After successfully integrating sequencers into their trademark post-punk sound on early game-changing singles Everything’s Gone Green and Temptation, New Order went on to record their second album, 1983’s Power, Corruption & Lies, at Pink Floyd’s Britannia Row Studios in London. It was here they took receipt of two new bits of kit which shaped Blue Monday’s sound. Show
The first of these was the Oberheim DMX, a drum machine capable of almost supernatural precision, which drummer Stephen Morris programmed and then added fills and little drum stops akin to those New Order had recently heard on dance records spun at the cutting-edge New York clubs. The band then added Blue Monday’s thrumming bass synth part, based on Sylvester’s disco hit You Make Me Feel (Mighty Real) and Gillian Gilbert’s sequenced synths. They then utilised their second newly-acquired gadget, the Emulator sampler (effectively a high-tech 80s successor to the 60s analogue Mellotron) to sample the track’s distinctive choir-like voices from Kraftwerk’s classic track Radioactivity. Peter Hook then added his instantly recognisable, Ennio Morricone-esque bassline and Bernard Sumner completed the song with his memorably melancholic vocal. “A prompt to make you dance”The band were rightly pleased with the outcome, but didn’t imagine they had a hit single on their hands. Aside from being such a radical sonic departure, Blue Monday had no obvious chorus and also clocked in at seven minutes – hardly the stuff of daytime radio hits. However, after the song was released, it rapidly became a word-of-mouth phenomenon. Immensely popular in clubs the length and breadth of Europe, Blue Monday crossed over into mainstream charts around the world, as well as climbing to No.9 in the UK: a result that necessitated a famously fraught Top Of The Pops performance for which New Order insisted on playing live. The classic Manchester tune has a title that is unrelated to the lyrics - so what does it mean exactly? By Martin O'Gorman Listen to this articleLoading audio... On 7 March 1983, New Order finally ditched the comparisons with their previous incarnation Joy Division with the biggest selling 12” single of all time. Released three years after the death of Joy Division singer Ian Curtis, Blue Monday was influenced by the flood of new music technology and a lot of time spent sampling the early 80s nightlife of New York. Featured a jackhammer drum machine beat and octave-leaping bassline, the record was a huge hit in clubs across Europe that summer, prompting people to buy it in their droves when they returned home. Behind the shimmering, cutting-edge sound Bernard Sumner’s vocal is a dour reminder of the band’s Manchester roots: “How does it feel / To treat me like you do?” The title “Blue Monday” doesn’t appear anywhere in the lyric, so where did it come from? Author Kurt Vonnegut Jr in 1977. Picture: Sueddeutsche Zeitung Photo / Alamy Stock PhotoIt was inspired by a book that New Order drummer Stephen Morris was reading at the time: Breakfast Of Champions or Goodbye Blue Monday by the noted science fiction author Kurt Vonnegut. It’s post-modern satire on society and was published in 1973. Keyboard player Gillian Gilbert told The Guardian in 2013: “It's a reference to the invention of the washing machine, which improved housewives' lives.” One of the illustrations in the book interprets the banishing of the washday blues is given a more extreme solution.
But that's just the start of Blue Monday's mysteries... while the music has its own inspirations and influences, what about that iconic cover?  ...but your activity and behavior on this website made us think that you are a bot.
