YouTube app provides hints about planned music service
Google has just pushed out an updated YouTube app for the Android operating system, and website Android Police has taken a sneaky look at the code and discovered various bits n pieces that are seemingly linked to the audio-based music service that the video site is busy developing behind closed doors.

As previously reported, it's thought that YouTube is plotting a new music set-up that will sit inside its video platform, which is, of course, already the world's biggest streaming music service, even though it's never officially positioned as such.

Though, whereas only tracks accompanied by a video (or synced in a video file with a static image) can be uploaded to YouTube as it currently stands, the new platform will take complete audio catalogues from labels in much the same way as Pandora and Spotify. But, it's assumed, the new YouTube service would do something with the artwork attached to each track so that there was still a visual element to the experience.

According to Android Police, code in the new YouTube app makes various references to something called 'Music Pass', which could be connected to this new platform.

Other bits of code suggest that the audio offer will allow offline listening on mobile akin to the smartphone apps operated by Spotify et al, that there will be some kind of upsell, and that at least one option - presumably a subscription-based one - will provide uninterrupted music with "no ads on millions of songs".

Asked about what the Android app told us about any planned music service, a spokesman for YouTube told GigaOM: "We're always working on new and better ways for people to enjoy YouTube content across all screens, and on giving partners more opportunities to reach their fans. However, we have nothing to announce at this time".

As previously noted, any YouTube music service would compete with the Google Play streaming set-up. It's not clear if there is any joined up thinking between the two Google-owned platforms, though indications suggest both services will be licensed via the same label and publisher agreements.

Marvin Gaye's eldest son launches new 'Blurred Lines' litigation
Another twist in the Gaye Family v Thicke dispute, you say? Well, alright then. Marvin Gaye's eldest son, Marvin Gaye III, has launched a lawsuit against Robin Thicke, similar to but separate from the one launched by his siblings Frankie Christian and Nona.

As previously reported, following accusations that Thicke's controversial summer hit 'Blurred Lines' borrowed from Gaye's 'Got To Give It Up' and Funkadelic's 'Sexy Ways', Thicke and his producer Pharrell Williams launched a pre-emptive legal attack on the Gaye estate and Funkadelic label Bridgeport Music seeking court assurance that there had been no copying going on when they wrote and recorded their song.

Frankie Christian and Nona Gaye then launched a countersuit saying that there were elements of their father's music in not only 'Blurred Lines' but also another Thicke track, 'Love After War', which they claim takes elements of Gaye's 'After The Dance'.

With all that moving through the courts, Marvin Gaye III has now launched his own suit, in which he notes similarities between not two but four Thicke songs and works by his father. However, like his siblings, he is only actually claiming damages on 'Blurred Lines' and 'Love After War'.

According to The Hollywood Reporter, Gaye III's new lawsuit says: "Thicke's 'Blurred Lines' (copied from Marvin Gaye's 'Got To Give It Up'), Thicke's 'Love After War' (copied from Gaye's 'After The Dance'), Thicke's 'Make U Love Me' (copied from Gaye's 'I Want You'), and Thicke's 'Million Dollar Baby' (copied from Gaye's 'Trouble Man') all serve as examples of songs so similar to Gaye's songs as to leave no doubt but that they were each wholly dependent for their very creations upon Thicke's brazen copying".

Thicke would presumably not deny any similarity between his 2009 track 'Million Dollar Baby' and 'Trouble Man', given that in the credits of the album his song is taken from, 'Sex Therapy: The Experience', it is stated that the work "contains interpolations from the composition 'Trouble Man' written by M Gaye" (and is presumably paying royalties for it). Still, it does demonstrate that Thicke isn't adverse to borrowing from Gaye's music - though Thicke might also say that it proves he'd hold his hands up and admit it if he did it again.

Why exactly Margin Gaye III has chosen to sue separately from his siblings is unclear. The only major difference between their suits is that this new one does not also hold EMI Music Publishing responsible for not stopping this issue from arising - the company's EMI April subsidiary (now owned by Sony/ATV) representing both Pharrell's publishing rights in 'Blurred Lines' and the Gaye estate's in 'Got To Give It Up'.

It seems unlikely that this distinction is the reason for the split though, and there is now speculation of a Gaye family rift that could cause problems when it comes to negotiating settlements. All of which probably means this will drag on for months, perhaps years to come. So that's fun.

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Citigroup seeking to block Terra Firma's latest EMI lawsuit
Unsurprisingly, Citigroup is trying to stop take two of Terra Firma's litigation relating to its 2007 acquisition of EMI from getting to court.

