...it's like TV Tropes, but LINKED DATA!
Studio Chatter
- 402 statements
- 56 feature instances
- 110 referencing feature instances
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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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Studio Chatter / int_149ad2ae | type |
Studio Chatter | |
Studio Chatter / int_149ad2ae | comment |
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.) | |
Studio Chatter / int_149ad2ae | featureApplicability |
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Let It Be (Music) | hasFeature |
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Rina Sawayama's "Comme de Garcons (Like the Boys)" starts with Rina saying "Is it on?" | |
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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). 72 Seasons has recordings of Lars and others talking at the ends of "Screaming Suicide", "Sleepwalk My Life Away", and "Inamorata". |
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Studio Chatter / int_19d5167b | type |
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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. | |
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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." | |
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Lisa from The Simpsons does this at the beginning of "God Bless The Child" from The Simpsons Sing the Blues. | |
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Modest Mouse, at the beginning of "The Good Times Are Killing Me": "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." |
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Anthem Lights' "Love You Like the Movies" has the band making jokes about and quoting romantic movies, such as Titanic. | |
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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. | |
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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. | |
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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. | |
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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. | |
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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. | |
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"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. | |
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"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!" | |
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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!" |
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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: | |
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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. | |
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The Red version of "Everything Has Changed", a duet with Ed Sheeran, begins with Sheeran asking "You good to go?". | |
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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." | |
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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. | |
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Neil's "Hurdy Gurdy Mushroom Man" (the B-side of "Hole in my Shoe") has lots of this. | |
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The beginning of System of a Down's "Chop Suey": "We're rolling 'Suicide'." "Suicide" was the Working Title of the song. | |
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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. | |
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Blind Melon (Music) | hasFeature |
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Studio Chatter | |
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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. | |
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Studio Chatter / int_6e97f69f | type |
Studio Chatter | |
Studio Chatter / int_6e97f69f | comment |
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. | |
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60 Minutes | hasFeature |
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Studio Chatter | |
Studio Chatter / int_71b9aa90 | comment |
After the final track on the soundtrack album for The Vanishing, Jerry Goldsmith congratulates the orchestra and there's applause. | |
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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. | |
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Studio Chatter / int_7c221074 | type |
Studio Chatter | |
Studio Chatter / int_7c221074 | comment |
"bad guy" by Billie Eilish begins with some chat about Billie taking out her Invisalign (tooth brace). | |
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Studio Chatter | |
Studio Chatter / int_7e63a2e3 | comment |
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. "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. |
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72 Seasons has recordings of Lars and others talking at the ends of "Screaming Suicide", "Sleepwalk My Life Away", and "Inamorata". | |
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At the very end of "Larks' Tongues in Aspic, Part Two", Bill Bruford can be heard asking "Could I do one more immediately?" | |
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"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". | |
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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. | |
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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". | |
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"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..." | |
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Studio Chatter / int_9ad7adc8 | comment |
"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. | |
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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. |
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Studio Chatter | |
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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. |
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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). | |
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Studio Chatter | |
Studio Chatter / int_bb23f928 | comment |
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. | |
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Noah's re-recording of one of their Peterpan-era song, "Aku & Bintang", starts with preparation chattering before the band play the song. | |
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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." | |
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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. |
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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. | |
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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.") | |
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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. | |
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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". |
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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". |
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A little of this is heard at the beginning of the score album for Twister (it was actually included by mistake!). | |
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Twister | hasFeature |
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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!". | |
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"Liebe ist süß" by J.B.O. 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". | |
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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." | |
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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". | |
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"Anesthesia: Pulling Teeth" starts with the words, "bass solo, take one." It is, of course, largely a bass solo with some drums. | |
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On Tyler, the Creator's "Gone, Gone / Thank You" the two halves are separated by a studio conversation that happens to fit thematically with the song: "Can we do it over?" "What?" "Everything." | |
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