At nearly seven-and-a-half minutes, "Blue Monday" is one of the longest tracks ever to chart on the UK Singles Chart.[citation needed] Despite selling well it was not eligible for an official gold disc because Factory Records was not a member of the British Phonographic Industry association.[9] According to the Official Charts Company, its total sales stands at 1.16 million in the United Kingdom alone, and "Blue Monday" came 69th in the all-time UK best-selling singles chart published in November 2012. The song begins with a distinctive semiquaver kick drum intro, programmed on an Oberheim DMX drum machine.[11] Gillian Gilbert eventually fades in a sequencer melody. According to band interviews in NewOrderStory, she did so at the wrong time, so the melody is out of sync with the beat; however, the band considered it to be a happy accident that contributed to the track's charm. The verse section features the song's signature throbbing synth bass line, played by a Moog Source, overlaid with Peter Hook's bass guitar leads. The synth bass line was sequenced on a Powertran Sequencer home built by Bernard.[12] Bernard Sumner delivers the lyrics in a deadpan manner. "Blue Monday" is an atypical hit song in that it does not feature a standard verse-chorus structure. After a lengthy introduction, the first and second verses are contiguous and are separated from the third verse only by a brief series of sound effects. A short breakdown section follows the third verse, which leads to an extended outro. "Blue Monday" was described by the BBC Radio 2 "Sold on Song" feature thus: "The track is widely regarded as a crucial link between Seventies disco and the dance/house boom that took off at the end of the Eighties."[9] Synthpop had been a major force in British popular music for several years, but "Blue Monday", with encouragement by the band's manager Rob Gretton, was a dance record that also exhibited influences from the New York club scene,[9] particularly the work of producers like Arthur Baker (who collaborated on New Order's follow-up single "Confusion"). According to Bernard Sumner, "Blue Monday" was influenced by four songs: the arrangement came from "Dirty Talk", by Klein + M.B.O.; the signature bassline with octaves came from Sylvester's disco classic, "You Make Me Feel (Mighty Real)"; the beat came from "Our Love", by Donna Summer; and the long keyboard pad on the intro and outro was sampled from the Kraftwerk song "Uranium", from the Radio-Activity album.[13] The band claimed to have written the song in response to crowd disappointment at the fact that they never played encores.[14] The song was planned to allow them to return to the stage, press play on a synthesiser and leave the stage 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. However, the band since have become noted for playing Blue Monday as an encore.[15] Some rhythmic and synthesizer elements of the song had been used by the band in an earlier composition, "Video 5 8 6", in 1982, which evolved into the track "5 8 6", appearing on the band's 1983 album Power, Corruption & Lies.[16] Packaging[]The 1983 edition artwork is designed to resemble a 5¼" floppy disk. The sleeve does not display either the group name nor song title in plain English anywhere; the only text on the sleeve is "FAC SEVENTY THREE" on the spine. Instead the legend "FAC 73 BLUE MONDAY AND THE BEACH 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 album, Power, Corruption & Lies.[17] "Blue Monday" and Power, Corruption & Lies are two of four Factory releases from this time period to employ the colour code, the others being "Confusion" by New Order and From the Hip by Section 25. The single's original sleeve, created by Factory designer Peter Saville and Brett Wickens, was die-cut with a silver inner sleeve.[17] It cost so much to produce that Factory Records actually lost money on each copy sold. Matthew Robertson's Factory Records: The Complete Graphic Album[18] notes that "[d]ue to the use of die-cutting and specified colours, the production cost of this sleeve was so 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 record at all, so nobody expected the cost to be an issue."[19] In Shadowplayers: The Rise and Fall of Factory Records, Saville states "I am so bored with this story. We didn't even know how many of these expensive covers were ever made anyway."[20] Robertson also noted that "[l]ater reissues had subtle changes to limit the cost" (the diecut areas being replaced with printed silver ink).[19] Saville commented in 2013 that the printers "banged out a cheaper version. I don't know how many thousands were sold [the original] way, or whether Factory were charged the full price for something they didn't get, which would be very Factory."