The March Violets, one of the original (and some say the
best) Leeds drum machine bands, are returning to the city that started
it all and reforming to give a one night only show. Featuring classic
tracks such as Snake Dance and Walk Into The Sun, and some brand new
material, plus some very interesting Special Guests: first confirmed
being the Chris Reed Unit, Founder member and frontman of Red Lorry
Yellow Lorry. After the show everyone gets to stay for an aftershow
party till 3am, with DJs from Leeds very own Wendy House providing the
sounds in both rooms. We hope you can be there, it should be one hell
of a party. Tickets are available from the Met, both online and at
the Booking Office, though the cheapest online outlet is at
www.myspace/officialmarchviolets where you can also pre-order the CD of
new material that will only be available at the gig.
Some Natural History:
In
1982 frontwoman Rosie Garland left the band and went to Africa as an
Aid worker. She has since become a solo performer on the gay scene as
Rosie Lugosi and a published author.
In 1985 founder and
frontman Simon Denbigh left in a storm of "differences" and formed the
proto-grunge Batfish Boys. Since then he has had many incarnations,
wandered into electronic music, and has been a member of The Sisters of
Mercy for the last 10 years.
Guitarist Tom Ashton ran with the
Violets until they collapsed in 1986, had a brief stint with Clan of
Xymox before moving to the backwoods of Georgia to play with guns and
breed.
These parts of the original lineup have agreed to get
together for old times' sake and because they felt there was something
important left unsaid. The one-off one night only event will be in
Leeds, the city that started it.
The March Violets will also be releasing a collection of Brand New Tracks.
This will only be available as a very limited edition to those who go to the Gig.
This is a one time event.
Play Loud, Play Purple.
So here is "Snake Dance," in its extended form. Many extended or "dance" versions of 80s pop songs just take an instrumental portion of the song and repeat it for minutes on end. "Snake Dance" rises above that methodology by adding an atmospheric piano part to the extension (in the middle of the song), making for a pleasant excursion before returning to the song proper: