Junior Marvin

Artist: Junior Marvin Album: Wailin For Love Track: Mr Preacherman Other Tags: Bob Marley Police Jimi Hendrix Wailers

Bob Marley was ecstatic when Junior Marvin was hired in June of nineteen-seventy-seven. He’d gotten the lead guitarist he’d always wished for. At thirty-years-of-age, London native, Junior Marvin suddenly found himself situated prominently within the lineup of the world’s fastest ascending reggae band. The Wailers were exploding both in terms of earnings and fame. He was now a musical soldier in Jah’s favorite sons (and daughters), true pioneers in the unforgiving world of pop music. Junior was now one of them, the revolution known as Bob Marley and The Wailers.

A very glorified and productive four years followed Marvin’s installment as a Wailer, how quickly it all ended. In the spring of eighty-one, Bob Marley, The King of Reggae, passed away due to the ravages of advanced melanoma. Despite his extensive catalogue, he left this mortal coil following a mere thirty-six years of life. Following Bob’s departure, the surviving musicians rechristened themselves, The Wailers Band, and immediately installed their flamboyant, crowd pleasing, resident rock star, into the role of the group’s new front man; an attempt at effectively taking over the duties once preternaturally executed by the late Marley. Throughout the next three decades, until a recent split with The Wailers Band in ‘06, Junior Marvin alternately served in the capacities of lead guitarist, lead singer, music composer, and an overall human projector of loveable irie supremacy sinfully delivered with the slight (or brazen) taint of carnality found in all good and truly indulgent rock played loud and live.

Following his departure from the Wailers Band last year, Marvin began recording and producing a solo album almost immediately. As it turns out, fortunately for us all, this album produces vibes sure to force anyone within earshot to “move your dancing feet.” On Wailin’ For Love, we find Marvin in strong, melodic voice. Oftentimes, Marvin chooses to employ varied and affective vocal styles, this assortment of lyrical delivery, though protracted, does not span the album’s entirety. The voice, lyrics and world class musicianship all mix together in exactly the correct measures to form an album one would expect from the very musician who both Bob Marley and Stevie Wonder shared a deep respect for (and in fact both Wonder and Marley attempted to hire Marvin on exactly the same day).

And now, a digression into controversy regardless of how irrelevant or petty it may be. The fact remains that back when Marvin came on the scene, his brazen on-stage theatrics, lingered persistently around this new guy, his accusers’ felt distracted from bob during concerts. This philosophical row entirely instigated and maintained by self-important reggae purists lasted throughout Junior’s entire time as a highly important and influential collaborator of Bob Marley. These critics viewed Marvin’s tendency for provocatively prowling a shared stage with an often times stoic, fixated and meditative Marley, was being too flamboyant. Junior’s animated dancing often alternated between exquisitely festive and overly dramatic. Those who viewed Marvin’s “over-the-top” style as a distraction from the earlier manifestations of The Wailers they’d come to know and cherish eventually quieted down and seemed to accept the later years of Bob’s reign, few stayed away long, as the majesty of Marley’s musical evolution grabbed hold of all those open to experiencing power through peace.

If the obvious disparity between Bob’s sedated shamanistic, center stage posturing compared with Junior’s balls out, Hendrix-on-a-case-of-Red-Bull exuberance impressed some, many being longtime reggae fans or media elites as a jarring and contradictory visual? I say, “I see where you’re coming from,” and then, quickly, I add “who gives a shit?” Obviously, Bob Marley, while in the throes of live performance, was often spiritually entrenched, stricken with an intense and solemn meditation. His spiritually-transfixed-existence occurring while only standing a few, scant feet from the salacious and frantic flavorings of Marvin are dancing is chuckle-inducing for sure. There you had one man seen by many “downpressed” peoples of the world as a living messiah, sharing close quarters with a living, personification of the unrestrained hyper-excitability and of seventies arena rock abandon. Hell, the pair sharing a stage could be funny! But, what’s important about this long gone, and minimal controversy is this: Junior’s critics seem to over look a very key detail to this contested (by VERY few) pairing’s joint existence: Junior was the over-the-top, joy inducing, lead guitarist for The Wailers, because of only one reason, because Bob Marley knew just how great he was, both on the stage and in the studio. Mr. Marvin wasn’t ever going anywhere as long as Bob was around. Marley knew music like few modern musicians of his era, and I suggest he greatly appreciated the overabundance of skills brought to his lineup by Mr. Junior Marvin.

