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Post by fearlessarrow on Apr 13, 2020 22:35:32 GMT -5
@ Iceland sending in an artist named ICY for their Eurovision debut
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Post by ry4n on Apr 15, 2020 18:43:09 GMT -5
Brussels 1987Host: Belgium Participants: 22 Voting method: 12-point system (juries only) Winner: Johnny Logan – Hold Me Now Country: Ireland Points: 172 (68.3% of highest score possible) Language: English YouTube | Spotify | Lyrics
General Overview
The 1987 contest embraces Euro pride. It was held in the capital city of Europe, Brussels, on the 30th anniversary of the EEC (the precursor to the European Union). The interval celebrates this milestone with animated yellow stars floating around various pre-recorded footage, to the soundtrack of “Ode To Joy”. It also starts and ends with a flute player on stage.
All 22 active countries participated in 1987 (Malta, Monaco and Morocco were on indefinite hiatuses). It's probably a coincidence, but this emphasized the spirit of European unity. Incidentally, 1987 set a new record for most entries in one contest.
This is the third year in a row where the presenter (Viktor Lazlo) opens the show by breaking into song. The postcards involve the artists interacting with a cartoon image (after the usual shots of various activities in the host city). Viktor mentions a quick fact about each artist before individually introducing their respective performance. And she wears funky earrings during the vote reveal that look like knitting needles.
The stage incorporates a bunch of triangles, a pyramid, blue lasers, flashing spotlights, and a colourful moon. It continues the recent trend of “wall-less” stage designs. And it looks very ‘80s. The stage also comprises of two platforms at different heights, with a staircase connecting them.
Not only did Johnny Logan win for the second time, but Wind were the runners-up for the second time! "Hold Me Now" is another runaway winner. And Logan has one of the more emotional reprisals.
As for the song quality, the late '80s are a weak period for Eurovision, in my opinion.
The Entries
Norway: Kate Gulbrandsen - Mitt liv This intro sounds like a welcoming entrance theme. It's an ideal contest opener. Kate even descends the stairs soon after. She gives a solid vocal performance, while the song has a hopeful and reassuring tone. She also raises her fist at the end. The lyrics express her doubts and uncertainties of entering adulthood, but she's determined to pursue what she wants. It's a pleasant song and the chorus has a strong melody, but it's an ordinary ballad.
Israel: Lazy Bums - Shir Habatlanim This is like an unfunny SNL skit. The duo dances like clowns, while singing a nonsense “hoopa hulee hulee hulee hoopa” hook... with sunglasses during the sax dance break. And a walkaway fakeout at the end. The performance foreshadows the 2000s. But it's too unrestrained and trying too hard for me. The vocals and the song's rhythm (after the ballet-sounding first verse) aren't my thing either. And the slowdown outro is really dragged out. The lyrics describe the daily routine of living in the city, calling it a “wonderful reality”. The Israeli Minister of Culture threatened to resign if this song was selected.
Austria: Gary Lux - Nur noch Gefühl Nowhere near as good as his 1985 entry. This one is just boring. The melody isn't memorable. The echoing percussion and string jumps don't build to anything. The sax solo is whatever. And the brass finale feels too sudden; like the climax was skipped over. Each of these elements needs more impact. The lyrics talk about how their relationship is built on feelings, and not ulterior motives.
Iceland: Halla Margrét - Hægt og hljótt This is a pretty piano ballad, and Halla's performance is fragile and emotional. But it's too slow and drowsy. I don't like the chorus backing vocals either. The lyrics describe the lonely feeling after the bar has closed for the night. When it's time to return home; and leave behind what happened that night.
Belgium: Liliane Saint-Pierre - Soldiers of Love Belgium's host entry advocates fighting for love instead of war. The lyrics mention the never-ending violence, child soldiers, guilt, inaction, and call for unity. The message isn't original, but the staging is. During the chorus, the backing pretends their guitars are guns, while Liliane gives commanding arm gestures. There's also a marching bridge. I love the song's urgent pacing and the loose saxophone. The intro and chorus horns also sound like marching onto the battlefield. The stop before the chorus is effective too. And there's some random English.
Sweden: Lotta Engberg - Boogaloo Sweden's top 10 steak is over. The tropical sounds are something new from Sweden, but this sounds like a cruise ship number or a tourism ad. It's tacky and cheap. The animal screeches are annoying too. But the chorus is catchy - it extends and recedes like waves. And I laugh when the backing bumps into each other. Although I don't like when they walk back and forth. The uplifting lyrics are whatever too. Those "la la la"s are filler. The original lyrics broke contest rules by mentioning "Coca Cola".
Italy: Umberto Tozzi & Raf - Gente di mare Italy's epic duet ballad became a top 10 hit in some countries. I like the ascending atmosphere, and how the verses rapidly bounce up-and-down and pause after each line. And how the song patiently waits until to explode. The first chorus holds back, while verse 2 adds backing chants. That eventual climax is HUGE, but the bare bones orchestra undermines it a bit. But I'm nitpicking. It's a smart and clean composition still. I also like the guy on the left's passionate vocal moments. In the lyrics, they yearn to become “people of the sea”, since city life feels imprisoning.
Portugal: Nevada - Neste barco à vela Another song about sailing, where the river and boat metaphors describe the loneliness, longing and hope felt in Portugal. The song isn't particularly engaging outside of the instrumental breaks (the sawing strings; the electric and traditional guitars). The singer's deep voice is just “blah”. And the chorus harmonies are unappealing.
Spain: Patricia Kraus - No estás solo Patricia certainly puts effort into her vocal performance. But her emphatic grunts and screams are unnecessary, and the “OYE!”s are annoying. Her arm Slinky is distracting too. The intro is too dramatic. And the first post-chorus goes on forever, ending in a jarring transition. In the song, Patricia calls her friend to meet up. They've supported her, so she wants to return the favour. The chorus is so intense that it's like she's slamming the table to make them listen.
Turkey: Seyyal Taner & Lokomotif - Şarkım Sevgi Üstüne Turkey receives “nul points” again. The staging is creative, where the group runs around for 3 minutes, trying to not run out of breath. The song is very energetic for it. But the running looks unnecessary, and Turkey has sent better songs. The lyrics don't really say anything either. But I really like that sliced traditional guitar and the “biiiiiiiiir melodi” hook. The slow crashing intro works too. And I like the air lasso moment with drums.
Greece: Bang - Stop This is a fine, inoffensive, breezy, easy song to listen to, although the singer is overly charming, and his soft voice deflates the chorus. The bassline intro also reminds me of “You Can't Hurry Love”. Still, the backing singers in colourful dresses and sunglasses are fun. And the sax breaks and tumbling escalations are good. In the lyrics, he notices how fame has changed this person, so he tells them to stop. It's lighthearted though.
Netherlands: Marcha - Rechtop in de wind This shouldn't work, but it does. The verses and chorus are SO drastically different. The former are brooding and dark with deep strings and drum splashes. Then, out of nowhere, the chorus switches to '80s synthpop bliss. With sideways struts! That chorus is a bop though and I love the twinkly synths. The second chorus at least has a transition into it. And the dichotomy matches the lyrics – Marcha's ex closes the door and it knocks her down. But then she stands strong against the wind in the chorus.
Luxembourg: Plastic Bertrand - Amour, amour Bertrand's performance is so off-putting. His facial expressions are creepy and he moves around too much. The lyrics are also weird. He mentions dungeons, balloons, Friday the 13th, overpowering love, and... feeling uncomfortable around a minor.... umm. I'm a sucker for '80s synthpop though, even if this instrumental is monotonous. The title hook is okay too.
United Kingdom: Rikki - Only the Light It was Vikki two years ago, and now it's Rikki? “Only the Light” was the UK's biggest flop at the time. I usually love '80s synthpop, but this is so bland and empty. The chorus is an underwhelming, flat, repetitive nothing. The verses have weak vocals and unnecessary crashing sounds. And the air punching is cringe. The pre-chorus pows are okay though.
France: Christine Minier - Les mots d'amour n'ont pas de dimanche The chorus melody is noticeable here, but this is a generic French ballad. France is sticking to their comfort zone. I actually prefer the orchestra during the verses. I believe the lyrics are about Christine's parents not expressing love to her. She was the “quiet fragile girl”, and now she still hopes. She basically says there's no reason to not say it. Otherwise, the bridge gets a bit dramatic. And Christine enters the stage via a classical string intro.
Germany: Wind - Lass die Sonne in dein Herz Wind place 2nd again, but with a reggae song this time! Featuring plenty of turning and bouncing on stage. It's more convincing than Sweden's entry. The song is driven by a consistent kicking beat, while the drums, steel pans, and horns appear at various points. It has a good groove, but the melody and harmonies are the highlight. The lyrics encourage letting happiness in. We get consumed by sadness, anger, and fear. But you have to believe in and love yourself.
Cyprus: Alexia - Aspro-mavro The verses remind me of Diana Ross's “Chain Reaction”. The chorus is relaxing and friendly though, thanks to the saxophone and backing vocals. It's catchy too, especially when Alexia sings the 3rd line solo, followed by the double pounds. The dancers and the red/white/black colour scheme are cool. And it's a simple, breezy, feelgood song. In the lyrics, she plays her “white-black” piano keys to elicit dreams of the person she's missing.
Finland: Vicky Rosti & Boulevard - Sata salamaa That electric guitar + drum + synth intro gets me hyped. And I love the demanding thumping kicks in the verses. This instrumental has attitude!... until the chorus gets ditches that attitude. The chorus harmonies are impactful though. The lyrics use a thunderstorm metaphor as this force trying to take away Vicky's love. But she maintains hope. She will take them to a new, safe place.
Denmark: Anne-Cathrine Herdorf & Bandjo - En lille melodi Anne provides a good vocal performance and a hopeful tone, and I kinda like how the song comfortably drifts in this one continuous direction. But it doesn't really do enough to maintain my interest for 3 whole minutes. And the lyrics are kinda corny. Anne asks everyone to sing this song together to help save the Earth. She reassures the doubters it can work.
Ireland: Johnny Logan - Hold Me Now (winner review below)
Yugoslavia: Novi fosili - Ja sam za ples Yugoslavia's joint-best placement so far. The “I WANNA DANCE” hooks and the hiccups are SO catchy. The sax boosts the former. The rising horns before the chorus, the wild guitar moments in the verses, and the backing singer interjections are also effective. The bouncy rhythm is dance-able. The drums keep the energy going. The band has fun on stage, in an inviting way. They make the 1950s sockhop vibes lovable. The lead singer hops and twirls a lot (and dances with a guitarist). The lyrics are simple but cute. She hears a jukebox in a seaside cafe, and this guy asks her to dance.
Switzerland: Carol Rich - Moitié, moitié Despite the childish vocals and the messy dancing, this is my guilty pleasure. That recurring 'da da... da da D-DA' synth riff is infectious. The chorus hook follows that pattern too. The drums are very '80s. And there's a subtle motor sound throughout. The 6 members bouncing all over the stage is camp. The lyrics say love must be half-and-half. Carol uses a seesaw, a “stupid” hourglass, and a plane crashing into the desert(?) as metaphors to make her point.
The Winner
Johnny Logan becomes the first two-time winner, while Ireland nabs their third victory overall. “Hold Me Now” became a major chart hit across Europe afterwards. The next Eurovision song to have this much chart success is probably... Gina G.
I much prefer “Hold Me Now” to “What's Another Year”. Johnny sounds like he's on the verge of breaking into tears here. The repetition of certain words in the verses give that sobbing tone too. The horn section is a highlight. And the contrast between the verses and the chorus is super effective. The former are quieter, while the latter is a huge power ballad moment. It's where he bursts in anguish. Whenever the song jumps into that chorus, it feels really epic, especially the transition into the final chorus.
The lyrics are mature and aware. Johnny accepts that the relationship is over. He just wants one last night together and one last happy memory.
Verdict: YASSSS. It's probably my favourite Irish winner. That chorus is so strong.
