If Stax Does Motown makes showcases for minor Stax artists, Beatles leans too hard, on predictable product courtesy of the Bar-Kays, and, much as I love ’em, Booker T. and the MGs, who turn “Eleanor Rigby” into a James Bond taffy pull. They strip the melody from “Got to Get You Into My Life” for a leading candidate for Least Recognizable Beatles Cover Ever, and their oeuvres can suggest Muzak without somebody to stand up and start shakin’. (The Bar-Kays’ sly, keyboard-fat take on “A Hard Day’s Night” got left off the manifest for no manifested reason.) Sometimes the artist can hide in the plain sight of details: When “Something” sprouts from lilting piano to horn stings to suspenseful hi-hat to genteel fiddle to ladies singing the chorus long before the verse steps in, when the fiddle saws into escalating alienness and the tardy lead singer double-tracks himself rough over smooth, when the ensemble blasts itself heavenward following the fiddle, bursting through second-stage, then, exhaustedly, third-stage separation and orbit—hell yes it’s Isaac Hayes, a year before crowning himself Black Moses. The one unambiguous same-running-time one-up on the Mop-Tops comes from Otis Redding on his alternate take of “Day Tripper.” He sounds like that Saturday Night Live sketch where Michael Palin dumped seafood down his trousers and chased that with a couple of cats. Of course, neither you, I or Michael Palin would sound like this with any breed of seafood. Or cats. Otis was Otis. Not magical realism; magical rightness.