His rarified talent and penchant for endless rehearsing made him indispensable to the success of the Wailers, and ultimately, the progression of reggae music around the world. Bob demanded all of his band mates – his employees- practice severely high levels of discipline, while simultaneously expending every bit of their energy. Rehearsal sessions led by Bob were notoriously difficult, uncomfortable, long and often contentious. Marley seems he knew to be the best he and those around him would have to pay their dues in full. One report is that during rehearsal, there was no laughing allowed, and a lack of focus could be met by a slap from the diminutive, yet greatly feared “Skippa.”
When it came to endurance, and requisite discipline, Junior never seemed to run low on either – ever. Despite my earlier statuesque description of Marley, standing forever prostrate, on stage, I have to admit such a blanket statement is not entirely true. In fact, Marley was a fantastic and infectious dancer. Especially when flashing that slightly crooked smile, briefly displaying those remarkable teeth, and allowing the gathered and stored up “positive vibrations” absorbed during intense performing to dance to slowly back into the ether. All the while, as the music lifted the listener into yet untrammeled spiritual realms, those world-conquering dreadlocks swirled and launched-and-fell repeatedly, a hypnotic fever in every sense of human existence.

In spite of the sheer joylessness we all know to accompany the assumption of intense discipline, which was what Bob demanded from himself and everyone else, when it came to insuring his band’s flawless execution on any given night. Now, couple that “heaviness” with the colossal gravity of actually believing your music is a means of delivering God’s message to the inhabitants of the planet. But, despite these heavy practices and beliefs surrounding the music, Bob still liked to rock, sometimes as much as any one, and on certain occasions much, much more.

The acceptance by Bob Marley of that rogue element of loud, live, rampaging rock guitar to enter his into his distinctive music, shredding and thoroughly invading the formulaic design of the prior Wailers sound, and ushered in a new energy, eternally forcing this music to change. This agreement by bob and those governing the direction of the Wailers musical course decided on making a change, which following an introduction by Chris Blackwell of Junior to Bob and other assembled Wailers. After a quick, unified jam session, the earlier desire for change had suddenly transformed into an invitation for a truly killer guitarist to become the latest Wailer. This mental process led directly to Junior Marvin soon storming the stage of Wailers shows. An unlikely Wailer, indeed, a British guy, only a few years removed from a psychedelic rock phase played out in London clubs. And now, here he was playing with natural, Earthy, devoted, Rastafarians. This glitzy, attention-loving, former child prodigy with a classically trained education in music, Junior was definitely from a very different world.
He was there to elevate, and his sound transformed through sheer energy and technical perfection, the earlier output by Bob Marley and The Wailers. Anyone can hear this change take place. All the evidence is readily available. And of all those “purists” who disliked Junior’s addition to Bob’s music, I can promise you, you’ll never find one of these detractors, anywhere on this on this planet, openly deny, the essential truth concerning Junior Marvin, the lead guitarist, and that truth is: Junior ALWAYS delivered exceptionally spirited spectacles while lead-guitarist, and exciting member of The Wailers, and it was through Junior’s efforts the collective experience of those in attendance was raised, and served to further the popularity of reggae, the world over.

