Al Jackson Jr. (from mid-1962). Horns: varying combinations of Wayne Jackson, Floyd Newman, Don Nix, Gilbert Caple, Vinny Trauth (through 1963), Packy Axton (through 1964), Andrew Love (from 1964). These musicians, in addition to being the studio Mar-Keys, served as the backing band on singles and albums by dozens of rock, R&B, and soul music artists who recorded at the Stax studios, including Otis Redding, Carla Thomas, Wilson Pickett, and many others. While still involved with the Mar-Keys and Stax studio work, Cropper, Steinberg, Jones and Al Jackson Jr. also began recording as Booker T. & the M.G.'s in 1962. Consequently, from then through 1966 instrumental music recorded by the Stax house band was issued under the name of either the Mar-Keys or Booker T. & the M.G.'s, depending on the type of recording: in general, tracks featuring a horn section were credited to the Mar-Keys, and those without horns were credited to Booker T. & the M.G.'s. Dunn replaced Steinberg in the M.G.'s in 1964, having already played with the Mar-Keys both live and in the studio for several years. The demise of the group as a singles act occurred due to the success of several of its members. By the time of the 1965 recording "Boot-Leg", singles credited to Booker T. & the M.G.'s were far outselling recordings credited to the Mar-Keys, who had failed to chart in years. Therefore, the decision was made to issue the horn-driven "Boot-Leg" (co-written with Packy Axton and Isaac Hayes) as a track by Booker T. & the M.G.'s, even though it had been conceived of as a Mar-Keys track, and Booker T. Jones himself did not actually play on it. With the top 40 chart success of "Boot-Leg", by the end of 1966 the Mar-Keys name was no longer appearing on singles. The six-man line-up (1967–1969) Although the Mar-Keys were no longer routinely issuing singles, the name still had a certain amount of marketability, and in the late 1960s the Mar-Keys name was used whenever horn players Andrew Love and Wayne Jackson (later known as the Memphis Horns) teamed with Booker T. & the M.G.'s in live performances. The two groups shared billing on a live album in 1967, Back to Back, from a concert in Paris. For the 1969 album Damifiknow!, the Mar-Keys were back in the studio, and were explicitly identified in the album credits as the sextet of