Lumineers Want Lawsuit Moved to Colorado
The Lumineers, a Denver-based band that hit it big two years ago with the tune “Ho Hey,” wants a federal lawsuit filed in New Jersey moved to Colorado.
Jason Van Dyke, a musician who now lives in Colorado, sued The Lumineers in May, claiming copyright infringement. He has made claims that he is co-author of nine songs.
Van Dyke’s lawsuit was filed against Wesley Schultz, Jeremy Fraites and The Lumineers LLC Inc. Schultz and Fraites each own 50 percent of The Lumineers LLC Inc.
Before they formed The Lumineers, Schultz and Fraites performed under the band names 6check and Wesley Jeremiah, and hired Van Dyke to play drums and keyboards. When Schultz and Fraites moved to Denver in October 2009, “the parties went their separate ways,” according to The Lumineers’ motion, and the two “went on to achieve tremendous commercial and critical success in the music industry.”
The Lumineers were nominated for two Grammy Awards and for two Billboard Music Awards last year.
Read the full report on the Denver Business Journal:
Denver Business Journal, news source
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NEW DUO MADDIE & TAE TAKE ‘BRO COUNTRY’ BACKLASH TO THE LIMIT
Who says there is a shortage of female power in country music these days? Despite the sheer volume of male singers on the charts lately — a phenomenon that has been garnering a lot of buzz in Nashville — there are plenty of girls with lots to say in Music City these days.
Proof positive is new duo Maddie Marlow and Tae Dye, a pair of 18-year-old women who perform under the name Maddie & Tae and are attracting a lot of attention with their debut single, “Girl in a Country Song.” The composition is a direct response to the “bro-country” trend — which, if you’re not familiar, is the frequency of such musical themes involving drinking liquor, driving cars, and partying, with women mentioned (if at all) only as mindless props to such activities.
The tune directly quotes lyrics from male artists who’ve become well-known for songs about girls in cut-off jeans and bikini tops, sitting pretty at tailgates and fetching beers for their boyfriends. (We won’t name any names, but we’re sure you can you think of a few award-winning offenders off the tops of your heads.)
Some sample lyrics?
Bein’ the girl in a country song
How in the world did it go so wrong?
Like all we’re good for is looking good for
You and your friends on the weekend, nothin’ more
We used to get a little respect
Now we’re lucky if we even get
To climb up in the truck,
Keep our mouth shut
And be the girl in a country song.
The track, which hit iTunes Tuesday, is accompanied by an EPK in which Marlowe and Dye explain how they came up with the idea. It happened one day when they were discussing the current crop of radio hits and one of them noted, “I’d hate to be that girl in a country song.”
The track has music fans talking, not only due to its saucy content, but also its unusually biting material in a genre where everyone tends to play pretty nice. Additionally, it’s a brave move for a up-until-now unknown act.
It has also proven to apparently be a smart one. The duo, who hail from Texas and Oklahoma, respectively, have just signed to an imprint of Big Machine Label Group — the musical home of fellow power female Taylor Swift.
“Females are going to love this record,” Big Machine CEO Scott Borchetta, who is credited with launching Swift’s career, wisely notes before adding, “Every guy that we play it for laughs at it.”
Given the amount of money power female artists are commanding these days in Nashville, we’ll see who ends up with the last laugh here.
[Article has an interesting video on the development of the act! You can learn LOTS from it!]
By Wendy Geller | Our Country
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‘NASHVILLE’: JONATHAN JACKSON ON ENATION, AND MORE
ABC’s country music drama “Nashville” continues to center on a handful of musicians, each uniquely struggling for their time in the Music City spotlight. While Connie Britton’s “Rayna James” and Hayden Panettiere’s “Juliette Barnes” teeter between being duet partners and chart-topping enemies, thanks to a fresh back-stab or soapy scandal between the sheets, the show’s other onscreen hopefuls are just trying to grab enough gigs that get them out of serving drinks at the Bluebird Café.
Can the same be said off-screen of the cast, composed mainly of songwriters who spend their nights off in Nashville studios and on the Grand Ole Opry stage? To start, Jonathan Jackson, who plays angst-ridden rocker Avery Barkley, is releasing his fourth album with his band Enation, also featuring drummer and brother Richard Lee Jackson and bassist Daniel Sweatt.
“This is our first project as a three-piece over the last ten years,” he tells The Hollywood Reporter of Radio Cinematic, out Oct. 14 via Loud & Proud Records. “The first single, ‘Everything Is Possible,’ is a song we’ve had for years, and it’s always been an anthem for us, no matter how difficult or dark things get in life, keep pushing forward.”
Jackson chats with THR about releasing independent music while on a show that critiques major labels, how he actually compares with his onscreen alias and what he’s learning on set and on tour with fellow songwriter-actors Chip Eston, Sam Palladio and Clare Bowen:
After acting for two seasons, how does it feel to be back in the music game?
