Bob Marley’s axe man to keep torch lit at Plaza
Various incarnations of ‘Wailers’ all part of musician’s legacy
The musical legacy of Bob Marley and his backing band the Wailers remains vibrant, even though Marley died 40 years ago.
The Marley songbook can be heard performed live by his children and grandchildren (son Stephen was brilliant at the Empire State Plaza a couple years ago and grandson Skip recently played MASS MoCA) and through various offshoots of acts using the Wailers name.
One such incarnation of the fabled band will be making a stop at the Plaza on Aug. 25, as guitarist Junior Marvin will be performing with his Legendary Wailers as part of the Capital Concert Series.
With all these different iterations of the Marley brand out there, it’s difficult to parse out which ones are worthwhile or, for lack of a better word, authentic. As Marvin explains, they all come with Marley’s blessing.
“Before he died, he spoke to all of us in the band and said, ‘Try your best to keep it going,’” Marvin said. “We made a promise to him because we all love these songs, love the music.
“Working with Bob was rewarding as a musician,” he continued. “We were disciplined, always in rehearsal, performing or writing songs; there was no stopping. I look at carrying on as
a way of sharing with people what’s important about the music and how he inspired me.”
In terms of artists possessing the skill and musical insight to perform the classic Wailers material, Marvin’s credibility is impeccable. He joined the group in 1977, as it began work on “Exodus,” the landmark album that Time magazine once selected as the greatest album of the 20th century. That blistering solo you hear on “The Heathen,” along with the funky underpinnings of “Natural Mystic” and “Jamming,” come courtesy of Marvin’s flawless fretwork and tone.
Marvin was in the Wailers as they transcended reggae and became global pop superstars. As lead guitarist on the acclaimed “Kaya,” “Survival” and “Uprising” albums, he played an instrumental role (no pun intended) in Marley’s musical and cultural transcendence. But what’s interesting is that instead of being a core part of the Marley story, Marvin could have ended up on an entirely different, but still noteworthy, career path.
Born in Jamaica and raised in London, Marvin was cultivating a niche for himself as a rock ’n’ roll guitar man. He broke into the business as a guitarist for Ike and Tina Turner, blues legend T-Bone Walker and Steve Winwood and was signed to his own record deal by Emerson, Lake and Palmer. Then in 1977, he received same-day job offers. One was from Marley, who was looking for a guitarist with Jamaican heritage to join his band. The other came from Stevie Wonder, who had just released “Songs in the Key of Life” and
was at his creative apex.
Choosing between Marley and Wonder seems like an impossible decision to make. Turns out, it wasn’t as difficult for Marvin as you’d think.
“The funny thing is, I didn’t really choose,” he explained. “I got the offer from both Bob and Stevie Wonder on the same day, and I just broke out in goose pimples. I called my family and friends, and they said, ‘You were born in Jamaica; you need to support your country.’
“Stevie wanted me to sign a 10-year contract and I told him my only issue with the offer was that; Bob had said to just come and try it out and see what happens,” Marvin recalled. “Stevie gave me a thumbs-up and told me, ‘Try it with Bob and if it doesn’t work out, call me.’ I just said, ‘Wow, that’s super kind of you.’”
And the rest, as they say, is history. Marley “really took off ”
and Marvin found the creative space he’s operated in for nearly 50 years.
In the years since Marley’s death, Marvin has played on four Wailers Band albums, issued three solo records and is prepping a fourth.
As he readies that LP, Marvin welcomes the opportunity to get back on the road and tour. During
the pandemic he maintained his chops by writing, recording and playing via livestream. Inperson shows are instrumental in helping him get the word out about his own music, and they allow for an auditory and spiritual communal experience.
“I performed a few virtual shows and they were a lot of fun; it was good to get together (with a band) and make sure we aren’t rusty,” he noted. “But without a doubt, I think the whole world is looking forward to live shows – safely – again after this drought.
“My only concern is that for a lot of people, they aren’t sure they want to go or are broke because finding a new career isn’t easy,” Marvin added. “But there’s a learning curve for everybody and hopefully this helps make people more compassionate and share love, the one love, and the basic truth that everyone loves music and music makes everyone equal.”