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In 2001, English electronic group I Monster had a UK chart hit with "Daydream in Blue", a remix of the Günter Kallmann Choir's version of the song; the track peaked at #20 in the UK Singles Chart. [6] The song has also been covered live by the Beta Band as part of their song "Squares".
This was the process that resulted in an early version of Daydream in Blue, which sampled The Gunter Kallmann Choir's version of "Daydream". After finishing their first album These Are Our Children in 1999, the two musicians received an Arts Council grant to press 500 CDs which they had to give away for free, due to sample clearance issues.
The I Monster version of "Daydream in Blue" was used as theme music for the 2002 French action movie Steal and appeared in a television commercial for the Ford Focus ST in 2005. The song was also used in the 2016 episode " eps2.0_unm4sk-pt1.tc " in season 2 of Mr. Robot , and the 2022 episode " Half Loop " in season 1 of Severence .
The verses of "Daydream" use a I–VI m7 –ii–V chord progression and the refrain uses IV–i °7 –I–VI m7. [12] The musicologist Walter Everett writes that because the song's verses always end with half cadences , it means the song never "[achieves] a full-cadence closure" but instead fades out while still feeling incomplete. [ 13 ]
The single is based on a sample of "Daydream in Blue" by I Monster, a song that samples "Daydream" by Gunter Kallmann Choir (which in itself is a cover, the original being written by The Wallace Collection). The song's lyrics depict an adventure being experienced through the eyes of a robot.
Rita Moss – Daydream 7-inch EP (Rozell) (1959) Billy Strayhorn – The Peaceful Side (1961) [3] Thad Jones – The Danish Radio Big Band and Eclipse (1978) [4] Sarah Vaughan – The Duke Ellington Songbook, Vol. 1 (1979) Betty Carter – Feed the Fire (1993) June Christy – The Misty Miss Christy (1956), Day Dreams (1995)
In a jazz band, these chord changes are usually played in the key of B ♭ [7] with various chord substitutions.Here is a typical form for the A section with various common substitutions, including bVII 7 in place of the minor iv chord; the addition of a ii–V progression (Fm 7 –B ♭ 7) that briefly tonicizes the IV chord, E ♭; using iii in place of I in bar 7 (the end of the first A ...
The suspended fourth chord is often played inadvertently, or as an adornment, by barring an additional string from a power chord shape (e.g., E5 chord, playing the second fret of the G string with the same finger barring strings A and D); making it an easy and common extension in the context of power chords.
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