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How Much Money Does It Cost To License A Song For A Movie

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1983 unmarried by New Order

"Blue Mon"
NewOrderBlueMonday.jpg

Original die-cut sleeve
Unmarried by New Order
from the album Power, Corruption & Lies[a]
B-side
  • "The Beach" (12-inch)
  • "Thieves Like U.s.a." (7-inch)
Released 7 March 1983
Recorded 1982
Genre
  • Synth-pop
  • alternative dance
  • hi-NRG
Length
  • 7:29 (original version)
  • 4:09 (edited version)
Characterization
  • Manufactory (12-inch)
  • Tonpress (7-inch)
Songwriter(s)
  • Gillian Gilbert
  • Peter Hook
  • Stephen Morris
  • Bernard Sumner
Producer(s) New Order
New Social club singles chronology
"Temptation"
(1982) 		"Blue Mon"
(1983) 		"Confusion"
(1983)

"Bluish Monday" is a song performed by English rock ring New Order. It was released equally a 12-inch single on 7 March 1983 through Manufacturing plant Records. The song appeared on certain cassette and CD versions of the band'southward second studio album, Power, Corruption & Lies (1983).[1] The rail was written and produced past Gillian Gilbert, Peter Claw, Stephen Morris and Bernard Sumner.

"Blue Mon" is a synth-pop and alternative dance song that drew inspirations from many works of other artists. The 12-inch single was backed with a primarily instrumental version of the song entitled "The Beach" on the B-side. The single's unique packaging was designed by Peter Saville and Brett Wickens. It features a dice-cut sleeve designed to resemble a 5+ one⁄four -inch floppy disk. The front cover features no words, but instead has code in the form of coloured blocks that reads out the artist, song and characterization information, in one case deciphered.

The original single was a commercial hit, making the acme 10 in many countries. In the Britain, although the song stalled at number 9, information technology spent a total of 38 weeks in the top 75. This was mirrored by its run of 186 weeks on the United kingdom Contained Singles Chart, effectively selling for four years from release until the Substance 1987 compilation on which it featured. The Uk Indie Chart run was second but to "Love Will Tear Us Apart" by Joy Partition, which clocked 195 weeks (their runs overlapped). In New Zealand, it peaked at number two and spent 74 weeks (spread across three calendar years) in the pinnacle 50. The 1988 remix reached number 3 on the British chart and number 4 on the Australian chart, and it topped the trip the light fantastic chart in the United States.

It is the best-selling 12-inch single of all time.[two] [3] In the Great britain, it has sold one.sixteen meg copies in all formats, including the 1988 and 1995 re-releases. Sales of the original 1983 12-inch release account for the bulk of the total, at over 700,000 copies.[four] The vocal has been widely acclaimed and is ranked by Acclaimed Music every bit the 42nd most-acclaimed song of all fourth dimension.[5] Information technology was remixed by the band twice, in 1988 and 1995. The 1988 remix reached number ane in New Zealand and the top 10 in other countries. The song has been covered by bands including Orgy, Flunk, 808 Country and Wellness; its beats are oftentimes mixed at raves into dance music DJ sets.

Background [edit]

"Bluish Monday" was described by the BBC Radio ii "Sold on Song" feature equally "a crucial link between Seventies disco and the dance/business firm boom that took off at the cease of the Eighties."[half-dozen] Synth-popular had been a major force in British pop music for several years, but "Blue Monday", with encouragement by the band's director Rob Gretton, was a trip the light fantastic record that as well exhibited influences from the New York club scene,[6] particularly the work of producers such as Arthur Baker (who collaborated on New Order's follow-up single "Confusion"). Information technology too contains samples of the vocal "Uranium" by the German Electronic music band Kraftwerk from their 1975 studio anthology Radio-Activity.