My points go to.... 01. Ireland: Johnny Logan - Hold Me Now 02. Yugoslavia: Novi fosili - Ja sam za ples 03. Netherlands: Marcha - Rechtop in de wind 04. Belgium: Liliane Saint-Pierre - Soldiers of Love 05. Italy: Umberto Tozzi & Raf - Gente di mare 06. Finland: Vicky Rosti & Boulevard - Sata salamaa 07. Germany: Wind - Lass die Sonne in dein Herz 08. Norway: Kate Gulbrandsen - Mitt liv 09. Cyprus: Alexia - Aspro-mavro 10. Turkey: Seyyal Taner & Lokomotif - Şarkım Sevgi Üstüne
11. Greece: Bang - Stop 12. Switzerland: Carol Rich - Moitié, moitié 13. Denmark: Anne-Cathrine Herdorf & Bandjo - En lille melodi 14. Iceland: Halla Margrét - Hægt og hljótt 15. Sweden: Lotta Engberg - Boogaloo 16. France: Christine Minier - Les mots d'amour n'ont pas de dimanche 17. Luxembourg: Plastic Bertrand - Amour, amour 18. United Kingdom: Rikki - Only the Light 19. Austria: Gary Lux - Nur noch Gefühl 20. Israel: Lazy Bums - Shir Habatlanim 21. Spain: Patricia Kraus - No estás solo 22. Portugal: Nevada - Neste barco à vela
Leo ✔ Soundcl🕤ck born fearlessarrow kimberly Mylo13 💜 Future Captain
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Post by ry4n on Apr 15, 2020 18:51:09 GMT -5
32 contest reviewed, 32 to go
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Post by Future Captain on Apr 15, 2020 19:05:18 GMT -5
We're at the halfway point. Keep up the good work!
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Post by ry4n on Apr 17, 2020 19:15:47 GMT -5
Dublin 1988Host: Ireland Participants: 21 Voting method: 12-point system (juries only) Winner: Céline Dion - Ne partez pas sans moi Country: Switzerland Points: 137 (57.1% of highest score possible) Language: French YouTube | Spotify | LyricsGeneral OverviewIreland's mission in 1988 was to modernize the Eurovision Song Contest – the stage, the scoreboard, the interval act. Despite reusing the same venue from 1981, the stage design looks totally different. It's the largest one yet. It's mostly flat, in a diamond shape, with a grid pattern of floor lights converging in the distance. No fancy decorations this year. And the hall is darkly lit, like the past few contests were. The biggest technological shift, however, is the new computerized scoreboard. (Ireland were also the first to implement digital numbers in 1971). The old physical scoreboard is replaced by two video screens, which also displayed the performances. The interval act is Irish rock band Hothouse Flowers singing “Don't Go”, which actually charted on the US rock charts. The performance, which is basically a music video, features footage from several European countries. It's not exactly U2, but the band are more current than previous interval acts. All 22 active participants return except for Cyprus, who were disqualified. Their entry actually competed in the 1984 national final, so it was too old. Did they think no one would notice? The show opens with a performance from last year's winner – I believe that's a Eurovision first. While presenters Pat Kenny & Michelle Rocca are professional with a dry sense of humour. The 1988 vote reveal is one for the ages. It was close race between Switzerland and the UK throughout the phone calls. Towards the end it seemed like the UK had built a comfortable lead. But the penultimate country, Portugal, gave their 12 points to Switzerland. The gap shortened to just 5 points. The deciding country was Yugoslavia, whose juries usually vote erratically. They gave 6 points to Switzerland, pushing Celine ahead by 1 point. The tension built with each successive vote... until Yugoslavia gave their 12 to France and nothing to the UK. 1988 is a ballad-heavy year. In fact, 4 of the top 5 are ballads. The Entries Iceland: Beathoven - Sókrates WTF is this? The carnival stomp-splash beat stumbles around like its drunk. The slowdowns don't work at all. The vocal is weird. The lyrics list several famous people the singer admires, mostly from history; including some Icelandic ones. Maybe he wanted to introduce them to other Europeans. Strongman Jón Páll Sigmarsson's name is said in a funny voice. And the song ends with a "lalalala" clapalong that speeds up. The arrangement and pacing feels completely off. It's a very confusing entry. Sweden: Tommy Körberg - Stad i ljus Tommy returns after 19 years. This power ballad has become the closing song at Swedish student pubs. It's even re-entered Sverigetopplistan in recent years. The song has that glorious finality vibe. The chorus is anthemic and empowering, while the trumpet adds a sense of overcoming something. I believe the lyrics are about welcoming the eventual end of life's journey. To meet life's creator and escape the limitations and divisions on Earth. It sounds religious, but the composition is executed well. Finland: Boulevard - Nauravat silmät muistetaan I always forget what this song sounds like. It's just bland monotony. It isn't catchy and the instrumental doesn't stand out, even with the horns. The band is excited on stage though; the tambourine guy in particular. But that lasso twirl is cringe. The lyrics encourage people to listen, relax, laugh, and be open to making new friends. We tend to be very closed off to strangers. United Kingdom: Scott Fitzgerald - Go Scott's adult contemporary ballad loses by one point. The raised, seesawing chorus (“go BEFORE you break MY HEART”) is memorable. But I prefer the strings/stomps/flute pattern in the verses. It conveys fortitude. The chorus is more... ordinary. I don't need the backing singers at the end either. His raspy, marble-mouthed voice adds personality though. The lyrics are simple – Scott's ex shows up again, which brings back the pain he thought was gone. So he pushes them away to avoid another heartbreak. Turkey: MFÖ - Sufi MFÖ returns after 3 years, just to receive similar placements and points. "Sufi" has a cool atmosphere. The overpowering instrumental continuously flows like a windy ocean carrying Sufi to a foreign land. There's some traditional sounds and "heya" chants too. The chorus strings are great, but the vocals are drowned out, and the chorus just repeats one word. They aren't great singers either. I'm not sure on the lyric meaning, but this Sufi guy sounds foolish. Spain: La Década - La chica que yo quiero (Made in Spain) Spain brings a carefree, albeit silly and basic, summer bop that includes an English hook. The protagonist desires this mysterious girl that's “made in Spain”. I guess he has a thing for Spanish girls. Each chorus begins with castanets, but the instrumental is mostly '80s pop. The synth squeaks are the best part. The dancing is probably the worst part. The song is catchy, but it seems... low quality? Netherlands: Gerard Joling - Shangri-La Some more '80s pop here. The impatient foot-tapping beat is energetic; while the stretched-out "LEEEEEEEEEEEVEN"s, with the backing emphasis, and the violin jolts are a cool hook. I like how it intensifies then immediately stops. But Gerard's soft voice lessens the impact. The ballad-y second verse is an effective switch-up though. In the lyrics, he searches for the Shangri-La utopia, away from the loveless "concrete jungle". Israel: Yardena Arazi - Ben Adam The 1979 co-host competes this time! The performance is charismatic, the Mediterranean instrumental is alluring, and the traditional outfits are a bonus. The first 2/3 is like a steady-paced waltz, with that stomping beat. But the last 1/3 is the best part. The tempo slows down, then gradually increases into a hectic party. It's brilliant. The lyrics advocate against judging people because we're all flawed. Just let others be. Our existence is ultimately short and insignificant. They also list Noah's 3 sons, which is actually a catchy hook. The backing heightens the chorus too. Switzerland: Céline Dion - Ne partez pas sans moi (winner review below) Ireland: Jump the Gun - Take Him Home The host entry goes for an inspirational anthem, but the execution doesn't work. It sounds like 3 different songs stitched together. From blah harmonizing with dramatic punches, to a candlelit piano ballad, to a stadium rock power ballad. With some saxophone thrown in too. And a chorus that doesn't reach its full potential. In the lyrics, someone asks them how to change the world. It takes a while to get to the answer, which is to help someone in need. Germany: Maxi & Chris Garden - Lied für einen Freund This one is copyright restricted. It's a sweet ballad with a nice melody, and the chorus sticks out enough. The piano riff is the best part. But if it disappeared off the Internet, I wouldn't miss it. On stage, the mother/daughter duo play separate pianos. They dedicate the song to a friend, where the arrangement is supposed to match the friend's best qualities. Austria: Wilfried - Lisa Mona Lisa “LISA... MONA LISA” is one of the dumbest choruses ever. And it's stated like this profound epiphany. I can't take it seriously. The lyrics compare Wilfried's lover to the famous painting. The pre-chorus is okay. But the verses are boring and the instrumental is unremarkable. The "nul points" was deserved. Denmark: Hot Eyes - Ka' du se hva' jeg sa'? Hot Eyes' cheerfulness is still cute and endearing in their third (and final) appearance. The song is light and twinkly with 1950s vibes. The pre-chorus blasts and punches are great. I like the piano + handclap groove in the chorus, and how the cymbal crashes switch it up. And the backing members are fun, with their triangular guitars. The performance ends with one of them “accidentally” throwing their guitar at the conductor's head. It's funny. The lyrics offer a solution if someone belittles your intelligence - just say their arrogant words to yourself instead. Greece: Afroditi Frida - Clown The “clown... clown” hook, with those cymbal crashes, and the maniacal laughter is so bad. Frida looks embarrassed to be singing this. And I roll my eyes at the tap dancing, cartwheeling clown. The anxious and jumpy verse instrumental is fun though. And the guitar moments are alright. The song is about the façade clowns use. Norway: Karoline Krüger - For vår jord Meh, I just find this boring. It's an ordinary piano ballad. The chorus is comforting, but the backing vocals are unpleasant. And the candlesticks on the grand piano are a bit much. The lyrics are about someone trying to protect the earth, but she's being ostracized for it. Belgium: Reynaert - Laissez briller le soleil Another boring song. Belgium is about to struggle for a while. Reynaert has a smooth voice, but the song goes absolutely nowhere. The drum beat and soft atmosphere are fairly consistent and move slow. The only breaks are the off-key “i-e-i-e-i” backing chants and the trumpet bit. They also stand far apart to convey power. The lyrics are about the madness of war. Luxembourg: Lara Fabian - Croire 1988 was also Lara Fabian's breakout. Her voice is incredible, passionate, angelic, and beautiful. I love when she shifts between soft and loud. The song's careful pace draws me in too. It starts and ends delicate, with drums powering the middle. And a guitar solo! The subtle horns elevate it too. I just love this texture so much. The lyrics ask to trust that good people still exist in this unjust world. It's easy to lose hope. Sadly, it's all downhill from here for Luxembourg. Italy: Luca Barbarossa - Vivo (Ti scrivo) Italy submits a bland '80s rock song with plenty of electric guitar. The chorus is alright when the drums come in, but that electric guitar is the only thing that stands out. Like, nothing much happens in this song. In the lyrics, Luca keeps apologizing for writing to his ex, but it's harder to communicate true feelings verbally. And answering machine messages can be erased. France: Gérard Lenorman - Chanteur de charme This composition is just too safe and boring for me. I zone out halfway through it. It's a crooner ballad that criticizes crooner ballad cliches. I guess that's an interesting take. But the only part I remember is the “mm-hm-mm” pre-chorus descent. Portugal: Dora - Voltarei That wailing backing singer is unpleasant and too loud in the mix. Dora's voice is good though. The verses are fine, it's just that bursting chorus I find irritating and overwhelming. It's a ballad of longing, but it needs more tenderness. In the song, Dora talks about this game of trying to get this person back, which I find interesting. Yugoslavia: Srebrna krila - Mangup Every element is so loud here, but the brazen noisiness actually works? Somehow this borderline headache is a bop. That clanging and horn-y '80s instrumental commands you to strut. While the lead vocalist pierces my brain. And the backing hollers of “WAH OH”s and “MANGUP” echo across the room. I enjoy her dancing too. In the song, she crushes on this “rascal”, but she's too immature for them. The WinnerThe original Eurovision winners finally achieve a second victory. This time with a future legend from Canada. The songwriters are Swiss though! Switzerland has had an average trajectory of hits and misses in the interim. The next 3 decades will not be kind to them, however. Celine Dion delivers a vocally stunning performance – one of the best in Eurovision history. She also wears that iconic skirt/suit jacket combination. “Ne partez pas sans moi” (“Don't Leave Without Me”) is the last French ballad winner, but the instrumentation contains late 80s elements (moreso in the studio version). I love the dramatic plunking of strings and drums in the verses. Beginning each line with “vous” (“you”) works well too. The chorus, meanwhile, is where Celine shows off her explosive vocal projection. The lyrics are just as melodramatic. She really hypes up the important role this guy plays in her life. Verdict: YASSSS. Arguably not the most interesting song, but I have to applaud the talent. My points go to....01. Luxembourg: Lara Fabian - Croire 02. Switzerland: Céline Dion - Ne partez pas sans moi 03. Israel: Yardena Arazi - Ben Adam 04. Denmark: Hot Eyes - Ka' du se hva' jeg sa'? 05. Sweden: Tommy Körberg - Stad i ljus 06. United Kingdom: Scott Fitzgerald - Go 07. Turkey: MFÖ - Sufi 08. Yugoslavia: Srebrna krila - Mangup 09. Netherlands: Gerard Joling - Shangri-La 10. Spain: La Década - La chica que yo quiero (Made in Spain) 11. Germany: Maxi & Chris Garden - Lied für einen Freund 12. Greece: Afroditi Frida - Clown 13. Italy: Luca Barbarossa - Vivo (Ti scrivo) 14. Portugal: Dora - Voltarei 15. Norway: Karoline Krüger - For vår jord 16. France: Gérard Lenorman - Chanteur de charme 17. Ireland: Jump the Gun - Take Him Home 18. Belgium: Reynaert - Laissez briller le soleil 19. Finland: Boulevard - Nauravat silmät muistetaan 20. Austria: Wilfried - Lisa Mona Lisa 21. Iceland: Beathoven - Sókrates Leo ✔ Soundcl🕤ck born fearlessarrow kimberly Mylo13 💜 Future Captain