[21] The artwork was so late that Saville sent it straight to the printer, unreviewed by either the band or the label.[22] The 1988 and 1995 versions were packaged in conventional sleeves. Music videos[]A music video for a shortened version of the original song was created in 1983, featuring military clips with false colour, simple computer-generated graphics such as colour blocks and geometric lines, digitised video of band members at very low resolution and framerate, and a short appearance of the game Zaxxon (reportedly the Apple II port). The colour blocks were created using Peter Saville's colour-coded alphabet.[23] On the Australian show Rage, a video was shown containing footage taken from their BBC Top of the Pops performance with the studio track dubbed over it. The music video for "Blue Monday '88" appears on the Substance video collection (released as a companion to the album of the same name). The video features sketches by photographer William Wegman and his Weimaraner dog named Fay Ray doing balancing acts intercut with hand-drawn animation by Robert Breer. The band members are shown standing around doing various tasks, such as walking a wooden plank over a floor that is painted blue, holding wire-mesh constructed art and milk crates over their faces, being hit by tennis balls, and standing still while they flip through various flip books (tying into the hand-drawn animation sequences).[24] In September 2012 New Order headlined a festival at Portmeirion in North Wales and festival organisers recruited the support of the local Brythoniaid Male Voice Choir to produce a cover version and accompanying video.[25] Official releases[]"Blue Monday" has been a hit several times in the UK. In 1983, it charted twice, initially reaching number 12, 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") was featured on the UK version of the group's subsequent album, Power, Corruption & Lies. New Order appeared on the BBC's Top of the Pops, on 31 March 1983,[26] to promote the song. New Order insisted on performing Blue Monday live. The performance was dogged by technical problems, and was unrepresentative of the recording. In the words of drummer Stephen Morris, "Blue Monday was never the easiest song to perform, anyway, and everything went wrong. The synthesisers went awry. It sounded awful".[27] In 1985, "Blue Monday" and "Thieves Like Us" were officially released in Poland as a 7" single in different sleeve by Tonpress under license from Factory Records and sold over 50,000 copies and reached number 5 on the end-of-year single chart.[28] In 1988, "Blue Monday" was officially remixed by Quincy Jones and John Potoker under the title "Blue Monday 88" (with the instrumental flip being titled "Beach Buggy"). The single reached number 3 in the British charts, number 4 in the Australian charts, and topped the dance charts in the United States. A further official remix/reissue in 1995, with a mix by Hardfloor as the lead track, also made the British Top 20. The song has sold 1.21 million copies in the UK as of October 2015.[29] Appearances[]The single was not originally on Power, Corruption & Lies, but was included on the Gap Records Australia/New Zealand cassette version (though not listed on the card).[30] 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 Power, Corruption & Lies. Meanwhile, "Blue Monday '88" and "Beach Buggy" appear on the Collector's Edition of 1986's Brotherhood. "Blue Monday" also appeared on Grand Theft Auto: Vice City Stories on its in-game radio Wave 103. Also in FIFA Football 2005 and in-game radio in Forza Horizon. "Blue Monday" appears on almost every New Order compilation. 1987: Substance 1987 – Original 12" version 1994: Best of New Order – 1988 7" version 1995: Rest of New Order – Hardfloor Mix [note: some versions come with a disc of "Blue Monday" 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 Compilation appearances include 1996 The Best...Album in the World...Ever! - New edited version of 12" mix (runs at 6:45 length) 2001 Mixmag B!g Tunes - Original 12" version 2002 Electric Dreams - Original 12" version[citation needed] 2008 Anthems II 1991-2009 - 1988 7" mix (mixed into "Chime" by Orbital) 2011 Arkives - Plastikman Remix Track listing[]Blue Monday All songs written and composed by Gillian Gilbert, Peter Hook, Stephen Morris and Bernard Sumner; except where indicated.
Title Length 1. "Blue Monday" 7:29 2. "The Beach" 7:19
Title Writer(s) Length 1. "Blue Monday" 7:29 2. "Thieves Like Us" Arthur Baker, Gilbert, Hook, Morris, Sumner 6:36 Blue Monday 1988 All songs written and composed by Gillian Gilbert, Peter Hook, Stephen Morris and Bernard Sumner.
