Panic! 4 year anniversary / Aztec Camera: Good Morning Britain + The Smiths: Panic
. I don't even remember how Kamar and I met Pogo and Arturo, but it's no surprise that the new wave djs with the Blondie-named night and the Britpop djs with the Smiths-named night were fast friends. I don't think Debbie Harry and Morrissey ever hooked up, but if Atomic was a girl, Panic would be our quirky British boyfriend. We're there almost every month -sometimes in the booth- and Arturo is one of our favorite regulars and guest djs at Neo. In either case, it's always a good time, and we're glad to help them celebrate their fourth anniversary.
In honor of Panic, I've chosen the oft-overlooked Aztec Camera single "Good Morning Britain", featuring vocals from Mick Jones of The Clash, from their 1990 release Stray. And of course this post wouldn't be complete without "Panic" by The Smiths. See you tonight!
Arturo, Kamar, Qbot, & Pogo
Aztec Camera: Good Morning Britain
The Smiths: Panic
Posted: April 24th, 2010
at 5:17pm by qbot
Tagged with 1986, 1990, andy rourke, arturo, atomic, blondie, british, craig gannon, darkroom, debbie harry, johnny marr, kamar, mick jones, mike joyce, morrissey, neo, panic, pogo, qbot, roddy frame, stray, the clash, the smiths
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Old School Freight Train: Heart of Glass
A surprisingly un-ironic bluegrass take on "Heart of Glass", Old School Freight Train's rework is not only beautiful, but a testament to the integrity of the original version by Blondie.
on their album Six Years.
Posted: February 17th, 2010
at 4:52pm by qbot
Tagged with 2009, american, blondie, bluegrass, covers, disco, heart of glass, new wave, old school freight train, six years
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Sleeper: Atomic
I've always thought it was appropriate that we named our new wave night after a song that was both new wave and punk. Blondie ties the two together well, and it fits the spirit of our events; "new wave" is more of a guide than a rule. Given our interpretation, it also seems fitting to post, as our first song, not the original but rather a newer cover.
Sleeper didn't really put much of a stamp on this song; play it simultaneously with the original, and they're almost note for note the same. You might ask what the point is (and I'm not entirely sure), but I like to imagine that, sometime while this was being recorded, they realized there was no point in screwing with a good thing.
Available on the
Sleeper: Atomic