "Cool. So it's gonna have to be two [basses/passes]. The pretty girls."
  • Mates of State's "Open Book" begins with Jason Hammel asking "wha' happened?" in a silly voice, which was probably an off-the-cuff A Mighty Wind Shout-Out.
  • Land Of Talk's "Cloak And Cipher" starts with Elizabeth Powell exclaiming "Oh my god! I like that..."
  • Left Lane Cruiser's song "Neighborhood" ends with someone saying, "You fuckin' nailed it! Hell yeah! That's funny as shit, I fuckin'... [garbled] [laughter]."
  • Swirlies' song "You Can't Be Told It, You Must Behold It" begins with lead singer Damon Tutunjian muttering "I still don't know how to resolve it", probably referring to the ending of the previous song continuing into the beginning of the aforementioned song.
  • "Rufus Wants A Hug" by Kid Dynamite starts with "I don't hear any sounds on this recording. All I hear is bzzzzzz... Ready, Freddy?"
  • Korn has this in a few songs at the beginning or the end of some tracks such as "Clown" (an ongoing conversation between the band members, with joking insults being thrown around), "Wicked" ("Yo, Chuck! We got runnin' mixes in the headphones!"), and some recordings of singer Jonathan Davis bursting to tears in the studio.
    • An interesting part of the "Clown" chatter is drummer David Silveria saying something along the lines of "Let's do 'Twist'. I wish we could put 'Twist' on the fucking tape". The song "Twist" was written while they were working on their first album (on which "Clown" appears), but didn't see release until two years later.
  • Coal Chamber's "Pig" with the band and production staff messing around.
  • Linkin Park
    • Collision Course, the mashup album with Jay-Z, has a bit of banter inserted at certain points, including this gem of an opener:
      Chester Bennington: I ordered a frappuccino, where's my fucking frappuccino?
    • The Hunting Party also has some chatter inserted at the end of a couple songs; specifically "Keys to the Kingdom" and "All For Nothing".
  • Incubus's song "Calgone" near the end features the band mates chewing out their former DJ, Gavin Koppell for nearly erasing the song on the mixing board while filming it.
  • Green Day's "Good Riddance" begins with guitarist Billie Joe Armstrong screwing up, cursing and starting over.
  • The Offspring's "All I Want" has presumably a technician saying "Okay" faintly before Dexter starts singing.
  • This is one of Bowling for Soup's claims to fame. On occasion they'll record a song and not cut off any of their conversation in the studio, and on even rarer occasions the entire song will be them goofing around while drunk.
  • Blood Sweat And Tears's "Spinning Wheel" ends with merry-go-round music playing over the rest of the song. The effect is hilariously awful, and when it ends a bandmember can be heard saying "That wan't too good" while the band laughs and the song fades.
  • "Daydream Believer" by The Monkees opens with producer Chip Douglas announcing that it's take "7A". Davy Jones obviously doesn't hear that and asks Douglas what take it is. The other Monkees say "7A" in a tone of mock-irritation. Davy accuses them of picking on him because he's short. Most oldies stations edit this out.
  • Mc Fly's "5 Colours in her Hair" has this at the end of the song.
  • "Zzzonked" by Enter Shikari opens with a clip of the lead singer complaining: "These wars are directly out of order, you get me? They're past their sell-by date serious. I don't think any of you fucking get me. Listen." Cue Metal Scream.
  • Mogwai's Young Team album is filled with this, including one recording where a band member tells their manager that 2 other members got into a fistfight and left. We hear the second half of the conversation at the start of the song, and the first half at the end, played backwards...for some reason.
    • One of the songs also starts with the countoff "1, 2, 3, 4, 5, 6, 7, 8, a-1, 2, 3, 4, 5, 6 and on ya go!"
  • There's a secret track at the end of the CD edition of Spectral Mornings by Steve Hackett where the janitor comes into the studio to clean up the mess made by the band. He is none too pleased.
  • "Are You Ready, Eddy?" off the Emerson, Lake & Palmer album Tarkus ends with Carl Palmer yammering about the sandwiches in the Abbey Road commissary.
  • The entire side 4 of Todd Rundgren's Something/Anything? album (the only side to use outside musicians, incidentally) is loaded with between-track Studio Chatter. For humorous effect, the liner notes transcribe the studio chatter alongside the lyrics, as though it were a script to a play (complete with stage directions). The version of "Hello It's Me" played on FM radio frequently retains the chatter at the end of the track.
    "There goes Todd."
    • "Couldn't I Just Tell You" (from Side 3) begins with Todd flubbing a drum take, yelling "Mother of God!!", and setting himself up to record another take.
  • The Concept Album Interview by Gentle Giant intentionally places snippets of an imaginary interview with the band in between some of the songs. It is meant to parody the kind of questions the band had been asked in interviews.
  • At the end of Marillion's "Holidays in Eden" someone can be heard saying "That was a laugh, wasn't it?"
  • At the beginning of Yes's song "And You and I" it's just possible to make out someone (presumably an engineer) saying "Rolling!", followed by the louder reply (presumably by Steve Howe), "OK!"
  • As the The Moody Blues song "Reflective Smile" fades into "Veteran Comic Rocker", one can clearly hear Graeme Edge asking someone for another scotch and Coke — and at the end of the track, there's a backmasked bit of studio chatter!
  • The Genesis "Archives" boxed set includes a work in progress version of "Mama". At the beginning, Mike Rutherford can be heard saying, "Should I start?" and Tony Banks replies, "Yep.". At the very end, someone says "You never—" and Phil Collins interrupts with "Wish I had some words." Someone says "You never did the, ah, you know, you know the bit—" and Phil interrupts with, "Well, you've got to press your button!".
  • The song "Blue Ocean" on Flying Colors' self-titled album starts with the band discussing the progression of the song — how many times and when certain parts should be played. This section ends with one of the band members making an obscure Rush reference ("from the topping, no stopping"), the band laughing, and a member saying "Standby studio, and good luck" in a faux British accent before going into the song.
  • The end of Liquid Tension Experiment's "Three Minute Warning": "I believe that will suffice for a record. All right, send it to Barney, as is."
  • Almost every song by Bomb the Music Industry! has some chatter after it.
  • Sum 41 has a silly albeit quite amusing one in their song "We're All To Blame". The lead singer mumbles, "Far in, ooh..." in a strained voice but follows it up with a confused "... Are we singing?". Makes you wonder... Far in what, Derek?
  • After the end of "Plans I Make," the final track of Hüsker Dü's New Day Rising album, this exchange can be heard with their producer, Spot.
    Possibly Grant Hart: What do you think, Spot?
    Possibly Spot: I think he's going to be mad because we opened up the trashcan.
    Bob Mould: [In a mocking tone] Now the bleed came in. Who cares? Cause that's the last song on the album, it doesn't matter what it sounds like anyways. [guitar noise]
  • At the end of "Diabolical" by Mindless Self Indulgence.
    Steve: I lost my pick in the last part.
    Kitty: That was... That was the best we're gonna do.
  • Ian MacKaye ends Minor Threat's "Stumped" by asking "Is that good enough? I think so..."
    • "Cut From The Cloth" by Evens, who are the duo of Ian MacKaye and Amy Farina:
      Ian: July 2nd...
      (A sudden burst of audio feedback is heard)
      Ian: What was that?
      Amy: Just... just electricity.
  • The Ramones had many songs where Dee Dee could be heard doing the count-in. "Danger Zone" was pretty much their only song to have any more studio chatter than that:
    Dee Dee: Which song are we doing?
    Johnny: Danger Zone!
    Dee Dee: Oh, ready? note  one two three four!
  • F.E.A.R.'s "The Mouth Don't Stop" begins with:
    "We're not recording, are we?"
  • One CD reissue of The Cramps' Songs The Lord Taught Us includes an alternate take of "I Was A Teenage Werewolf", where the intro of the song abruptly stops as vocalist Lux Interior has a lengthy argument with someone across the room. Lux's half of the argument is much easier to make out, as he's still in front of the microphone, but apparently this other person disrupted the recording in some way, greatly angering Lux:
    "Man, nobody fuckin' stops the tape on The Cramps in the fuckin' studio! Now get outta here... This is costing me 80 bucks an hour, please leave!"
  • This is all over the Sex Pistols' various demos and cover recordings.
    • The "Spunk" demo of "Pretty Vacant":
    • A bit of chatter tacked onto the beginning of their cover of "Substitute":
      John: You don't need permission for anything!
    • From an in-studio jam that produced a few B-sides:
      Paul: We'll play "Johnny B. Goode," he'll sing "Through My Eyes." ... Tell John. Tell him. ... Tell him. He can't hear me in there.
      Glen: They wanna play "Johnny B. Goode" while you sing "Through My Eyes."
      John: God! Alright, then. (The band launches into "Johnny B. Goode.") If you could see... Oh god, fuck off. (John improvs through a couple verses, repeatedly confessing he doesn't know the words, then gets the band to start playing "Road Runner.") I don't know how it starts, I've forgotten it. ... Shout out how it starts, what's the first line?
      Paul: (Shouting to John over the band) One, two, three, four, five, six!
      John: All right, can you start at the beginning, then?
      Paul: "Road runner, road runner!" It's not 'ard!
      John: I can't hear you, Paul.
      Paul: (louder) "Road runner, road runner!"
      John: Goin' a thousand miles and hour... (goes into a similarly improvised "Road Runner," making things up until the band stops) Do we know any other fuckin' people's songs? ... Do we know any other songs that we can do? I can't think of any.
      (The recording apparently stops and then picks up a few seconds into a joke cover of "Whatcha Gonna Do About It?" full of piss-takes and John doing comical voices)
      John: (in a fake, weepy voice) Ohhhh, I'm overwhelmed, it's all too much... (The band grinds to a halt) Oi. Oi, oi, Paul. How 'bout "No Fun"?
    • At the end of "(I'm Not Your) Stepping Stone":
      John: Now what?
    • Paul and Steve can be heard laughing at the end of "Lonely Boy," from the Great Rock 'n' Roll Swindle soundtrack.
  • At the beginning of Lynyrd Skynyrd's "Sweet Home Alabama", Ronnie Van Zant says, "Turn it up." He was telling the sound engineer to turn up the volume in the his headphones.
  • At the end of "I Can't Get Behind That", (A rant-off set to music between William Shatner and Henry Rollins), You can hear Henry responding to something said by the engineer and relaying it to Bill.
    Henry Rollins: Yeah. Bill, can you turn around and do one more?
    William Shatner: Always can do one more.
    Henry Rollins: Let's hit it!
  • It's barely noticeable, but Adolescents' "I Hate Children" starts with the producer saying "children, one".
  • Aimee Mann's "Momentum" ends with a drum solo that continues for a good 30 seconds after the music's climax, and at the same time you can hear one side of a conversation between Mann and someone else: "[laughing]...compared to the Hell on wheels I used to be! ... Is that with two F's?"
  • Several members of Dave Matthews Band can be heard saying something indecipherable at various points of "Stand Up (For It)".
  • Godspeed You! Black Emperor's Yanqui UXO begins, very faintly, with producer Steve Albini saying "we're rolling."
  • Patti Smith's song "Chiklets" was recorded but not included on the Radio Ethiopia album in 1976. Fans were delighted to discover it when the album was re-released in 1996. It begins with Patti gently encouraging her guitarist (probably Ivan Král) after a false start: "Don't worry, we'll find it. Keep it really sexy — and like, dark — in a really damp cave." At the end, she says "Give yourself a fadeout." Just before the track concludes, you can hear her laugh.
  • Noah's re-recording of one of their Peterpan-era song, "Aku & Bintang", starts with preparation chattering before the band play the song.