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Future Captain
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Post by Future Captain on Apr 17, 2020 19:36:22 GMT -5
LEGEND
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Post by Leo ✔ on Apr 17, 2020 23:03:01 GMT -5
Yaaaasss Celine. Solid song
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Post by ry4n on Apr 19, 2020 16:51:36 GMT -5
Lausanne 1989Host: Switzerland Participants: 22 Voting method: 12-point system (juries only) Winner: Riva – Rock Me Country: Yugoslavia Points: 137 (54.4% of highest score possible) Language: Serbo-Croatian YouTube | Spotify | LyricsGeneral OverviewEurovision returns to where it all began – Switzerland. The 1989 contest is hardly my favourite, though. The intro package, which follows the life of a young Swiss child, goes on for 8 minutes. Presenters Jacques Deschenaux and Lolita Morena are boring. They speak mostly in French too. The winner is forgettable. And 1989 is extremely heavy on the ballads. I count about 15 out of 22! It's like everyone is trying to emulate the previous two winners. Celine Dion is a highlight, however. She opens the actual show with a shortened rendition of her winning entry and “Where Does My Heart Beat Now”. The latter would eventually become her breakthrough hit in the US. I give it 12 points! The interval act is also one of my favourites. It involves some crossbow stunts. The stage continues the direction of the previous few contests – roomy layout, darkly lit, giant video screens. Cyprus returns, bringing Eurovision back to a full house of 22 participants. 1989 sparked some controversy – two of the main artists (France and 1/2 of Israel) were preteens. The organizers responded by implementing an age restriction rule of 16 starting in 1990. This means Sandra Kim's record will never be broken. Despite Yugoslavia beating the UK by 7 points, the vote reveal isn't as exciting as it sounds. Yugoslavia held a comfortable lead for most of the calls. The UK had a late surge, but they never came within striking distance. Yugoslavia were the last to vote, which shortened the lead. The Entries Italy: Anna Oxa & Fausto Leali - Avrei voluto Anna and Fausto vent about the wasted time and missed opportunities to become a couple. They take turns giving their perspectives. The performance is passionate, but Fausto's raspy growl and Anna's screaming are unappealing, and the song takes forever to get going. The first half is so boring and slow with minimal instrumentation. Then it becomes a rock power ballad halfway through, where they shout at each other. There isn't really a chorus either. Israel: Gili Netanel & Galit Burg-Michael - Derekh Hamelekh This is why Eurovision needed age restrictions. Gili's performance shows his inexperience, and his prepubescent vocals are unbearable in the chorus. Things improves a bit once Galit walks over. But it's a bland song regardless. The lyrics are a reassurance that he's guided to the right path. The softer verses and the bridge are alright. But it's not enough. Ireland: Kiev Connolly & The Missing Passengers - The Real Me One of the rare times Ireland flopped in the 20th century. Not surprising since Kiev's vocals are awful, and the couple's stage presence is beyond awkward and uncomfortable. It's so cringe. And you can't even hear her voice. The overpowering '80s synthpop production is a distraction. Including a guitar solo! Those trumpet-y synth bits are the best part. But the composition feels lazy. In the lyrics, Kiev can't believe he was dumped! He thinks she has the wrong impression of him. Netherlands: Justine Pelmelay - Blijf zoals je bent Justine's voice is like a comforting hug - it's beautifully warm and soulful. The orchestra matches the texture. And the chorus has a nice melody. I don't care about her voice crack at the end either. In the lyrics, Justine runs into someone from the past, and she loves who they've become; hoping their growth is permanent. Turkey: Pan - Bana Bana This is pure insanity. The two pairs face off and rapidly say "bana bana" and "olur mu?" to each other. It's so bizarre and funny with the men's deep voices. The verses, likewise, repeat certain phrases, while the ladies laugh in the background. The conductor is OTT. The intro is chaotic. And the atmosphere is so urgent; like they're scared of this guy returning. The juries did not get this. I don't know what to think either. I like the post-chorus though. Belgium: Ingeborg - Door de wind The melody is nice, but I zone out during this one. It's too innocuous and the staging is boring. It sounds more like an NF loser. The random backing singer that appears later on elevates things though. The lyrics are about how she never feels alone, even when this person isn't physically there. There's a calm mood and twinkly synths. United Kingdom: Live Report - Why Do I Always Get it Wrong? For the second year in a row, the UK comes very close to winning. The gap was 7 points this time. This is a polished, late-'80s synth ballad that gives Paul Young vibes. The singer's anguished vocals and professional stage presence sell it. But the chorus doesn't build to anything. In the song, he decides to stop the cycle of bad decisions of going back to his ex. I like the stationary, foggy air atmosphere. The drowsy backing vocals at the end work too. Norway: Britt Synnøve Johansen - Venners nærhet I have no memory of this song existing. And I've watched 1989 before. It's an extremely dull ballad. Britt's performance makes the verses okay, but the backing vocals in the chorus are just ugh. And then a random man hands her a rose. That electric guitar intro was false advertising. The lyrics are about the closeness of friendship. How wholesome. Portugal: Da Vinci - Conquistador This chorus is insanely catchy, but the lyrics are problematic. They romanticize Portugal's colonialism era; as if conquering these lands was a positive thing. Maybe from Portugal's perspective. The chorus literally lists their former colonies. And it isn't being ironic or sarcastic. But whatever, the song's adventurous rhythm is infectious. The backing intensifies the melody. Their dance break is so '80s. And the guitarist is quite animated. It's a fun bop. Sweden: Tommy Nilsson - En dag One of Sweden's many top 5's. I love how the chorus escalates with every single “EN DAG!...”, and there's plenty of them. The repetitiveness is exciting. By the end of the song, there's a guitar solo, handclaps, a huge backing choir, and trumpets. It's a singalong anthem, where Tommy is confident things will work out one day. He sings with conviction and his raspy vocals don't bother me. The song is overwhelmingly triumphant, but not that complex. Luxembourg: Park Café - Monsieur The instrumental is very '80s (those scurrying synths in the chorus are the best part), but the song is basic and the vocals are questionable. The trumpet solos don't do anything either. The lyrics describe a "mister" who has a misguided approach in becoming a Hollywood actor/writer, but she still loves him. Sure, whatever. At least it's catchy. Denmark: Birthe Kjær - Vi maler byen rød Denmark continues to excel with cheerful entries. This performance puts a smile on my face. It's positive in an inviting way. The 1950s instrumental is vibrant and full of life – the clicking rhythm, the horn intensifications, the dancing piano. And the staging is creative. At one point, Birthe gestures the conductor to join her, and luckily there was a backup conductor on standby! Also during the intro, two dudes mosey on over and shake hands. The lyrics involve Birthe literally trying to cheer someone up. I didn't find the chorus catchy at first, but now I do. Austria: Thomas Forstner - Nur ein Lied Austria recovers after a 3-year slump. Thomas gives a good performance, and it's a decent enough '80s synth ballad, but I just find the song boring. It was composed by Dieter Bohlen of Modern Talking. The dramatic splashes are kinda cool. And Thomas sounds earnest in trying to create world peace. Finland: Anneli Saaristo - La dolce vita Finnish lyrics, Spanish flamenco instrumentation, and an Italian title. That's an unexpected combination of cultures, but they fit together perfectly here. There's prominent Spanish guitars of course. But the chorus horns elevate things too. The dramatic stop/starts throughout hook me in. There's a clapping break. And the atmosphere is compelling. The lyrics are about just appreciating life for what it is. It's easy to miss childhood and feel lost. France: Nathalie Pâque - J'ai volé la vie The ballad stretch begins. Nathalie is the youngest main artist in Eurovision history. Her vocals and confidence are impressive for her age. The saxophone is alright. And the chorus melody sticks out - the pause in the final one is effective. But the composition is too generic. The lyrics describe a tough childhood. It's not a sad song, but I don't understand the context. Spain: Nina - Nacida para amar This is a slow and standard Eurovision ballad composition. But Nina delivers a VERY emotive and impassioned vocal performance that I can look past that. She desperately begs this person to stay one more night. She's clinging onto hope with all her might. I like the stumble into the later choruses, and when the piano is shown on screen next to her. Cyprus: Fani Polymeri & Yiannis Savvidakis - Apopse as vrethume This is one catchy chorus. No wonder they go back to it so many times. The song has a honeymoon atmosphere, like they're happy in love and excited for the future. They're also dressed as a bride and groom on stage. There isn't much substance to the lyrics though. All the focus was put into that chorus lol. Switzerland: Furbaz - Viver senza tei Switzerland finally sings in Romansh, their least spoken official language. I guess hosting allows for risks. It's a piano ballad with a nice melody and a comforting, heartfelt atmosphere. But I quickly forget what it sounds like. I don't need the 3 opera guys either. The lyrics are about the importance of human connections and how it makes life worth living. Greece: Marianna Efstratiou - To diko sou asteri Marianna brings a beautiful voice and melody. The song feels like a gentle daydream. There's a playful fairy tale intro, while the flute is a great addition. The energy also increases at the end, but I'm not sure if the switch-up works. The lyrics encourage overcoming fears, doubts, and feeling unimportant. Iceland : Daníel Ágúst Haraldsson - Það sem enginn sér The Icelandic twink receives "nul points". Their first 4 entries did not perform well. The verses are boring AF and Daníel sings them in an odd way. His stage presence is off too. But at least the chorus is catchy, even if it's kinda annoying. In the lyrics, he wants to share a secret with someone. Germany: Nino de Angelo - Flieger Seven ballads in a row. Dieter Bohlen also composed Germany's synth ballad. This time with addictive dramatic crashes in the chorus. The chorus melody is fairly catchy and Nino gives a good performance. The lyrics compare his past relationship to flying like an airplane. There's a plane takeoff whoosh at the start too. But the composition could've done more. Yugoslavia: Riva - Rock Me (winner review below) The WinnerYugoslavia finally wins. The juries underrated them for decades, so a win was overdue. The timing couldn't be any luckier since the country ceases to exist in a few years. They gained momentum in 1987 & 1988 with very similar songs to “Rock Me”. The running order placement likely helped this one pull off what the others couldn't – after 7 consecutive ballads, we needed an energy boost. “Rock Me” is 80s synth rock. The song is borderline basic, but it sounded current for the time. It relies heavily on the “woah oh oh oh” and “rock me baby” hooks. They're catchy hooks though! I like the male mutters in the verses as well. The chorus copies the Bobbysocks! trick of inserting an English-sounding phrase. In fact, the winner's reprisal is sung entirely in English. The performance is energetic – lots of sliding, swaying and bouncing. The flashing neon lights in the background give an 80s night club aesthetic. While the lyrics ask a classical pianist to play a danceable rock song, which is “Rock Me” itself. It's probably some of the weakest lyrics seen in an Eurovision winner lol. This is one of the least talked about Eurovision winners. It sounds like a 3rd or 4th placer in any other year, but nothing else gave winner vibes in ‘89. Verdict: I like it. A song doesn't have to sound like a winner for me to enjoy it. My points go to....01. Denmark: Birthe Kjær - Vi maler byen rød 02. Finland: Anneli Saaristo - La dolce vita 03. Portugal: Da Vinci - Conquistador 04. Netherlands: Justine Pelmelay - Blijf zoals je bent 05. Yugoslavia: Riva - Rock Me 06. Spain: Nina - Nacida para amar 07. Cyprus: Fani Polymeri & Yiannis Savvidakis - Apopse as vrethume 08. Sweden: Tommy Nilsson - En dag 09. Greece: Marianna Efstratiou - To diko sou asteri 10. Germany: Nino de Angelo - Flieger 11. Turkey: Pan - Bana Bana 12. United Kingdom: Live Report - Why Do I Always Get it Wrong? 13. Belgium: Ingeborg - Door de wind 14. Switzerland: Furbaz - Viver senza tei 15. France: Nathalie Pâque - J'ai volé la vie 16. Luxembourg: Park Café - Monsieur 17. Austria: Thomas Forstner - Nur ein Lied 18. Iceland: Daníel Ágúst Haraldsson - Það sem enginn sér 19. Italy: Anna Oxa & Fausto Leali - Avrei voluto 20. Ireland: Kiev Connolly & The Missing Passengers - The Real Me 21. Israel: Gili Netanel & Galit Burg-Michael - Derekh Hamelekh 22. Norway: Britt Synnøve Johansen - Venners nærhet Leo ✔ Soundcl🕤ck born fearlessarrow kimberly Mylo13 💜 Future Captain
