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U2 Tribute Band

 

 

 

 

 

 

Hello everyone,

Here is the our newsletter that will keep you up to date on shows, events and happenings.

Enjoy!

Jason, Bart, John and Jorgen

Shows This Weekend

Saturday, September 10, we will perform at Pala Casino & Resort.
Please come out and see us perform at the “Infinity” concert venue for FREE.

Sunday, September 11, we perform at “Remember 9/11-The Ride” in Long Beach.
The event is FREE and this is what you can expect:

  • Biggest 9/11 Memorial on the West Coast.
  • A piece of the World Trade Center Steel will be unveiled.
  • F-18 & C-17 Flyover.
  • Red Bull Sky Divers.
  • News Crews.
  • The Riders.
  • The Wilsons-Rock ‘n Roll at it’s best.
  • L.A.vation-The Worlds Greatest Tribute to U2.
  • HUGE fireworks show to end the day.

We hope to see you at one or both of our shows….

Upcoming Shows

9/10/11 Pala, CA – Pala Casino & Resort

9/11/11 Long Beach, CA – Remember 9/11

9/17/11 Bel Air, CA – Private Event

10/8/11 Riverside, CA – Romano’s Concert Lounge

10/16/11 Calabasas, CA – Pumpkin Fest

11/12/11 Solana Beach, CA – Belly Up with Dave Matthews Tribute, Stepping Feet

For more detailed information regarding the shows listed above, click here to go to our ‘Shows’ page.

L.A.vation Summer Highlights

L.A.vation airport limousine pick up in Fort Lauderdale, Florida.

In early July, we had two wonderful and extremely well received shows at the grand opening of Balleyorney’s Irish Pub & Restaurant in Fort Myers, Florida. The staff and employees went out of their way to make sure the event was a great success!

The band was happy to see Jorgen’s brother Danny, a Swiss Airline pilot, who scheduled himself on a flight to Miami with his wife. They rented a car in Miami and drove out to Fort Myers to see L.A.vation perform. So cool!

U2 Tribute Band

 

 

 

 

 

 

 

 

 

 

After our return from Florida, we had a fantastic show on July 23rd at Hot Rods & Beer in Holtville CA. Right next to El Centro and right across the Mexican border, this little hot spot in the Imperial Valley really knows how to rock! We made many new friends that night and look forward to our next show there.

Next came two back to back shows on July 28th and 29th:
First at the fundraiser for the Greater Los Angeles Zoo Association at the L.A. Zoo, and the next night was a return to our South Bay home, Saint Rocke in Hermosa Beach, where we shared the stage with our friends, The Police Experience, a Police Tribute Band.

On August 26 we made our first appearance in the Inland Empire (and Jason’s triumphant return) at Marquee 15 in Corona. If you haven’t been there, you have to see it to believe what a great club they’ve built right next to the 15 freeway . Again, we added many names to our “friends” list that night, and hope to see you all at Marquee 15 soon.

August 31st was our return to Seal Beach to cap off the 2011 Summer Concert Series. Though just our second year playing the series, we were asked to headline the final show of 2011. We really felt we could top last year’s show, and with the help of our friends in Seal Beach, the turnout was nothing short of phenomenal, (the unofficial count was around 1000 people.) It seemed all of Eisenhower Park, Ocean Ave. and well up Main St. was alive with fans dancing in the street and having a great time well after sunset. You don’t want to miss out next year, so go lay a picnic blanket now to reserve your space for next year!! The show resulted into quite a few gig inquiries, including the upcoming “Remember 9/11” show on September 11 in Long Beach that we’re proud to be a part of.

September 1 was the date of our fourth private corporate event in Torrance, California. Needless to say, there were about 150 happy employees returning to work on Sept 2 after we performed at their “Employee Appreciation BBQ!” We had a great time and hope to perform again for this fantastic company.

L.A.vation goes 3-D

u2 tribute band

 

L.A.vation was approached by a company that films in 3D and converts existing movies into 3D by using a brand new breakthrough technology. They saw our video on our website and were sold by the look and sound of the band.

In June, we spent a day filming a short clip for their new mobile application, that will be shown to all the big movie studios, Apple and many other companies.

We asked the owner why he decided to use us for this clip.
“To make whomever sees this 3D clip think that I got U2 to do this.”

We are honored to be a part of something so great!

“LIKE” us on Facebook NOW!

Do it HERE!!!!!

THANK YOU!

www.u2lavation.com

 

L.A.vation just returned from a great 2 day run in Fort Myers, Florida, performing for the grand opening of the Irish bar and restaurant Ballyorney. The club wanted to make a huge splash with their grand opening, and the band was the centerpiece of the event.

On the first night, we played a two hour set inside this exquisitely design pub, and we were a huge hit with the patrons, management, and owners alike. It was clear that we had delivered everything that the club had wanted to convey, creating exactly the buzz they wanted, and with exactly the right music.