The now ridiculous looking reggae-purist-killjoys who initially (and some continuously) disregarded Junior’s late seventies addition to The Wailers as a calculated installment by then Island records, CEO , Chris Blackwell. These who seek to marginalize Marvin’s addition to Bob and The Wailers, claim (in my experience, always in hushed tones) Blackwell hired Marvin to increase the loud guitar inspired arena rock sound that was so popular at the time. A steep increase in the band’s popularity would result in selling more tickets at larger venues, as well as albums, eight-tracks, cassettes and other assorted merchandise. Such a popularized and “more accessible” path for then celebrity singer, Marley, would, of course, generate more money for the ever acquiring, Blackwell. Boss Blackwell, so the complaint goes, put his own profits ahead of an old school, loyal, long standing, and ardent fan base, by purposely commercializing and internationalizing the sound. The addition of a blaring, physical embodiment of sexualized, internationalized rock stardom, I suppose, did minimize the truly fundamental roots-reggae played during Marley’s live shows, like, back while a member of The Wailers, with Peter Tosh and Bunny Wailer (examine Junior’s hyper-kinetic stage presence during any Babylon By Bus-era concert footage, for an illustration of the “reggae purists” grievance)
Regardless of anyone’s opinion of Junior and his high-energy, occasionally histrionic, guitar playing style, ONE CANNOT SERIOUSLY DENY the man’s spiritually elevating ability to wrench all emotional currency from the neck of any given guitar. The conflation of his natural gifts and his highly polished, tirelessly developed skill level on the guitar, are what enabled him to develop some of reggaes most celebrated musical creations to ever bless humanity. These songs in which Junior was indispensable during their creation include: “Jammin,” “Exodus,” “The Heathen,” “Waiting In Vain,” “Could You Be Loved?” and many more.

Such perfection, as heard in points of Junior’s playing, rather than dwindling down from some mythic peak, simply come leaping forth from the schooled hands, and sensitive soul of a young musician beset with an almost peculiarly high register of talent.

And after years of my own personal collaboration with the man, I can tell you that the heights of his well-documented, prolific guitar-generated insurgencies into humanity’s collective knowledge, often demonstrating the potential beauty life’s often busy hiding its capacity to deliver. Equaled only by Marvin’s musical genius is the vast depth of his astonishing intellect. Did you know Marvin speaks four languages fluently? The reason he was trained classically was due to his designation as a child prodigy,
Not too long ago, on a whim, he became a high ranking member of a deadly form of Brazilian martial arts during some time spent living in that country. Though Junior was very reluctant to discuss this topic with me, however, I did see proof. He threw an amazingly acrobatic and potentially consciousness-draining kick a few inches from the bridge of my nose. He laughed at my surprise. His high level of control was apparent. Quite frankly, I think he’s uncomfortable being associated with anything construed as violent, though learning that art has little to do with inflicting harm on others, but rather about testing one’s self, etc. I can’t imagine Junior intentionally hurting anyone, but at least, now you know he could!

And, ultimately, as a Wailer, what mind blowing gift allowed Marvin the ability to consistently launch those shimmering, angelic, musical-salvos constantly leaping forth from his guitar; pure beauty drenched sound waves, Each note perfectly formed, rose, and then fell. Unfurling downward, forcing conveyed emotion, as the audience indulged in the mastery of it all.

His guitar sublime playing, while on stage with Bob Marley, deserves to be listened to in order to be properly evaluated. Hearing such great expression of art can change people, causing lasting psychic effects for the duration of their lives. And sadly, the printed word is completely inadequate at delivering on this topic. I just tried, and undoubtedly failed. But even a decent description of these sonic fabrics ( alternating between screaching unrest, soaring life-affirming celebration and back down to the shuffling doomed existence of the world’s “sufferahs” evry where) will be akin to describing a sunrise over water to man who’s lived his life entiely blind. Junior’s climbing, expressive guitar soared from a stage commanded by greatest artist of the twentieth century, the effects simply must be listened toin order to experience in any meaningful way. And if you can locate video-combined-with-sound, that could be even better. The music of Bob Marley, Junior Marvin, Aston and Carlton Barrett, Tyrone Downie, Seeco Patterson, Marcia Griffiths, Judy Mowatt, Rita Marley, occasionally Al Anderson, and the incomprable reggae organist, Earl ‘Wya’ Lindo, is simply a triumph. A triumph of our human capacity for creativity, and the boundless beauty to be derived from hardship and suffering – and I’ll leave it at that.

