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Just Completed 35 Songs That We Are Currently Shopping For Worldwide
Distribution / Film and TV Sync Licensing Opportunities
Music is not available on line - please email music7557@gmail.com for samples
 photo 357c04c3-110d-468b-b13d-efe2559cb0bc_zps69927b1c.jpg

https://www.linkedin.com/in/kenpinkstaff


© 2015


 photo 89195b1c-3f66-41d4-a3a1-bf781beff0bf_zps7f4bde78.jpg

Latest Forum Posts
Monday 30 March 2015

Danny Ferrington One of the Few Truly Original Luthiers
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Danny Ferrington
Master Guitar Maker That Built Ken Pinkstaff's Acoustic Guitars

Fretboard Guitar Journal held and event on January 22 for guitar maker Danny Ferrington in Los Angeles.
Watch this impromptu performance of Warren Zevon’s “Carmelita,” performed by Jackson Browne, writer/musician
Adam Levy and Danny Ferrington himself.


Fretboard Journal - Danny Ferrington (Luthier) from Linas Phillips on Vimeo.





 photo 4179951c-ea86-4368-8154-e98dfd9b8163_zps21e75b12.jpg

“Musicians, not guitar makers, are who I've paid attention to. I've known how to make them for a long time but I continue to learn from musicians, that's what has guided me in my craft.
I have lived in Los Angeles since 1980. I've accomplished so much with this craft in my life. It will never get better than my dear friend George Harrison when we first met tell me he had played a guitar I had done for Jeff Lynne, he said, “I knew when I played that guitar that you did for Jeff, that you knew something.”

Follow Danny on
https://twitter.com/DannyFerrington
https://www.facebook.com/pages/Danny-Ferrington/194366104043272

Here is a man that has crafted guitars, mandolins, violins and more for elite of the entertainment world and remains an incredibly humble individual.

 photo d6945164-f699-4221-b614-2699d8e2c11c_zps788aebb0.jpg

12 String Ferrington photo 0e582d20-42c7-462a-b38f-8b823f8e45e2_zpsaa6b061a.jpg

Ferrington Guitars photo 6fa1ca75-e04e-469c-8388-d2aa94bfca61_zps557bd7e9.jpg

Danny’s instruments are known for quality and unusual design and this book showcases his exceptional craftsmanship and amazing detail.

Danny Ferrington one of the few truly original luthiers out there.

Posted by: Patty Pinkstaff
on Saturday 18 April 2015

Saturday 17 January 2015

46 Years Ago: Led Zeppelin’s First Album Sets the Hard Rock Paradigm
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46 Years Ago: Led Zeppelin’s First Album Sets the Hard Rock Paradigm

This may seem obvious, but Led Zeppelin’s eponymous debut is an album full of firsts, beyond the ‘I’ frequently tacked onto its title nowadays.

Released in the U.K. on Jan. 12, 1969, ‘Led Zeppelin’ may not match the historical stature of ‘Sgt. Pepper’s Lonely Hearts Club Band’ (nothing in rock does), but it remains the prototypical hard-rock album. It also could well be named the first album of the ‘70s, aesthetically speaking — and it’s certainly one of the first watershed albums released after the Beatles’ Technicolor masterpiece changed, well, everything.

And to think that, less than six months earlier, guitarist and Led-leader Jimmy Page was still figuring out what to do about the fast-disintegrating Yardbirds, and his career, in general. His old band’s demise, though it had in fact been coming for quite some time, was finally made official in August of ’68. That left Page with nothing but the legal rights to the Yardbirds name and the responsibility of recruiting new musicians capable of fulfilling a slew of pending Scandinavian tour dates.

The sequence of events that followed in quick succession still defies belief.

Follow along with us now: In September, Jimmy Page, Robert Plant, John Paul Jones and John Bonham duly took Scandinavia by storm billed as the “New Yardbirds,” simultaneously trying out new material and testing their mutual on-stage chemistry along the way. In October, the still-as-yet-unnamed group was busy recording these new songs at London’s Olympic Studios for the bargain-basement budget of £1,782. In November, and with the help of strong-willed manager Peter Grant, the newly rechristened Led Zeppelin signed a contract with Atlantic Records guaranteeing unprecedented control over their career direction. By early January, ‘Led Zeppelin’ was released across Europe.