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Post by ry4n on Apr 19, 2020 23:44:58 GMT -5
I have reshuffled! I've axed the "meh" tier...it felt unnecessary. Whoever was in that category has been either pushed up to "OK" or down to "TRASHHH" Criteria for each tier:G.O.A.T.: My eventual top 10 (9 of which are locked in. I'm undecided on #10) YASSSS: I'm happy that it won, even if it isn't my favourite of the night I like it: There's at least one flaw that I cannot overlook* Okay: Not happy that it won, but it has redeemable qualities TRASHHHH: Super boring or super cringe {*those flaws} Sweden 84: dumb lyrics Belgium 86: teenage vocals UK 67: misogynistic lyrics Spain 68: lack of lyrics Yugoslavia 89: underwhelming winner UK 81: bad vocals France 77: just tired of French ballads France 69: no hook Monaco 71: exhausting after a while Luxembourg 61: boring verses Ireland 87: sappy Changes:- I vastly overrated Séverine (1971). It's actually kinda exhausting after a while, so I've pushed it down - "Dors Mon Amour" is the most boring winner so far, so it's now TRASHHHH - "Save Your Kisses for Me" is the most cringe winner so far, so it's also TRASHHH - I underrated France 77. I pushed it ahead of some other French winners. Winner's ranking revised:G.O.A.T.01 = ABBA - “Waterloo” (Sweden – 1974) 02 = France Gall - “Poupée de circe, poupée de son” (Luxembourg – 1965) 03 = Grethe and Jørgen Ingmann - “Dansevise” (Denmark – 1963) 04 = Vicky Leandros - “Après toi” (Luxembourg – 1972) YASSSS05 = Izhar Cohen and the Alphabeta - “A-Ba-Ni-Bi” (Israel – 1978) 06 = Lys Assia - “Refrain” (Switzerland – 1956) 07 = Isabelle Aubret - “Un premier amour” (France – 1962) 08 = Gigliola Cinquettie - “Non ho l’età” (Italy – 1964) 09 = Lenny Kuhr - “De troubadour” (Netherlands – 1969) 10 = Céline Dion - “Ne partez pas sans moi” (Switzerland – 1988) 11 = Milk and Honey - “Hallelujah” (Israel – 1979) 12 = Nicole - “Ein Bißchen Frieden” (Germany – 1982) 13 = Teach-In - “Ding-a-dong” (Netherlands – 1975) 14 = Bobbysocks! - “La det swinge” (Norway – 1985) 15 = Jacqueline Boyer - “Tom Pillibi” (France – 1960) 16 = Salomé - “Vivo Cantando” (Spain – 1969) 17 = Anne-Marie David - “Tu te reconnaîtras” (Luxembourg – 1973) 18 = Teddy Scholten - “Een beetje” (Netherlands – 1959) I like it19 +1 Herreys - “Diggi-Loo Diggi-Ley” (Sweden – 1984) 20 +1 Sandra Kim - “J'aime la vie” (Belgium – 1986) 21 +1 Sandie Shaw - “Puppet on a String” (UK – 1967) 22 +1 Massiel - “La, la, la” (Spain – 1968) 23 +1 Riva - “Rock Me” (Yugoslavia – 1989) 24 +1 Bucks Fizz - “Making Your Mind Up” (UK – 1981) 25 +2 Marie Myriam - “L'oiseau et l'enfant” (France – 1977) 26 = Frida Boccara - “Un jour, un enfant” (France – 1969) 27 -8 Séverine - “Un banc, un arbre, une rue” (Monaco – 1971) 28 = Jean-Claude Pascal - “Nous les amoureux” (Luxembourg – 1961) 29 = Johnny Logan - “Hold Me Now” (Ireland – 1987) Okay30 = Corinne Hermès - “Si la vie est cadeau” (Luxembourg – 1983) 31 = Udo Jürgens, “Merci, Chérie” (Austria – 1966) 32 = Johnny Logan - “What's Another Year” (Ireland – 1980) 33 = Lulu - “Boom Bang-a-Bang” (UK – 1969) 34 +1 Corry Brokken - “Net als toen” (Netherlands – 1957) TRASHHH35 -1 André Claveau - “Dors, mon amour” (France – 1958) 36 = Brotherhood of Man - “Save Your Kisses for Me” (United Kingdom – 1976) 37 = Dana - “All Kinds of Everything” (Ireland – 1970) Leo ✔ Soundcl🕤ck born fearlessarrow kimberly Mylo13 💜 Future Captain
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Post by ry4n on Apr 21, 2020 19:38:31 GMT -5
Zagreb 1990 Host: Croatia/Yugoslavia Participants: 22 Voting method: 12-point system (juries only) Winner: Toto Cutugno – Insieme: 1992 Country: Italy Points: 149 (59.1% of highest score possible) Language: Italian YouTube | Spotify | LyricsGeneral Overview1990 is the year of European solidarity songs. The Cold War was almost over, the Berlin Wall had fallen, borders were reopening, regimes were toppling, and the European Union's creation was around the corner. This inspired several artists to express optimism for the future. Ironically, the oncoming decade will not be a peaceful one for the host country. Zagreb upholds the progress seen in the recent contests – a roomy flat stage, giant video screens, a computerized scoreboard. The presenters, meanwhile, ditch the recent trend of introducing each entry individually. 1990 also incorporates an animated mascot – the Eurocat! He appears in the intro and the postcards, where he “snaps” a blank-and-white promo picture of each artist. I love the Eurocat! The same 22 countries from 1989 reappear in 1990. Malta wanted to rejoin, but the number of participants had reached its max. This will become a major problem soon. The interval is whatever. It's a video montage of local scenes. Normally, these videos would be shown at the start of the show instead. The opening sequence this year is a montage of people performing different music styles in various locations, ending with the Eurocat on stage lol. The 1990 contest is notorious for the screw-up during Spain's performance. Eurovision uses backing tracks to keep the artists and the orchestra in sync. But there was a malfunction this time. Azúcar Moreno walked onto the stage, and the band and orchestra were silent. The duo then stormed off. The performance was restarted a few moments later. The vote reveal is fairly close. Ireland lead for a while. But around the 3/4 mark, it became tight between Italy / Ireland / France. Ireland gave their 12 points to Italy, but Italy gave 0 points to their two rivals (seems legit). Austria then shorted the gap between Italy and Ireland to one point. The final two countries, Cyprus and Finland, ultimately gave Italy a convincing lead in the end. While France and Ireland tied for second place, which is unusual. As for the song quality, this is the strongest year since 1985. The Entries Spain: Azúcar Moreno - Bandido Despite the audio screw-up, the sisters pull off a great performance. “Bandido” fuses Flamenco with '90s piano house music; including long instrumental sections. These two different genres sound really good together here. And it sounds very fresh in Eurovision for the time. I love the dangerous atmosphere - there's ominous string flares, a Spanish guitar, castanets, and a drum breakdown. Plus the duo's vocal style is compelling. And the pauses before the chorus are a great hook. In the song, they crave a “bandit”, even though he's harmful. Greece: Christos Callow & Wave - Horis skopo This is just a very forgettable, bland, and nothing entry. It's so uninteresting that I can't think of anything else to say about it. I guess there's a "ti ti ti" bridge. Belgium: Philippe Lafontaine - Macédomienne Philippe dedicates “Macédomienne” to his North Macedonian wife, since he is performing in Yugoslavia. It's a sweet song. And the instrumental's atmosphere is really compelling. It's slow and gentle but in an uneasy way? It gives the image of a nighttime boat ride on a European river. The chorus vocal is romantic too. While the guitar 'da-da's in the verses stick out. And I like how the post-chorus lingers. Turkey: Kayahan - Gözlerinin Hapsindeyim Turkey submits another traditional entry, but with a dark atmosphere. I love how the instrumental keeps moving forward on this uneasy, uncertain journey. The motion stays constant at a comfortable speed. The accordion and the brass responses are great too. And the drifting “Hay la la la la” bit is catchy. Turkey and Belgium are all about the vibes the year. In the song, Kayahan is taken captivate by dangerous temptation. Netherlands: Maywood - Ik wil alles met je delen Maywood addresses her partner who feels lost, and going through a hard time in life. She wants to share the pain and craziness with them. And she loves them the way they are. This chorus is immensely powerful - like she's pleading to him with all her might. The backing vocalists really elevate it. Luxembourg: Céline Carzo - Quand je te rêve Céline dreams about being with her long distance partner. They eventually meet up in the airport in verse 2. I like the recurring light frosty synth breaks, and when the ending turns frantic. The verse instrumental is nice, but once the guitars/drums arrive to make the chorus fuller, that chorus is just *okay* to me. The "QUAND.. JE.. TE.. REVE" part is kind of annoying. United Kingdom: Emma - Give a Little Love Back to the World Emma spreads an important message of environmentalism - we should replace what we've taken from this planet, or else future generations will have nothing. The song attempts a unifying, anthemic, singalong chorus. But that chorus is so tedious. And there's just something so cheesy and surface-level about this song. Iceland: Stjórnin - Eitt lag enn Iceland's first 4 entries kinda flopped, but they've finally reached top 5! And they do so by copying Denmark's formula of pure cheerfulness. The duo bring bright energy and they look genuinely happy in love. Their little bounces and sideways struts are cute. The chorus is infectiously catchy as well ("EEEEITT LAAAG ENN"). The song has a bouncy, dance-able rhythm, with some little sounds thrown in - horns, slaps, synth raindrops, electric guitars. And the bridge adds a tiny bit of drama. Norway: Ketil Stokkan - Brandenburger Tor Norway celebrates the fall of the Berlin Wall by repeating the words “Brandenburger Tor” (“Brandenburg Gate”) a lot. The Brandenburg Gate is a Berlin landmark associated with German reunification. The song may be repetitive, but that chorus is so catchy. It's this unifying chant that victoriously marches forward. The final chorus is also a victory lap. The verses are earnest by contrast. And the instrumental change in the bridge is effective. The song just has such an optimistic tone for the future. Israel: Rita - Shara Barkhovot Rita's performance takes us on an emotional journey. She even crumbles to her knees at the end. The lyrics describe her thoughts right after walking out on her lover. She has conflicted feelings over it. And the song's depressing tone shows her dark emotions. The instrumental takes a journey as well. From somber piano and rattles, to electric guitars in the chorus, to the second verse taking an interesting direction with the drums and strings. The song steadily builds into the bridge, then recedes at the end. Denmark: Lonnie Devantier - Hallo Hallo Denmark continues to be cheerful and carefree. In "Hallo Hallo", Lonnie impatiently calls her crush from the phone booth, but she keeps getting the answering machine. The song's tone is so lighthearted that the situation comes across as comical. The staging also includes lively dancers behind Lonnie. The song is kinda basic though. It has an energetic rhythm, the ending of the pre-chorus is hype, and I like the horns, but the chorus is average. Switzerland: Egon Egemann - Musik klingt in die Welt hinaus This would be so boring without the violin parts. Egon's voice is so deep and monotone and expressionless. The verses work because he adds a violin riff after every line; plus there's bubbling synths. The intro and bridge are also violin solos. However, the chorus is very monotone and flat, and literally every line begins with the word “Musik”. In the song, he sings about the power of music. Germany: Chris Kempers & Daniel Kovac - Frei zu leben This duet ballad has a strong anthemic chorus, but the song is kinda boring. It's about freedom, which I assume is a reference to the Berlin Wall falling. It would be weird if Germany *wasn't* singing about this in 1990. Maybe the approach is too serious for me. France: Joëlle Ursull - White and Black Blues The co-runner-up, and the beginning of France's boundary-pushing era. They will go outside Eurovision's comfort zone for most of the 90s. This one is driven by soft "tribal" drumming, set to an unusual time signature in a circus-y rhythm. With an accordion! The drum breakdown bridge breaks up the monotony. And the song is chill and buoyant. It encourages racial harmony, while