Booker T and the M.G.’s: Green Onions

Booker T and the M.G.’s was the house band for Stax Records in Memphis, Tennessee, and as such they appeared on virtually every single that Stax released during its heyday in the Sixties and early Seventies. The band can be heard backing Stax’s star vocalists on recordings by Otis Redding, Sam and Dave, William Bell, Eddie Floyd, Carla Thomas and others. 

As one of the most influential instrumental ensembles in American music, Booker T. and the M.G.’s pioneered the sparse, groove-heavy blueprint of the Southern soul sound. Operating out of the legendary Satellite studio in Memphis, this trailblazing, racially integrated quartet defined an era of cross-cultural musical collaboration during a time of intense social civil rights struggles. Their signature blend of interlocking rhythm patterns, driving bass lines, and piercing organ melodies became an indelible hallmark of twentieth-century popular culture. 

The band consisted of Booker T. Jones on organ/piano, Steve Cropper on guitar, Donald “Duck” Dunn on bass, and Al Jackson on drums. This versatile and talented ensemble was equally comfortable providing accompaniment for blues or ballads, rock, or R&B. In addition to providing Stax singers with a backing band, they released instrumental singles under their own name, including “Groovin,” Hip Hug Her,” “Time is Tight,” and their biggest hit, “Green Onions.” 

With the addition of the Memphis horns, the band also recorded instrumental tracks as the “Mar-Keys.” 

In the early eighties, the surviving members of the band, Steve Cropper and Duck Dunn, were members of Dan Ackroyd and John Belushi’s Blues Brothers band and were featured in the movie “The Blues Brothers.” They returned with Ackroyd in “Blues Brothers 2000.” 

The band recorded several fine studio albums in the Sixties, including "Green Onions" (1962), "Soul Dressing" (1965), and "Hip Hug Her" (1967), but "The Best of Booker T and the M.G.'s" (1968) may be all you require. 

Essential Album Review: Green Onions (1962) 

This sensational debut studio album stands as a definitive cornerstone of instrumental rhythm and blues. Built around the spontaneous genius of its title track, the record perfectly showcases the band's tight, minimalist approach to rhythm. Jones’s Hammond M-3 organ work provides a swirling, gritty texture that pairs seamlessly with Cropper's sharp, economic guitar stabs. It remains a timeless audio masterclass in groove and constraint. 

• Released: October 1962 
• Label: Stax Records 
• Producer: Jim Stewart 
• Core Personnel: Booker T. Jones (Organ), Steve Cropper (Guitar), Lewie Steinberg (Bass), Al Jackson Jr. (Drums) 
• Key Tracks: "Green Onions", "Behave Yourself", "Mo' Onions" 

Essential Album Review: Hip Hug-Her (1967) 

Marking a crucial evolutionary point in the ensemble's discography, this mid-1960s release captures the definitive lineup operating at the absolute peak of their collaborative powers. With Donald "Duck" Dunn fully locked in on bass, the rhythm section achieves an unparalleled level of syncopation. The tracking features a brilliant mixture of tight original grooves and soulful, transformed interpretations of contemporary pop and R&B hits. 

• Released: June 1967 
• Label: Stax Records 
• Producer: Jim Stewart 
• Core Personnel: Booker T. Jones (Organ), Steve Cropper (Guitar), Donald "Duck" Dunn (Bass), Al Jackson Jr. (Drums) 
• Key Tracks: "Hip Hug-Her", "Groovin'", "Slim Jenkin's Place" 

Essential Compilation Review: The Best of Booker T. & the M.G.'s (1968) 

For listeners seeking a comprehensive gateway into the definitive architecture of the Memphis soul sound, this landmark 1968 compilation is unmatched. The collection neatly aggregates the band's most influential instrumental hits alongside essential tracks that shaped the Stax legacy. It serves as an indispensable historical audio capsule, preserving the timeless, rhythmically precise tracks that soundtracked a generation. 

• Released: 1968 
• Label: Atlantic Records / Stax Records 
• Producer: Jim Stewart, Staff 
• Core Personnel: Booker T. Jones (Organ), Steve Cropper (Guitar), Donald "Duck" Dunn (Bass), Al Jackson Jr. (Drums) 
• Key Tracks: "Time Is Tight", "Green Onions", "Boot-Leg" 

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Captain Beefheart: Mirror Man

Captain Beefheart, also know as Don Van Vliet, was one of the strangest artists in the history of rock music. His music might be off-putting for those whose tastes are limited to the mainstream, but for the initiated, his quirky and often downright bizarre music is a source of infinite amusement. Beefheart has been critically praised for decades for his highly original music, which incorporates rock, blues, and avant-garde jazz. Beefheart was always supported on recordings by various versions of his “Magic Band.” 