The three of us have been playing together for over ten years, so there’s a tight-knit friendship, and musically, we speak the same language. This is our first project as a three-piece over the last ten years – we’ve had different members in the band, but it’s always the three of us at the core. Inevitably, it makes each instrument vital while arranging, and vocally, there are some different places that we went to that I haven’t done before. But the first single, “Everything Is Possible,” is a song we’ve had for years, and it’s always been an anthem for us, no matter how difficult or dark things get in life, keep pushing forward.
How did you put together this album while filming?
I spent the last year-and-a-half demo-ing a lot of music – when I had even half of an afternoon off, I’d run down to a studio. We combined that with old band demos, and as soon as we wrapped filming – I think it was on a Wednesday – I was in the studio on Thursday, and we started full-on recording. We had the songs and a decent amount of arranging, so it was actually a smooth process.
How close is your musical identity to Avery on Nashville?
I share a certain angst, musically, that Avery has. At the beginning the show, [season one executive music producer] T Bone Burnett gave each character a musical identity, and everyone knew that Avery wasn’t going to be a country artist but rooted more in rock ‘n’ roll, folk and Americana. I have a lot of those influences in common with him, but Avery’s a little more roots-oriented, and I’m a little more anthemic, European rock, more Peter Gabriel and U2. But we’re similar lyrically, and in purpose of music, which for us at Enation to go deep and move people and change lives, like R.E.M. and Radiohead.
Nashville plots have revolved around the industry of music – selling tickets, launching artists and trying social media marketing. What have you learned from the scripts for your own music career?
Well, it is [dramatized] but it’s focused on being authentic. We’ve had so many Nashville artists and industry people tell us how accurate the show is in portraying those things, which is a huge compliment to what we’re trying to do. But I’ve been an independent artist for a long time, and I never looked to sign to a major label because I’ve heard many horror stories. I certainly learn things from the scripts, but I haven’t walked through those experiences.
I identify with the emotional reality of what it means to be a songwriter and put yourself out there, day in and day out, and give yourself to what you’re creating. I understand that struggle, and the commitment it takes to be an artist. Also, wanting to protect your music – wanting to get it out there, but not wanting to give it all away at the same time, and that’s a difficult balance, where art meets commerce.
What’s it like to work on a show with so many fellow actor-musicians?
Incredible, and the tour was a fun and brilliant way for us to see what we do. It was this moment where we got to connect with fans of the show – you know it’s there because you meet people on the street and whatnot, but to actually be in a concentrated area, play the show music and experience the energy and how people are emotionally connected to these songs and characters was really fun.
Having everyone play some of their original music was a great part of it because, for the most part, we’re all songwriters. Chip will show me songs he’s working on, and we’ll see each other perform at the Opry or go see Clare and Sam, and it’s inspiring to see what they’re doing. It’s always been very supportive with this cast; we started together with the pilot and we’ve been blessed to see the show this far. It’s certainly been an inspiration as I’ve gone off and worked on this album.
What have you learned from them musically?
We spent time in the tour buses, just talking about how some of us are better at connecting with audiences and delivering songs. It’s just like acting — we’re always trying to dig deeper and refine. With Clare, I think her emotional vulnerability as a performer is beautiful. Sam has a visceral energy when he performs – how much he’s enjoying what’s happening and how he feels the music. Chip is a very deep thinker and performer; the most profound moments are when I hear the passion in his original music. A lot of times, Deacon’s (Eston) music is relatively subdued, and when Chip is doing his thing – I saw him perform a Jimi Hendrix song, and it was phenomenal! You don’t get to see that side with Deacon. Everybody on the show has different qualities that jump out.
What’s the plan for the upcoming season? Will viewers hear Enation material via Avery, and does your shooting schedule allow for touring?
That’s up to ABC. One of the songs I wrote, “The Morning of the Rain,” was on the show – they’ve been really supportive. I think it depends on the storyline and how those two creative worlds line up, so we’ll have to wait and see if that makes sense. In terms of touring, we love playing live, so even while the show is filming, we’ll fly to places on weekends. We’re planning a tour in spring, when season three ends.
What are your season-three hopes for Avery?
A lot of people seem to be rooting for Avery and Juliette – season two ended in a difficult place in their relationship. But I think it’s something to root for, because they’re two characters who are very strong-willed and relatively stubborn at times, and yet they both seem to have found the best in each other. It’ll be interesting to see how that plays out.
Avery, in season one, was pursuing his music career from a very self-destructive, narcissistic place, and kind of losing himself in his ambitions and not treating Scarlett (Bowen) well. He seems to have learned his lesson from that, and in season two, he wasn’t doing his own music much since he was producing. I think, in season three, it’d be fun for him to re-imagine some of his own music, but from a more humble, selfless, creative place. There’s a wide-open space for that, but I have no idea where it’s going. That’s part of the adventure.
Radio Cinematic is out Oct. 14 via Loud & Proud Records, and Nashville returns to ABC this fall.
By Ashley Lee