Composition [edit]

"Bluish Monday" was composed on a prototype-level homebrew "pace-time" sequencer in binary code.[seven] Information technology was originally written in the key of D, in Dorian style, since at that place is never a B-flat in the vocal, and B-natural does occur in the melody (though sparingly). It contains a basic chord progression of Dm–F–C–Dm–Chiliad–C. The vocal has been labelled a "synth-pop classic"[8] [9] and described as cementing the group'south movement from post-punk to alternative dance.[two] It has been noted as an instance of the hi-NRG style of order music, besides.[10]

The song begins with a distinctive semiquaver boot pulsate intro, programmed on an Oberheim DMX drum machine.[11] Keyboardist Gillian Gilbert fades in a sequenced melody, out of sync with the beat considering she had forgotten to input a note into the sequencer.[12] The verse department features the song'southward signature throbbing synth bassline, played on a Moog Source, overlaid with Peter Hook's bass guitar leads. The synth bassline was sequenced on a Powertran Sequencer dwelling house built past Sumner.[13] Bernard Sumner delivers the lyrics in a deadpan fashion. "Blue Mon" is an atypical hit song in that it does not feature a standard verse-chorus structure. After a lengthy introduction, the commencement and second verses are face-to-face and are separated from the third verse only past a brief serial of sound furnishings. A short breakdown section follows the third verse, which leads to an extended outro.

The ring stated that the song was written in response to crowd thwarting at the fact that they never played encores.[fourteen] The song was planned to permit them to render to the stage, press play on a synthesiser and leave the stage over again, but while writing the song it evolved into a project that the band quite liked, and it was turned from an experiment into a single. Yet, the band since have become noted for playing "Blue Monday" as an encore.[15] "Blue Monday" was influenced by several songs. Claw said the song was "stolen" from the Donna Summer vocal "Our Dearest" from the Bad Girls album.[sixteen] Bernard Sumner said part of the arrangement came from "Dirty Talk", by Klein + Grand.B.O, the synthesised bassline from Sylvester's "You Make Me Feel (Mighty Real)". Hook's bassline was derived from an Ennio Morricone soundtrack,[sixteen] For a Few Dollars More: Claw said "I stole information technology" after watching the film of the same name in the studio.[17] In the Guardian, Clinton Heylin included "Blue Mon" on a list of "x classic stolen popular songs" and said that the starting point for the song came from "Gerry and the Holograms", the 1979 title track by the novelty grouping of the same name,[16] but Sumner denied this.[18] Some rhythmic and synthesizer elements of the song had been used by the ring in an earlier composition, "Video v eight 6", in 1982, which evolved into the track "5 viii 6", appearing on the band's 1983 album Power, Corruption & Lies.[xix]

The song uses a sample of Kraftwerk's "Uranium".[20]

Packaging [edit]

The 1983 edition artwork is designed to resemble a five+ 1⁄4 inch floppy disk. The sleeve does not display either the group proper noun nor song title in plain English anywhere; the simply text on the sleeve is "FAC SEVENTY 3" on the spine. Instead the legend "FAC 73 Bluish MONDAY AND THE Embankment NEW Order" is represented in code by a series of coloured blocks. The key enabling this to be deciphered was printed on the back sleeve of the anthology, Power, Corruption & Lies.[21] "Blueish Monday" and Power, Abuse & Lies are 2 of four Factory releases from this time menstruum to apply the colour code, the others being "Confusion" by New Gild and From the Hip past Department 25.

The single'southward original sleeve, created by Manufacturing plant designer Peter Saville and Brett Wickens, was die-cut with a silverish inner sleeve.[21] It cost and so much to produce that Mill Records actually lost coin on each copy sold. Matthew Robertson's Factory Records: The Complete Graphic Album [22] notes that "[d]ue to the employ of die-cut and specified colours, the product cost of this sleeve was then high that the single sold at a loss." Tony Wilson noted that it lost 5p per sleeve "due to our strange accounting system"; Saville noted that nobody expected "Blue Monday" to be a commercially successful tape at all, so nobody expected the cost to be an issue."[23] In Shadowplayers: The Rise and Autumn of Mill Records, Saville states "I am so bored with this story. Nosotros didn't fifty-fifty know how many of these expensive covers were always made anyway."[24]

Robertson also noted that "afterwards reissues had subtle changes to limit the cost" (the diecut areas being replaced with printed silver ink).[23] Saville commented in 2013 that the printers "banged out a cheaper version. I don't know how many thousands were sold [the original] manner, or whether Mill were charged the full toll for something they didn't get, which would be very Factory."[25] Peter Saville Associates charged Mill £538.20 for the sleeve pattern.[26] The artwork was then late that Saville sent it straight to the printer, unreviewed by either the band or the label.[27] The 1988 and 1995 versions were packaged in conventional sleeves.