As a towering iconoclast of the 1960s and 1970s underground, Don Van Vliet completely dismantled the conventional rules of popular songwriting. Possessing an astonishing five-octave vocal range and a surrealist lyrical wit, he manipulated the fundamental elements of American roots music into complex, jagged, polyrhythmic soundscapes. His tyrannical yet brilliant compositional methods yielded a body of work that challenged existing notions of rhythm, harmony, and musical structure, securing his position as a primary architect of post-punk, new wave, and alternative rock. 

Born Don Glen Vliet, Beefheart started out with childhood friend Frank Zappa in local groups such as The Omens and The Blackouts. Around this time, he added “Van” to his name and was thus named Don Van Vliet. His colourful moniker, “Captain Beefheart,” came from Zappa, who observed that he sang as if he had a “beef in his heart.”

 

In 1965, the first Magic Band was formed. They played blues and R&B, both covers & original material, and scored a contract with A&M Records, with whom they released two singles. The first, “Diddy Wah Diddy,” became a minor hit, but the label discarded it anyway. 

In 1967, Beefheart and the Magic Band landed a contract with Buddah Records and recorded their brilliant debut, "Safe as Milk" (1967). The album was rooted in blues and R&B, and while containing moments of slight weirdness like the track “Electricity,” the sound of the band was still palatable to mainstream listeners.

 

This changed with the release of the great and sometimes controversial "Trout Mask Replica" (1969), Beefheart’s masterpiece. It is one of the strangest recordings in the history of popular music. The music is a synthesis of pure avant-garde jazz and rock, almost devoid of melody and harmony, featuring songs not so much sung as croaked by Beefheart, whose voice, at the best of times, could be described as grating. As such, the album is unlistenable for mainstream music fans, but it is overflowing with creativity and humour.

 

Beefheart would continue to release albums for the next 15 years, which followed in a similar vein. The best of Beefheart’s post-Sixties work is “Lick My Decals Off, Baby” (1970), “Mirror Man” (1971), “Clear Spot” (1972), “Shiny Beast (Bat Chain Puller)” (1978), and “Doc at the Radar Station” (1980). 

Beefheart, one of the true originals of rock music, died in 2010.

 

Essential Album Review: Safe as Milk (1967) 

This spectacular debut stands as one of the most eccentric artifacts of the late-1960s psychedelic blues boom. While firmly anchored in traditional Chicago blues and garage R&B, the tracking is punctuated by asymmetric slide guitar lines and unexpected time changes. Vliet’s booming, delta-inflected growl is beautifully contrasted by a young Ry Cooder's precise, intricate guitar arrangements, creating an accessible yet undeniably eerie sonic blueprint. 

• Released: June 1967 
• Label: Buddah Records 
• Producer: Bob Krasnow, Richard Perry 
• Core Personnel: Don Van Vliet (Vocals, Harmonica), Ry Cooder (Guitar), Alex St. Clair (Guitar), Jerry Handley (Bass), John French (Drums) 
• Key Tracks: "Electricity", "Zig Zag Wanderer", "Abba Zaba" 

Essential Album Review: Trout Mask Replica (1969) 

Widely recognized as a monumental landmark of avant-garde musical experimentation, this double album remains a staggering, uncompromising masterpiece. Produced by Frank Zappa, the tracking captures the Magic Band executing microtonal, entirely decoupled instrumental lines that somehow lock into a singular, frantic groove. It serves as a definitive audio time capsule of unconstrained creative madness that rewrote the boundaries of rock media. 

• Released: June 1969 
• Label: Straight Records 
• Producer: Frank Zappa 
• Core Personnel: Captain Beefheart (Vocals, Saxophone), Drumbo (Drums), Antennae Jimmy Semens (Guitar), Zoot Horn Rollo (Guitar), Rockette Morton (Bass) 
• Key Tracks: "Frownland", "Moonlight on Vermont", "Veterans Day Poppy" 

Essential Album Review: Clear Spot (1972) 

For listeners seeking to understand how Beefheart’s chaotic genius could interact with polished, professional studio production, this 1972 gem is unparalleled. Working with legendary producer Ted Templeman, the band streamlines their polyrhythmic complexity into heavy, driving swamp rock and soulful funk grooves. Vliet delivers some of his most potent, rhythmic vocal tracking here without losing an ounce of his signature surrealist edge. 

• Released: November 1972 
• Label: Reprise Records 
• Producer: Ted Templeman 
• Core Personnel: Captain Beefheart (Vocals), Zoot Horn Rollo (Guitar), Rockette Morton (Bass), Ed Marimba (Drums), Orejon (Bass) 
• Key Tracks: "Big Eyed Beans from Venus", "Her Eyes Are a Blue Million Miles", "Too Much Time" 

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