The next night, the club hosted an outdoor, festival style event at which L.A.vation was to be the headliner. The club had promoted the event for weeks, and by the time L.A.vation hit the stage, the grounds were packed and we launched into another two hour set of U2 hits. The response from the crowd was overwhelming, and when the night was over, it was clear that we had helped make the grand opening of Ballyorney rousing success.

Ballyorney is an outstanding venue, and if you should ever be in Florida, it is not to be missed! It’s more than a pub, they have a fantastic menu of delicious entrees as well!

Check out their website here: Ballyorney Irish Pub – Ballyorney.com

Please visit our website www.u2lavation.com to hear audio, see video and photographs, and to find out more about who we are and what we do.

L.A.vation – The World’s Greatest Tribute to U2

Hi again! Frutzie here with the fan perspective on L.A.vation’s March show at Saint Rocke.

The joint was hoppin to say the least. Pre-sale tickets had sold out the week before the show, and everyone knew turnout was going to be high. As expected, there was a line out the door and around the corner of folks purchasing tickets. People watching was not disappointing. The audience represented folks from all walks of life – old, young, rich, not-so-rich, single, paired, grouped – it was a lively and diverse group of folks. Spirits were high with a feel-good vibe in the air. This was a jolly bunch.

Saint Rocke, located in the South Bay area of Southern California, is a unique spot. Originally constructed in 1922, it was a bank that went under during the Depression. One of the oldest structures in Hermosa Beach, the historical building features architectural and decorative details that harken back to its early days. With a capacity for more than 250 people, Saint Rocke has a great vintage feel and is beloved in the beach communities – as is L.A.vation.

L.A.vation was the headliner, and by their 9:30 curtain time, the place was packed. When the band took the stage, right on time, the audience went bananas. Cheering, clapping, whistling – it was a cacophony of adoration. Total pros that they are, L.A.vation took in the energy of the audience and fed it right back in the form of an amazing show. Opening with “Beautiful Day,” they played straight through for a 2 hour plus set that felt more like 1 hour. Deftly led by Jason James Thiesen as Bono, the set featured just the right amount of highs buffered by the occasional contemplative song. Masters of the art, the band never tired us out with too many highs or brought us down by staying low for too long. The balance was masterful.

In fine form, Jason sounded and looked Bono-rific. In fact, the entire band was in its usual fine form. Jorgen Ingmar Alofs kept the momentum rolling with his unwavering drum playing. John Classick made it groove, while Bart Davis showed us that he has mastered ALL of the nuances of Edge’s sound. Still not sure about their appeal? Dare I recount the women climbing onto the stage? Oh there were women climbing onto the stage alright, and I can’t blame them. To play that well, you know the players have to be smart. To look that good, you know the players have to . . . look that good. What’s better than a bunch of smart, hot guys playing amazing pop tunes? I can answer that for you: not much.

Of course, it was over all too soon. The audience chanted “More! More! More!” In response, L.A.vation added a handful of unplanned and flawlessly executed songs before leaving us all to cope with our unquenchable thirst for this amazing tribute band. So yes. More more more please.

When I got the gig playing bass for L.A.vation, I thought, “Easy!” Adam Clayton – a Fender bass and a bunch of eighth notes, right?

Wrong.

Whenever I heard U2, I always had a passing thought about how enmeshed the drums and bass sounded. Really one, big fat thing. Being as they were basically a trio of players (although certainly benefiting from quite a bit of window dressing in the form of extra keyboard parts, ambient sound, and what have you) the thrust of the sound was that of a rock trio: drums, bass, and guitar, and, in my opinion, that particular combination of instruments is one of the most challenging combinations that there is.  But U2 always pulled it off, and I mean really pulled it off. When you hear them play together, there are no holes. It doesn’t feel like there is anything lacking, even when Edge pulls of the rhythm guitar and starts to solo (which leaves the drums and bass hanging out there all alone to try and fill up a lot of space), they still manage to produce a fat, full sound.  I never gave a tremendous amount of thought to the details of how they accomplished this, but every time I heard U2, I always gave mental kudos to the Adam Clayton for holding down such a huge amount of real estate on the bass and filling up so much space with his sound.

All of a sudden I got the opportunity to really find out how this is done, and let me tell you, it was a hell of a lesson. And I’m still learning. When I first went into rehearsals, I brought my Fender jazz bass. Without really having done my research, I thought that Adam played Fender jazz and Precision basses. It’s really not that egregious of a mistake, because he often does use Fenders, but he also uses Laklands, which look almost identical to Fenders. In addition, he often replaces the neck on his Laklands with a Fender neck, so unless you look at the bridge, and KNOW what a Lakland bridge looks like, you’d think it was a Fender. It wasn’t until I started pumping eighth notes on my Fender in rehearsal that I started to realize that something was wrong. This was not the sound. A Fender has a round tone with a pretty fast decay. His tone was definitely more “square” sounding. It had all the woof and thud of a passive bass, but the notes were longer, clearer, and carried more weight. I’d play his lines in rehearsal, and the Fender just didn’t provide the necessary support.