Needless to say, much of the record’s unique appeal — then and now — emanates from the unbelievably brisk and volatile conditions under which it was created. Therein lies the source of the raw, spontaneous energy that crackles out of its nine combustible tracks, and which determined that ‘Led Zeppelin’ would become the measuring stick by which all future hard rock albums would be compared. What’s more, thanks to the unparalleled creative freedom that Jimmy Page demanded from Atlantic prior to signing on the dotted line along with his band mates, those same nine songs already revealed a band willing to adapt music of every stripe to achieve their high-decibel goals.


Read More: 46 Years Ago: Led Zeppelin's First Album Sets the Hard Rock Paradigm | http://ultimateclassicrock.com/led-zeppelin-first-album/?trackback=tsmclip

There’s brutish, thunderous hard rock (‘Good Times, Bad Times’), sensitive neo-folk rock (‘Babe I’m Gonna Leave You’), lustful Delta blues (‘You Shook Me’), nightmare-inducing art rock (‘Dazed and Confused’), a vengeful wish softened by hymnal gentility (‘Your Time is Gonna Come’), some percussive Irish instrumental folk (‘Black Mountain Side’), euphorically heavy, post-garage proto-metal (‘Communication Breakdown’), and more blues of both the condensed (‘I Can’t Quit You Baby’) and epic variety as they cobbled spare parts from rock’s earliest roots to birth a powerful, modern amalgam (‘How Many More Times’).

Clearly, if all this comprised the opening salvo of the hard-rock era, is it any wonder so much diversity would eventually fall under that all-too-limited heading? Or that such a small number of future bands came anywhere near to challenging Led Zeppelin’s amazing versatility and facility for mixing and hopping hop and between genres, as they please?

‘Led Zeppelin’ quickly breached the Top 10 in both the U.K. and U.S., where it was unveiled two months later. It also opened the door for countless bands, from Black Sabbath to Deep Purple, who then threw commercial caution to the wind and turned their amplifiers up to 11. Rock would never be the same. But somebody had to get their first — and that was Led Zeppelin, with this enduring classic of a first album.




Posted by: warchilin66
on Saturday 18 April 2015

Sunday 11 January 2015

The RESPECT Act
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The RESPECT Act will be reintroduced in Congress early 2015


Currently, pre-1972 audio recordings are not covered under federal copyright law and, therefore, are not subject to receiving royalty payments.
The RESPECT Act would mend this issue and enable all digital performances of songs – regardless of the year they were recorded – to become eligible for royalties. While Sirius and Pandora have both opposed the RESPECT Act,
I wonder what Diana Ross, Robert Plant and Paul McCartney think about receiving compensation they’ve been due for quite some time



Posted by: Ken
on Saturday 18 April 2015

Friday 02 January 2015

ITS ABOUT TIME !
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U.S. Department of Transportation Issues Final Rule Regarding Air Travel with Musical Instruments

WASHINGTON – The U.S. Department of Transportation today issued a final rule to implement section 403 of the FAA Modernization and Reform Act of 2012, which requires that U.S. airlines accept musical instruments as carry-on or checked baggage on commercial passenger flights, provided that certain conditions are met.

“At DOT, we know how important instruments are to musicians and are committed to doing everything we can to ensure that they are not damaged while being transported on airlines,” said U.S. Transportation Secretary Anthony Foxx. “This final rule implements the statute, and it will go a long way towards keeping instruments safe when they fly – from allowing them in the cabin if there’s space for safe stowage, to letting passengers buy a seat for certain large instruments.”

The rule requires that each U.S. carrier subject to this regulation allow a passenger to carry into the cabin and stow a small musical instrument, such as a violin or a guitar, in a suitable baggage compartment, such as the overhead bin or a closet, or under the seats, in accordance with FAA safety regulations and the carrier’s FAA-approved carry-on baggage program.