As so many times before reported, Terra Firma's acquisition of British music company EMI in 2007 went horribly wrong, mainly because it was a debt-laden takeover completed just before the credit crunch, making it impossible for the Terra Firma-owned EMI to succeed financially, even after rapid downsizing.

Citigroup, which provided the multi-billion dollar loan to help fund the acquisition eventually repossessed the music firm and split it up for sale, selling the recordings side to Universal and the publishing side to a Sony-led group.

As its EMI adventure ran aground, Terra Firma sued Citigroup, which had advised on and helped fund its big music deal, but which also worked for the EMI Group before the acquisition. Terra Firma and its boss man Guy Hands said that the bank had had a conflict of interest, and had misled them about the EMI sale as a result.

Had Citigroup not provided the supposedly misleading information, Hands would probably have never bought EMI, he argued, and not lost the billions the takeover ultimately cost him and his backers.

But Citigroup denied any wrongdoing and when the case came to court the bank won, even though neither they nor Terra Firma came across particularly favourably during the hearing. But earlier this year that ruling was overturned on the basis the judge in the original trial gave the jury incorrect advice regarding some English law that was crucial to the case.

Hence Terra Firma is having another go at pursuing this vendetta. But in a court filing yesterday, according to Reuters, the bankers accused Hands of "legal tourism", claiming that his private equity firm had already lined up separate litigation relating to this dispute to be pursued through the English courts.

This, Citigroup says, is "proof positive that Mr Hands and Terra Firma have no intention of accepting as final any decision of this court" - ie if the second court hearing in the US again sides with Citigroup, Hands would have a third try through the UK legal system.

Citigroup has already claimed in the past that this dispute should be heard in the English courts, because EMI was a British company, though previously Terra Firma has pushed for the case to be considered in America. But, given the apparent concurrent legal moves in the UK, Citigroup argued this week that the New York court "should not indulge Mr Hands' and Terra Firma's continuing legal tourism".

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GoldieBlox withdraws Beastie Boys parody song from advert
Toy company GoldieBlox has responded to protests from the surviving members of Beastie Boys about a parody version of their song 'Girls', which was used in an advert for the company.

As previously reported, GoldieBlox makes toys aimed at encouraging girls to take an interest in science and technology. The sexist lyrics of the Beastie Boys' 1986 track were rewritten with this aim in mind. However, they did so without seeking approval from the band. After being contacted by the Beasties' lawyers, the company launched legal action asserting its right to use the song without licence under the 'fair use' provision for parodies under US copyright law.

Responding to this, surviving band members Mike Diamond and Adam Horowitz said in a letter to GoldieBlox published in the New York Times that they were "very impressed by the creativity and the message behind your ad [but] long ago, we made a conscious decision not to permit our music and/or name to be used in product ads".

The matter was of increased importance to Diamond and Horowitz because their former bandmate Adam Yauch, who died last year, had stipulated in his will that the band's music may never be used in advertising.

In a letter back to the pair, published on the company's website yesterday, GoldieBlox founder Debbie Sterling wrote: "We don't want to fight with you. We love you and we are actually huge fans ... Our hearts sank last week when your lawyers called us with threats that we took very seriously. As a small company, we had no choice but to stand up for ourselves. We did so sincerely hoping we could come to a peaceful settlement with you".

She continued by saying that the company still believed that it was within its rights to use the song, but having not been aware of Yauch's wishes previously, would remove it from the advert. "In addition", she said, "we are ready to stop the lawsuit as long as this means we will no longer be under threat from your legal team".

All of which is some interesting wording, particularly as no one on either side seems to have ever publicly mentioned that the advert was originally titled on YouTube as if it had not only the approval but the involvement of Beastie Boys. But let's not get into that now, let's just be pleased that there's a happy ending. Well, except that the advert doesn't really work with the music they've replaced 'Girls' with.

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Facebook moves to shut down busker crowdfunding website
Busker crowdfunding website FaceBusks has launched a campaign to convince Facebook to withdraw a cease and desist order issued against it.

FaceBusks allows buskers to crowdfund money for related projects, like recording an album, as well as donating some of their donations to charity. Launched in 2009, problems arose for the company earlier this year after it applied to register the FaceBusks name as a trademark.

In a letter to the busker site's founders Servais Louis and Jo'rel Mitchell, reported by Trademarks + Brands, Facebook's legal team said that it was "obvious that the marks are similar and that relevant consumers may establish a link between Facebook's earlier signs". While stating that the social network hoped to reach an amicable solution, it would "use all of the means available to them to contest the registration".

