The best-selling 12-inch single in history was a financial disaster for its label.

The best-selling 12-inch single in history was a financial disaster for its label.
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In short: New Order's 1983 masterpiece Blue Monday redefined dance music, but its iconic floppy-disk sleeve cost so much to manufacture that Factory Records lost money on every copy sold. Beyond the balance sheet, the track remains a technical marvel born from accidental errors, DIY engineering, and a heavy dose of Kraftwerk.

Released on 7 March 1983, Blue Monday emerged from the creative ashes of Joy Division. The band, having transitioned into New Order, recorded the track in a Manchester rehearsal space using an Oberheim DMX drum machine and a Moog Source for the bassline. Because the technology of the era was not yet unified by MIDI, the band hired engineer Martin Usher to build a custom circuit to sync their gear. The song's distinctive, slightly off-kilter rhythm was an unintended consequence of a manual sequencing error by Gillian Gilbert, who accidentally added an extra rest while transcribing the sequence by hand.

The single's legendary status is matched by its unique, die-cut sleeve designed by Peter Saville and Brett Wickens. Intended to mimic a 5.25-inch floppy disk, the packaging featured no text, relying instead on a color-coded system to convey information. This ambitious design was so expensive to produce that the label lost 5p on every unit sold. Factory Records, which was not a member of the British Phonographic Industry, never received an official gold disc for the record, despite it becoming the best-selling 12-inch single of all time.

Musically, the track bridged the gap between disco and the burgeoning house scene. It was a collage of influences, drawing from Donna Summer, Sylvester, and Kraftwerk—from whom the band sampled choir sounds using an early Emulator 1 sampler. The band famously learned to operate the sampler by recording their own sneezes and flatulence. Over the decades, the song has been remixed multiple times, including versions in 1988 and 1995, and has been cited by publications like Rolling Stone as one of the greatest dance tracks ever recorded.

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