Carriers must allow passengers to stow their small musical instruments in an approved stowage area in the cabin if at the time the passenger boards the aircraft such stowage space is available. Under the rule, musical instruments as carry-on items are treated no differently from other carry-on items and the stowage space should be made available for all carry-on items on a “first come, first served” basis. Carriers are not required to give musical instruments priority over other carry-on baggage, therefore passengers traveling with musical instruments may want to buy the pre-boarding option offered by many carriers to ensure that space will be available for them to safely stow their instruments in the cabin.

For some musical instruments that are too large to fit in the cabin stowage areas described in the carrier’s FAA-approved carry-on baggage program (e.g., an overhead bin or under a seat), it is sometimes possible to secure them to a seat as “seat baggage” or “cargo in passenger cabin.” Carriers are required to carry large musical instruments in the cabin if the passenger wishing to carry the instrument in the aircraft cabin has purchased an additional seat to accommodate the instrument and the instrument is contained in a case or cover to avoid injury to other passengers, the weight of the instrument does not exceed 165 pounds or applicable weight restrictions for the aircraft, and the instrument can be stowed in accordance with the requirements for carriage of carry-on baggage or cargo established by the FAA. Carriers are not required to provide for this process in their carry-on baggage programs; however the Department encourages carriers that do not currently allow such stowage to amend their programs to allow it, provided that all safety requirements are met.

Carriers are required to accept musical instruments in the cargo compartment as checked baggage if those instruments comply with the size and weight limitations provided in Section 403 and the FAA’s safety regulations.

The final rule applies to scheduled and charter flights in domestic or international transportation operated by U.S. carriers, regardless of the size of the aircraft they operate. The rule also applies to persons not directly involved in the operation of an aircraft who sell air transportation services to the general public other than as an authorized agent of a carrier.

This final rule is issued without notice and comment from the public as it simply implements the statutory requirements. The rule will take effect 60 days after its publication in the Federal Register. The final rule is available on the Internet at , docket DOT-OST-2014-0231.

In addition to issuing this rule, the Department has also created a webpage (http://www.dot.gov/airconsumer/air-travel-musical-instruments) that provides useful tips and information for consumers on how to prepare for air travel with musical instruments. The Department also sponsored meetings to provide representatives of musicians and airlines an opportunity to discuss the difficulties musicians face when traveling by air. DOT may conduct additional such meetings to further explore ways to better assist musicians and airline personnel ensure the safe carriage of musical instruments.

###

DOT 112-14

Tuesday, December 30, 2014


Posted by: Ken
on Saturday 18 April 2015

Friday 12 December 2014

Red Hot Chili Peppers confirm 'different' and 'unique' new album for 2015
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Drummer Chad Smith also describes the LP as 'exciting' and 'challenging'




Red Hot Chili Peppers drummer Chad Smith has confirmed that his band will release a new album next year, labelling the LP as "different and unique".

The group released their last album 'I'm with You' in 2011, with the upcoming effort set to be their eleventh studio release to date.

Answering fan questions from Twitter via Rolling Stone, Smith revealed details about the new record.

"The new album is shaping up good," he said. "We've got lots of songs, and we're working with an unnamed producer who is really challenging us to find new ways to come up with new music. We've done the "guys get in the room and jam out songs, everybody playing together all at once" thing. And we wrote a bunch of songs that way. And we're now going to try another method that will be really challenging for us and will bring new, exciting results for the band. We've written and recorded in a way that we've never done before, so the record is going great. We all have high hopes that it's going to take off and we're going to do something very different and unique for the Red Hot Chili Peppers."

Smith continued: "As far as percussion goes, I foresee Mauro Refosco, the percussionist that we had record with us on the last record and tour with us, coming in and being a part of this record as well. I would think that he would add some nice, interesting percussive elements. But, as far as what I'm doing, I'm just playing my same old beat that I've been doing for 25 years, faster and slower."