Music videos [edit]

A music video for a shortened version of the original vocal was created in 1983, featuring military clips with false colour, simple computer-generated graphics such equally colour blocks and geometric lines, digitised video of band members at very low resolution and framerate, and a short advent of the game Zaxxon (reportedly the Apple tree 2 port). The colour blocks were created using Peter Saville's colour-coded alphabet.[28]

On the Australian show Rage, a video was shown containing footage taken from their BBC Acme of the Pops operation with the studio runway dubbed over information technology.

The music video for "Bluish Monday '88" appears on the Substance video drove (released as a companion to the anthology of the same proper name). The video features sketches by lensman William Wegman and his Weimaraner dog named Fay Ray doing balancing acts intercut with hand-fatigued blitheness by Robert Breer. The band members are shown standing effectually doing various tasks, such as walking a wooden plank over a floor that is painted blue, holding wire-mesh synthetic art and milk crates over their faces, existence striking by tennis assurance, and standing still while they flip through diverse flip books (tying into the paw-drawn animation sequences).[29]

In September 2012 New Order headlined a festival at Portmeirion in N Wales and festival organisers recruited the back up of the local Brythoniaid Male person Vox Choir to produce a cover version and accompanying video.[30]

Legacy [edit]

In 2022, information technology was included in the listing "The story of NME in 70 (mostly) seminal songs", at number 21: Mark Beaumont wrote that with this song, "Britain'southward formative alternative dance culture found its style" in the mainstream and "stayed in that location until the acid firm explosion obliterated clubland".[31]

Releases [edit]

"Blue Monday 1988"
Blue Monday 1988 Cover Art.jpg
Single by New Social club
B-side "Beach Buggy"
Released 25 April 1988
Recorded 1982
Genre Alternative dance
Length iv:57 (7-inch) / 7:10 (12-inch)
Label Factory
Songwriter(s)
  • Gillian Gilbert
  • Peter Hook
  • Stephen Morris
  • Bernard Sumner
Producer(s)
  • New Order
  • Quincy Jones
New Order singles chronology
"Touched by the Hand of God"
(1987) 		"Blue Monday 1988"
(1988) 		"Fine Time"
(1988)
Music video
"Blue Monday 88" on YouTube
"Blue Mon-95"
Single by New Order
from the album The Residual of New Guild
Released 24 July 1995
Recorded 1982
Genre
  • Acid techno
  • acid trance
  • hard trance
  • progressive house
Length viii:35
Label London[32]
Songwriter(due south)
  • Gillian Gilbert
  • Peter Hook
  • Stephen Morris
  • Bernard Sumner
Producer(s) New Order
New Order singles chronology
"1963"
(1995) 		"Blueish Monday-95"
(1995) 		"Video five 8 half dozen"
(1997)

"Blue Mon" has been a striking several times in the UK. In 1983, it charted twice, initially reaching number 12, and then re-entering the chart later in the year and climbing to number 9, helped by the fact that neither side of the single (the B-side "The Beach" was an instrumental re-working of "Blue Monday", whose lyrics include the line "I thought I told y'all to leave me when I walked down to the beach") was featured on the Uk version of the group's subsequent anthology, Power, Corruption & Lies. Despite selling well it was not eligible for an official golden disc because Factory Records was not a fellow member of the British Phonographic Industry association.[half dozen] According to the Official Charts Visitor, its full sales stand at one.sixteen million in the United Kingdom lonely, and "Blue Monday" came 69th in the all-fourth dimension Great britain all-time-selling singles chart published in November 2012.[33]

New Lodge appeared on the BBC'due south Peak of the Pops, on 31 March 1983,[34] to promote the song. New Order insisted on performing "Blue Mon" live. The performance was dogged past technical problems, and was unrepresentative of the recording. In the words of drummer Stephen Morris, "Blue Monday was never the easiest song to perform, anyhow, and everything went wrong. The synthesisers went awry. Information technology sounded awful".[35] In 1985, "Blue Monday" and "Thieves Like Us" were officially released in Poland every bit a 7" single in a different sleeve by Tonpress nether license from Factory Records and sold over l,000 copies and reached number 5 on the yr-stop unmarried chart.[36] In 1988, "Blue Mon" was officially remixed by Quincy Jones and John Potoker under the championship "Blue Monday 1988" (with the instrumental flip beingness titled "Beach Buggy"); Jones was the owner of Qwest Records, New Order'due south tape characterization in the United States. The single reached number 3 on the British chart, number 4 on the Australian chart, and topped the trip the light fantastic toe chart in the United States. A farther official remix/reissue in 1995, with a mix by Hardfloor as the lead track, also made the British Top 20. The song has sold i.21 million copies in the UK equally of October 2015.[37] Overall it has sold over 3 million copies worldwide.[38]

The single was not originally on Ability, Corruption & Lies, but was included on the Gap Records Commonwealth of australia/New Zealand cassette version (though listed simply on the cassette itself, not on the card) and the 1986 Qwest Records U.s. CD version.