Title Length 1. "Blue Monday 1988" 4:09 2. "Beach Buggy" 4:18
Title Length 1. "Blue Monday 1988 (Single Mix)" 4:10 2. "Touched by the Hand of God (Single Version)" 3:41
Title Length 1. "Blue Monday 1988 (12" Version)" 7:09 2. "Beach Buggy" 6:52
Title Length 1. "Blue Monday 1988 (12" Mix)" 7:09 2. "Blue Monday 1988 (Dub)" 7:16 3. "Touched by the Hand of God (Remix)" 7:02 4. "Touched by the Hand of God (Dub)" 5:30
Title Length 1. "Blue Monday 1988 (12-inch)" 7:09 2. "Beach Buggy (12-inch)" 6:52 3. "Blue Monday 1988 (7-inch)" 4:09
Title Length 1. "Blue Monday 1988 (12-inch)" 7:09 2. "Beach Buggy (12-inch)" 6:52 3. "Blue Monday 1988 (7-inch)" 4:09 4. "Blue Monday 1988" (Video) 4:09
Title Length 1. "Blue Monday 1988 (12" Mix)" 7:09 2. "Touched by the Hand of God (Single Version)" 4:10 3. "Blue Monday 1988 (Single Version)" 4:10 4. "Blue Monday 1988 (Dub version)" 7:16 Blue Monday-95 All songs written and composed by Gillian Gilbert, Peter Hook, Stephen Morris and Bernard Sumner.
Title Length 1. "Blue Monday-95 (Hardfloor Radio Edit)" 4:16 2. "Blue Monday (Original Radio Edit)" (Actually "Blue Monday 1988 (7-inch)") 4:09
Title Length 1. "Blue Monday-95 (Hardfloor Mix)" 8:34 2. "Blue Monday-95 (Andrea Mix)" 8:26 3. "Blue Monday-95 (Manuella Mix)" 7:31 4. "Blue Monday (Original Mix)" 7:26
Title Length 1. "Blue Monday-95 (Hardfloor Mix)" 8:37 2. "Blue Monday (Original Mix)" 7:26 3. "Blue Monday-95 (Manuella Mix)" 7:32 4. "Blue Monday-95 (Andrea Mix)" 8:28 5. "Blue Monday-95 (Plutone Mix)" 6:29
Title Length 1. "BlueMonday-95 (Manuela Mix)" 7:31 2. "BlueMonday-95 (Andrea Mix)" 8:28 3. "BlueMonday-95 (Hardfloor Mix)" 8:36 4. "BlueMonday-95 (Brain Mix)" 5:24
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)" 8:15 "Blue Monday (Plutone Dub)" (4:46) was only made available on promo vinyl FAC73PL Acid House Mixes By 808 State (1988)
Title Writer(s) Length 1. "Blue Monday (So Hot Mix)" Gilbert, Hook, Morris, Sumner 7:47 2. "Confusion (Acid House Mix)" Arthur Baker, Gilbert, Hook, Morris, Sumner 5:54 Released in 2004. Chart positions[]"Blue Monday"
Peak position
Chart (1984) Peak position New Zealand (Recorded Music NZ)[39] 9
Peak position
Peak position
"Blue Monday-95"
Peak position
Peak position UK Singles (Official Charts Company)[56] 76 2006 and 2009 reissues
Peak position UK Singles (Official Charts Company)[42] 73
Peak position Belgium (Back Catalogue Singles Flanders)[57] 16 Orgy version[]"Blue Monday" Single by Orgy
Format Single Genre Industrial rock, electronic rock, industrial metal Length 31:46 Label Warner Bros./Reprise/Elementree Producer(s) Josh Abraham, Orgy Orgy singles chronology
(1998) "Blue Monday" (1998) "Fiction (Dreams in Digital)" (2000)
Format Single Length 48:04 Label Warner Bros./Reprise/Elementree Producer(s) Josh Abraham, Orgy "Blue Monday" was covered by American heavy metal band Orgy.[58] A cover version of the New Order song, it was released on 14 December 1998. Internationally, the song was a hit,[59] appearing on music charts worldwide. It has been attributed with providing industrial and metal music with a fresh connection.[60] Background 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 have covered it and that they felt it could have been something that they had written.[61] The fact that their first major hit was a cover of the 1980s electronica/dance song did not bother the band.[62] Their first official single release featured various versions of "Blue Monday" and upon the success of the song the band decided to include their previous single "Stitches" on the second release. With the label's support this release was an enhanced CD that featured the music video for "Blue Monday" on 9 February 1999,[61] which was in QuickTime format. "Blue Monday" has been made into several dance remixes,[63] some which were produced to appeal to the underground dance club scene,[61] and was even advertised under "Club Mix" 2000, a popular dance compilation series.