Information/Write-up
The Majestics were one of Toronto’s premier horn-driven Rhythm and Blues ensembles during the explosive mid-to-late 1960s, a period when the city’s club circuit, television studios, and independent labels helped define what became known as the “Toronto Sound.” Emerging in 1965 as Jay Smith and The Majestics, the group evolved as personnel shifted within the city’s tightly interwoven R&B community, eventually becoming Shawne and Jay Jackson and The Majestics when siblings Shawne Jackson and Jay Jackson stepped to the front.
From the outset, The Majestics were built around powerful lead vocals, disciplined brass arrangements, and a rhythm section capable of matching the punch of the Stax and Motown records they admired. The lineup drew from some of Toronto’s strongest players. Drummer Wes Morris came out of Jon and Lee and The Checkmates. Guitarist Fred Keeler arrived from David Clayton-Thomas and The Shays. Saxophonists John Crone and William Cudmore had roots with Bobby Kris and Robbie Lane and The Disciples respectively. Bassist Chris Vickery, guitarist Bobby Starr (later replaced by Dave Konvalenko), and arranger/keyboardist Eric N. Robertson formed part of a rotating but formidable core. Production and direction during their recording years were largely handled by Tony DiMaria, with engineering by Gary Starr at Bay Studios in Toronto.
Between 1966 and 1969 the band recorded a series of singles and four LPs for Arc Records: Instrumental R & B (A-732), Funky Broadway (AS-752), The Soul King Otis Redding – A Tribute (AS-770), and Here Come Da Judge (AS-780). These albums captured the working repertoire of a first-call R&B band in a live-performance era — interpretations of contemporary soul hits by Otis Redding, James Brown, Clarence Carter, and others, alongside original compositions by DiMaria and Robertson. The records are tight, brass-heavy, and unmistakably rooted in the dance-floor urgency that defined the period.
The Majestics’ reach extended beyond the clubs and into national television. In 1968–1969, Jay Jackson hosted the CBC series Where It’s At, with The Majestics backing the Toronto segments of the program. The show, broadcast during the network’s early experimentation with colour television, positioned the group at the centre of Canada’s youth-oriented R&B and pop showcase. Their recordings also appeared on Yorkville-related compilations, including CTV’s After Four and Yorkville Evolution, further cementing their presence in the documented sound of the era.
At the close of the decade, elements of the Majestics re-emerged under the name Heads of Our Time. On the LP The Subtle Art of Self Destruction, Jay Jackson was credited as a full member alongside Eric N. Robertson, making explicit the continuity between the Majestics’ studio nucleus and this later psychedelic-soul project. The Heads of Our Time release stands as a transitional chapter in the group’s evolution, linking their Arc-era R&B foundation to a more exploratory late-1960s direction.
By 1969 the Majestics name had dissolved, but its members dispersed into significant roles across Canadian music. Shawne Jackson continued performing and later enjoyed a solo career. Jay Jackson remained a visible figure in broadcasting and recording. Fred Keeler would form Jericho. Eric N. Robertson became one of Canada’s most respected arrangers and session musicians, working extensively in recording and broadcast. Other members continued into projects including Ronnie Hawkins’ orbit, Bobby Kris and The Imperials, Damage, and beyond.
Though often associated with cover material, The Majestics were more than a repertory band. They represented a professional, horn-driven R&B discipline at a time when Toronto was absorbing and reinterpreting American soul in its own studios and on its own stages. Their Arc catalogue stands today as a concentrated document of the city’s late-1960s rhythm and blues movement — sharp, brassy, and unmistakably Toronto.
-Robert Williston
Musicians
John Crone: saxophone
Orlando Guierri: trombone
Shawne Jackson: vocals
Brian Lucrow: trumpet
Wes Morris: drums
Eric Robertson: keyboards
Eugene 'Jay' Smith: vocals
Bobby Starr: guitar
Russ Strathdee: saxophone
Chris Vickery: bass
Jay Jackson: vocals
Dave Konvalenko: guitar
William Cudmore: saxophone
Fred Keeler: guitar
Songwriting
Here Come Da Judge written by Carl Cisco, Nickolas Ameno and Tom Shannon
Soul Serenade written by Curtis Ousley and Luther Dixon
Do Your Own Thing written by Tony DiMaria
It Should Have Been Me written by Norman Whitfield and William “Mickey” Stevenson
Mr. Pitiful written by Otis Redding and Steve Cropper
The Horse written by Jesse James
Tell Mama written by Clarence Carter
I Got You Babe written by Sonny Bono
Tighten Up written by Billy Butler
Dock Of The Bay written by Otis Redding and Steve Cropper
Production
Produced by Tony DiMaria
Arranged by Eric N. Robertson
Recorded and mixed by Gary Starr at Bay Studios, Toronto
Directed by Eric N. Robertson and Tony DiMaria
Executive Producer: Phil G. Anderson
Made by Arc Sound Ltd.
Artwork
Design by Harvey Sedlack Associates
Liner notes:
THE MAJESTICS ARE PROUD TO PRESENT A GREAT GUEST ARTIST ON THIS RECORDING. JACKIE GABRIEL, ONE OF THE MOST DYNAMIC VOCALISTS IN SOUL AND R & B TODAY. JACKIE SINGS “IT SHOULD HAVE BEEN ME” AND “I GOT YOU BABE”.
Pigmeat Markham said it first, but the irrepressible Sammy Davis Jr. started it all over again during a guest shot on the Martin & Rowan “Laugh In”. HERE COME DA JUDGE! crowed Sammy time and time again during a running sight/one-liner gag that extended throughout the entire show. Incredibly, within days the phrase was on everybody’s lips.
Conceivably, the phrase could find its way into a dictionary of popular expressions and at any rate it’s likely to be around for a very long time. HERE COME DA JUDGE by THE MAJESTICS, the nation’s No. 1 R & B band should experience a similar fate. It is an album bristling with solid performances of solid hits.
Extra support for this contention can be discovered by assessing the audience response to radio network programming of all Majestic discs. Music Directors tell us that the replay requests are high, the Majestics sound is well on its way to creating a new R & B trend.
This is great news as the group has strived constantly to increase the chordal and instrumental possibilities inherent in Rhythm and Blues without losing touch with the fundamental soul and blues roots of the style. We think HERE COME DA JUDGE makes it in the way THE MAJESTICS wanted it to and think you will agree.
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