In 2008, Collector's Editions of all New Order's 1980s albums were released, with remastered versions of the original 12" "Blue Monday" and its B-side "The Beach" appearing on the Collector's Edition of Ability, Corruption & Lies. Meanwhile, two versions of "Bluish Monday '88" appear on the Collector's Edition of 1986'south Brotherhood.

  • 1987: Substance 1987 – Original 12" version
  • 1994: Best of New Order – 1988 seven" version
  • 1995: Rest of New Order – Hardfloor Mix [notation: some versions come up with a disc of "Blue Mon" remixes]
  • 2002: International – Original 12" version
  • 2002: Retro – Original 12" version and Jam and Spoon Manuela Mix
  • 2005: Singles – Original 12" version [note: this version omits the opening seconds] and 1988 7" version
  • 2011: Total - Original 12" version
  • 2016: Singles (2016 re-release) - Original 12" version and 1988 7" version[39]

Compilation appearances include

  • 1996 The All-time...Album in the World...Ever! - New edited version of 12" mix (runs at half-dozen:45 length)
  • 2001 Mixmag B!g Tunes - Original 12" version
  • 2002 Electric Dreams - Original 12" version[ citation needed ]
  • 2008 Anthems 2 1991-2009 - 1988 seven" mix (mixed into "Chime" past Orbital)
  • 2011 Arkives - Plastikman Remix

Rail listing [edit]

Blue Monday

All tracks are written by Gillian Gilbert, Peter Hook, Stephen Morris and Bernard Sumner; except where indicated.

12": FAC73 (UK) (1983)
No. Title Length
1. "Blue Monday" 7:29
2. "The Beach" vii:nineteen
7": Tonpress Southward-534 (Poland) (1985)
No. Championship Author(s) Length
1. "Blue Mon" 7:29
ii. "Thieves Similar Us" Arthur Baker, Gilbert, Claw, Morris, Sumner 6:36
12": Qwest 0-20332 (U.s.a.) (1985)
No. Title Length
i. "Blue Mon" 7:38
2. "The Beach" vii:28

Blue Mon 1988

All tracks are written by Gillian Gilbert, Peter Hook, Stephen Morris and Bernard Sumner.

7": FAC73-vii (United kingdom of great britain and northern ireland)
No. Title Length
1. "Blue Monday 1988" four:09
2. "Embankment Buggy" 4:xviii
7": Qwest vii-27979 / Cassette: Qwest 4-27979 (U.s.a.)
No. Title Length
ane. "Blueish Mon 1988 (Single Mix)" four:ten
2. "Touched past the Manus of God (Single Version)" 3:41
12": FAC73R (Britain)
No. Title Length
1. "Blueish Monday 1988 (12" Version)" seven:09
ii. "Beach Buggy" 6:52
12": Qwest 0-20869 (Usa)
No. Title Length
1. "Blue Monday 1988 (12" Mix)" 7:09
ii. "Blue Mon 1988 (Dub)" vii:16
iii. "Touched past the Hand of God (Remix)" 7:02
iv. "Touched by the Hand of God (Dub)" 5:xxx
CD: FACD73R (UK)
No. Title Length
1. "Blueish Monday 1988 (12-inch)" 7:09
2. "Beach Buggy (12-inch)" 6:52
iii. "Blue Mon 1988 (7-inch)" 4:09
Video CD: FACDV73R (Britain)
No. Title Length
1. "Blue Mon 1988 (12-inch)" 7:09
2. "Beach Buggy (12-inch)" six:52
3. "Blueish Monday 1988 (7-inch)" 4:09
four. "Blue Monday 1988" (Video) 4:09
Cassette: Qwest iv-27979 (Canada)
No. Title Length
1. "Blueish Monday 1988 (12" Mix)" 7:09
2. "Touched by the Hand of God (Single Version)" 4:ten
3. "Blueish Monday 1988 (Single Version)" 4:x
iv. "Blue Monday 1988 (Dub version)" seven:xvi

Acid Firm Mixes Past 808 State (1988)

12": Cat 806 EP (United kingdom of great britain and northern ireland)
No. Title Writer(s) Length
one. "Blue Monday (So Hot Mix)" Gilbert, Hook, Morris, Sumner 7:47
2. "Confusion (Acid House Mix)" Arthur Bakery, Gilbert, Hook, Morris, Sumner 5:54

Blue Monday-95

All tracks are written by Gillian Gilbert, Peter Claw, Stephen Morris and Bernard Sumner.