Wrapping this up, I’d like to reflect on some key impressions formed over the years, during various visits with the “British Hendrix” himself.

In my opinion, the following are two different, yet equally firm, entrenched in the core of Junior Marvin’s being. Living by these principles I’ve heard him repeatedly express to me in ever varying ways, in my opinion, enable him to live as the talented musician capable of creating work celebrated and enjoyed, literally, the world over. The following two truths appear absolutely essential to whom Junior Marvin is at his essence:

First: Junior’s natural, self-possessed individuality, he is truly an artist. He follows inspiration and disregards life’s scattered, frivolous distractions which tend to hijack so many of the rest of our waking moments.

Secondly: his uncompromising refusal to deviate from his strict belief system (“I feel it is my duty to serve God, and dispense kindest and charity to others, and that’s how I try to live.”).

In summation, Mr. Junior Marvin believes strongly in adhering to a personal order of righteousness, by which he lives his life, this same order also compels him to serve others by engaging in the process of creation. Because the music he creates is meant to inspire joy, emotion, instruct, heal, save, etc.

Marvin’s strict adherence to these core values provides a life which fuels his personal dispensary of musical mastery. Such lofty spiritual inclinations, combined with crazy amounts of musical talent are the combination, and the basis, for every inspirational piece of music Junior has created during his six decades on earth. His classic and timelessly powerful songs, in this writer’s opinion, truly do emanate from the realm of the divine, which can be channeled through, belief, talent, and as any musician will tell you, lots of rehearsing. His life spent serving God, and following his own creative inspiration have allowed him to create some of his music genres most enduring, and globally-beloved reggae anthems.

In closing: GIVE Wailin’ For Love a listen, and then a re-listen, and then another, because as any true Bob Marley & The Wailers fan knows, Junior Marvin, the “Reggae Rock Star,” delivered inspired and technically-perfect pieces of guitar-delivered-musicianship when called upon by Bob Marley to step up and deliver. Junior’s past work is waiting to be discovered again by some lucky person, somewhere, who has yet to hear the pure loveliness begin to bounce from their speakers. As a legend in his own right, Junior Marvin sets his guitar in motion, and each perfect note he plays serves flawlessly to decorate Bob Marley’s most beloved songs.

No other playing I’ve heard in this genre, leads me to believe Marvin’s genius/talent will ever be anything other than “simply unsurpassable.” Junior Marvin’s guitar-spun global donation to the joy of all mankind will persist until eternity’s last reggae song eventually slows to a forlorn stop.
And all is silent.

Visit www.JuniorMarvin.com to order your copy of Wailin’ For Love today. And be sure to read all the exciting updates, get tour information, and check out the other various features.
- 9Mile

Give Thanks And Praises
Gabriel Singh
Sunday, December 10, 2006

Too good, simply the best. The Tosh Meets Marley tour has set a new benchmark for anyone who loves rock shows.

This is the best overseas act to visit our shores, it was spiritually uplifting to see and hear the originators of reggae strut their stuff. The Tosh Meets Marley tour throws everything before them to visit our shores Lucky Dube, Oyaba, UB40, Inner Circle, Katchafire, every all into the dark ages.

No wonder these home-grown Jamaicans turned the music world on its head 30 years ago. Junior Marvin is now the consummate entertainer. He proved that at the FMF Dome last Monday night.

No longer is he the gung-ho, youngster playing lead guitarist for the best act in the world. Today, he fronts as inheritor of the mantle of reggae prophet Bob Marley.

Like Saint Peter, he is the rock on which the spiritual core of Rasta and Marley's one love, one heart' spirituality lives on.

The truth is this will never die.

