Blue Monday, ’30s Style
Posted on March 10, 2016 Posted by John Scalzi 23 Comments
Seriously cool and kinda really creepy all at the same time.
Whatever
FURIOUSLY REASONABLE
WHATEVER
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Athena Scalzi, contributor – AMS
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Whoa!
I love that someone thought of doing such a cover. Wow.
I really like it – even more than the original.
If somebody did an homage to the bar scene on Tatooine in the original Star Wars in a Steampunk setting, this is what it would probably look and sound like.
I loved the New Order version as well, even had the extended EP…………..THIS is way cool, thanks for sharing
Brilliant! Thank you for sharing.
Seriously cool!
Delightful use of the theremin.
Bruce C. – Now that’s something I’d pay to see!
My kind of crazy! Talented guys :-) Thanks for sharing it John.
Right on both counts!
That is fricken brilliant!
Much creepier:
Weimar-revival band Max Raabe und Palast Orchester
Oops, I Did It Again
Tainted Love
We Will Rock You
Very clever. I loved this.
Not that I didn’t like it, but some of those instruments seemed more out of tune than obsolete.
Can you imaging the practice that must’ve gone into prepping for that?
I always find New Order/ Joy Division a bit… odd at the best of times, even the hugely cheesy “Baywatch” version of Regret from Top of the Pops.
If you want cool without creepy, check this out!
That was pretty awesome. I liked that as much, if not more, than the original.
WHOA
I’ll take the Fats Domino version, please.
Cool. But what do they mean “obsolete”? None of those instruments (except maybe the Dulcitone) is obsolete!
@Bruce Munro
I’d say “detuned” more like – you’ll notice on older recordings of jazz and classical music, the instruments are much less in tune with each other than they are on modern recordings. It’s not because people had worse ears in the 1930s, but that, especially on the comparatively low-fi recording, broadcast and playback equipment they had back then, the clashing harmonics fool you into thinking the sound is much bigger, richer, and deeper than it actually is. You hear a more subtle version of the same technique on 1960s Motown records, for example, or with small horn sections in modern bands. It’s why the horn sections in Mariachi bands are never quite in tune – you take two or three trumpet players, detune them slightly, and they sound huge.
EJ, I was once told that the multiple strings on the high notes of a piano are similarly (though perhaps not to the same degree) tuned “out” to increase the fullness of their sound.