7": NUO 7 (United kingdom)
No. Title Length
i. "Bluish Mon-95 (Hardfloor Radio Edit)" 4:16
two. "Blue Monday (Original Radio Edit)" (Really "Blue Monday 1988 (7-inch)") 4:09
12": NUOX7 (UK)
No. Title Length
i. "Blueish Mon-95 (Hardfloor Mix)" 8:34
ii. "Blue Monday-95 (Andrea Mix)" 8:26
3. "Blue Monday-95 (Manuella Mix)" 7:31
four. "Blueish Monday (Original Mix)" 7:26
CD: NUOCD 7 (Great britain)
No. Title Length
ane. "Blue Mon-95 (Hardfloor Mix)" 8:37
2. "Blue Mon (Original Mix)" 7:26
iii. "Blue Monday-95 (Manuella Mix)" 7:32
iv. "Blue Monday-95 (Andrea Mix)" 8:28
five. "Blueish Monday-95 (Plutone Mix)" 6:29
CD: 850039.ii (Europe)
No. Title Length
ane. "BlueMonday-95 (Manuela Mix)" 7:31
two. "BlueMonday-95 (Andrea Mix)" 8:28
3. "BlueMonday-95 (Hardfloor Mix)" 8:36
4. "BlueMonday-95 (Encephalon Mix)" five:24
CD: 850041.2 (Europe)
No. Title Length
1. "BlueMonday-95 (Plutone Mix)" 6:29
2. "BlueMonday-95 (Starwash Mix)" 5:38
3. "Blue Monday (Original Mix)" 7:23
4. "BlueMonday-95 (Hardfloor Dub)" eight:15
  • "Blue Monday (Plutone Dub)" (4:46) was but made available on promo vinyl FAC73PL
  • Released in 2004.

Personnel [edit]

  • Bernard Sumner – vocals, keyboards, programming
  • Peter Hook – 6-string bass, electronic percussion
  • Stephen Morris – keyboards, programming
  • Gillian Gilbert – keyboards, programming

Charts [edit]

Certifications [edit]

Comprehend versions [edit]

Orgy versions [edit]

"Bluish Monday"
Bluemonday.PNG
Single by Orgy
from the anthology Candyass
Released 14 December 1998
Genre
  • Industrial rock
  • nu metallic[82]
Length 4:25
Label
  • Warner Bros.
  • Reprise
  • Elementree
Songwriter(due south)
  • Gillian Gilbert
  • Peter Claw
  • Stephen Morris
  • Bernard Sumner
Producer(due south)
  • Josh Abraham
  • Orgy
Orgy singles chronology
"Stitches"
(1998) 		"Blue Monday"
(1998) 		"Fiction (Dreams in Digital)"
(2000)
"Blue Monday / Stitches"
Single by Orgy
Released 9 February 1999
Length 48:04
Label
  • Warner Bros.
  • Reprise
  • Elementree
Songwriter(s)
  • Gillian Gilbert
  • Peter Hook
  • Stephen Morris
  • Bernard Sumner
Producer(s)
  • Josh Abraham
  • Orgy

"Blueish Monday" was covered past American alternative metal band Orgy.[83] It was released on 14 December 1998. Internationally, the song was a hit,[84] appearing on music charts worldwide. It has been attributed with providing industrial and metal music with a fresh connectedness.[85]

Background [edit]

In an interview with Billboard guitarist Amir Derakh said that upon working on the song they "wanted to do the original 'Blue Monday' justice" and had expected more criticism. He went on to say that they felt lucky to accept covered it and that they felt it could have been something that they had written.[86] The fact that their first major hit was a embrace of the 1980s electronica/trip the light fantastic song did not carp the band.[87]