Mitchell told The Drum this week: "We've been told by our lawyers there's no legal standpoint, Facebook is a massive entity, and has the ability to draw out the process to the point where we don't even get in front of a judge and we're already exhausted financially".

So, unable to afford the fight via legal means, FaceBusks has instead launched a petition, hoping to appeal to Facebook's better nature and drop the claim against it. View the petition here.

Crispin Hunt and Mark Kelly elected as PPL Performer Directors
So the Annual Performer Meeting of Phonographic Performance Limited took place at the Royal Institute Of British Architects yesterday (or it was the PPL APM @ RIBA if you prefer), and amongst the proceedings was the election of two new Performer Directors.

As previously reported, the record industry's collecting society recently increased the number of performers represented on its board, meaning that whereas usually one performer director post comes up for election each year, this time round two seats were available. And in a four-way election both went to key players in the Featured Artists Coalition, Crispin Hunt and Mark Kelly, the latter having done the job before.

And now some quotes.

Hunt: "I am honoured to be a member of this board. I am extremely grateful to everyone who voted for me. And I will do my damnedest to properly represent those that this position was created for - the makers of new music".

Kelly: "It's great to see that more performers stood and voted than ever in this election and I will continue to look after performers interests at the board table at PPL".

PPL CEO Peter Leathem: "I would like to offer my congratulations to both Crispin and Mark. I look forward to working with them both and know that they will help us to continue serving the needs of our performer members with even greater effectiveness and clarity".

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Former Warner/Chappell exec to lead MCPS
The good old Mechanical Copyright Protection Society has appointed former Warner/Chappell exec Jane Dyball to the newly created job of CEO, and she'll start work in the new post from 1 Jan next year. The CEO role was created as part of a previously reported rejig in the never dull world of song right collective licensing earlier this year.

Traditionally the music publishers have had two societies to represent them in those areas where they collectively licence organisations who use their songs and compositions, one to provide licences to companies that want to make 'mechanical copies' of songs (MCPS in the UK), and another to provide licences to companies that want to stage performances of songs in public (Performing Right Society, or PRS). Though in the UK these two bodies have been allied for quite some time, and these days operate under one brand, PRS For Music.

Though behind the scenes PRS and MCPS remain separate institutions; and while the former has seen the royalties it collects boom in recent years, the latter's success is linked to that of the record industry (the labels being its main customers), so as the record industry's income has declined, so has the money MCPS collects.

In a bid to overcome various financial challenges, earlier this year the PRS/MCPS alliance was restructured, so whereas the PRS For Music operating company was previously a joint venture between the two organisations, it is now basically a subsidiary of PRS selling its services to MCPS. You're keeping up right?

Anyway, Dyball will be charged with the task of overseeing the new relationship between MCPS and PRS For Music, as well as "finding new opportunities to develop the business". She will also oversee the running of the Independent Music Publishers' European Licensing group, which offers multi-territory mechanical right licences for digital service providers on behalf of various indie music publishing firms.

Confirming hew new job, Dyball told CMU: "This is certainly an interesting time to be running a mechanical rights collection society but I relish a challenge and look forward to making sure no stone is unturned in looking for new ways to deliver value to our writer and publisher members, so that they can continue to invest in creativity. I also can't wait to rejoin the world of the indie publishers where I started my career, and I know I will love helping them ride the ups and downs of the exciting digital roller coaster".

AEG chief comments on Phillips' departure
In case you were wondering where the customary "Randy is a brilliant, inspirational, wonderful genius, and that's why we're firing him" quote was when AEG announced it was axing the boss of its AEG Live business earlier this week, well it's arrived via an interview given to Billboard by the overall chief of the Anschutz Entertainment Group, Dan Beckerman. It seems that Randy Phillips was the right man for 'then' but not for 'now'.

Beckerman told the US trade mag: "I can't say enough how thankful we are for all of [Phillips'] contributions in making AEG Live the strong company it is today, and the role he played in that. We've always had a great relationship with him, and I know that we'll be working together in the future because he's so strong in this business. I know that he's going to continue in the music business and do great things".

Adding that "Randy was absolutely the right CEO for that group of people for that period of time", Beckerman goes on to use a basketball analogy to explain why it is now time for Phillips to step down, but I'm assuming that most of you, like me, know nothing about the NBA so there's no point sharing his line (and the CMU Daily readers who would understand are likely busy eating turkey today). But to paraphrase slightly, Phillips did a great job leading the AEG basketball team, but it turns out they're actually a concert promoter so they're bringing in a baseball coach to run their operations instead.