Joëlle expresses pride in her African heritage. “White and Black Blues” fits this year's theme of social message songs, and it's not preachy or cheesy or overly serious. Yugoslavia: Tajči - Hajde da ludujemo BOP! This sounds like a current pop song – a bit like the B-52's. The instrumental is so clean and sharp. The orchestra takes a back seat, to let the electric guitars and drums take over. Which really makes it sound modern. Tajči is also a charismatic, confident singer who has fun with it. She lets out a couple "WOW!" screams. And her hand movements match the song perfectly. Oh, and the chorus is insanely catchy. This song has good energy and injects electricity into the arena. The guitarists are fun too. It's a host entry that's better than the song they won with. The lyrics are simple - you don't have to be rich or handsome or strong to impress her! Portugal: Nucha - Há sempre alguém I mostly remember this entry for Nucha's dress (and the backing singers as well) having colourful music notes on it. How camp. The song is catchy ("SEMPRE HA SEMPRE") but kinda basic. It has a very positive vibe though, and Nucha presents it in an inviting, accessible way. Good vocals too. The lyrics encourage looking out for the less fortunate. Ireland: Liam Reilly - Somewhere in Europe The other runner-up. Ireland submits a polished, professional, adult piano ballad, where Liam misses his European trip he shared with a special girl. And he wishes to meet up again. The lyrics mention a bunch of European cities and landmarks. Which I'm never fond of in ESC songs - it feels like pandering. The chorus melody is REALLY strong though. The orchestra and backing vocals elevate it. Sweden: Edin-Ådahl - Som en vind Ugh, one of my least favourite Swedish entries. It's just a generic, boring boyband ballad. I groan from that "hah-hah-hah" intro. The chorus melody is sooo slow and tedious. And the last chorus is overdone. That one growling vocalist can go too. Verse 2 isn't enough to save it, where the instrumental turns rock-y and the vocals jump out. Italy: Toto Cutugno - Insieme: 1992 (winner review below) Austria: Simone - Keine Mauern mehr Another song about the Berlin Wall. Here, Simone is hopeful for the future. She even makes sure to repeat the title in English. I like the fairytale strings in the intro. While the rest of the song uses 1990 rock production. The verses hold anticipation, and the big singalong chorus is impactful. But the backing vocals are too dominant, the chorus is kinda 'blah', and Simon's stage presence is awkward. I also wish the guitar responses in the chorus weren't so quiet. Cyprus: Haris Anastasiou - Milas poli I was wondering when an S/A/W-style production would reach Eurovision It was a signature sound of the late 80s. “Milas poli” is lyrically silly - Haris complains that his lover “talks too much”. I wish his vocals were better, and his dancing was more confident. He basically dances for the 3 whole minutes. Because the song itself is a carefree bop, and the loud instrumental breaks work well. Finland: Beat - Fri? The last song finishes in last. Finland decides to sing in Swedish this year. The quartet asks if we're truly free, which is an interesting take, since the other message songs from 1990 are so positive. The chorus is catchy with the "whoa oh"s and the call-and-response. But the chorus is also messy. And I don't like the outfits either, or that dorky dance break. I do like the trumpet interjections though. And how the song speeds up at the end. The WinnerItaly finally achieves a second victory; 26 years after their first. One can never discount Italy as a contender – their entries are almost always impactful. That said, Italy was actually apathetic towards Eurovision around this time. They skipped a few contests in the '80s, and they're about to withdraw “permanently” in three years. Well, they did come back for '97, but they're basically absent until 2011. The winner, “Insieme: 1992”, features a choir shouting the words “[TOGETHER!] UNITE, UNITE EUROPE!” several times. The message is pretty blatant. The song celebrates the anticipated start date of the European Single Market (1992). And it praises the idea of a more united Europe. Needless to say, “Insieme: 1992” is very of its time. It's also another winner whose main hook is in English. That loud a cappella intro from the backing grabs you immediately. The first half of the song is pretty restrained, which establishes anticipation for an explosive chorus. But then Toto just shouts in intense vocals for the entire second half. Almost like he's scolding Europe to get their s**t together. The orchestra is relentless too. The arrangement is supposed to be powerful, but it's too aggressive. It's overly intense like Luxembourg 1983 was. Toto just sounds super pissed off. And it contradicts the theme of optimism and unity. I do like the trumpet responses and the “... per voi” pauses though. Toto's winner's reprisal is noteworthy for two reasons. First, his hair dye dripped onto his shirt while walking from the green room to the stage. And second, he performed in the middle of the audience – a Eurovision first. Verdict: Okay. Honestly this song gets more annoying the more I listen to. My points go to....01. Yugoslavia: Tajči - Hajde da ludujemo 02. Netherlands: Maywood - Ik wil alles met je delen 03. Spain: Azúcar Moreno - Bandido 04. Iceland: Stjórnin - Eitt lag enn 05. Turkey: Kayahan - Gözlerinin Hapsindeyim 06. France: Joëlle Ursull - White and Black Blues 07. Belgium: Philippe Lafontaine - Macédomienne 08. Israel: Rita - Shara Barkhovot 09. Portugal: Nucha - Há sempre alguém 10. Ireland: Liam Reilly - Somewhere in Europe 11. Norway: Ketil Stokkan - Brandenburger Tor 12. Cyprus: Haris Anastasiou - Milas poli 13. Luxembourg: Céline Carzo - Quand je te rêve 14. Denmark: Lonnie Devantier - Hallo Hallo 15. Finland: Beat - Fri? 16. Italy: Toto Cutugno - Insieme: 1992 17. Austria: Simone - Keine Mauern mehr 18. Switzerland: Egon Egemann - Musik klingt in die Welt hinaus 19. Germany: Chris Kempers & Daniel Kovac - Frei zu leben 20. Greece: Christos Callow & Wave - Horis skopo 21. Sweden: Edin-Ådahl - Som en vind 22. United Kingdom: Emma - Give a Little Love Back to the World Leo ✔ Soundcl🕤ck born fearlessarrow kimberly Mylo13 💜 Future Captain
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Leo ✔
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Post by Leo ✔ on Apr 21, 2020 19:46:42 GMT -5
This Italy song is overrated af So happy Bandido got your 10 points. Such a jam
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ry4n
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Post by ry4n on Apr 23, 2020 20:42:27 GMT -5
Rome 1991 Host: Italy Participants: 22 Voting method: 12-point system (juries only) Winner: Carola – Fångad av en stormvind Country: Sweden Points: 146 (57.9% of highest score possible) Language: Swedish YouTube | Spotify | LyricsGeneral OverviewThe 1991 contest is infamous for its unprofessional hosting. It’s hilarious but also a headache. Italy's two winners – Gigliola Cinquetti and Toto Cutugno – were selected as presenters. The pair spoke exclusively in Italian, and they are extremely talkative. Toto in particular. He also struggles with pronouncing foreign artists names and song titles. Consequently, the show feels so dragged out - from the opening, to the song introductions, to the vote reveal. Speaking of the vote reveal, what a hot mess that is. The camera hardly ever shows the scoreboard, so it's difficult to keep track. Toto and Gigliola repeat every vote in 3 languages (English, French and Italian) - I hate when they do this. It does not go smoothly. The pair frequently state the incorrect country or number. Toto continually cuts off the correspondents to engage in small talk. And the presenters are unhelpful when there's issues contacting Turkey. That whole segment is painful. The scrutineer was visibly frustrated. It's a shame because the 1991 jury vote is excitingly erratic. The top 5 were tight all night, while Malta became a random dark horse. And there was a tie for first place. Sweden and France both stood at 146 points after all 22 countries voted. But unlike 1969, the organizers had instituted a tie-breaker – the most 12's/10's. Which gave the victory to Sweden. If the current tie-breaker rules applied (the most countries), then France would have won. Personally, I prefer the current one because it values a broader range of support. It's funny though because I love Sweden's and France's songs equally. This year's stage is sufficiently roomy, but the background decor is very Italian. The show opens with a music video from Sara Carlson, followed by Toto and Gigliola reprising their winning songs. The postcards involve the respective artists singing famous Italian songs in Italian. Which is daring, since I assume most of them aren't fluent in the language. And the interval stars Arturo Brachetti, who quickly changes costumes several times. Much of it hasn’t aged well. The Netherlands miss 1991 due to a national holiday, which allows Malta to rejoin after a 16-year hiatus. Also, they're now allowed to sing in English. The country competed thrice in the 70s with mediocre results. Conversely, 1991 is the last time Yugoslavia competes as a whole. They appear one final time in 1992, but only Serbia & Montenegro remain in the union by that point. 1991 is one of the most uneven years. Half of the songs are great, and the other half are extremely boring. It's another ballad-heavy year too. Sidenote: this is the first time I've noticed audience members waving flags. The modern era is inching closer. The Entries Yugoslavia: Baby Doll - Brazil We kick things off with some Eurovision kitsch that completely flopped. The song aims for a sunny Brazilian breach atmosphere, while Baby Doll is flirtatious, and the dancer wearing purple is delightful. But her styling is tacky, and she gives the song a joke-y tone. The lyrics are silly too, with her listing country names, the "cha cha cha" line, and the "šta, šta, šta" bit. Plus plenty of "lalala"s. The pre-chorus build-up is good though. And this entry is still fun. Iceland: Stefán & Eyfi - Draumur um Nínu An uplifting power ballad that goes absolutely nowhere. I like the piano at the beginning. But after that, I feel like I keep waiting for a climax that never comes. The chorus doesn't give me that. And the "Er ég vakna – Nína..." post-chorus is just nothing. In the song, the male duet cherishes their dreams of Nina. She's gone forever but she still exists in their dreams. One of them also wears a headband. Malta: Georgina & Paul Giordimaina - Could It Be WTF at this reaching 6th place. Were juries *that* hyped about Malta's return? The song is so plain and boring. “Could It Be” is an adult contemporary duet ballad, where Georgina and Paul discuss the status of their relationship. There's honest awareness in the lyrics, and a down-to-Earth appeal. But the chorus does nothing for me. And it just lacks emotion or chemistry? Greece: Sophia Vossou - I anixi This sounds like a movie score. The orchestra is SO atmospheric – it completely consumes the surroundings. It gives the vibe of becoming one with nature. The verses are supernatural and powerful in a beautiful way, especially with Sophia's voice. I love the descending bits. Meanwhile the chorus switches to triumphant elevation with jabbing strings. The lyrics describe the explosiveness at the dawn of a new relationship. However, that botched sax solo is rough. It probably cost her some points. Switzerland: Sandra Simó - Canzone per te A dreamy ballad that's well-performed. Sandra's vocal tone is warm and encouraging. I love the vibe that the vocals and instrumental create in the verses, but the bland chorus is a letdown. I don't like how that nice vibe stops during the chorus. In the song, she describes the catharsis of channeling her feelings of heartbreak into a song. Austria: Thomas Forstner - Venedig im Regen Austria returns to familiar territory: dead last. With nul points this time. The song is about meeting a girl in the Venetian rain. Which seems like pandering to the host country. This is such a dull, uninteresting, and ordinary ballad. And a very forgettable entry. Luxembourg: Sarah Bray - Un baiser volé The verses have a fairytale-like instrumental. But that chorus is so dreary, lethargic and lifeless. She sounds like she's falling asleep. There's no energy. The drums turn the chorus bland as well. Once again the chorus gets rid of the verses' vibe. The lyrics state that love (or a “stolen kiss”) can brighten up the world. The orchestra makes a mistake during this one too (that stray guitar note). Sweden: Carola - Fångad av en stormvind (winner review below) France: Amina - C'est le dernier qui a parlé qui a raison I can't imagine how it felt to lose on a tie-breaker. So, France is the runner-up in back-to-back contests. And both of those entries were forward-thinking for Eurovision at the time. This New Age genre will take over the contest pretty soon. The song's atmosphere is just magical and mystical. The instrumental stays relaxed, along with Amina's soothing vocals. While the vocal chanting parts stick out in a good way, and I love how she builds into them. There's also enigmatic lyrics and an accordion break. Turkey: İzel Çeliköz, Reyhan Karaca & Can Uğurluer - İki Dakika Turkey brings a feelgood and buoyant song with silly choreo; especially that triple bend-over bit. There's