But the sound wasn’t the only issue. There was another more elusive component that was even more challenging. It was that Adam Clayton didn’t think about playing bass the same way I did. He was coming from a different place, and what felt natural and normal to him felt awkward and uncomfortable and even wrong to me.

When you play an instrument for 20 years, you don’t realize how many little motifs and idioms you fall back on habitually. To cite a specific example for myself: I slide up to the six and back down to the five a lot. I do the same thing from the ninth back down to the octave. When I sense a little hole in the music, something that might let the groove fall a little, I might insert that little musical statement to keep things moving. Well, Adam would never play this particular fill. Ever. I’d be playing his line, and I might feel a little hole present itself, and realize that, in order to play like him, I had to let it go! That was a very strange feeling. You see, Adam plays parts. In fact, everyone in U2 plays parts. They are not grooving moment to moment like a funk or a jazz group, throwing in whatever is necessary to make the music move forward at the moment. U2 plays much more like a group of classical musicians. They play the parts that they have “written” for the song, and pretty much stick to them. Don’t get me wrong, those parts evolve over time as they play live shows, but from what I can tell, they are looking for parts that lock together in a perfect sort of way, to create that big, full sound. And the parts that Adam “wrote” were nothing like bass parts that I would write. Frankly, I just didn’t know how to play them! As simple as those parts were, I found that I really didn’t know how to interact with the instrument, how to dial my tone, and more importantly, how to feel when I was playing his parts. Nothing felt natural to me, and things didn’t really feel like they were grooving. And that’s a big problem in a band like that, because when you’re playing U2’s music, the whole thing is sitting on this guy (Adam Clayton) who is playing these big, fat parts, with this great sound, and grooving his ass off!

As rehearsals progresses, I started to look seriously into his sound, and I started to listen very closely to the details of his parts. What EXACTLY was he playing?

As I started to listen more closely to his parts, little things, things that would seem insignificant, started to emerge. (It’s always in the details, isn’t it?) For example, in the song “Until the End of the World,” there’s a point where he’s playing over a C7 chord. In rehearsal, I did that thing where I slide up to the six and back to the five as a little fill (an Adam Clayton no-no.) When I got into my car after rehearsal, I took another look at that song, to see exactly what he did with that little space. What he did was pretty strange to me. Over a C7 chord, he played the note C over the first two beats of the bar, and then on the second two beats, he played a Bb, an Eb, and an F. That Eb and F have nothing to do with that C chord. Maybe they were implying a Bb chord over the second half of the bar (in fact, they probably were) but then, what’s the Eb for? There is no real diatonic analysis for this, but it SOUNDS cool. It sounds squared off, and in your face, and rock and roll. That’s what it sounds like. It’s kind of dumb, and it’s absolutely perfect!  And when I played that in the next rehearsal, it just sounded right. And for whatever reason, the groove became solid there. As it turned out, if I played the same rhythm that he was playing but substituted different notes, it didn’t groove as hard. That’s counter-intuitive, because the rhythm should be one thing, and the harmonic content another, but I have found that does not seem to be the case. Adam’s parts are very simple, very straight-forward. They make use of the “rock and roll” harmonic language (which doesn’t really have a clear, academic definition) and you really can’t mess with them, or the puzzle just doesn’t fit together.

As I dug in more to the details of his parts, I found that things started to come together. I pretty much had to play almost exactly what he was playing, or at least get very close to the headspace he was in to make the songs sound right. I had to think rock, think “on the nose,” think driving more than “grooving” to make things work. And most importantly, I had to think about the part. What is the part. Commit to it. Play it fully and confidently and let everyone else do the same, and you know what…it starts to work.

But, once I started to play the parts correctly, there was one thing left. Tone. Adams parts work so well because of his sound. The reason he can hang a big whole note out there and do nothing else is because he’s got such a great, fat sound. And that sound, as it turns out, at least in live settings, is often the sound of a Lakland bass with passive pickups.

Stay tuned for part two, where I’ll talk about the search for Adam Clayton’s great sound.

Get a head start and start checking out some of his basses here: http://u2-atomic-adam-gear.tripod.com/adam_bass.html

John Classick – Upright and Electric Bass

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Do you like U2? Then you’ll love L.A.vation!

Hi Folks! This is Frutzie bringing you L.A.vation from a fan perspective. First thing that I’ve got to say is that I can’t say enough about how effin good these guys are. Seriously. Trust me. The first time I saw L.A.vation play was when they did a video shoot of a concert performance. First, I was astounded by their musicianship. Then, I was astounded by their showmanship. Here’s the deal, all four of these beautiful men are total pros. (Yes, folks, they are very easy on the eyes. A nice little bonus.) They have completely mastered the U2 sound as well as the famous U2 live experience.

I look forward to introducing you to the guys and writing about their live performances. And hopefully we can get them to chime in here once in a while as well. Meanwhile, you can always come here for the inside scoop. Now go like the Facebook page and sign up for email alerts via the website.