"Anything we do is going to sound like Red Hot Chili Peppers. Certainly with Anthony [Kiedis] singing and the way that we play. We're just trying to break new ground and come up with something. All I can say is we're taking a different approach that is going to wield different results. We're going to probably write some more new songs this way, but we're also going to work on the ones that we have as well, which we've already done. We've already recorded some of the songs, just a few that we've been working on. But this is also going to be in addition to those. It's a new process. I don't know how long it's going to take. We'll have a record out next year."

As well as talking about the new album, Smith also approached the possibility of playing a whole album live in full and touring for the 25th anniversary of classic record 'Blood Sugar Sex Magik' in 2016.

"I wouldn't say "never" to anything," said of the idea. "But we're always moving forward and we don't look back too much. That seems to me that you're really going back. We have so much other material, and so much music that we want to play. But, again, I wouldn't say that we'd never do it, but it's not something that's ever really come up or discussed or talked about or anything. It's not going to happen anytime in the near future."

In October, the band's bass player Flea described the upcoming album as "super danceable". He told Rolling Stone: "It's cool. It's super danceable, funky shit and some real introspective, pretty stuff. It feels good, man, and it's fun to play it. I would hope that in a year from now, we have a record out and we're on a world tour."

The band's new album looks to be their first without long-time producer Rick Rubin since 'Mother's Milk', which was released in 1989.

Read more at http://www.nme.com/news/red-hot-chili-peppers/81710#VlHhxlYMorS8jVtt.99


Posted by: warchilin66
on Saturday 18 April 2015


Nicki Minaj Pinkprint albums sold without 'Anaconda'
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Nicki Minaj Pinkprint albums sold without 'Anaconda' after error

Copies of Nicki Minaj's The Pinkprint CD have been sold without the album's lead single 'Anaconda'.



Following what is assumed to be a production error, some fans have discovered that their deluxe edition copies of the LP contain an instrumental in place of the original track.

Nicki Minaj 'The Pinkprint' deluxe edition artwork

© Instagram / @nickiminaj

"WTF the deluxe cd of @NICKIMINAJ's #ThePrinkPrint I bought today has an instrumental where Anaconda should be @UniMusicIreland," tweeted Dublin-based Conor Behan.

"Returned my copy to Golden Discs, apparently all their stock of the deluxe ed is anaconda-less," he added.

It appears that the slip-up may be affecting orders throughout Europe, as fans in Belgium, Germany and the Netherlands have also reported that their discs do not feature the song.



As the problem came to light, Target - which was exclusively issuing deluxe edition CDs in the US - canceled its pre-order shipments of the LP.

"Due to production issues, we are not currently accepting preorders on this album," reads a statement posted on its site.

"We hope to begin taking orders on the updated, correct version by 12/15/14. Please check back soon!"

Read more: http://www.digitalspy.com/music/news/a616333/nicki-minaj-pinkprint-albums-sold-without-anaconda-after-error.html#~oYi9fAwJFo9fHn#ixzz3Lk2zTCLD
Follow us: @digitalspy on Twitter | digitalspyuk on Facebook

Posted by: warchilin66
on Saturday 18 April 2015

Tuesday 09 December 2014

Swedish Police Raid The Pirate Bay, Site Offline
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Swedish Police Raid The Pirate Bay, Site Offline



Breaking

Police in Sweden carried out a raid in Stockholm today, seizing servers, computers, and other equipment. At the same time The Pirate Bay and several other torrent-related sites disappeared offline. Although no official statement has been made, TF sources confirm action against TPB.

For many years The Pirate Bay has been sailing by the seat of its pants so any downtime is met with concern from its millions of users.

This morning, for the first time in months, The Pirate Bay disappeared offline. A number of concerned users emailed TF for information but at that point technical issues seemed the most likely culprit.

However, over in Sweden authorities have just confirmed that local police carried out a raid in Stockholm this morning as part of an operation to protect intellectual property.

