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HammondWiki lists the drawbar registration for this to be 88 8800 000, but it’s entirely possible it has some extra color to it. I don’t have an M-3 lying around, unfortunately to check the nuance.

Here’s the main drag:

Green Onions -- the main drag

Booker T. embellishes slightly throughout, but this is the pattern he sticks to closest.

Here’s the transcription of the entire song–I included an idiot-proof ending as well.

This post is dedicated to Brandi Smith, who has never heard us play it on a gig, but could swear we’ve played it hundreds of times.

Here’s my complete transcription of the keyboard part.

Here’s my transcription of the chorus:

Loverboy's Working for the Weekend Chorus Synthesizer part

It starts out fairly unassuming and peaks on a great 16th note lick and then ends fairly unassumingly. Perfect for the song, and after having heard it several dozen times on the classic rock and easy listening stations, I figured, “yep, gotta write that one out”.

Here it is in all of it’s glory:

Bob Mayo's solo on Baby I Love Your Way

Yet another iconic piano intro. I’m outlining the outer octaves, but the original recording contains the inner two octaves not represented here. You know what to do–an octave piano patch will do just fine. What sets this intro off from other similar intros are the wide, un-piano-like jumps throughout.

Here’s Annie Lennox – Walking on Broken Glass

No trivia, but God bless wikipedia for useless information:
“The CD single was housed in a cardboard sleeve.”

It’s a pretty iconic piano intro and pretty easy once you get ahold of the basic feel.

Marc Cohn’s Walking In Memphis:

Really quite a cool track and almost every lyric has a dual meaning in the story woven in the verses. The wikipedia page has more info.

Here’s the 8 bar piano intro to Bless the Broken Road:

No interesting trivia other than the song was originally written by and performed by the Nitty Gritty Dirt Band.

I love to adapt this slightly and play it in the key of A whenever Stand By Me comes up on a gig.

I must admit, for some silly reason this song is my favorite song of all time:
– It’s a hooky pop song
– It’s not overproduced
– It’s got a great keyboard part

Anyways, here’s the main synth part, as played by Marty on The Motels’ Only The Lonely.

Marty recorded this using a Prophet 5. I’ll post the conversation I had with him here at a later date.

This lick was undoubtedly crafted by Greg Phillinganes.

It is meant to be played on a grand piano with a slathering of chorus–not unlike the piano from Don’t Stop Believin’.

Trivia: it’s the last song Michael Jackson ever performed with the Jacksons (2001) prior to his death in ’09. Definitely check out the version in ‘This Is It’… it’s great!

Note that the left hand should be doubled with a chorus bass guitar as well for authenticity. No more lazy bass players!

Also, for extra geeky enjoyment, here’s the legit story behind the song.