Big Blue Sky

Yeah.. you should've perhaps just called it "Pillow Talk"... But please don't feel quilt:y, it's not too bed, is it? Not the travesty of a sham that it could've been, to pad-a-phrase. Some of those renditions of Tom Petty songs really do put me to sleep, though, must say. No snuggly duvets, but some very comfy duets, surely... eh, isn't this just puff, eider way?
Alright for now
Zzzzz...  
 

That happens when you let a non-native speaker (?) (i.e., me) choose the name of a thread...

I wouldn't want to redesign Let Me Up. Just add them. 

https://www.mudcrutch.com/forum/index.php?/topic/14804-mojo-a-surprising-album/&tab=comments#comment-300870
https://www.mudcrutch.com/forum/index.php?/topic/14934-changing-mojos-track-listing/&tab=comments#comment-302367
 
 

Seriously!  I am very excited by the knowledge that he engineered/produced the DK album-in-waiting.

I would love to see this for obvious reasons and heard about it first some time last year when it was in a film festival somewhere else before (or was this just released at sundance now and promoted last year?)
Looks like it just got picked up for distribution: (article dated 1/24/19) 
https://deadline.com/2019/01/greenwich-acquires-music-documentary-echo-in-the-canyon-1202541020/
EXCLUSIVE: As the 2019 Sundance Film Festival begins tonight with a number of promising acquisition titles including opener After the Wedding, we can report that the opening-night film of September’s Los Angeles Film Festival, Echo in the Canyon, has just been picked up for distribution by Greenwich Entertainment. It announced today the acquisition of U.S. rights to the 1960s-era musical documentary from Andrew Slater, a first-time filmmaker and veteran music scene insider who has worked as a journalist, record producer and label executive. The film was produced by Eric Barrett and executive produced by Jakob Dylan and Dan Braun. Greenwich is planning a late-spring theatrical run alongside concerts with musicians from the film and a corresponding BMG record with Jakob Dylan, Cat Power, Regina Spektor and Beck re-creating music from the Byrds, the Beach Boys, Buffalo Springfield and the Mama and the Papas.

There was a concert in conjunction with the film's LA premiere, I guess, and here's Jacob covering "The Waiting."
 

Yes, I watched it.  A one season show, if I'm not mistaken.  Don't worry, you can sit on the actual couch.  My impression is that I liked her character in "The Closer" a lot better.

Well, I haven't thought about this much, as is obvious, but using a random song sequence / shuffle doesn't end well for me.  Even if it's drawing on, say, all songs by one artist.
As for the drunk fan in the pub, oh yeah! I bet his friends reminded him occasionally, since some left with him. Good friendship protocol as, if he's so drunk that he's heckling his musical idol, he's probably too drunk to be on out his own on the mean streets at night. But having to leave - could strain the friendship. 
vvvvvvv hahaha this is the one when TP tells the more virile people in the crowd to SHUT UP. Love this. Though - gasp - Luna doesn't do much for me & I quickly add that I'm just mentioning it in passing, not trying to annoy Luna fans.  (Sending out the shark-spotting drones over the ocean). I'm open to idea of Luna appealing to me more another time.  
At the piano - did TP sit onstage and play piano / organ / any other keyboards for any other songs? I'm going with a hesitant no...   

"Hmm... so.. the energy then.. is the mass times the speed of the stage light squared... Most interesting. Wait what mass is that..?"
 

Wow, a lot of intriguing stuff going on here!
Shelter, as usual, I must agree on your notion of constructing set lists as a high art form, with Tom "only" making use of one shade of its wide and varied spectrum.
That's a pretty good analysis, I think. Quite accurate, actually.
I get a bit melancholy about their moving away from the big jangle. They got bluesier, because, I guess, Tom felt the blues more and more the older he got. As a band, they always tried to get closer and closer to the song, playing it without adorning it... playing a song with as little embellishment as you can with a six piece band. Hence, maybe, their getting "heavier".
Tom's inclination towards the blues will have influcenced his songwriting as well.
And with Stan, I don't know if they could have gotten to where they were in the end with him. He probably was too loose, too swinging and freewheeling in his drumming for that kind of approach. He didn't have any fun playing on ITGWO, and that was clearly the direction Tom wanted the drums to take.

