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
Russ Strathdee: alto saxophone
Leo Trottier: tenor saxophone, flute
Orlando Guerrieri: trombone
Brian Lucrow: trumpet
Fred Keeler: guitar
Chris Vickery: bass
Wes Morris: percussion
Eric N. Robertson: keyboards
Songwriting
Tell Mama written by Clarence George Carter
Soul Serenade written by Curtis Ousley and Luther Dixon
Cold Sweat written by James Brown and Alfred “Pee Wee” Ellis
Piece Of My Heart written by Bert Berns and Jerry Ragovoy
Security written by Otis Ray Redding Jr.
Hey Joe written by Billy Roberts
Funky Broadway written by Lester Christian
Soul Finger written by Jimmy King, Phalon Jones and Carl Cunningham, Ben Cauley, James Alexander
I’m Puttin’ You On written by Eric N. Robertson
Pot O’ Gold written by Tony DiMaria
Production
Produced by Tony DiMaria
Arranged by Eric Robertson
Music direction by Eric Robertson and Tony DiMaria
Recorded and mixed by Gary Starr at Bay Studios, Toronto
Executive Producer: Bill Gilliland
Artwork
Cover Photo by Robert Tite
Liner notes:
When you have a group of extremely capable musicians playing arrangements by one of Canada’s youngest and talented arrangers and their music is R & B, it’s obvious that you have something well worth talking about. When the band is THE MAJESTICS and the arranger is ERIC ROBERTSON, then you’ve really got something to be excited about.
This album is not the usual Potpourri of a mass produced recording session of very Hip title tunes. In this LP each song is treated as a separate item apart from the song preceeding and following it. The LP opens with “TELL MAMA” and the brass shouts of THE MAJESTICS’ horn section is punctuated by the strong, soulful tenor of LEO TROTTIER. The next cut reflects an entirely different side of R & B. The depth of feeling projected by RUSS STRATHDEE’S alto on “SOUL SERENADE” illustrates not only his awareness of the ballad but also his ability to parallel the soprano sax of King Curtiss! Another cut which is, again, a different side of R & B is the afro-rhythmically influenced arrangement of “COLD SWEAT”. Here, arranger ROBERTSON fused percussionist WES MORRIS, guitarist FRED KEELER, and bass man CHRIS VICKERY into a driving force topped with outstanding brass accents by trumpet man BRIAN LUCROW and trombonist ORLANDO GUERRIERI, and closed by the sensuous flute of LEO TROTTIER.
Unfortunately the lack of space does not permit mention of all the individual talent of THE MAJESTICS in each song but, each one has something to say… and they say it!
It’s all different, yet, it’s all R & B… and it’s all great listening! I hope you dig it.
-Tony Di Maria
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