also a dance break! The choreo is amusing though, and the bend-overs match how that part of the chorus shakes downwards. It's just a fun and catchy song. Their happiness is inviting. The chorus is odd in a good way. And I like the horns in that chorus too. The lyrics advises living in the moment. Ireland: Kim Jackson - Could It Be That I'm In Love This is nothing new coming from Ireland. It's a humble and down-to-Earth ballad. But the instrumental and vocals are nice. It's an easy song to listen to. The chorus is too wordy though. In the song, Kim is confused and self-analyzes what her feelings mean. That voice crack probably cost her some points. Portugal: Dulce Pontes - Lusitana paixão Dulce offers her opinion on fado music, which is a Portuguese genre of longing. It's a passionate vocal ballad with an impactful chorus. Her strong voice is why I love this. And it became one of Portugal's best placings at the time. Denmark: Anders Frandsen - Lige der hvor hjertet slår Denmark's "jolly song era" is officially over, and instead they send a forgettable ballad... which puts them in the bottom 5. The verses are so boring. And while the chorus does have a melody, it's not one that I care about. It's just a very bland song where nothing interesting happens. Norway: Just 4 Fun - Mrs. Thompson The band recounts the story of Mrs. Thompson – an overworked, ordinary mother, whom they hail as an unrecognized hero. It's a celebratory performance, where the group emits positive, uplifting energy on stage. There's even a (cringe) air guitar moment. Musically though, the song is just 'whatever'. The pre-chorus is the best part, and the horns are also a highlight. But the chorus is kinda weak. And the instrumental never switches up. Israel: Duo Datz - Kan Israel brings traditional sounds and rehearsed body movements, as this country often does. In the song, Duo Datz explain why they call this place their home. Meanwhile the bouncy rhythm is infectious and it conveys optimism. The chorus is incredibly catchy too, with the "KAN!..." pause, and the ensuing up-and-down melody. The stomping beat in the verses create anticipation. And the flute is a highlight too. Finland: Kaija Kärkinen - Hullu yö That electric guitar intro is fire! The verses, by contrast, are pensive - with a restricted instrumental and a beautiful vocal. While the chorus turns fiery with a melody that packs a punch. Finland is so good in odd-numbered years lol. In the song, Kaija partakes in a one night stand, but now she craves more from this person. Germany: Atlantis 2000 - Dieser Traum darf niemals sterben Germany's first entry since reunification became official. This dorky sextet proclaims that the dream of a brighter future “must never die”. The message is sooo obvious. It's exactly what I expected Germany to sing about in 1991. And it's presented in such an earnest way that it just doesn't do anything for me. Also, the arrangement is extremely dull. No trumpet solo can save this. Belgium: Clouseau - Geef het op Belgium selects rock band Clouseau, who have amassed several hits in the Belgian and Dutch charts. In “Geef het op”, the lead singer asks his ex to give up her new relationship and return to him. Ick. The song is reminiscent of '60s garage rock though. The orchestral swirls before the chorus, the stomping chorus and bridge, and the "Geef het op x3" hook make this into a catchy song. The youthful energy makes it work. Spain: Sergio Dalma - Bailar pegados Sergio delivers a romantic and charming performance. He puts so much charisma and passion into this. It's incredible. While the lyrics are quite seductive. In a year of so many boring male ballads, this one has what the others are missing. I like the clarinet at the start. And how his voice loses restraint in the latter half. There isn't really a chorus, the song just gradually builds. United Kingdom: Samantha Janus - A Message to Your Heart The UK delivers a socially conscious message two years in a row. And both are executed poorly. Samantha guilts and shames half the world for being well-off, while the other half lives in poverty. The lyrics are cynical, asking how we live with ourselves, not taking effective action. I feel like I'm being lectured to. But the chorus is begrudgingly catchy. And the verses have a sense of urgency. Cyprus: Elena Patroklou - SOS Elena fights for environmental protection. The lyrics are blatant in holding humanity responsible for this problem. Her voice is beautiful in the verses (the restrained orchestra highlights this), but it's annoying during the “SOS, SOS, SOS” refrain. Yet again, a nice vibe is ruined by the chorus. That chorus speeds up halfway, but it's very 'blah' and dreary. Italy: Peppino di Capri - Comme è ddoce 'o mare Italy sings in Neapolitan for a change. Their host entry is such a stereotypical and old-fashioned Italian ballad, but Peppino's performance is romantic. It's not necessarily my thing - it's not catchy, but I respect it. It's classy. And the instrumental takes a journey. The WinnerSweden's third win! Carola is a recurring Melodifestivalen participant, even entering as recently as 2008. She won the national final three times in three different decades (1983, 1991 and 2006). She appears in both Eurovision contests hosted by Sweden in the 2010's. And she won Eurovision altogether in 1991! The performance of “Fångad av en stormvind” (“Captured By A Stormwind”) is famous for introducing the wind machine into Eurovision. Appropriately, the lyrics compare love's intensity to being caught in a windstorm. The metaphors are cheesy, but Carola sounds convincingly smitten. “Fångad av en stormvind” is just a burst of pure joy. The song is a highly energetic, insanely catchy BOP. And it sounds current for 1991. The production is similar to other pop hits charting at the time. Meanwhile, the chereo routine is slick - the two male backing dancers jump, spin and flail all over the stage. The key change is effective. And Carola has a good voice. The overall performance is top tier. Apparently there was an audio glitch, and the studio audience couldn't hear part of the performance. There was no issue in the broadcast, though. Verdict: YASSSSSS. It just barely misses my all-time top 10. My points go to....01. France: Amina - C'est le dernier qui a parlé qui a raison 02. Greece: Sophia Vossou - I anixi 03. Sweden: Carola - Fångad av en stormvind 04. Israel: Duo Datz - Kan 05. Finland: Kaija Kärkinen - Hullu yö 06. Spain: Sergio Dalma - Bailar pegados 07. Portugal: Dulce Pontes - Lusitana paixão 08. Turkey: İzel Çeliköz, Reyhan Karaca & Can Uğurluer - İki Dakika 09. Belgium: Clouseau - Geef het op 10. Yugoslavia: Baby Doll - Brazil 11. Italy: Peppino di Capri - Comme è ddoce 'o mare 12. Switzerland: Sandra Simó - Canzone per te 13. Ireland: Kim Jackson - Could It Be That I'm In Love 14. Norway: Just 4 Fun - Mrs. Thompson 15. United Kingdom: Samantha Janus - A Message to Your Heart 16. Iceland: Stefán & Eyfi - Nína 17. Cyrus: Elena Patroklou - SOS 18. Denmark: Anders Frandsen - Lige der hvor hjertet slår 19. Luxembourg: Sarah Bray - Un baiser volé 20. Austria: Thomas Forstner - Venedig im Regen 21. Malta: Georgina & Paul Giordimaina - Could It Be 22. Germany: Atlantis 2000 - Dieser Traum darf niemals sterben Leo ✔ Soundcl🕤ck born fearlessarrow kimberly Mylo13 💜 Future Captain
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Post by Leo ✔ on Apr 23, 2020 21:01:33 GMT -5
"Bailar Pegados" is amazing. Sergio has such a strong discography. Carola's song is solid too.
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Post by ry4n on Apr 25, 2020 23:17:39 GMT -5
Malmö 1992Host: Sweden Participants: 23 Voting method: 12-point system (juries only) Winner: Linda Martin – Why Me? Country: Ireland Points: 155 (58.7% of highest score possible) Language: English YouTube | Spotify | LyricsGeneral OverviewI have caught up to my birth year! And it happens to be one of my least favourite contests. Too many slow songs, the top 3 is too Adult Contemporary for my liking, and there's no song that screams out as an obvious 10/10 #1 for me. The Eurovision executives were not pleased with Italy's unconventional hosting style in 1991, so 1992 returns to professionalism. It's a noticeably lowkey contest for Sweden. Presenters Lydia Cappolicchio & Harald Treutiger are quite straightforward and efficient. The 1992 contest is held in a hockey arena, and the stage incorporates the bow of a Viking ship. Sweden carves their identity this year. The show opens with a quick ribbon dance and Carola performing “All The Reasons To Live”. And the interval act showcases various dances and music throughout the 20th century. The postcards begin with this animation of a wizard bird flipping to the next page of a book, then it's the usual scenery videos. The vote reveal is fairly close until the last few countries were called. The Netherlands return, increasing the number of participants to 23. The limit was originally set at 22, but it would've been unfair to kick anyone out. This is the final appearance of Yugoslavia (AKA Serbia & Montenegro at this point) – the country was ultimately banned over the Croatian and Bosnian wars. 1992 kick starts the baffling Irish dominance of the mid 90's – every contest between 1992-1997 will involve Ireland either winning it or hosting it (and sometimes both). The UK and Malta also “overperform” during this time period, proving that English songs have an advantage in Eurovision. Indeed, the entire top 3 of 1992 are the English nations: Ireland, the UK and Malta, in that order! Consequently, 5 of the next 6 winners will be in the English, and the other is essentially an instrumental. The Entries Spain: Serafín - Todo esto es la música Serafin's piano ballad explains how music is the soundtrack of life. The song is... fine. It’s easy enough to listen it. But it's just really bland and unremarkable. Belgium: Morgane - Nous, on veut des violons A breezy song where Morgane challenges the notion that her generation is unmotivated and unaffected - it's actually a front. She says her generation wants violins (in other words, meaningfulness? – it's an odd metaphor). And yes there are violins in the orchestra. Musically, the song is very average though. It has some "can't sit still" energy, and the chorus inserts some sports field keyboards. But the melody and the dancing are messy. Israel: Dafna Dekel - Ze Rak Sport Israel brings the traditional elements again! This one sounds like a FIFA World Cup theme song. “Ze Rak Sport” contains a danceable rhythm, brass, hand drums, and bumping percussion. The song is high energy. The humming elevates the pre-chorus build-up. And the pauses in the chorus are really catchy - they sound like she's catching her breath lol. Turkey: Aylin Vatankoş - Yaz Bitti This is one of those ESC entries that keeps getting removed from YouTube. “Yaz Bitti” is a boring ballad that doesn't do much for me anyways. The backing responses in verses are the best part. But the chorus melody is annoying. Greece: Cleopatra - Olou tou kosmou i Elpida Greece gives us some Eastern influences. The song has an encouraging vibe of being hopeful in uncertain times. It's gently uplifting. The verses suspend anticipation well with the drums; then the chorus relaxes in a satisfying way. I like the horn twitches too. France: Kali - Monté la riviè France continues to push Eurovision outside its comfort zone. This time by sending a reggae track straight out of the Caribbean. It's even partially sung in Antillean Creole, and Kali is a Martiniquan artist. It's a chill song about finding one's path to inner peace. It's definitely refreshing to have this in the contest in 1992. It has a "floating on the river" vibe. And the title hook is catchy. But it's a bit monotonous until the drums appear towards the end. Sweden: Christer Björkman - I morgon är en annan dag The host entry, and future executive producer of Melodifestivalen, earns a whopping 9 points. The "kom"s in the chorus stick out, and there's a dramatic bridge that contrasts how calm the rest of the song is. But the song is just so... empty? And boring. It doesn't do enough to grab my attention. Portugal: Dina - Amor d'água fresca Portugal selects a modest singer-songwriter. The song compares Dina's lover to sweet foods like fruits. And she goes all in with the metaphor (“I picked you, bit into you and put you in the basket”). It's a little creepy, but there's a sunshiny charm to this performance. The chorus is like a warm, cozy, welcoming embrace. The song just has a nice vibe. Cyprus: Evridiki - Teriazoume Evridiki delivers an alluring performance of temptation. Her hand movements in particular. The song is dark and mysterious, and it draws me in. The violins in the verses move in cautious steps, or like a ticking clock. The pre-chorus intensifies. But then the “TERIAZOUMEEEEEEEEEE” chorus feels incomplete. That doesn't bother me too much though. Malta: Mary Spiteri - Little Child Malta lands in 3rd place with a wholesome, introspective adult ballad. “Little Child”'s arrangement is quite plain. Like a Barbara Streisand song from the 70's. And Mary's voice isn't my favourite. But the lyrics are interesting at least, where Mary is inspired by the “little child”'s positive worldview, since she has became jaded with age. And the "SMILE, LIVE TODAY" and the "LIVE IT UP DAY BY DAY" escalations in the chorus are strong. Iceland: Heart 2 Heart - Nei eða já This song is just pure, infectious