  • Several Reel Big Fish songs end with casual conversations or statements, such as a man claiming to be selling T-Shirts at the end of "Ban the Tube Top".
    • Lead singer Aaron Barrett also tries to start "Suckers" by saying "This one is for all the suckers that still believe in love," but the entire time, one of his bandmates (probably trumpet player/second vocalist Scott Klopfenstein) is trying to interrupt him, asking if he can open the song instead, only to forget what he was supposed to say after being allowed to do so.
    • "You Don't Know" starts with Dan Regan saying, "Horns standing by!" followed by Aaron Barrett exclaiming, "Holy shit, we're rolling!"
  • During the outro of Ska punk band Sublime's "What I Got," one of the members is heard saying, "We're not that far off. So that's... see, but... we're done, man."
  • Catch-22's most well-known anthem, the title track from "Keasbey Nights," fades out with someone exclaiming "That was terrible!"
  • The Cat Empire's album Two Shoes has the first song start with a bit of chatter, ending with "Right then. Off you go." leading into the count-off.
  • On Madness's album "Keep Moving", somebody can be heard loudly saying "I think we've got it there, don't you?" at the beginning of "Victoria Gardens". The same recording appears between two entirely different tracks on the band's second Greatest Hits Album Utter Madness.
  • Cherry Poppin' Daddies' "Zoot Suit Riot" has vocalist Steve Perry saying, "I think I'm 'bout ready to sing it" over the closing instrumental section of the song. Perry had said this because he thought he was doing a warm-up vocal take - after recording, it was decided to use that take for the record and leave his comment in as an in-joke.

  • Black Carl's "Dirty Whisky":
    Vocalist: Can I do the James Brown "get down"?
    Engineer: No.
    Vocalist: Dammit!
    Engineer: 'kay ready, one two three four...

  • A little of this is heard at the beginning of the score album for Twister (it was actually included by mistake!).
  • After the final track on the soundtrack album for The Vanishing, Jerry Goldsmith congratulates the orchestra and there's applause.

  • The final track of Symphony of Eva, an orchestral arrangement of various music from Neon Genesis Evangelion, ends on what appears to be the main choirgirls and the conductor casually chatting as the audience meanders out of the venue.

  • One cast recording of Once Upon a Mattress includes a 20-second track of the director and Carol Burnett (Princess Winifred) discussing Carol's performance. ("Carol, you don't sound like you're having enough fun with this.")