By 2013, it had reached over 4 million downloads in the States! Needless to say, it was Kings of Leons’ first top 5 single on the Hot 100 where it spent 57 weeks. “Use Somebody” was huge in the US, becoming only the 4th song in history to top the Mainstream Top 40, Adult Top 40, Alternative Songs, and Triple A charts. It topped different airplay formats and reached number four on Billboard‘s Hot 100 chart and number one on the Pop Songs chart. It was also a massive success in the United States as Kings of Leons’ breakthrough single. In each of these countries, “Use Somebody” was a #1 song for six weeks straight. The single was received very well all over the world, with heavy radio play in Europe and elsewhere, including Scandinavia, Ireland, Germany, the UK, and Australia. To this day, the song remains one of the band’s biggest hits. “Use Somebody” is the second single from Kings of Leons’ fourth album, Only by the Night, released in 2008. Afterwards, he called Blackbird Studio G in Nashville home for many years, but has recently relocated to his very own ‘LBT’ which is a personal space he had a hand in designing from the ground up!
area, before moving to San Francisco and working there. Jacquire got his first studio gig in the Washington, D.C.
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The Workshop has been a recording school and crash course in pro audio, production, and engineering since 1977. He first trained at Recording Workshop in Chillicothe, Ohio. ➡️➡️ Get Jacquire’s Record Making Course here “We’re the drunkest band on the lineup,” Homme said by way of introduction, and at this the audience roared its approval once again – in this case cheering an act with a clear sense of purpose.Jacquire’s involvement in projects as producer, engineer, mixer, or a combination of those has earned him more than 30 GRAMMY nominations over the years! At the Shrine he sang merrily about drug use – “nicotine, Valium, Vicodin, marijuana, ecstasy and alcohol,” as he put it specifically in “Feel Good Hit of the Summer” – while the rest of the group found inventive ways to give heavy metal a feeling of luxury.
And his band’s set likewise juiced old forms, pairing Black Sabbath-style guitar licks with slowed-down grooves out of hip-hop and R&B it was as sensual as it was menacing.ĭitto Queens of the Stone Age, whose frontman Josh Homme has served lately as a kind of spirit guide for Arctic Monkeys. On Saturday, Drake’s song “Worst Behavior” blasted from the Shrine’s speakers as the band arrived onstage, and that was just one sign that Vampire Weekend was looking beyond rock’s usual borders its set pulled from rap, reggae and African pop as Ezra Koenig floated his boyish vocals over arrangements that mixed strummy acoustic guitar with percolating machine beats.įifties-rebel cool in a denim jacket with the collar turned up, Koenig in “Diane Young” led his bandmates through a synthed-up revamp of early rock à la Buddy Holly – “Peggy Sue” for the Age of Spotify.Īlex Turner of England’s Arctic Monkeys had a similar look, with a greaser’s pompadour and hip-hugging jeans. (It’s up for the alternative music Grammy.) More encouraging sounds – and reason, perhaps, to believe that rock can still make an impact – came from Vampire Weekend, the deeply clever New York City band whose latest album, “Modern Vampires of the City,” is one of the year’s most acclaimed.
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Grammys 2014: Full coverage | Top nominees | Concert highlightsĪFI was more energetic but equally uninspiring in its performance, which pulled from the long-running California quartet’s recently released “Burials.” A decade ago, AFI was honing a sometimes-thrilling mixture of punk thrash and goth romance, but at Acoustic Christmas it merely barreled through its set, the band’s old dynamism reduced to an insistent whine, even in its vintage hit “Miss Murder.”
But here it wasn’t at all apparent that things have improved among the Followills, as they churned out “Radioactive” and the new record’s “Supersoaker” while barely glancing at one another. In September the group released “Mechanical Bull,” its first album following a hiatus triggered in part by frayed relations within the band, which is made up of three brothers and a cousin. Though they sounded OK in their big hits “Use Somebody” and “Sex on Fire,” both more or less foolproof, Kings of Leon were appallingly dull in Saturday’s headlining slot, a boring (and bored-looking) outfit with none of the live-wire intensity that Followill and his mates used to project.
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