As for the future of AEG Live, says Beckerman: "We will be as active, if not more so, and we will continue to invest capital, time, and people, and grow the live business, because it's such a critical part of our overall company".

Beyonce, Madonna, Bob Dylan and U2 donate songs to Philippines charity LP
'Songs For The Philippines', a charity compilation LP containing tracks by Beyonce, Madonna, Bob Dylan, The Beatles and U2, is to now available on iTunes, with all profits from its sales going to the Philippines Red Cross, to aid those at risk following the typhoon Haiyan disaster.

Featuring 39 songs in all, the tracklisting carries a recording of Eminem doing 'Stan' live from BBC Radio 1, a remix of Katy Perry's 'Unconditionally', and a non-'Pure Heroine' song from Lorde, titled 'The Love Club'.

Info is via www.songsforphilippines.com

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Matador Records releasing end-of-2013 compilation feat Kurt Vile, QOTSA and Savages
Matador has placed songs from a load of its on-side acts on a nine-track end-of-year review titled: 'It's Been A Business Doing Pleasure With You'.

It's a bit of a mish-mash, carrying LP-quality tracks by Kurt Vile, Iceage, Majical Cloudz, Body/Head and Chelsea Light Moving, Queens Of The Stone Age's 'If I Had A Tail' taped live at this year's iTunes Festival, and recordings of KEXP radio sessions by Yo La Tengo and Savages. And, thirdly, an 'edit' of Lee Ranaldo And The Dust's 'Lecce Leaving'.

It'll be available in both digital and twelve-inch vinyl formats on 2 Dec.

Olugbenga, Sam Duckworth, Shinhai Shoniwa to play live in tribute to Fela Kuti
Olugbenga, Sam Duckworth, Shinhai Shoniwa of Noisettes, Afrikan Boy and the 25-piece Goldsmiths College Choir will all perform live in tribute to late afrobeat great Fela Kuti next month, in collaboration with The Dele Sosimi Afrobeat Orchestra.

Timely given the recent-ish release of 'Red Hot + Fela', a collection of covers of his songs by tUnE-yArDs, Questlove, Childish Gambino, Angélique Kidjo and the like, the 'Felabration' is happening at The 229 Venue in London on 14 Dec.

Tickets to it are available here.

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Gigs & Tours round-up: Sophie Ellis Bextor, White Denim, Dan Croll and Supreme Cuts
So, cat lookalike and serial pop-hit killer Sophie Ellis Bextor is going out on the prowl, or on tour as it's more commonly known, in 2014. Following a sold out show at London's Bush Hall on 21 Jan, the 'Young Blood' singer will return for eight springtime shows ranging from 7 Apr at Birmingham Institute to 18 Apr at The Ritz in Manchester. Find the necessary details here.

Having one-upped Sophie by selling out two London shows this month, crispy-fried psych types White Denim will, like her, be back playing live in Britain in the spring. They've set a series of eight live dates beginning at Bristol's Anson Rooms (20 May) and ending at London's Shepherd's Bush Empire (28 May), this as a means of advertising that their latest LP, 'Corsicana Lemonade', is still on shelves.

Tickets and the specific dates are via whitedenimmusic.com

And now, having done time as a support act for Bastille and Imagine Dragons, thinking man's folk-pop star Dan Croll has confirmed his own headline listings, which consist of shows in mid-late March 2014. Find which shows exactly at this link.

And finally, Chicago production duo Supreme Cuts will promote their new LP 'Divine Ecstasy', post its 27 Jan release date by playing London's Old Blue Last, only the once, on 20 Feb. Get tickets to that here, and a taste of the pair's new, Haleek Maul-featuring track 'Isis', which is taken off the long player, here.

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Festival line-up update: Øya, Rock AM Ring, Other Voices and more
So, thrower-of-boutique-music-parties ATP has confirmed it'll pitch again in Keflavik next July, for its latest Icelandic event. Taking place between 10-12 Jul 2014 at Ásbrú, an ex-NATO base, the 5000-capacity bash will feature a cinema, a range of "extra curricular activities", and a pair of stages on which bands will play live. Which bands, I don't know, ATP hasn't said, but Nick Cave headlined last year, so that augurs rather nicely.

Prior to a first line-up announcement, the ATP old faithful can book advance-advance tickets via this link.