“There has been a crackdown on a server room in Greater Stockholm. This is in connection with violations of copyright law,” read a statement from Paul Pintér, police national coordinator for IP enforcement.

Police are staying quiet on the exact location of the operation and the targets involved but the fact that the national police IP chief is involved at this early stage suggests something sizable.

In addition, expert file-sharing case prosecutor Fredrik Ingblad has commented on the raid, further adding weight to the incident.

“There were a number of police officers and digital forensics experts there. This took place during the morning and continued until this afternoon. Several servers and computers were seized, but I cannot say exactly how many,” Ingblad told SR.

Ingblad would not be drawn on any arrests during the operation but TorrentFreak has learned that police may have detained at least one man connected to the site.

While it seems certain that The Pirate Bay has been targeted today, it was not the only casualty. Several other torrent related sites including EZTV, Zoink, Torrage and the Istole tracker are also down.

Update: The Pirate Bay’s forum Suprbay.org is also offline. The same goes for Bayimg.com and Pastebay.net.

Breaking news story, more as we have it.

Posted by: warchilin66
on Saturday 18 April 2015

Thursday 04 December 2014

AC DC
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Sony Music Entertainment
AC/DC's new album "Rock Or Bust" is now available! You can get your copy here: iTunes: Amazon:

Posted by: Slinger
on Saturday 18 April 2015


U2 have announced details of a 2015 world tour,
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Dubbed the 'iNNOCENCE + eXPERIENCE' tour, the tour will see Bono and his bandmates visit 19 cities and play 44 gigs as they promote new album 'Songs Of Innocence'. The tour sees U2 play indoor arenas for the first time in a decade.

U2 will headline four nights at London's O2 Arena in October during the tour and will then visit Glasgow for two gigs at the SSE Hydro. The world tour starts in Vancouver, Canada in May and will end with two Paris gigs in November, visiting America, Italy, Holland, Sweden, Germany, Spain and Belgium in between. Special shows in Dublin are also being planned but are yet to be announced. A rundown of U2's UK dates can be seen below.

The move marks a scaling-back for the band, whose last major tour was the U2 360° Tour of 2009 to 2011, which saw the band play 110 shows in outdoor arenas and stadia around the world in support of 2009's 'No Line On The Horizon'. They performed in the round from within a bespoke, four-legged structure nicknamed 'The Claw', which had a wraparound video screen and multi-directional sound system.

Earlier this week the rest of U2 performed in New York without their frontman as he recovers from a recent bike accident. Bruce Springsteen and Chris Martin of Coldplay stepped in for the injured Bono.

Earlier this year U2 and Apple 'gifted' 500 million iTunes users with their new album in September. Following complaints over the unconventional release, Apple released a tool to allow its customers to remove 'Songs Of Innocence' from their devices with just one click.

U2 “iNNOCENCE + eXPERIENCE” Tour 2015 UK Tour Dates:

London O2 Arena (October 25, 26, 29, 30)
Glasgow SSE Hydro (November 6, 7)

To check the availability of U2 tickets and get all the latest listings, head to NME.COM/tickets.


Posted by: warchilin66
on Saturday 18 April 2015


MORE RIP OFF FOR ARTISTS !!!!!
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Songs on iTunes are so cheap — 99p! (or 99 cents!) — that you probably don't spend much time wondering why the price of them rarely changes. Different songs' prices are all the same. Yet supply and demand for them changes all the time. Why don't song prices ever get cheaper or more expensive, like stocks?

In a court case that opened in California yesterday a group of lawyers and iTunes customers are arguing that Apple has essentially conducted a price-fixing operation within iTunes that has stymied competition in the music business that might have led to the price of songs dropping, or at least responding properly to supply and demand. Generally, iTunes prices are in three bands: 79p, 99p and £1.29, with equivalents in dollars.

The case asks a fanciful question: If iTunes is so great, why was it the case that, for years after the launch of the iPod, Apple's software prevented other companies from selling cheaper music for your iPod? Competing companies tried to sell Apple customers songs for 49 cents, the suit claims, but Apple kept the price high.