joy. It would put a smile on anyone's face. The chorus is catchy too. It's Nordic pop at its best. And the duo brings joyful energy in their performance. In the lyrics, they're uncertain if a relationship will happen or not. Finland: Pave Maijanen - Yamma, yamma Finland submits a rock song that reminisces over old-time radio, and repeats “yamma yamma yamma” several times... and it finished dead last. The song is kind of a mess – the verses have a great suspended atmosphere, but the “yamma yamma yamma” bit is so dumb, silly, and anticlimactic. It ruins everything. Switzerland: Daisy Auvray - Mister Music Man This is like a P.G. Burlesque song. Well, Daisy isn't as playful I expected. But the instrumentation is straight out of a 1950's strip club. The melody is pretty playful though. But I'm not sure if I like the "Mister Music Man" asides. Luxembourg: Marion Welter & Kontinent - Sou fräi Bland, forgettable, and utterly flat. The backing vocals intensify the chorus, but it just leads to this underwhelming synth break conclusion. And her dancing is so awkward. Absolutely nothing interesting happens in this song. The lyrics are about seeking freedom. Austria: Tony Wegas - Zusammen geh'n I don't understand how this old-fashioned heartbreak ballad got 10th place. It's so boring and 'blah' and makes me feel nothing. That chorus is a chore to get through. United Kingdom: Michael Ball - One Step Out of Time The UK recruits Broadway/West End star Michael Ball. And it's their third runner-up in five years. Sure, the “One Step Out of Time *BANG BANG*” hook is catchy, but the rest of the chorus finishes up too soon. And the song is just so... basic? Inoffensive? Wholesome? Michael's performance is cringe-y as well, with him pointing at the synths and pumping his first in the chorus. His theatrical style makes the song kinda inaccessible. Lyrically, he refuses to accept that his relationship is over. Ireland: Linda Martin - Why Me? (winner review below) Denmark: Kenny Lübcke & Lotte Nilsson - Alt det som ingen ser This is a cute and comedic duet with a vibrant melody. The song involves Kenny and Lotte meeting at a party and making a plan to hook up afterwards. The staging reenacts this scene, where Kenny and Lotte leave their respective friend groups to pursue each other. They subsequently do a back-and-forth exchange. Kenny's over-singing and tearing his throat apart is unnecessary though. And the chorus can get annoying in how loud and harsh it is. Italy: Mia Martini - Rapsodia A passionate ballad, where Mia emotes anguish in her distinct raspy voice. “Rapsodia” recounts the story of two old lovers meeting in a bar. They are hopelessly trying to escaping their miserable lives. It's a well-written song and Mia's performance is emotional, but I couldn't tell you how this song goes. There's no melody. And I have to be in the right mood for that voice. Yugoslavia: Extra Nena - Ljubim te pesmama Yugoslavia's farewell entry, although the country is technically just Serbia & Montenegro at this point. The verses are a soothing ballad that features the accordion, giving Mediterranean seaside imagery. While the chorus awakes from the dream in an effective contrast. Whether intentional or not, that chorus really sounds like a final farewell. Norway: Merethe Trøan - Visjoner I just don't get what this entry was going for. It starts as a humming ballad, then triumphant horns enter and the pacing speeds up. But then the chorus is so 'blah'. And Merethe has awkward reactions on stage. Like when she randomly shrugs and cackles. In the lyrics, she advises being a decent person to help shape a better future. Germany: Wind - Träume sind für alle da Wind finished in second place twice in the 80's, but their third attempt misses the top 10 entirely. Unsurprising, since this song is so boring. “Träume...” is an ordinary-sounding inspirational ballad, where the band encourages fulfilling your dreams and escaping crappy life situations. The chorus is *kinda* catchy, but not enough for me to care. This is such a disappointment after their previous entries. Netherlands: Humphrey Campbell - Wijs me de weg Surinamese singer Humphrey Campbell, and his two backing dancers, provide energetic choreo here. While the lyrics describe how he's been all over the world, struggling to find himself. The slower intro is intriguing; it captures the feeling of finding no answers on this journey. The rest of the song has good energy. The chorus keeps asking "show me the way". And I love how the second verse intensifies at the end. The "oh whoa oh"s and the accordion break are cool too. I just wish the chorus was a little catchier. The WinnerSo the Irish domination begins. They achieve a 4th victory with an introspective adult ballad. It's the third Eurovision winner written by Johnny Logan. And, at the age of 40, I believe Linda is the oldest female winner. On the male side, Toto and André Claveau are the only over 40's to win before 1992, though it happens a few more times afterwards. I... don't get this one. It's such a generic Eurovision ballad. The staging is basic. The choir refrain of “why me?” is whiny. And the song is too theatrical/cruise ship/21st century talent show for me. Italy proved that singers over 40 don't need to sing such plain songs. There are two redeeming factors to “Why Me?”, however. First is the frantic instrumentation in the bridge. And second is the lyrics. Linda voices her insecurities and lack of self-worth in her relationship. She questions why she deserves him. It's endearing and insightful enough to salvage the song. Verdict: It's okay. My points go to....01. Israel: Dafna Dekel - Ze Rak Sport 02. Greece: Cleopatra - Olou tou kosmou i Elpida 03. Cyprus: Evridiki - Teriazoume 04. France: Kali - Monté la riviè 05. Netherlands: Humphrey Campbell - Wijs me de weg 06. Portugal: Dina - Amor d'água fresca 07. Iceland: Heart 2 Heart - Nei eða já 08. Yugoslavia: Extra Nena - Ljubim te pesmama 09. Malta: Mary Spiteri - Little Child 10. Italy: Mia Martini - Rapsodia 11. Switzerland: Daisy Auvray - Mister Music Man 12. United Kingdom: Michael Ball - One Step Out of Time 13. Denmark: Kenny Lübcke & Lotte Nilsson - Alt det som ingen ser 14. Ireland: Linda Martin - Why Me? 15. Belgium: Morgane - Nous, on veut des violons 16. Spain: Serafín - Todo esto es la música 17. Finland: Pave Maijanen - Yamma, yamma 18. Sweden: Christer Björkman - I morgon är en annan dag 19. Germany: Wind - Träume sind für alle da 20. Turkey: Aylin Vatankoş - Yaz Bitti 21. Norway: Merethe Trøan - Visjoner 22. Luxembourg: Marion Welter & Kontinent - Sou fräi 23. Austria: Tony Wegas - Zusammen geh'n Leo ✔ Soundcl🕤ck born fearlessarrow kimberly Mylo13 💜 Future Captain
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Post by Future Captain on Apr 25, 2020 23:38:13 GMT -5
oh right. i forgot how dominant ireland is in the 90s. i'm not really a fan of most of their entries (and most of UK's) in this timeframe so i dont get it either.
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Post by ry4n on Apr 28, 2020 12:31:46 GMT -5
Millstreet 1993Host: Ireland Participants: 25 (+4 DNQ's) Voting method: 12-point system (juries only) Format: The 7 new countries competed in a pre-qualifying round. The top 3 advanced to the main show. Winner: Niamh Kavanagh – In Your Eyes Country: Ireland Points: 187 (64.9% of highest score possible) Language: English YouTube | Spotify | LyricsGeneral Overview1993 begins the “Expansion Era” of Eurovision. It's when the Eastern European countries debut, when the stage gets bigger, and when the production values inflate. Ireland's hosting efforts deserve a lot credit for that, but more on that in '94. This year's stage design is mesmerizing. It's a sandwich of askew wide triangles. And Fionnuala Sweeney is a serviceable, classy presenter. Despite the presentation, the 1993 contest is ironically held in an equestrian centre in an obscure Irish town. Eurovision faced a major dilemma in the 90's – how do they incorporate the Eastern countries. Obviously it isn't feasible to employ 30+ songs in one night, so an exclusion method was necessary. This year, a pre-qualifying round (called “Kvalifikacija za Millstreet”) was held one month prior in Ljubljana, Slovenia. Seven countries competed, and the top 3 advanced to the main show. The qualifiers were Bosnia & Herzegovina, Croatia and Slovenia. While Estonia, Hungary, Romania and Slovakia had to wait until next year to officially debut. This means the number of participants balloons to a new record of 25. Which is the average length from here on out. The 1993 show manages to finish around the 3-hour mark by cutting down on the extraneous aspects. There's no elongated opening, no verbal introductions for each entry, and the interval feels short too. It involves a (condensed) reprisal of Linda's winning song, followed by Johnny Logan singing “Keep Love Alive” with an enormous children's choir. Yeah... SKIP. 1993 is the final appearance of Luxembourg; they have no participated since. While Italy enters an indefinite hiatus after this year. They will be out until 2011, with the one exception of 1997. Bosnia and Croatia's entries were, understandably, met with sympathetic applause given the political situation at the time. So Ireland wins in Ireland. The audience reaction is insane. They explode every time Ireland received 10 or 12 points. The 1993 jury vote was all over the place in the first half, with several countries exchanging the lead. But it eventually became a two horse between the UK and Ireland. Malta was skipped over due to connection issues, and were called up last. By that point, 11 points separated the top 2. Malta ultimately gave 0 points to the UK and 12 to Ireland... and the roof blew off the building for two whole minutes. It is deafeningly loud. The English language continues as dominate as Ireland and the UK are the top 2 once again. The Entries Italy: Enrico Ruggeri - Sole d'Europa Italy kicks things off with a rock ballad, which is their last entry for a few years. It's a bittersweet song that asks the sun to shine peace over Europe. This song doesn't really go anywhere though, even with the marching drum part and the electric guitar solo. Turkey: Burak Aydos - Esmer Yarim Turkey provides the most eccentric entry of 1993. There's an enthusiastic saxophonist and monotone muttering from the backing. The lead singer's vocals are not my thing, though. And the chorus is too weird, in an annoying way. Germany: Münchener Freiheit - Viel zu weit Germany haven't been in the top half recently. “Viel zu weit” is a stadium rock power ballad that goes for an “epic”, overpowering, suspended atmosphere. Which it does pull off. The "VIEL. ZU. WEIT" part has this descending feeling that I love. Lyrically, the narrator dreams of a paradise that's untouched by humanity. The strings are definitely a highlight, and there's a fantastical quality to the song. The instrumental break is alright too. But I wanted even more from this chorus I guess? It's a powerful atmosphere either way though. Switzerland: Annie Cotton - Moi, tout simplement I've always seen "Moi, tout simplement" as the finale of the French ballad domination of Eurovision. And what a way to go out! It's crazy to think that Switzerland will struggle for a while after this. “Moi...” is a defiant power ballad, where Annie refuses to comprise her artistic integrity. She stands up to the music industry. The song succeeds at sounding “big” - Annie thrusts that melody at you. I love how that chorus jumps out. It has a movie climax and a fist-pumping "last hurrah" feeling to it. Denmark: Tommy Seebach Band - Under stjernerne på himlen Tommy represents Denmark for the third time. Sadly, his life story after this contest is incredibly tragic. His third entry is an embracing lullaby with pan flutes and whistles. There's a sweet, cozy, reassuring vibe to this. The band standing in a circle reinforces that. The whistling solo works too. And I like that double horn blast when the chorus kicks in. But there's other entries this year that are more impressive. Greece: Katerina Garbi - Ellada, hora tou fotos Greece once again brings traditional sounds, and once again I'm a sucker for it! In the song, Katerina criticizes Greece's current political attitudes. The visual encompasses a repeated camera swipe. Those dark pull-back moments are so good. And the chorus has this antsy energy, but not in a tense way. Belgium: Barbara Dex - Iemand als jij A dress so ugly they named an award after her. Iconic. Too bad the song itself is a snooze that moves at a sluggish pace, with a lethargic vocal delivery. Belgium's love ballad came dead last. The song just has nothing about it that I can comment on - it feels like 3 minutes of nothing happening. Malta: William Mangion - This Time Malta sends a 70's soft rock ballad with gravelly vocals. The song reminds me of a well-known hit, but I can't pinpoint what it is. William throws his voice into it, as he stands up to his cheating lover. Yes, the chorus melody is undeniable and memorable, but I find it hard to care about this song. Iceland: Inga - Þá veistu svarið Inga's voice is pretty in the verses, the saxophone is cathartic, and the slow-moving chorus is actually a nice vibe; like this person finally feels at peace after looking for answers for so long. Inga reassures she's their stress relief. But she is drowned out by the loud orchestra and backing singers. It ruins the experience. Austria: