Rock Docs Season 2 Finale: "Festival Express"

April 19, 2022
Hosted by David Lizerbram & Andrew Keatts

Overview

In the season two finale, hosts David Lizerbram and Andrew Keatts take a deep dive into the documentary Festival Express (dir. Bob Smeaton, 2004), an archival-driven look at the legendary 1970 Canadian concert tour by train featuring The Band, Janis Joplin, Grateful Dead, and more. The episode weaves in reflections on season two’s themes, the role of “hangout” energy in music documentaries, and an appreciation for the unique vibe of Festival Express as both a musical and cultural artifact.

Key Topics & Insights

Season Wrap-Up and Show Themes

• Recurring Subjects: Season two had recurring themes, particularly The Band and parenting anecdotes, with Mavis Staples being dubbed the “sleeper star.”
• Listener Engagement: The hosts encourage recommendations for Season 3 documentaries ([03:23]), emphasizing their organic, unplanned approach to the show.
• A Quick Season Structure Analysis: The first season had an inadvertent 90s slant, while the second revolved around The Band and their expansive influence in the music world ([02:05]).

Introduction to Festival Express

• What is Festival Express?:
  • A three-city Canadian traveling festival in summer 1970, moving artists via private train.
  • Main acts included The Band, Janis Joplin, Grateful Dead, Flying Burrito Brothers, Buddy Guy, Delaney & Bonnie, and others ([06:26]).
  • The Grateful Dead set the vibe on the train, even if they weren’t the biggest draw at the shows ([07:02]).
• Literal ‘Festival Express’: The name adorned the train, not a metaphor, but “highly literal” ([05:36]).
• Financial Flop, Legendary Hang: The tour “did not work out financially. And nobody seems to mind.” ([06:17]).

Documentary Style & Structure

• Archival Focus:
  • Shot largely on grainy 16mm film intercut with early 2000s talking-head interviews (mainly musicians and a few journalists).
  • Talking head footage is presented as split-screen with archival footage, so “at no point do you leave 1970 visually” ([10:42]).
• Unique Value for Deadheads: Some of the best footage of the 1970 Dead exists in this film, despite the band's vast audio archives ([10:58]).

The Tour: Music, Mayhem & Meaning

• Festival Lineup & Performers:
  • The Band (frequent closers), Janis Joplin (“two big stars”), Grateful Dead (major force but not always headliners), Flying Burrito Brothers, Buddy Guy, Delaney & Bonnie, Ian & Sylvia with the Great Speckled Bird, Mashmakhan.
  • Mountain and New Riders of the Purple Sage are mentioned as present but not heavily featured ([09:00]).

Toronto: Protests & Free Show ([12:35])

• The tour’s first stop in Toronto was met with intense demands for a free concert, resulting in clashes and a compromise: a free show in a park plus the ticketed festival proceeding.
• Memorable Quote – Bob Weir on Ticket Prices and Violence ([14:28]):
  “Is it worth $16 to bust some cop’s head open? Like, he’s in intensive care. He’s got a plate in his head. He could have died. I spoke to these cops, they’re all great guys... it’s a human being.”
• Jerry Garcia’s Role as Unexpected Leader ([15:22], [17:03]):
  • He addresses protestors—unusual for a musician famously averse to leadership:
    “This is, like, all voluntary in nature, man...” ([16:03])
  • Andrew notes this newfound leadership as out-of-character for Garcia and attributes it partly to recent traumatic events (Altamont, Kent State).

Vibe on the Train: Legendary “Hangout” Energy

• Ken Walker, the Promoter ([20:03], [20:53]):
  • Lauded by almost everyone, he ensured there was music, food, and “top shelf” booze at all hours, arranging for jams and afterhours revelry:
    “I wanted there to be music 24/7... stock it with booze, food all the time.”
  • Noted for his tall tales and showman persona: “He strikes me as like your uncle who’s a good storyteller, but partially because you’re not supposed to believe 100% of the stories he tells you.”
  • Legendary liquor run—$800 collected “to buy out the contents of a liquor store” ([25:11]).
  • Canadian Club Dosed: Bob Weir claims the Dead introduced hard drinking and even acid-dosed the booze for fellow passengers ([25:31]).
• Jam Sessions & Interpersonal Moments:
  • Jerry Garcia acts as house band/MC on the train, seamlessly joining jam sessions ([26:48]).
  • Rick Danko (The Band) and Janis Joplin’s jam—marked by their inebriation but also warmth and musical magic:
    “At one point... she puts her arm around him and she says, ‘How you doing, daddy?’” ([27:47])
  • The subtle heartbreak–Janis and Jerry:
    “Janice, I loved you since the day I saw you.” ([29:05])
    Janis’s death occurs just two months after the tour.

Music & Notable Performances

• On the ‘Rock to Doc’ Ratio ([31:59], [32:35]):
  • The hosts praise the film’s heavy lean toward musical performances, arguing it’s the “best hangout movie you could get.”
• Grateful Dead in Toronto: A tension-diffusing “Friend of the Devil” after the riot ([35:47]):
  • “...that [scene] is a warm blanket for me. That scene, specifically, I have like a genuine reaction... like a muscle memory, like a familiar smell.” ([37:29] – Andrew)
• The Band:
  • “Slippin’ and Slidin’” is highlighted, particularly Robbie Robertson’s “unhinged” solo ([38:55]).
  • “The Weight” – yet another appearance this season, ranked just below The Last Waltz’s Staples Singers version ([39:41]).
• Janis Joplin:
  • David’s perennial “not a fan” stance leads to playful cross-examination ([41:44]–[42:28]), though Janis’s jam session harmonies win some approval.
• Buddy Guy:
  • Delivers a killer version of “Money [That’s What I Want]”, complete with his signature crowd-walk and shredding guitar ([47:36]).
  • Humble talk, reflecting on sharing space with “these other legends” ([49:22]).

