Bob Marley & and The Wailers – Babylon By Bus Stops at the Paris Pavilion, Paris, France June 26, 1978


Bob Marley & The Wailers


A great show, not very common to collectors.  Some great intros to some of the songs like War. Bob is in a great mood, don’t miss this show.  Babylon By Bus is  a live album released by Bob Marley & The Wailers in 1978.  Most of the  tracks on that album are from  the 3 nights at the Pavillon de Paris from the  25-27th June 1978, during the Kaya Tour.   Bob did a great interview with Rock and Folk Magazine which is included here and also translated to English.
Paris Pavilion
Paris, France
June 26, 1978

aud > gen(x) > cdr(x) > eac (secure) > flacl (level 8)

01.Positive Vibration
02.Burnin and Lootin
03.Them Belly Full
04.Rebel Music
05.War > No More Trouble
06.Running Away > Crazy Baldheads
07.I Shot The Sheriff
08.No Woman No Cry
09.Is This Love?
10.Jammin’
11.Punky Reggae Party
12.Get Up Stand Up
13.Exodus (diagnose, gaps, abrupt end)

Thanks to Niteshift for this great show.


The tracks seem out of order. Burnin’ and Lootin’ sounds like the start of the show, with the crowd chanting for Marley. With the exception of some problems with Exodus, a fine show.


The pic directly above is not from Paris.

Rock & Folk’s Hervé Muller: Don’t you think the fact that you have spent a lot of time
away from Jamaica has changed your music?
Bob Marley: We are the ones who play it. It’s not Jamaica that plays
music for us (he bursts out laughing)
Hervé Muller: But you play for very different audiences, like the Paris one.
Bob: Yes but all these people want the music from Jamaica. Even in Paris
we can’t change the music we play. Do you see what I mean?

Hervé Muller: What about the presence of Junior (Marvin, the Wailers’ guitar
player)? Didn’t it stengthen the group?
Bob: Yes, Junior strengthened the group, Junior is easy

Hervé Muller: Do you mean as a man or as a musician?
Bob: Both. He is cool. We understand each other.

Hervé Muller: Do you think the Wailers line-up won’t change anymore?
Bob: Maybe that it will stay the same, maybe that it will change… I
think any change will be additional.

Hervé Muller: Horns?
Bob: (He suddenly laughs and gets excited) yeah mon! that’s it!

Hervé Muller: Would you like to have a horns rhythm section again, like in the
days of ska?
Bob: Yeah! Yeah mon! That would be great. Like in the days of ska. At
the time being, and since quite a long time, we have concentrated on the
rhythm. But now that everyone feels they are at the place in the rhythm,
we could use horns again… yeah.

Hervé Muller: The way your records are produced is rather different from most of
the Jamaican production. You have never really been into dub in particular.
Bob: Me? No, I have never really liked this dub stuff you know. Dub is
something else. We couldn’t follow the dub way because we prefer a music
that is like a message, you know. But dub is nice. I only start enjoying
it now.
Hervé Muller: Why are you recording again old songs like Kaya?
Bob: Mhh, Kaya, that’s a nice tune… the night we wrote it, Kaya, we were
in a remote part of the countryside. It was raining during the night and
we were in a very small house and… we didn’t have herb. That’s why we
sang : “gotta have kaya now for the rain is falling…”.
(“kaya” is one of the many names jamaicans use for marijuana).

Hervé Muller: When was it?
Bob: Around … 1970. Yes, 1970.

Hervé Muller: You have also recut much older songs, that date way back from the
ska days such as One Love. How does it feel to do a rendition of a tune
you wrote 10 or 15 years ago?
Bob: Sometimes it works, sometimes it doesn’t. it’s a matter
of vibrations. I couldn’t even know for One Love. Musically, I had never
felt it as good.
Hervé Muller: What about the lyrics?
Bob: It’s as if I understood them better now than the first time. The
first time is raw inspiration. The second time is comprehension… songs
evolve. I don’t know how or why. There are songs I don’t really
understand until I see the reactions they lead to in the street. Someone
else finds out their meaning, and I understand it in turn.
Hervé Muller: Do you consider the Wailers as now being Bob Marley’s band, or will
the other members contribute in a more active way?
Bob: Everybody is writing songs. Junior is writing an album. Tyrone
(Downie, the organ player) too…

Hervé Muller: Yes, but would they compose for the Wailers?*
Bob: Yes, if they want to. Everyone has to be free.

Hervé Muller: But the band’s line-up is different from the time when Bunny and
Peter were part of the Wailers, isn’t it?
Bob: Yeah mon, you can stay all your life in the same place you know.
Even trees grow (laughter)

Hervé Muller: Do you think you could work with them again one day?
Bob: Sure man, at any time…
Hervé Muller: Have you seen Peter (Tosh) since the problems he has experienced in
Jamaica (he was arrested and beaten by the police)?
Bob: Yes, it’s allright, cool.

*RF: What do you think when things like that happen?*
Bob: What happened to Peter? I think it’s nothing but ignorance…
ignorance on the police side.

Hervé Muller: You live again in Jamaica now, but you have been away for a long
time (after the shooting by the end of 1976)…*
Bob: Yes…

Hervé Muller: For too long?
Bob: No, just the right time.

Hervé Muller: The last time we met, you were about to go to Africa for the first
time. Did you finally go there?
Bob: No, not yet. But this time I will go (laughter)! No, this time it’s
true… I want to go to Nigeria, to Ghana, and one or two other places.
Hervé Muller: Here is again an old question: do you really think european
audiences understand all the rasta stuff?
Bob: I don’t know if they understand, but they have pretty good
reactions you know (he is laughing like a kid). That’s a reality, not a
joke or a dream. It may seem strange, but it’s not as strange as a
religion because rasta is a reality. It’s difficult for people who have
undergone and accepted brainwashing to understand what I and I, the
rastas, say. We are going beyond what we have taught you (…) To be rasta
is to live a life in which you are always happy. But rasta know
the whole world will fight them…

*RF: The last time we met, you told me that if reggae singers now sing
rasta songs, that’s because everybody loves rastas.*
Bob: Yes, but not EVERYbody. As far as I am concerned, the more people
talk about it, the better it is… people know there is a lot of fights in
the world, but they can’t explain why. Everybody fights, but at the same
time nobody wants to ackowledge any explanation. There is something bad
in it, psychologically. If we fight, we should be able to explain why.
Otherwise… (he has a little smile that concludes his speech)
Hervé Muller: Do you think people who like your songs understand all of this in
them?
Bob: Many people can appreciate what we are trying to say. I never give
up believing in the people, because that’s all we have you know… when I
was born, I have been taught the same thing that everybody, until I
found by myself that there was something else. It happens at a different
time for each one of us.

Hervé Muller: Do you think jamaican musicians who have been raised in London,
like Steel Pulse, have a different approach of reggae?
Bob: They try… because reggae, out of any analysis or interview, is a
feeling. And anybody has that feeling you know, that timing… that’s
reggae: a very special feeling and timing. All reggae musicians have it.
It’s something very deep. When we (the Wailers) started to record songs
like Duppy Conqueror, we did it in a clean and professional way. The
feeling is there, but is professional. It couldn’t be accepted on the
worldwide record market without becoming professional. One or two of us
had to do it so that the world could appreciate it, do you see what I mean?

Hervé Muller: Do you mean reggae musicians have become more professional?
Bob: Yes, they didn’t have the choice.

Hervé Muller: But didn’t they lose something in that process?
Bob: I don’t see what they have lost in it (laughter). But I can see
what they have won!

Thank s to Bob Marley Magazine and my wife for translation help.