If Jimmy Smith broke new ground by opening the gate for the organ to enter the world of mainstream music, Booker T. and The M.G.s were the ones to truly refine it to its peak potential as an artform. Whereas Jimmy Smith used it as a jazz instrument, providing mostly cool backing to the other performers, The M.G.s used it as a Rock and Roll instrument, bringing it to the forefront of the band and unleashing its full potential as an artistic tool. Coupling the organ with an electric guitar, bass, and drums, they created an iconic, instantly recognizable sound that both ties it to its time period and never grows old.

Although the M.G.s changed their lineup quite frequently, it is their original lineup, featured here, that is most well-known. Maintained from their debut until three years later in 1965, it featured Booker T. Jones on the Hammond organ, Steve Cropper on guitar, Lewie Steinberg on bass, and Al Jackson Jr. on drums. While it’s hard to deny that Booker T.’s organ is the highlight of the ensemble, credit must be given to Steve Cropper’s guitar. He has a distinct playing style that compliments the organ quite well. The band’s overall style is unmistakably theirs, and still holds up very well today. It sounds somewhat like a strange marriage of classic rock and roll and baseball stadium music, and it is absolutely a good thing. Even the covers on this record sound more like M.G.s songs than their original artist’s. You could listen to a song of their’s that you’ve never even heard before, and still easily identify it as their song, and that really is the mark of a band who’s perfected their craft.

From left to right: Booker T. Jones, Steve Cropper, Al Jackson Jr., Lewie Steinberg.

Image source: rollingstone.com

When it comes to tracks, boy does this album pack a punch. Right off the bat there’s the title track, their most successful single and one of the most recognizable songs of the first half of the Sixties. The organ on this track is borderline perfect, providing without a doubt the most memorable melody of the entire record. Cropper’s guitar plays with short, chopped-up notes that go excellently with the organ line underneath it. The whole track really is just a joy to listen to, and is absolutely deserving of its enduring popularity. Up next is “Rinky Dink,” a nice, catchy tune with a great guitar hook, and after that is a superb cover of the Ray Charles staple “I Got a Woman” that more than does the original justice. However, with the exception of the final track “Comin’ Home Baby,” Side B kind of just falls flat, at least compared to Side A. It isn’t bad, but just isn’t really as interesting as the first side. “Comin’ Home Baby” is incredible however, with a quiet, subtle mood and strangely sad organ part that wraps up the album quite nicely.

So even if the second side wasn’t the greatest, this album is more than worth a listen. Even if you’ve never heard of the band before, “Green Onions” and to an extent the songs that follow it are so ingrained in American culture that you’ve more than likely heard it before without even knowing it. And their success is deserving: they created their own style and refined it to perfection, further solidifying the organ as an acceptable instrument in popular music. Even regardless of its importance, it’s just a fun listen. I would highly recommend this one.

Favorite Tracks: “Green Onions,” Rinky Dink,” “I Got a Woman,” “Comin’ Home Baby”

Next Up: Jazz Samba by Stan Getz and Charlie Byrd (1962)