Their offset official single release featured diverse versions of "Blue Monday" and upon the success of the song the band decided to include their previous unmarried "Stitches" on the second release. With the label's support this release was an enhanced CD that featured the music video for "Bluish Monday" on 9 February 1999,[86] which was in QuickTime format. "Bluish Monday" has been made into several trip the light fantastic remixes,[88] some which were produced to appeal to the secret dance lodge scene,[86] and was even advertised under "Club Mix" 2000, a popular trip the light fantastic compilation series.[89]

The music video for "Blue Monday" also appeared on several music television stations, and the song was also released on vinyl.[xc]

Success [edit]

The vocal appeared on modern stone radio stations,[87] and was a striking on MTV;[84] it appeared on MTV's alternative music program 120 minutes [86] and TRL, in which information technology debuted at number eight on 22 Feb 1999.[91] The song was perceived as the ring'due south gateway to success, assuasive them to tour in Ozzfest.[92] and in the Family Values Tour[84] and led to the rerelease of the song "Stitches".[86] The song appeared in Spin magazine'south "Hits of the Year" for 1999.[93] "Blue Monday" is besides said to have helped pave the way for the cyberpunk tendency, equally best exemplified in the popularity of the 1999 science fiction moving-picture show The Matrix, which appeared soon later on.[94] In an interview of Joel Gallen in Los Angeles mag, the music supervisors were discussing the use of Orgy's "Blueish Mon" for a football scene in Non Another Teen Movie (2001), amongst others.[95] Stating that the song "had energy", they eventually selected it for the movie,[96] and information technology appeared in the soundtrack besides.[97]

"Blue Monday" charted internationally, some of which included CMJ's "Commercial Alternative Cuts"[98] and Billboard's Alternative, Pop, and Dance song charts also as others. It also appeared in Time [99] and Newsweek [100] in 2000 as featured song clips.

Reception [edit]

Professional ratings
Review scores
Source Rating
AllMusic (Blue Mon (unmarried)) [101]
AllMusic (Blue Monday / Stitches) [102]

Orgy'southward "Blue Monday" has been called the "aggro-fied-for-the-1990s" version of New Social club's song,[88] and information technology is considered to be part of a resurgence of new wave covers in gloomcore, along with Dope's comprehend of Dead or Alive's "You Spin Me Round (Like a Record)".[103] Many critics attribute the success of the album Candyass to "Blue Mon", and some anticipated that Orgy would become a one-hitting wonder, believing that information technology would be difficult for the band to follow up with some other hitting song.[86] Many believed information technology to exist their best song.[104] Porter W. Richards of Sputnik felt that even though many of the songs off of Candyass sounded similar, "Blueish Mon" was a neat song that should not be overlooked.[85] While the New Order song is viewed positively by the writer of the comic book serial Blue Mon, Chynna Clugston, in an interview she expresses dislike for the misconception that she borrowed the title for her volume from Orgy's cover version rather than the original.[105]

In a January 2000 Spin interview, Buckcherry's vocaliser Josh Todd and guitarist Keith Nelson did not speak highly of the song, likening its sound to a Nine Inch Nails rip-off and calling the sound "mechanical".[93]

Runway listing [edit]

Blueish Monday (single)
No. Championship Mix Length
ane. "Blue Monday" Radio Edit 3:48
two. "Bluish Monday" Album Version iv:26
3. "Blue Mon" Lodge 69 8:45
4. "Blue Mon" Lodge 69 Dub viii:14
five. "Blue Monday" Optical Song half-dozen:33

Information on Blue Monday (single). [106]

Blueish Mon/Stitches
No. Championship Mix Length
1. "Bluish Mon" Single 4:29
2. "Blue Monday" Optical Vocal half dozen:40
iii. "Stitches" Green Velvet 6:13
4. "Blue Monday" Club 69 8:43
5. "Blueish Mon" Gild 69 Dub viii:thirteen
6. "Bluish Mon" Optical Instrumental 6:41
7. "Blue Monday" DJ Dan Remix ix:32
Information on "Bluish Monday" and "Stitches". [102]

Weekly charts [edit]