Me too... for some reason, I find it exremely funny.  Maybe I'm only glad I wasn't the one who got shut up. But it's also the discrepancy between the sensitive, silent, low-key Luna and Tom's getting all worked up trying to play it.

"Hmm.. Wonder if we have any Maxwell House at home.. better add some to the shopping list here... oh.. and perhaps some Candy.."

There could be musicians out there who are terrible at this but I figure most are good at coming up with a set list for a tour covering a variety of moods while factoring things like guitar tunings, energy etc. The problem it seemed to me was less the ability to craft a good set than becoming a prisoner to it over the years. But I'll let it lay there. 
I'm glad the '99 show is one of those noteworthy concerts, where the songs, flow, moods and vibe come through for you on the recording. 
I'm glad the tapers are so generous over the years with these concerts.
cheers

Nice. I've received my share of mix tapes and later mix-cds, and appreciated the thought put into them. Fortunately none that were badly formed.
And I remember obsessing over making some for others, figuring out what songs go together, how the end of one transitions to the next, the flow of tempo, the impact of the lyrics, do they reflect on the recipient or say something about me, both or neither? Some songs because they were silly, others for their serious intent, fun to finally hit upon the perfect combination and finally sharing it with someone.
Forgot all about doing that, the fun of pushing play and not knowing what I was about to hear, even disliking some songs only to later learn to appreciate them. 
cheers

Yes, moot now but yes.
Yeah, again, glad they played it at all. Would've been fitting on the Full Moon Fever tour. Would've been a heck of an opener, a dark stage, moody blue lighting, Tom and Benmont playing the song, some moody drums from Stan, then into something fast.
And the shark swims back into the depths, bloody and scarred.
 

That's a shame, I wonder if the next day he sobered up and reflected on what he missed out on. I don't understand getting drunk at a concert, enjoy the music, go for drinks after. Why risk missing something amazing by being in the bathroom or a beer line. 

This is whale shark & as you'll know it eats lots of things, just not fish. Sending my best good wishes to ya both.

Mike, Ron and the New Guy played last weekend at the Imperial Ball (as well as some knob . Saw this on FB, hope it can be viewed.  Mike sounds amazing as usual.  Please not the empty mic stand center stage, nearly broke me.   Anyone else there?   Also Dana Petty posted a similar video on the Mike Campbell FB page! 💘   You can also see Chinner toward the end. 😎
Anyone make it this year?  Wish I was on the left coast... 

Dana Petty's video. 💘
 

How sweet🤩

in the second clip, what is goin' on with that guitar?  
 

True story: I knew a guy once - let's call him Jan, who didn't have the first clue about these things. He made me a few mix tapes. Some cool songs, some not so much. Horrible order, no flow, no smooth transitions of ideas, no nothing... In fact I loved a few of those songs, but I never listened to the whole thing after the first troubled attempt. 
Then I knew this other guy - let's say he was Dean - that was quite the genius. He could make the most amazing mix tapes, of the most abstract or even absurd themes, or with no theme at all. Always seemingly effortless, with a flow that dreams are made of. The transitions at times even magical, like it was always meant to be, even if just invented the tracklist a-b-c, and it was hard to stop listening. Even music that i normally didn't like was fun or at least interesting this way. The good stuff that was introduced was positively capturing and even spellbinding.
I hope everyone gets to experience the difference described. And if interested, invest some time into the how that can be kind of ponderings. 
Then, after that, add the concept of putting these, say 20 songs together in real time, live on stage, with your own band, with the possibilities of not only picking finnished songs, but to adjust the performances themselves, creating the music, arranging it, with an audience response to play against more over... This will, of course, if done just in the most semi serious of ways, adding several new and fascinating dimensions to the already quite difficult art of the mix tape.
Analogy ends.

^ No feelings hurt. No worries. Just felt that my "arch" point ran the immediate  risk of being tweaked out of shape and intent, like these things often do, dragged into the age old set list discussions of why they should mix it up or why they didn't or even shouldn't. All that is all very much too late, and also very worn out discussions to me. Most of all it's very secondary and rather indirect to my points above, about the concept of flow, transition and sequence. No need to go there, as i see it, is all. Sorry if it seemed like I snapped at you. All these sharks are making me nervous...