[64] The music video for "Blue Monday" also appeared on several music television stations, and the song was also released on vinyl.[65] Success The song appeared on modern rock radio stations,[62] and was a hit on MTV;[59] it appeared on MTV's alternative music program 120 minutes[61] and TRL, in which it debuted at number eight on 22 February 1999.[66] The song was perceived as the band's gateway to success, allowing them to tour in Ozzfest.[67] and in the Family Values Tour[59] and led to the rerelease of the song "Stitches".[61] The song appeared in Spin Magazine's "Hits of the Year" for 1999.[68] "Blue Monday" is also said to have helped pave the way for the cyberpunk trend, as best exemplified in the popularity of the movie The Matrix, which appeared soon afterwards.[69] In an interview of Joel Gallen in Los Angeles Magazine, the music supervisors were discussing the use of Orgy's "Blue Monday" for a football scene in Not Another Teen Movie, among others.[70] Stating that the song "had energy", they eventually selected it for the movie,[71] and it appeared in the soundtrack as well.[72] "Blue Monday" charted internationally, some of which included CMJ's "Commercial Alternative Cuts"[73] and Billboard's Alternative, Pop, and Dance song charts as well as others. It also appeared in Time Magazine[74] and Newsweek[75] in 2000 as featured song clips. Reception
Rating AllMusic (Blue Monday (single)) 2.5/5 stars[76] AllMusic (Blue Monday / Stitches) 2.5/5 stars[77] "Blue Monday" has been called the "aggro-fied-for-the-1990s" version of New Order's song,[63] and it is considered to be part of a resurgence of new wave covers in gloomcore, along with Dope's cover of Dead or Alive's "You Spin Me Round (Like a Record)".[78] Many critics attribute the success of the album Candyass to "Blue Monday", and some anticipated that Orgy would become a one-hit wonder, believing that it would be difficult for the band to follow up with another hit song.[61] Many believed it to be their best song.[79] Porter W. Richards of Sputnik felt that even though many of the songs off of Candyass sounded similar, "Blue Monday" was a great song that should not be overlooked.[60] In a January 2000 Spin Magazine interview, Buckcherry's vocalist 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".[68] The song is also viewed somewhat negatively by the author of the comic book series Blue Monday, Chynna Clugston, who in an interview also expresses dislike for the misconception that she borrowed the title for her book.[80] Track listing
Title Mix Length 1. "Blue Monday" Radio Edit 3:48 2. "Blue Monday" Album Version 4:26 3. "Blue Monday" Club 69 8:45 4. "Blue Monday" Club 69 Dub 8:14 5. "Blue Monday" Optical Vocal 6:33 Information on Blue Monday (single).[81]
Title Mix Length 1. "Blue Monday" Single 4:29 2. "Blue Monday" Optical Vocal 6:40 3. "Stitches" Green Velvet 6:13 4. "Blue Monday" Club 69 8:43 5. "Blue Monday" Club 69 Dub 8:13 6. "Blue Monday" Optical Instrumental 6:41 7. "Blue Monday" DJ Dan Remix 9:32 Information on Blue Monday/Stitches.[77] Chart performance
Peak position
Flunk version[]"Blue Monday" Single by Flunk
position0 Format CD Genre Electronic music Label Beatservice BS053 (CD) Flunk covered the song and released it as single in 2002. In this version, Flunk slows down "Blue Monday" making it a popular hit for Flunk,[85] 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 generally positive reviews by electronic music critics,[85] but Mallory O'Donnell of Stylus Magazine commented that Flunk "only showed the paucity of melody" of the original New Order song.[86] The cover was included in the 2004 film Walking Tall, starring Dwayne Johnson. 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. 2002 EP track listing 1.Blue Monday 2.Eight Days A Freak 3.Blue Monday (Howard Maple Mess Up Mix) 808 State version[]In 2004, Aphex Twin's Rephlex Records released 808 State's acid house version of Blue Monday which had been recorded in 1988. A favourite at The Haçienda's Hot Night, the recording was believed lost until Autechre's Sean Booth asked Graham Massey to dig through his archive of old 808 State acid house material.[87] Aphex Twin said at the time: "If you're a dance music fan these recordings are almost like a missing link. Bands like New Order helped create house, acid and techno. This is 808 State paying homage to their elders." Notes and references[]
