Imagine being at the crossroads of music history, where a single event could alter the trajectory of a legendary band forever. That’s exactly what happened when Paul McCartney’s 1980 marijuana arrest in Japan collided with the tragic murder of John Lennon, reshaping the future of Wings and McCartney’s career. But here’s where it gets even more intriguing: these events didn’t just disrupt plans—they sparked a chain reaction that changed the course of rock history. And this is the part most people miss: how a session guitarist named Laurence Juber found himself at the heart of it all.
Before Laurence Juber became a celebrated writer, producer, and fingerstyle guitar virtuoso, he spent three pivotal years (1978–1981) as a member of Wings. His journey to the band began in London, where he was already a sought-after session guitarist. An invitation to jam with Wings’ guitarist-bassist Denny Laine turned into a life-altering moment when Paul and Linda McCartney joined the session. After playing a few blues and reggae tunes, Paul turned to Juber and casually asked, ‘What are you doing for the next few years?’
‘In that instant, everything flashed before me,’ Juber recalls. ‘I’d spent my entire youth becoming a studio musician, and here was Paul McCartney offering me a gig. On one hand, I wondered what I’d be giving up. On the other, it felt like the universe was guiding me toward this moment. How could I say no?’
Juber’s contributions to Wings were immediate and impactful. He added guitar parts to the 1979 album Back to the Egg, including a fiery solo on the punk-rockabilly track ‘Spin It On.’ He also joined the band on their 19-date U.K. tour that year. But plans for more touring in 1980 were derailed by McCartney’s infamous arrest on January 16, 1980, at the start of their Japan tour. This incident, coupled with Lennon’s murder later that year, effectively ended Wings’ touring days.
Juber’s work with Wings lives on in the ‘best of’ compilation WINGS, where he’s featured on the pop-rock hit ‘Getting Closer.’ ‘That’s me, Denny, and Paul on that track,’ he explains. ‘Playing with other guitarists forces you to think creatively within the context of the song, reading what everyone else is doing.’ His Ennio Morricone-inspired solo on the track is a standout moment, crafted after a weekend of experimentation. ‘Paul isn’t big on extended solos, but this was my chance to shine,’ Juber notes.
Transitioning from studio work to arena performances wasn’t without its challenges. ‘It was a bit daunting at first,’ Juber admits. ‘Not because I hadn’t played for large crowds, but because I was now in the spotlight instead of the background.’ For the Wings shows, he juggled a Mesa/Boogie amp, a Roland rack for synth sounds, and even a vocoder for ‘Goodnight Tonight.’ ‘It was all about getting the job done,’ he says.
But here’s the controversial part: Could Wings have conquered the U.S. if not for McCartney’s arrest? Juber believes so. ‘‘Coming Up’ was number one in July 1980,’ he points out. ‘We could’ve toured the States with a chart-topping single.’ Instead, Juber found himself standing next to Paul at Narita Airport as customs discovered a bag of marijuana in his luggage. ‘We were hopeful the tour would continue, like it often did for reggae bands in Japan,’ he recalls. ‘But Paul was jailed for 10 days, and the tour was canceled.’
During this tumultuous period, Juber stayed busy. He joined Paul and Linda in France to work with Ringo Starr on Stop and Smell the Roses and began exploring record production and composition. ‘The arrest disrupted the Japan tour, but it wasn’t the end of Wings,’ he clarifies. However, Lennon’s murder later that year seemed to seal the band’s fate. ‘I think both events had a cumulative impact on Paul,’ Juber reflects. ‘Touring was off the table for nearly a decade.’
Today, Juber’s career spans composing, production, and fingerstyle guitar mastery. His recent project, scoring the documentary Everywhere Man: The Lives and Times of Peter Asher, showcases his versatility. ‘It was a joy to work on,’ he says, describing sections featuring reverb-heavy electric guitar, acoustic guitar with a string quartet, and DADGAD tuning alongside Lee Sklar’s bass. ‘Peter Asher is a legend, so his approval meant a lot.’
But here’s the question that lingers: If not for these events, would Wings have continued dominating the music scene? And what does their story tell us about the fragility of even the greatest bands? Share your thoughts in the comments—let’s keep the conversation going.