Marvin's playing is as delightfully outrageous as ever and he still sports the impish smile that lights up his face every time he pulls off another mind-boggling riff. But no one, especially not reggae's royalty, deserves what they got in Suva.

The sound was messed up. Too many times this has happened and nothing has been done about it. As appealing as the visuals are at rock shows, it is the sound that is the main component and must be treated like the holy grail.

It's time to get up, to stand up and demand the quality the rest of the world gets. The Tosh Meets Marley Tour promoter, Radio Fiji, Marksmagic, the group's management company and Dragon Music have a lot of explaining to do. It was bad from the beginning. First the vocals were nowhere to be heard.

It was almost as if ex-Burning Spear keyboard king George Koukou was miming the Tosh numbers that lit up the early part of the show. When they fixed that, the keyboards seemed to drown out everything else. Then they faded in and out. Little did the thumping Karl Wright on drums know the bottom end kept switching off as he rattled and rolled overtime, partly to cover for absent percussionist Claudio Peppe. Wailing Soul Vince Black's guitar was far louder than chuck-king' Tony Chin's. Twice Fullwood threw his hands in the air in frustration as the whining feedback overrode everything.

As professionals, the musicians were obviously frustrated by the service they received. Under trying circumstances, the musicians, at times, elegantly worked sound checks into their routines, often leaving much of the audience oblivious to it as they picked up the pieces after a tune had been wrecked.

To some extent it was understandable. The group flew in as late as possible as rumours of a coup threatened to keep them out of the country. Fullwood said, "we did not know if the shows would go ahead". That meant no sound check and therein lay the problem.

Music promoters must ensure that we not only have the proper gear available, as Dragon Music did have, but in addition the people charged with its hook-up and mixing must understand what is needed when.

In truth the FMF Dome is far from ideal as a sound venue. Even worse, Fiji Sports Council staff shut the doors to the floor entrance to a slit to stop the rubber-necks partying outside from getting a free peek. That sent already high temperatures soaring. It is something the fire authority should look into instead of merely pointing out the exits before a show.

But when things were firing, it was sheer heaven. For the way things turned out, we owe a collective apology to these apostles of Rasta.

In Lautoka, things were much better, so much so, people flocked by the droves to jam Churchill Park. The show there is said to have been a ripper.

Now the faithful can only give thanks and praises and wait for their return, for return they will. That's how positive the vibrations are.
- The Fiji Times

Dear Editor. I wanted to write and praise you for your excellent story about Wailer's guitarist Junior Marvin. As bass player in the roots reggae band Mystic Vibes, I have been profoundly influenced by the Wailers’ music. Just this April we had the pleasure of playing a reggae festival with Junior Marvin. Unfortunately, we were performing at the same time in another room and were unable to see the whole show. One of my bandmates went to his sound check and talked to Junior. He then asked him to come see us perform before he took the stage. Never expecting to see him, he soon entered the room with a friendly smile. He walked right over to us and introduced himself. He was one of the friendliest guys I have ever had the pleasure to talk to. I had already met Aston "Family Man" Barret and Earl Lindo when we performed with The Wailers in ‘98. Meeting Junior was one more dream come true. Even though he was about to take the stage, he still made time to show us support and stayed for a few songs. Though he may never see this, I want to let him know what that experience meant to me. Thanks for showing us the respect that musicians deserve and want from the people they are most influenced by. There is only one thing better than meeting the people that influenced you to pick up an instrument in the first place: it's being treated as an equal by them. This article was well deserved. Dear Editor. I wanted to write and praise you for your excellent story about Wailer's guitarist Junior Marvin. As bass player in the roots reggae band Mystic Vibes, I have been profoundly influenced by the Wailers’ music. Just this April we had the pleasure of playing a reggae festival with Junior Marvin. Unfortunately, we were performing at the same time in another room and were unable to see the whole show. One of my bandmates went to his sound check and talked to Junior. He then asked him to come see us perform before he took the stage. Never expecting to see him, he soon entered the room with a friendly smile. He walked right over to us and introduced himself. He was one of the friendliest guys I have ever had the pleasure to talk to. I had already met Aston "Family Man" Barret and Earl Lindo when we performed with The Wailers in ‘98. Meeting Junior was one more dream come true. Even though he was about to take the stage, he still made time to show us support and stayed for a few songs. Though he may never see this, I want to let him know what that experience meant to me. Thanks for showing us the respect that musicians deserve and want from the people they are most influenced by. There is only one thing better than meeting the people that influenced you to pick up an instrument in the first place: it's being treated as an equal by them. This article was well deserved. - Relix Magazine

