babylon by bus (1978) – bob marley & the wailers: island records, ISLD-11

In 1978 Bob Marley was arguably at the peak of his world-wide popularity, at least while he was alive. He’d released his most popular album (Kaya), and had almost singlehandedly taken reggae from the dirt roads of Kingstown to the mainstream, and started to influence music by bands as diverse as Led Zeppelin, Blondie, and Rush.

He’d also managed to become a force in politics, having managed to somehow get contentious and bitter Jamaican political rivals Michael Manley (of the ruling People’s National party) and Edward Seaga (of the opposition Jamaica Labour Party) to join him and shake hands on stage during his triumphal return to Kingston on his One Love Peace concert.

That would be kind of like getting Ted Cruz and Barack Obama to hang out.

Although remaining politically engaged in his music, Marley started to move away from overtly revolutionary songs like Get Up, Stand Up and No Woman No Cry toward more spiritual and softer themes, like Is This Love and Satisfy My Soul.

Babylon By Bus served as a celebration of Marley’s conquest and dominance, and would sadly be the last official live album he released.

Side 1: Positive Vibration Punky Reggae Party Exodus
Side 2: Stir It Up Rat Race Concrete Jungle Kinky Reggae
Side 3: Lively Up Yourself Rebel Music (3 O’Clock Road Block) War / No More Trouble
Side 4: Is This Love? Heathen Jamming

Man, you can really hear the joy and enthusiasm Marley has on stage with this album. Starting with his opening benediction before Positive Vibration all the way through the frenzied crowd during Jamming, this album is just one big-ass party.

It’s impossible not to compare Babylon to Live (released three years earlier), and when one does so, the change in Marley’s music and message is clear. The setlist for Babylon features the more hopeful, mellow, and happy songs of Marley’s later career, and while still quite activist in nature, is far less militant.

But really, I couldn’t think about message or politics or social justice when listening to this, because the music was simply too celebratory. Seriously, this is a fun album. Even the heavier songs, like Heathen and Concrete Jungle are softened in the elation of the moment.

This is an album that got a lot of play when I first bought it, continuing through the years. It has all the best elements of live albums, from the energy of the crowd to the genuine thrill of the band. And it really does serve to help prove that music – particularly music like reggae – is a shared experience and better when enjoyed by a crowd.

A bit of grass doesn’t hurt, either.

Up next: Abstract expressionism in music