Genre Oddity: Sha Na Na

• Delivers a corny, high-energy doo-wop spectacle (“Rock and Roll is Here to Stay”) that the crowd and Jerry Garcia love.
• Contextualized as part of a broader ‘50s revival—an “intentional nostalgia trip” for the college-age fest crowd ([53:05]).

Visual & Musical Experience

• "At no point do you leave 1970 visually," thanks to the editing choice ([10:42]).
• The chaotic, cramped, booze-fueled train jam sessions are arguably the film’s heart, offering a “you are there” perspective unavailable elsewhere ([26:25], [32:35]).

Film’s Production & Afterlife

• Shelved & Resurrected: The film’s footage was shelved for decades, only unearthed and expanded for DVD release in the early 2000s ([33:31]).
• DVD Features: The DVD holds more performances, unavailable on streaming, much to the hosts' frustration ([34:00]).

Notable Quotes & Memorable Moments

• On the Festival Express experience:
  • “A train full of insane people careening across the Canadian countryside, making music day and night. And every once in a while, they would stop and have a concert.” – Phil Lesh via Andrew ([05:43])
• On the show’s finances:
  • “Did not work out financially. And nobody seems to mind.” – Andrew ([06:17])
• Ken Walker’s Showmanship:
  • “We're in show business.” ([22:14])
  • “It’s go west, young man.” ([22:33])
• Buddy Guy on keeping up:
  • “He would go to his bunk and sleep for an hour and then get back up and get back at it because he just didn’t want to miss the jam.” ([31:05])
• Janis Joplin gifting booze at the finale:
  • “The train's for remembering. The tequila's for continuing, man.” ([59:05])
• Andy on the film’s ethos:
  • “This is the best hanging out movie you could get, I think.” ([32:41])
  • “If you don’t like rock and roll, this is going to be a tough hang for you.” ([64:06])
• On the lack of context:
  • “You can know nothing about the Grateful Dead or any of these artists going in and you won’t know that much going out. You’ll enjoy the music, but you’re not really learning that much.” – David ([66:12])

Notable Timestamps

• 00:10–03:23: Season two wrap-up, recurring themes, audience engagement for season three
• 04:36–06:20: Festival Express overview, lineup rundown
• 12:35–14:28: Toronto protest, artist responses, and financial impact
• 25:34–27:43: Legendary booze run, Ken Walker’s anecdotes, on-train jam sessions
• 29:05: Jerry Garcia’s emotional comment to Janis Joplin
• 31:59–32:41: Debate on the proper “rock to doc ratio”
• 35:47–37:53: “Friend of the Devil” performance as narrative and emotional pivot
• 41:44–43:56: David’s candid Janis Joplin assessment (and Andy’s gentle ribbing)
• 47:36–49:22: Buddy Guy’s performance and interview
• 53:05–54:40: Contextualizing Sha Na Na and the ‘50s revival
• 59:05: Janis Joplin’s closing toast: “The train's for remembering. The tequila's for continuing, man.”
• 59:56–61:59: Director Bob Smeaton’s rock doc resume rundown
• 64:06–65:25: Final recommendations and discussion of what the film is—and isn’t—in the rock doc genre

Final Thoughts / Recommendations

• Rock & Roll “Hang” Movie: The hosts unequivocally recommend Festival Express for fans of rock documentaries, especially for its sheer hangout energy, intimate musical moments, and unique historical footage ([64:06]).
• Minimal Context, Maximum Vibe: Viewers shouldn’t expect a history lesson or contextual deep-dive (“You can know nothing about the Grateful Dead... going in and you won't know that much going out”), but will enjoy the music and atmosphere ([66:12]).
• "As always, I always want more of everything… It’s a short movie… a lot of rock, I would like more Doc." – David ([64:23])
• Fans of The Band or the Grateful Dead will find this film particularly essential due to the era-capturing footage, rare jams, and off-stage camaraderie.

Episode Tone & Dynamics

• Conversational and Playful: The hosts riff off each other, gently teasing (notably about David’s Janis Joplin indifference), with an informal, good-natured tone matching the spirit of the documentary.
• Musician-Focused, Not Pedantic: The conversation flows in and out of detailed music geekery, personal anecdotes, and playful hot takes, never bogged down in over-analysis.

Additional Resources

• Festival Express is available to stream (though bonus DVD performances are missing).
• The hosts are seeking listener input for future documentaries via Twitter/Instagram: @RockDocsPod

Summary in One Line:
Festival Express is celebrated as the ultimate “hangout” rock doc—less a thorough history lesson, more a privileged ticket to a rolling party with some of rock’s greatest legends at the peak (or tragic last blaze) of their powers.

Memorable Closing:
"The train's for remembering. The tequila's for continuing, man." – Janis Joplin ([59:05])