Sources[]Bessman, Jim (23 September 2000). "Orgy Expands on Elemtree's 'Vapor'". Billboard Magazine (Nielsen Business Media, Inc) 112 (39): 138. ISSN 0006-2510. Billboard Magazine (Nielsen Business Media, Inc) 112 (10): 132. 4 March 2000. ISSN 0006-2510. Missing or empty |title= (help) Brusca, Donny (2006). BPM List 2006: Main Edition. Lulu.com. p. 700. ISBN 978-1-84728-860-8. Clover, Joshua (November 2000). "Jukebox Culture". Spin Magazine (SPIN Media LLC) 16 (11): 224. ISSN 0886-3032. "Commercial Alternative Cuts". CMJ New Music Report (CMJ Network, Inc) 57 (604): 60. 8 February 1999. ISSN 0890-0795. Hadden, Briton; et. al. (2000). Time Magazine (Time Inc) 155. ISSN 0040-781X. OCLC 1767509. Missing or empty |title= (help) Hay, Carla (6 February 1999). "Elemtree's Orgy Hits with '80s cover". Billboard Magazine (Nielsen Business Media, Inc) 111 (6): 84. ISSN 0006-2510. Jackman, Ian (2000). TRL: the ultimate fan guide. Simon and Schuster. p. 144. ISBN 0-7434-1850-6. Kenneally, Tim (March 1999). "Just can't get enough: Orgy are, like, totally awesome 80's". Spin Magazine (SPIN Media LLC) 15 (3): 164. ISSN 0886-3032. Kenneally, Tim (January 2000). "Buckcherry's Jukebox Jury". Spin Magazine (SPIN Media LLC) 16 (1): 144. ISSN 0886-3032. Melton, Mary (December 2001). "Burden of Spoof". Los Angeles Magazine (Emmis Communications) 46 (12): 192. ISSN 1522-9149. Richardson (November 2000). "Orgy". CMJ New Music Monthly (CMJ Network, Inc) (87): 112. ISSN 1074-6978. Shirley, Ian (2005). Can rock & roll save the world?: an illustrated history of music and comics. SAF Publishing Ltd. p. 256. ISBN 0-946719-80-2. Strousse, Jean; et al. (2000). Newsweek (Newsweek, Inc) 135 (10-17). ISSN 0028-9604. OCLC 1760328. Missing or empty |title= (help) Udo, Tommy (2002). Brave nu world. Sanctuary. p. 255. ISBN 978-1-86074-415-0. Whitburn, Joel (2003). Joel Whitburn's rock tracks: mainstream rock 1981–2002 : modern rock, 1988–2002 : bonus section! classic rock tracks, 1964–1980. Record Research. p. 335. ISBN 0-89820-153-5. External links[]New Order discography (includes images of sleeve) Lyrics of this song at MetroLyrics How we made: New Order's Gillian Gilbert and designer Peter Saville on Blue Monday When did the original Blue Monday come out?"Blue Monday" is a song by English rock band New Order. It was released as a 12-inch single on 7 March 1983 through Factory Records.
Who originally performed Blue Monday?Though the first record of this song was sung by Smiley Lewis, Fats Domino popularized this tune. “Blue Monday” became one of the earliest rhythm and blues songs to make the Billboard magazine pop music chart, peaking at number five and reaching number one on the R&B Best Seller's Chart.
What is the biggest selling 12Blue Monday went on to become the best-selling 12-inch of all time. Three million copies were sold. This is mainly due to the song itself, which developed into a dance classic during the eighties. Blue Monday is still part of many post-punk, techno or electro DJ sets.
Where did the saying Blue Monday come from?The name was reportedly coined by psychologist Cliff Arnall in 2004, it falls on the third Monday in January every year. This has been disputed by others over the years. He came up with it after a holiday company asked him for a "scientific formula" for the January blues.
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