The Police’s Woke Up in my Clothes Again starts off with somebody yelling “Wait, what key is this in?”
The album “Trout Mask Replica” by Captain Beefheart has multiple instances of studio chatter. Mostly Captain Beefheart ruminating about the music, and Frank Zappa trying to get them back to work.
About 40 seconds of studio chatter at the end of Smash Mouth’s “Disenchanted”.
Ryan Adam’s “Heartbreaker” album starts with a disagreement between Dave and Ryan about a Morrissey single:
D: Naw, Bona Drag, baby
R: no, no, it’s Viva Hate
D: No, I looked!
R: It’s on Bona Drag, cause it was a single!
D: Two… off…
R: But it’s, it’s the sixth track on Viva Hate
D: It’s on Viva Hate too?
R: Mm hmm! Suede head yeah…
D: Cause I looked for it the other day…
R: Yeah, it’s on there
R: But it’s on Bona Drag cause Bona Drag is a collection of all his singles after the first couple of…
D: I dont think it’s on Viva Hate man, we’ll have to look when I get home
R: Uhhh… Betcha five bucks. I’d swear it
D: I’ll take that bet
R: Okay, it’s on there!
R: 1, 2… Oh! Soda…
R: <in British accent> Eth, Eth’s go’ a mouf full o’ cookies! R: Bum licker!
D: Eth got beat up by fascists and left for dead!
R: LEFT FOR DEAD!
Starts into “To Be Young (is to be sad, is to be high)”
The Counting Crows song Kid Things, a hidden track on their This Desert Life CD.
Walt Whitman’s Niece, by Billy Bragg and Wilco (who wrote the music. Woody Guthrie wrote the lyrics before his death), features them laughing and talking to each other during the recording, as they can never seem to coordinate the rhythm of the chorus between the group of people singing. Whether this is intentional, I have no idea.
Ben Folds Five improvised a song while goofing around in the studio while the equipment was still running. The result, For Those of Y’all That Wear Fanny Packs, features chatter, especially at the very end, where they’re commenting on how bad the song they just played sounds.
The Nitty Gritty Dirt Band’s "Will the Circle Be Unbroken " has lots of studio talk through out the original (1972) vinyl. Not sure how much remained in the 2002 remastered CD
And, by extension, the cover by 80s band Poison.
I had to look to see if this was a zombie thread. Nope. But you said the same thing in this thread 3 years ago!
I still can’t find a valid answer via Google.
30 Days in the Hole by Humble Pie has about 30 seconds of studio chatter (“roll my tape”, “anyone doing that one?”), practice harmonizing, someone saying “lord have mercy” which cracks up the band, then the song starts.
I thought I was experiencing a bit of deja vu 
Still don’t know who the hell that woman is or what “the normal noises” are.
The fourth album side of Todd’s “Something/Anything” was basically recorded live in-studio, so there is lots of studio chatter in or between most songs. My favorite bit is in the song “You Left Me Sore” where he is singing a long drawn-out note and right at the end his voice cracks, and you can hear several people in the studio laughing when it happens.
My favorite example of a studio chatter record is “Fleetwood_Mac_in_Chicago,” (also known as “Blues Jam in Chicago, Vols. 1 & 2”).
It’s the original Peter Green Fleetwood Mac lineup in the Chess Studio in Chicago, with Buddy Guy, Otis Spann, Willie Dixon, and other greats doing blues covers as well as a few Fleetwood Mac originals. A remarkable album and well worth hunting up if you’re a fan of the original Fleetwood Mac.
It was the project of legendary British blues producer Mike Vernon of Blue Horizon records. Take a look at Vernon’s body of work here.
It’s essentially the tape rolling as the guys in the studio work things out, with Vernon talking to Peter Green, Jeremy Spencer, and the rest from the control room.
One of the best parts is during Jeremy Spencer’s Elmore James session. At one point, Vernon says “Jeremy, can we just check the tuning?” (Spencer is tuned to open E) As Jeremy checks the tuning, so can you - you can tune your guitar to the record and then play along. At least that’s what I did and it’s how I learned to play Elmore James riffs in open E!
That’s not studio chatter. That’s part of the song. It’s scripted.
Same with “the normal noises”, even if no one knows what it means. And Cover of the Rolling Stone.
Todd Rundgren though, that’s studio chatter.
There goes Todd…
At the end of “Happy Jack” (The Who) Pete Townshend yells out “I saw ya” (in reference to seeing Keith Moon who was playing around in the studio).
The “I saw ya” became such a part of the song, when they would play it in concert, Pete would end the song with the quote.
One rather unusual example is King Crimson’s “Thela Hun Ginjeet”. The middle part is a recording of Adrian Belew telling his bandmates about the narrow escapehe just had.
Back in those groovy 60s, there were some LP tracks that were pretty much entirely studio chatter. One example is “Bull Session with the Big Daddy” off The Beach Boys Today.
This reminded me of one of my favorites back when I listened to the blues…in the London Howlin’ Wolf Sessions, a few bars into “Red Rooster” Howlin’ Wolf stops the song to explain to Eric Clapton how to play the riff correctly:
There’s a lot of laughing at the end of Bob Geldof’s Great Song of Indifference, then Geldof saying “Let’s listen.” You can also hear Geldof calling out instructions during the song, like “One more” etc., though that’s not really studio chatter.
Ronnie Van Zant’s request to the producer to “Turn it up” (his headphones) so he could hear the track better at the beginning of “Sweet Home Alabama”.
On The Lemonheads Come On Feel The Lemonheads album in between “Rest Assured” and “Dawn Can’t Decide” someone says, “I can’t see you now, Dave but…” then another voice says, "“We’re rolling on Dawn.”
“Brick” also has some chatter at the very end. Sounds like he says, “forget that shit!”