Elsewhere in festival news, best-selling men-of-steel Metallica, well-known friends to democracy, are handing over control of the content of their newly-set slots at Germany's Sonisphere Hamburg, Rock Im Park and Rock AM Ring to ticket-holders. In short, they're letting fest-goers vote for a top seventeen songs from their entire discography, which will then form the body of their setlist.

This is Lars Ulrich with more of the same: "We are once again psyched to break free of the four walls of the studio to get energised by our devoted European friends for a couple of weeks next May and June. On top of that, the fact that all our nutty fans will pick the songs we play should be some next level fun and take a big load off my shoulders as the guy who usually writes the set list!"

Isn't democracy great. And in that spirit, read freely (or don't) this list of itemised new additions to the following festival-type events...

CHELTENHAM JAZZ FESTIVAL, 30 Apr - 5 May 2014: Robert Cray Band, Gilles Peterson, Loose Tubes. www.cheltenhamfestivals.com/jazz

EUROSONIC AIR, Groningen, Netherlands, 15-18 Jan 2014: Kensington, De Staat, Le Pegatina, Navarone. festival.eurosonic-noorderslag.nl

EUROSONIC NOORDERSLAG, Groningen, Netherlands, 15-18 Jan 2014: Broken Brass Ensemble, Kid Karate, Jungle By Night, Katadreuffe, MC Fit, Mr Probz, Sandra Van Niewland, The Silverfaces, Nigel & Thom. festival.eurosonic-noorderslag.nl

NORTHSIDE, Soren Frichs Road, Jutland, Denmark, 13-15 Jun 2014: Queens Of The Stone Age, Franz Ferdinand. www.northside.dk

OTHER VOICES, Dingle, Ireland, 6-8 Dec: Patty Griffin, Mogwai, John Grant, David Gray, Lulu James, Agnes Obel, Lisa O'Neill, Willis Earl Beal, Asgeir, Hozier, Josef Salvat, Rosie Carney, David Arnold. www.othervoices.ie

ØYA, Middelalderparken, Oslo, Norway, 5-9 Aug 2014: Neutral Milk Hotel, Nadine Shah, Jonathan Wilson, Deafhaven, Joey Bada$$, Omar Souleyman, Emilie Nicolas, Daniel Kvammen, Hanne Kolst, Spidergawd. oyafestivalen.com

ROCK AM RING, Nurburg, Germany, 5-8 Jun 2014: Metallica, Kings Of Leon, Linkin Park, Iron Maiden. www.rock-am-ring.com

WESTPORT FESTIVAL, Westport House, County Mayo, Ireland, 28-29 Jun 2014: Bryan Adams, Kool & The Gang. www.westportfestival.com

WYCHWOOD, Cheltenham Racecourse, Gloucestershire, 30 May - 1 Jun 2014: Boomtown Rats, Craig Charles, The Real Thing, Polly & The Billets Doux, Merry Hell. www.wychwoodfestival.com

Lots of BRITs gubbins
So, what did we learn about the BRIT Awards from the short essay the event's organisers emailed over earlier today?

Well, ITV has signed up to broadcast the show for another three years. Mastercard will continue to pump in lots of cash for another three years. And AEG's big fat Dome-by-the-Thames will continue to host the annual backslapping bash for another three years.

And as for BRITs 2014, James Cordon will host, again, but for the last time, so that's some good news. The Arctic Monkeys and Katy Perry will both sing a song each, employing all their many vocal skills I'm sure. The actual awards have been designed by Irish hat man Philip Treacy, and look a bit (exactly) like this. No word yet on whether everyone attending this year will have to wear a special BRIT Awards hat like the one on the trophy. I do hope so.

As you can imagine, with all that info slipping out in one go, the press release sent out by BRITs HQ today had more than it's fair share of quotes in it. But all eight people quoted basically said something along the lines of "Hurrah for the BRITs, boom!"

Roll on February.

R Kelly on-call via Black Panties hotline
Hold on to your hats (and pants), R&B-lovers, because for any of you who thought R Kelly's forthcoming LP, 'Black Panties', couldn't go any more gross, it has, so... sorry.

So. R's only gone and launched a Black Panties Hotline which, if fans call it (on 312-380-6596), gives them the option to sign up to receive eight "messages" ('sexts' seem quite likely) from Camp Kelly over a month.

Though, as Complex reports, having dialled the number, on hanging up you'll apparently be sent an automated text message asking if you might change your mind about subscribing, with the sign-off "consent is not required". Which all sounds like R is going with the Robin Thicke school of 'seduction'. Not good.

Aaanyway, 'Black Panties' is released, whether we like it or not, on 9 Dec.