Chart (1998–99) Peak
position
Australia (ARIA)[107] 36
Canadian Singles Chart[52] 5
CMJ Commercial Alternative Charts[98] 4
Deutschland (Official German Charts)[108] 83
New Zealand (Recorded Music NZ)[106] xxx
U.s. Billboard Hot 100[109] 56
U.s.a. Billboard Hot 100 Singles Sales thirty
US Billboard Hot Dance Social club Play[52] 2
United states of america Billboard Hot Dance Music/Maxi-Singles Sales[52] ane
US Alternative Airplay (Billboard)[110] 4
US Mainstream Stone (Billboard)[111] 18
US Billboard Top forty Mainstream[52] 32

Yr-end charts [edit]

Flunk version [edit]

"Bluish Monday"
Flunk Blue Monday single.jpg
Unmarried by Flunk
from the anthology Blue Monday
Released
  • 8 April 2002 (Kingdom of norway)
  • 3 June 2002 (UK and various)
Genre Electronic
Label
  • Beatservice
  • BS053 (CD)
Songwriter(s)
  • Gillian Gilbert
  • Peter Hook
  • Stephen Morris
  • Bernard Sumner

Flunk covered the vocal and released it equally a single in 2002. In this version, Flunk slows down "Blue Monday", making information technology a popular hitting for Flunk,[113] based in part on the song's wide recognition. The lyrics become the focus for this version rather than the danceable beat (which was emphasized in the original version).[ citation needed ] The single received by and large positive reviews by electronic music critics,[113] only Mallory O'Donnell of Stylus Mag commented that Flunk "merely showed the paucity of melody" of the original New Order vocal.[114] The song was subsequently remixed, with at least 7 remixes along with the original version available. The original release was on the 2002 EP titled Blue Monday.

Appearances [edit]

  • Walking Tall (2004)
  • Nancy Drew (2007)

2002 EP runway list [edit]

  1. "Blueish Monday"
  2. "Eight Days a Freak"
  3. "Blue Monday" (Howard Maple Mess Up Mix)

Notes [edit]

  1. ^ "Blue Monday" only appears on certain cassette and CD versions of Power, Corruption & Lies.[1]

References [edit]

  1. ^ a b "New Order, 'Ability, Abuse & Lies' | 100 Best Albums of the Eighties". Rolling Rock. 18 April 2011. Retrieved 27 Jan 2018.
  2. ^ a b John Bush-league. "Blue Monday review at Allmusic". AllMusic . Retrieved 12 September 2012. "Still the best-selling 12" single of all fourth dimension, "Blue Monday" cemented New Guild's transition from post-punk to alternative dance with vivid sequencers"
  3. ^ Alexis Petridis (fourteen June 2011). "An indie label releases Blue Mon, the biggest selling 12-inch single ever". The Guardian. London. ISSN 0261-3077. OCLC 60623878. Retrieved 8 July 2011.
  4. ^ "The history of the Official Charts: the Eighties". London: Official Charts Company. Retrieved 19 January 2011.
  5. ^ "New Guild on Acclaimed Music". www.acclaimedmusic.net . Retrieved 23 October 2020.
  6. ^ a b c BBC Radio two website (April 2005). "Sold on Song - "Blue Mon"". Retrieved 12 August 2012.
  7. ^ NME.COM (22 Jan 2015). "New Order - How Nosotros Wrote 'Blueish Monday' - NME.COM". NME . Retrieved 31 August 2016.
  8. ^ "fifty songs to make you dance". The Telegraph. seven February 2016. Retrieved 27 January 2018.
  9. ^ Williams, Alex (11 October 2017). "Render of the '80s! Synth-Pop Bands Stage a Middle-Aged Improvement". The New York Times . Retrieved 27 January 2018.
  10. ^ Hoskyns, Barney (May 1985). "What is Bronski Vanquish?" Spin. via Google Books.
  11. ^ "Oberheim DMX Vintage Synth Explorer". Vintagesynth.com . Retrieved 19 January 2011.
  12. ^ Simpson, Dave (11 February 2013). "How we made: New Order's Gillian Gilbert and designer Peter Saville on Blue Monday". The Guardian . Retrieved 23 August 2017.
  13. ^ Flintstone, Tom (April 2004). "Recreating New Order's 'Blue Monday' Live". Audio on Sound . Retrieved 18 August 2020.
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Sources [edit]

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External links [edit]

  • New Order discography (includes images of sleeve)
  • How we fabricated: New Order'south Gillian Gilbert and designer Peter Saville on Blue Monday

Source: https://en.wikipedia.org/wiki/Blue_Monday_(New_Order_song)

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