If their class action antitrust lawsuit succeeds it could lead to an award that refunds iTunes customers a portion of the money they spent over an eight-year period in the 2000s. We are, of course, a long way from that.

But as a legal argument, the case is fascinating. It's also worth bearing in mind that Apple has lost two antitrust cases recently: one about price fixing in the e-book market and one about the suppression of wages for tech workers. So it is not inconceivable that Apple may lose a third time.

Apple, naturally, regards the case as garbage. It has also successfully persuaded the court to seal from public view many of the documents and evidence in the case.

cueKTLA
Eddy Cue wants 'FairPlay' kept secret

Eddy Cue, Apple's VP/internet services, is one of many execs who has filed declarations in the case. Cue argued — in a statement written in 2010 that was refiled in court on Nov 30 this year — that details of FairPlay, Apple's technology for restricting where MP3 music files are played, should not be discussed in open court.

Phil Schiller is also listed as a witness.

Other companies already offer music players and download services, so competition is not restricted. (We contacted Apple for comment and didn't hear back.) Apple does not have a monopoly over music, its lawyers have argued in a Northern California federal district court, and the suit should therefore be rejected by the court. The case is a class action on behalf of iPod and iTunes customers, who presumably want a cash payout for perceived overcharges that stemmed from Apple's alleged 99p song monopoly.

Steve Jobs' old emails

The case has so far made headlines because it has exposed yet more of Steve Jobs old emails — messages in which he was, as usual, highly disparaging of anyone who disagreed with him. He called Real Networks, a competing music service, "hackers" when they figured out how to sell songs for the iPod back in July 2004. "'We are stunned that Real is adopting the tactics and ethics of a hacker and breaking into the iPod,'" he suggested as a line for a press release attacking Real Networks.

That Jobs email is, arguably, key to the case. It demonstrates Jobs' intent. To understand that, you need to know the background: Apple had designed iTunes and the iPod so that songs within it contained a digital rights management scheme (DRM) that both protected artists' copyright, by preventing songs from being copied and pirated and prevented iTunes songs from being played on non-Apple devices. (Apple later abandoned DRM in 2009.)

The lawsuit argues that the DRM format prevented other companies like Real Networks from selling songs that could be imported onto the iPod. In fact, Real Networks actually developed a product that let users do exactly this, and it offered songs for 49 cents each — and Jobs stamped it out by banning Real's music from the iPod/iTunes system. He said in that email he regarded Real's attempt to offer Apple customers some choices beyond iTunes made them "hackers".

Here is how the lawsuit describes the effect of Apple's DRM system.

It wasn't so much about copyright as it was about making sure that only iPods could play the songs, the case alleges:
apple ipod
US Fed. Ct.

In 2004, Real Networks launched a product that let people buy cheap songs they could play on their iPods:
apple ipod
US Fed. Ct.

Apple immediately moved to make sure Real Network's software wouldn't work:
apple ipod
US Fed. Ct.

Apple's argument here is obvious: These are Apple devices and Apple software, why should the company let Real offer services on them? There are plenty of other companies that sell music players, and they offer price competition. (For instance, readers might want to check out Google Music Manager in the Play store — it offers a lot of music cheaper than iTunes does.)

That brings in the other interesting legal aspect of the case: Whether Apple unlawfully engaged in "tying" or "bundling" its products in a way that violates antitrust law. In general, companies are allowed to develop monopolies over markets if that dominance occurs simply because their products are superior. iPod became the dominant music player because of that. But companies are not allowed to use their dominance in one market to distort competition in another market.

The suit argues that Apple's strength in the music business through iTunes let it force customers to buy only one device to play that music on — the iPod. (The suit mostly covers the period from 2001 through 2009.) The music market and the device market ought to be separate, and leveraging your dominance in one to distort the other is a violation of antitrust law, the suit claims.

If the suit succeeds, Apple customers could be in for a huge refund. But don't hold your breath.

Read more:


Posted by: Slinger
on Saturday 18 April 2015

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