BOB MARLEY’S FAVORITE WAILER WAILS LOUD ON NEW ALBUM

Junior Marvin-Hanson, former lead-guitarist for Bob Marley, has a new album, Wailin’ For Love, set for release in July, 2007. Junior was a key participant in Time Magazine’s “Album of the Century;” 1977’s seminal Bob Marley and the Wailers release, EXODUS. Since 1981, Marvin-Hanson has fronted the legendary Wailers Band, contributed to projects with indie rock luminaries, OAR, performed on Saturday Night Live with Lenny Kravitz and served a celebrated stint as host of XM Radio’s “The Joint.” Wailin’ For Love contains 18 tracks of shimmering reggae and funk-pop-rock gold from a reigning member of reggae royalty, the “British Hendrix” himself, Junior Marvin-Hanson.

Acclaimed reggae historian Roger Steffens proclaims “Junior Marvin-Hanson supplied the drive and irresistible energy to Bob Marley’s stadium conquering live performances. His long awaited solo album reveals the power and personality that Bob Marley so admired.” After stints playing with Ike & Tina Turner and Steve Winwood, Junior joined Bob Marley in 1977. Upon becoming a member of The Wailers, Junior was paid a visit by Eric Clapton, who proceeded to give him his own Explorer guitar (the very one he used while a member of Cream). It was with this special guitar that Junior created the most identifiable and celebrated pieces of musicianship in the history of reggae music. Over the past three decades Junior has also worked extensively with close friend and guitar visionary, Roger Mayer, who worked with Bob Marley and The Wailers on both EXODUS and Kaya.

Marvin-Hanson is launching an international tour in support of Wailin’ For Love, beginning this summer in the United States to be followed by tours overseas, in Europe and Asia. Accompanying Junior on this global roots-rock-reggae campaign will be the highly esteemed keyboardist, Jean Roussell. In the past, Roussell has collaborated with the likes of Sting and Cat Stevens.

Wailin’ For Love mixes old school roots reggae with both the energy of pop, and the abandon of masterfully executed alternative rock. With this release, Junior Marvin-Hanson delivers an album truly worthy of the long held expectations of reggae fans across the globe.

If you’d like more information about this topic, or to schedule an interview with Junior Marvin-Hanson, please go to www.Juniormarvin.com

###

- David Wells

PRESS RELEASE

The band HANSON, not to be confused with the American teeny-bopper group of the late-'90s, was formed in 1973 by Donald Hanson Marvin Kerr (aka Junior Kerr, Junior Hanson, Junior Marvin), best known as the enigmatic and dynamic lead guitarist of Bob Marley And The Wailers.

Born in Jamaica, Junior moved to London as a child, where his love of both acting and music was nurtured. He appeared in the Beatles' film Help (1965), which was followed by a number of other television appearances. Meanwhile, Junior served his musical apprenticeship in America, playing with the likes of blues legend T-Bone Walker and Ike & Tina Turner. He quickly earned a reputation as an innovative and expressive blues/rock guitarist. Back in England, he played with bands such as Herbie Goins & The Nighttimers, Blue Ace Unit and White Rabbit.

In 1970 Junior landed a role in the critically acclaimed cult stage musical Hair at the Shaftsbury Theatre in London's West End - he can be heard on the Original London Cast recording, released in 1972. After contributing to albums by Gerry Lockran and Rebop Kwaku Baah, Junior was invited to join the Keef Hartley Band, who were pioneers of the burgeoning British blues/rock scene. Junior made a significant contribution as a writer, singer and lead guitarist to their acclaimed Seventy Second Brave album, and also appeared on the follow-up release, Lancashire Hustler.

