“Bob turned around with that big smile and said, ‘Welcome to the Wailers,’” recalls Julian “Junior” Marvin, the guitarist behind some of Bob Marley and the Wailers’ most immortal songs. “I remember, I got goosebumps,” he said.
Marvin has been the Wailers’ torchbearer ever since Marley died in 1981. He returns Saturday to the same park stage where he performed with The Legendary Wailers at Music in the Park in 2022.
Born Junior Marvin-Hanson in Kingston, Jamaica, in 1949, he grew up between two worlds. His childhood years were under his grandmother’s care in Jamaica, while his mother was away training as a fashion designer in England. Once older, he moved to England, where, specifically, London would shape the rest of his musical journey.
His early years already carried an air of the improbable. As a child actor, he appeared in the Beatles’ film “Help!” as the tall kid in a police costume chasing Ringo across the sand at a beach. In his early twenties, he spent two years in theater, performing in the celebrated, anti-war musical “Hair,” and the South African production “King Kong,” at London’s historic Shaftesbury Theatre.
Stage work naturally gave way to more music and more opportunities. Marvin played lead guitar on Toots and the Maytals’ Reggae Got Soul before forming his own band, Hanson. Their 1973 debut, Now Hear This, showcased an unforced blend of blues and rock, which drew notice from peers in the industry, touches of which can be heard on songs like “Pimper’s Paradise” and “Natural Mystic.”
That same warm, emotive guitar and energy would uplift the Wailers’ sound during a later, pivotal period. Marvin supplied the central riff for “Could You Be Loved,” and added the vocals you hear at the end of the song. He also appears on the towering classic, “Waiting in Vain.” “I co-wrote that one but wasn’t properly credited,” he said, laughing.
Marvin’s playing brought definition and bite to Exodus, Kaya, Survival, and Uprising — albums that contain some of Marley’s most enduring work.
After that incredible four-album run, Marley confided in him: “If anything happened to me, I want you to lead the band.” In the decades since, Marvin has actively kept that promise.
When Marley transitioned, Marvin stepped forward as the Wailers’ spokesperson and lead vocalist, guiding them through decades of changing lineups and shifting musical tides.
Now in his mid-seventies, he still practices daily, releases new music under the Legendary Wailers banner, and delivers the catalogue with a quiet conviction only a true architect of the sound could.
Marvin is one of the few remaining direct connections to Bob Marley’s songbook, a profound distinction and a reminder of Marley’s lasting impact.
Yet Marvin isn’t one to indulge in the spotlight. It has been about keeping his friend’s legacy, ensuring these songs they made together stay grounded to their original vision. Here, Marvin reflects on an astounding career with many moments that are beyond belief.
In the recent Bob Marley film, One Love, there’s that scene where you guys meet. How accurate is that portrayal?
That’s pretty much how it happened. Very casually. And as you may know, that was my son Davo, and I think he performed very well as his dad. I’m very proud of him. A lot of people said he stole the show with that scene. Everybody says it’s their favorite scene. He’s been acting since he was a baby.
Through the years, you’ve embraced Rastafarian beliefs. What happened in your life that led you to transition to those beliefs?
When I grew older, I learned that a lot of people who study theology and the word of God don’t actually practice it — they just study it.
Then I heard about Marcus Garvey and Selassie. He recommended reveling in the bible, so I took his example. I’m still learning today. We [Rastafarians] don’t discriminate against any other religion, sect, or beliefs. This planet belongs to everybody.
You leaned towards rock and blues early in your career. What connections do you see between blues and reggae?
There’s a lot of blues in reggae. Bob wrote a song called “Talking Blues” with the lyrics “Ground was my bed last night, and rock was my pillow too,” which is a true story. He never had anywhere to sleep in the country. There were like ten people in one little room, so he’d go outside and sleep under the stars with the moon. A lot of his songs carry that blues feel and message as a result.
Take us back to the day you got the call to join The Wailers.
It was February 14th, 1977. That very same day, about an hour before I met Bob, I got a call from Stevie Wonder. He wanted me to sign a ten-year contract and play with him. Stevie and I were talking for a while about the benefits of joining his band, and I was thinking, ‘Ten years? That’s a long time. I’ll be an old man!’ I forgot about an appointment I had made, who was now at my door, so I told Stevie I had to go.
We went to King’s Road in a fashionable area of London — Oakley Street, with these grand Edwardian houses. We went into one on the ground floor. A guy was standing by the fireplace, not very tall, with his back to me, big dreadlocks, and this incredible aura around him. I thought, ‘Damn, that looks like Bob Marley from the back.’ It was Bob. Every Valentine’s Day, I still get goosebumps thinking about it.
You played lead guitar on some of the Wailers’ most celebrated songs. Recall for us a bit of that time and the heyday it must’ve been.
Yeah, all of those albums I played on. Before that, I joined in on Toots and the Maytals’ album Reggae Got Soul; I played lead guitar on that. I also played with the Heptones and then with Traffic. Chris Wood was my best friend in London; he was the flute and sax player and introduced me to everybody, including Eric Clapton. I went to Clapton’s house, hung out, and jammed with him. I also hung out with Rod Stewart and many other London musicians. It was a very exciting time.
I also read, of all things, you have a connection to the Beatles.
Yes, I was twelve. In the beach scene where a bunch of police guys are chasing Ringo. I was one of them, dressed as a policeman. At fourteen, I was much taller than Ringo, so it worked out [laughs].
What do you remember about meeting the Beatles?
They were funny guys — laughing and joking all day, just having so much fun.
How was it after Bob passed? Were there challenges in moving the band forward?
There were a lot of challenges. Bob was the leader, and in retrospect, he’s still the leader because we go by his vibration. Because I was the last member to join, Bob made me the spokesperson for the band. Before he passed, he told me he wanted me to take over lead vocals because he knew I could sing. I sang on a lot of the albums.
You’ve been playing professionally for about 50 years. Does your technique continue to evolve?
A lot of people have caught up with me [laughs]. I still practice every day. If you stop practicing, you lose that edge. I’m still trying to get better.
Looking back, what songs standout as most meaningful?
“War” and “Exodus.” People listen when you sing “War,” and they dance when you play “Exodus.” “Exodus” was the first Bob Marley song to make the top-10 on the singles and album charts in the USA. It was also voted Album of the Century by Time magazine. I’m especially proud of that, since I co-produced the album.
Reflecting on your iconic catalog, is there a riff, rhythm part, or song that you think best represents your specific sound?
Definitely “Could You Be Loved.” I gave Bob that riff, and I’m singing on the track as well. It’s been played a zillion times. While Bob was alive, he paid me for it because the label wanted it to seem like everything was just Bob. He told us we’d get credit eventually. A lot of people have covered it, and the original guitar track has even gone viral. Many artists use that original riff in their versions.
These days, when you look back at your time with Bob, what comes to mind?
When I first met him, he had a lot of “yes” people around him. Whenever Bob would ask something, everyone would agree, but I’d tell him the truth. He loved that. He’d say, ‘I’ve been looking for somebody like you for a long time.’
We became very close, like brothers. He’d knock on my door at 3 am and ask what I thought about a show, and I’d give him honest feedback. He appreciated that nobody else would tell him the truth. I’m a team player. I promised Bob I would stay with the band. And that I’ll see him in Zion.