In early 1973 Junior assembled the band HANSON, and they were swiftly signed to Emerson, Lake & Palmer's Manticore label by Mario 'The Big M' Medious. Their debut album, Now Hear This, featured a veritable who's who of musicians from the genre, and they served up a potent fusion of funky psych-tinged blues-rock. The rich blend of talents and influences was expertly engineered by the legendary John Burns, whose previous clientele had included Jethro Tull, Genesis, Humble Pie, Spooky Tooth, King Crimson, Traffic, Mott The Hoople, Fairport Convention, Deep Purple and Marc Bolan. The album exploded onto the scene, and it is not hard to understand why when you consider the calibre of the musicians involved:
Junior Hanson (lead guitar and vocals)
Conrad Isidore (drums - other credits include Stephen Stills, Joe Cocker, Hummingbird)
Clive Chaman (bass - Jeff Beck, Linda Lewis, Hummingbird, Brian Auger)
Jean Roussel (keyboards - Cat Stevens, Sandy Denny, Thin Lizzy, Linda Lewis, Ronnie Wood, Police,
Elkie Brooks)
Bob Tench (guitar and backing vocals - Jeff Beck, Hummingbird, Streetwalkers, Humble Pie)
Godfrey McLean (drums and backing vocals - Gonzalez, Peter Green, Mick Taylor)
Jimmy Thomas (superstring and backing vocals - Ike & Tina Turner, Rolling Stones, Madness)
Delisle Harper (bass - Gonzalez, Olympic Runners, David Coverdale)
Chris Wood (flute - Traffic, Jimi Hendrix, John Martyn)
Rebop Kwaku Baah (percussion - Traffic, Can, Rolling Stones)
Ken Cumberbatch (piano - Cat Stevens)
At the beginning of 1974 Junior disbanded the existing line-up of Hanson and assembled an entirely different group of top musicians. The result was the album Magic Dragon, an uncompromising slice of kick-ass funk-rock, which was again released on Manticore and engineered by Burns. The line-up this time featured:
Junior Hanson (guitar and vocals)
Glen LeFleur (drums - Gonzalez, Olympic Runners, Wishbone Ash)
Neil Murray (bass - Whitesnake, Gary Moore, Brian May)
Brother James (percussion - Stomu Yamashta, Sandy Denny, Steve Winwood, Jon Anderson)
Marlo Henderson (guitar - Labelle, Earth Wind & Fire, Michael Jackson, Dusty Springfield)
Andre Lewis (keyboards - Buddy Miles, Mandre, Frank Zappa)

After a short American club tour the band split up, and Junior undertook session work for the likes of Island artists Stomu Yamashta, Sandy Denny and Steve Winwood, and reggae stars Bob Marley & The Wailers, Delroy Washington, Toots & The Maytals and Rico Rodriguez. On Valentine's Day 1977, Junior was invited to join Bob Marley & The Wailers as a full-time member, becoming an integral part of the band's international success, and thus their unparalleled, unique socio-musical legacy. His rich guitar licks, borne of so many influences and such a diverse career experience, adorn the albums Exodus, which was selected by Time magazine as their 'Best Album Of The 20th Century', Kaya, Babylon By Bus, Survival, Uprising, Confrontation and numerous compilations.

For many years after Bob's passing in 1981, Junior continued at the helm of The Wailers, writing new material and contributing lead vocals and lead guitar. During this period the band embarked upon numerous world tours and released a quartet of highly acclaimed albums; ID, Majestic Warriors, Jah Message and My Friends (Live). Junior has also remained a much-in-demand session player, working with the likes of Burning Spear, Alpha Blondy, Bunny Wailer, Israel Vibration, Culture, The Meditations, Beres Hammond, The Congos and O.A.R. Junior is currently putting the finishing touches to his long-awaited solo album Wailin' For Love, which will be released shortly.

The Hanson albums Now Hear This and Magic Dragon were criminally overlooked at the time of their release, and neither has ever appeared on CD. Junior is very keen to rectify this situation, and is currently looking to secure a deal to enable them to be heard again by the music buying public. Junior is also in the process of re-forming Hanson, to include a number of original members, for touring and possible future recordings. Both albums have been digitally remastered, and graphics and biographical liner-notes can be provided.

- Glen Lockley
(founder/editor of the Bob Marley & The Wailers magazine Distant Drums, and Wailers archivist)

CONTACT DETAILS:

Junior Marvin
email: juniormarvin@hotmail.com

Glen Lockley
email: glenlockley@yahoo.co.uk
Tel: 01902 425923

Bookings - Mark Miller
email: marksmagic@infonie.fr
Tel: 0041 79 481 2483

NOW HEAR THIS



1) Traveling Like A Gypsy (6.15)
2) Love Knows Everything (3.08)
3) Mister Music Maker (4.27)
4) Catch That Beat (3.48)
5) Take You Into My Home (3.11)
6) Gospel Truth (5.03)
7) Rain (5.10)
8) Smokin' To The Big M (9.53)

Junior Hanson - Guitar and Vocals (all tracks), Bass (track 7)
Conrad Isidore - Drums (all tracks except 2)
Clive Chaman - Bass (all tracks except 2 and 7)
Jean Roussel - Keyboards (all tracks except 2)
Bob Tench - Guitar (track 4), Backing Vocals (tracks 2, 6 and 7)
Godfrey McLean - Drums (track 2), Percussion (track 2), Backing Vocals (track 2)
Delisle Harper - Bass (track 2)
Jimmy Thomas - Superstring (track 7), Backing Vocals (tracks 5, 6 and 7)
Chris Wood - Flute (track 3)
Ken Cumberbatch - Piano (track 4)
Rebop Kwaku Baah - Percussion (track 7)

Produced by: Junior Hanson and Mario Medious
Recorded at: Island Studios, London
Engineer: John Burns
Asst Engineer: Phil Ault
Mastering Engineer: Dennis King
Cover Illustration and Album Design: Stanislaw Zagorski
Cover Concept: Junior Hanson
Photographs: Joel Brodsky and Brian Cooke
Tracks 4, 6 and 7 remixed by Junior Hanson and John Burns at Island Studios, London
Tracks 1, 2, 3, 5 and 8 remixed by Junior Hanson and Jimmy Douglass at Atlantic Recording Studios, New York
MAGIC DRAGON



1) Rocking Horseman (3.32)
2) Modern Day Religion (3.10)
3) Down Into The Magic (5.26)
4) Rock Me Baby (3.55)
5) Love Yer Need You (4.59)
6) Boy Meets Girl (3.05)
7) American Beauty Rose (3.05)
8) Looking At Tin Soldiers (3.44)
9) Magic Dragon (2.58)

Junior Hanson - Guitar and Vocals (all tracks)
Glen LeFleur - Drums (all tracks), Percussion (track 1)
Neil Murray - Bass (all tracks)
Brother James - Percussion (all tracks)
Marlo Henderson - Guitar (tracks 1, 2 and 6)
Andre Lewis - Keyboards (tracks 1, 3, 6 and 8)
Cassandra - Backing Vocals (track 2)

Produced by: Junior Hanson and Mario Medious
Recorded at: The Record Plant, Los Angeles, and Village Recorder, Los Angeles (track 4)
Engineer: John Burns
Mastering Engineer: Dennis King
Cover Sculpture: Nick Aristovulos
Album Design: Bob Defrin
Remixed by Junior Hanson and Karl Richardson at Criteria Recording Studios, Miami






©2007 - Press Release by Glen Lockley and Junior Marvin
- Glen Lockley & Junior Marvin