Tony Wegas - Maria Magdalena Austria selects Tony two years in a row. This time, he does not perform a ballad, but a frantic sprint. It's dedicated to the Biblical “Maria Magdalena”. I prefer this to his '92 entry. This one has a sense of urgency and the "Maria Magdalena!" parts are catchy. The song is kind of "one note" though. Portugal: Anabela - A cidade até ser dia Anabela describes the magic of city nightlife. It's a cute performance, and the chorus melody sticks with me. It's not the most unique ballad I've ever heard, but her voice really elevates this. And the instrumental is pleasant to listen to. It's uplifting in a relaxed way. France: Patrick Fiori - Mama Corsica Patrick praises Corsica, highlighting the island's motherly hospitality. He even partially sings in Corsican. The bouzoukis paint a Mediterranean feel, and Patrick's performance is heartfelt. The song is a bit old-fashioned, but it suits the subject matter. I like when the chorus heightens into this distraught pleading. The "MAMA CORSICA" hooks stick out too. Sweden: Arvingarna - Eloise Sweden serves a catchy boyband bop. The “EL-OO-ISE” hook is really effective and the harmonies/vocal style give Beach Boys vibes. The song is a rush of anxiety – the narrator is standing at Eloise's door, unsure how she'll react to his plea. I like how the pre-chorus uses "bababa"s and a spoken word bit. I also like how the chorus melody sets up the second "EL-OO-ISE". This is just slick Swedish pop. Ireland: Niamh Kavanagh - In Your Eyes (winner review below) Luxembourg: Modern Times - Donne-moi une chance Luxembourg's final entry receives 11 points; 10 of which from Malta lol. What a way to bow out. “Donne-moi une chance” is a duet rock power ballad, with messy tempo changes. Despite that, the song is not very memorable. Not even the guitar solo or the key change create an impact. Slovenia: 1X Band - Tih deževen dan Slovenia's debut is not their most memorable entry, but it has an uneasy day-dreamy vibe, and the backing vocalists really elevate the chorus. I can get into this song's vibe. The situation in the Balkans definitely adds an unsettling context to this. It adds a "I'm just trying to live" feeling. Finland: Katri Helena - Tule luo I prefer this to her 1979 entry. “Tule luo” is alluring and darkly inviting. Katri urgently urges the subject to “come to her”. The accordion is a highlight. And there's something really enchanting about this chorus. Especially the waltzing "Kuunnellaan, katsellaan, kuljetaan" part. Bosnia & Herzegovina: Fazla - Sva bol svijeta Such a sombre and distressing atmosphere. The song references the Bosnian War; conveying a message of resilience and defying fear. I can hear the pain of millions in this singer's voice. And the chorus melody is like collectively standing up while suppressing tears. The "hi-la-la"s work too. United Kingdom: Sonia - Better the Devil You Know No, not the Kylie Minogue song, although Sonia has similar career origins with Stock, Aitken and Waterman. She amassed several top 20 hits in the UK before 1993, including a #1. However, the hits dried up immediately after her Eurovision appearance. “Better the Devil You Know” is a lighthearted, 1950's-inspired, bouncy song. It's nothing inventive, but the highlight is Sonia letting loose on stage. Her voice contains so much enthusiasm, and the backing vocals enhance the chorus. The melody flows so easily. And the bridge has a crazy vocal moment. This is the UK's 14th time as runner-up... and the fourth time in six consecutive contests. Netherlands: Ruth Jacott - Vrede The Netherlands bring a 1990's hip-hop drum beat to Eurovision. The instrumental break even has record scratches. It's easily the most current song in the contest. The lyrics aptly reference modern advancements, with oddly specific examples such as: hydroplaning reduction, eternal light bulbs, genetically engineered apples and synchronized standard time. How quirky. The chorus rush is great too. Croatia: Put - Don't Ever Cry Put calls for peace in Croatia in this tedious singalong. The performance is poignant and it evokes sympathy. But that chorus, which is in English for some reason, just drones on and on and on. The song moves so. fucking. slowly. And those "NEVER SAY GOODBYES" are annoying. Spain: Eva Santamaría - Hombres Eva bashes men for 3 minutes. The song is lighthearted and bouncy, so I don't take it that seriously. The chaotic backing dancers are delightful, the horn rhythm is nice, and Eva brings attitude. The instrumentation is a mix of Spanish elements and 90's bass. It makes me smile. I like the contrast between her low voice in the verses and her enthusiasm in the chorus. But this entry feels messy. Cyprus: Zimboulakis & Van Beke - Mi stamatas This is so dated and dull. The Cypriot entry is a duet ballad about helping people. But musically, the song is so "blah". No saxophone solo can save this. Israel: Lahakat Shiru - Shiru Yeah... no. I get what Israel is going for here, but it doesn't work. The performance is way too rehearsed - like the synchronized turns to the camera, and when the pianist gets up to join the group later on. It feels like they're to recreate "Hallelujah". The unifying chorus is sooo intense and draining; it's like a church hymn. The song's tone takes itself way too seriously. And the traditional drum breakdown is random. Norway: Silje Vige - Alle mine tankar A striking performance, thanks to Silje's fragile, shy, soft spoken vocals and the restrained Mediterranean instrumental. It's so honest and tearful. Lyrically, Silje analyzes the intentions behind this guy's body language. The forced audience clapalong is dumb though. And the song can be a bit boring. The chorus doesn't have a lot of energy, which I guess is the point. The WinnerIreland's 1993 victory is noteworthy for a few reasons. They have now tied France and Luxembourg's shared record, at five wins apiece. This is the fourth instance of a country winning consecutive contests, following Spain (68/69), Luxembourg (72/73) and Israel (78/79). And it's the fifth occurrence of the host country taking home the gold. So “In Your Eyes” is noticeably similar to Ireland's 1992 winner. It's another humble, honest, introspective ballad, with a minimalist performance, sung by an everyday woman. The staging is free of clutter, flashiness and distractions. Both “Why Me?” and “In Your Eyes” aimed for raw authenticity, but the latter pulls it off much better imo. While “In Your Eyes”'s arrangement is 20 years out of date – seriously, it's reminiscent of those 70's easy listening hits like “The Morning After” by Maureen McGovern – Niamh brings warmth to the performance. The atmosphere is relaxed and sunshiny. She belts that middle 8. And the choir complements the chorus effectively. Lyrically, Niamh explains how this guy's love has allowed her to open up. She's normally guarded with her emotions, but now she can be her true self. It's an endearing song. Verdict: I like it. This and “Hold Me Now” are my fave Irish winners. My points go to....01. Greece: Katerina Garbi - Ellada, hora tou fotos 02. Switzerland: Annie Cotton - Moi, tout simplement 03. Finland: Katri Helena - Tule luo 04. Ireland: Niamh Kavanagh - In Your Eyes 05. Netherlands: Ruth Jacott - Vrede 06. France: Patrick Fiori - Mama Corsica 07. Bosnia & Herzegovina: Fazla - Sva bol svijeta 08. Sweden: Arvingarna - Eloise 09. United Kingdom: Sonia - Better the Devil You Know 10. Spain: Eva Santamaría - Hombres 11. Portugal: Anabela - A cidade até ser dia 12. Denmark: Tommy Seebach Band - Under stjernerne på himlen 13. Norway: Silje Vige - Alle mine tankar 14. Germany: Münchener Freiheit - Viel zu weit 15. Austria: Tony Wegas - Maria Magdalena 16. Slovenia: 1X Band - Tih deževen dan 17. Iceland: Inga - Þá veistu svarið 18. Italy: Enrico Ruggeri - Sole d'Europa 19. Luxembourg: Modern Times - Donne-moi une chance 20. Turkey: Burak Aydos - Esmer Yarim 21. Malta: William Mangion - This Time 22. Belgium: Barbara Dex - Iemand als jij 23. Croatia: Put - Don't Ever Cry 24. Cyprus: Zimboulakis & Van Beke - Mi stamatas 25. Israel: Lahakat Shiru - Shiru Leo ✔ Soundcl🕤ck born fearlessarrow kimberly Mylo13 💜 Future Captain
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ry4n
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Post by ry4n on Apr 28, 2020 12:48:16 GMT -5
Bonus! Kvalifikacija za Millstreet
Here are my reviews on the songs that failed to qualify. They are excluded from my overall rankings since Eurovision doesn't consider these official entries. None of the DNQ's would crack my top 10 anyway... they're not that great.
A few thoughts: Bosnia's postcard is horrifying (it shows the destruction from the war). The stage is tiny. The interval features the seven artists performing a second song, which were not factored into the jury vote. Awkward moment when some of the second songs are more interesting than their respective entries.
Estonia: Janika Sillamaa - Muretut meelt ja südametuld A cute ballad with a good chorus. The song describes how laughter and smiles are more powerful than material possessions.
Hungary: Andrea Szulák - Árva reggel A reflective ballad. Andrea struggles with the transition to the single life. She has a powerful voice, but this is kinda boring.
Romania: Dida Drăgan - Nu pleca Dida puts forth the effort in her ballad, at least. Her body movements and vocals are quite intense. There's also a powerful choir chorus. Lyrically, she longs for her ex-lover to return. She goes full avant garde in her interval song.
Slovakia: Elán - Amnestia na neveru An 80's rock ballad with annoying vocals. The song requests “amnesty for infidelity”.
Full 1993 ranking: 01. Greece: Katerina Garbi - Ellada, hora tou fotos 02. Switzerland: Annie Cotton - Moi, tout simplement 03. Finland: Katri Helena - Tule luo 04. Ireland: Niamh Kavanagh - In Your Eyes 05. Netherlands: Ruth Jacott - Vrede 06. France: Patrick Fiori - Mama Corsica 07. Bosnia & Herzegovina: Fazla - Sva bol svijeta 08. Sweden: Arvingarna - Eloise 09. United Kingdom: Sonia - Better the Devil You Know 10. Spain: Eva Santamaría - Hombres 11. Portugal: Anabela - A cidade até ser dia 12. Denmark: Tommy Seebach Band - Under stjernerne på himlen 13. Norway: Silje Vige - Alle mine tankar 14. Germany: Münchener Freiheit - Viel zu weit 15. Estonia: Janika Sillamaa - Muretut meelt ja südametuld 16. Austria: Tony Wegas - Maria Magdalena 17. Slovenia: 1X Band - Tih deževen dan 18. Iceland: Inga - Þá veistu svarið 19. Romania: Dida Drăgan - Nu pleca 20. Italy: Enrico Ruggeri - Sole d'Europa 21. Luxembourg: Modern Times - Donne-moi une chance 22. Hungary: Andrea Szulák - Árva reggel 23. Turkey: Burak Aydos - Esmer Yarim 24. Malta: William Mangion - This Time 25. Belgium: Barbara Dex - Iemand als jij 26. Slovakia: Elán - Amnestia na neveru 27. Croatia: Put - Don't Ever Cry 28. Cyprus: Zimboulakis & Van Beke - Mi stamatas 29. Israel: Lahakat Shiru - Shiru
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ry4n
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Post by ry4n on May 1, 2020 9:12:13 GMT -5
Dublin 1994 Host: Ireland Participants: 25 Voting method: 12-point system (juries only) Format: Relegation – bottom 7 5 of 1993 are excluded Winner: Paul Harrington & Charlie McGettigan – Rock 'n' Roll Kids Country: Ireland Points: 226 (78.5% of highest score possible) Language: English YouTube | Spotify | LyricsGeneral Overview 1994 was the biggest Eurovision spectacle at the time. Ireland went above and beyond with their hosting obligations. The show opens with dancing caricatures of Irish celebrities. The presenters (Cynthia Ní Mhurchú & Gerry Ryanenter) enter via a descending bridge, with pyro! The interval act (Riverdance) is mesmerizing, and one of the most iconic in ESC history. And a new tradition is born – the satellite votes. For the first time ever, the audience can see the correspondents. It's the dawn of delayed responses and unintentional interruptions. Meanwhile, the stage is four times larger than Millstreet. The design incorporates the Dublin nighttime skyline in the background. It features flashing lights, screens and a reflective floor representing River Liffey. Also, the 1994 contest is the origin point of Eastern Europe integration. Yes, Bosnia & Herzegovina, Croatia and Slovenia debuted in the previous year, but none of them finished particularly well. This year welcomes seven new countries – a record only matched by the original contest in 1956. The newcomers are: Estonia, Hungary, Lithuania, Poland, Romania, Russia, and Slovakia. And, unlike 1993, the Eastern countries are serious contenders, with Poland landing in 2nd, Hungary 4th and Russia 9th. Conversely, longstanding nations like Switzerland, the Netherlands and Spain perform pretty poorly. In order to accommodate the increasing number of participants, the EBU instated the relegation system. In other words: the lowest placing countries are removed from the following year's contest. In this case, the bottom 7 of 1993 did not qualify for 1994. (Italy and Luxembourg voluntarily withdrew, however, so it was actually the bottom 5). Consequently, Belgium misses their first contest since joining in 1956. The relegation system will continue until the semi-finals are launched in 2004 (with the one exception of 1996). In theory, relegation should incentivize countries to send better songs. Ireland wins in Ireland... again. The audience reactions are just as rowdy as '93. Gerry Ryan repeatedly instructed them to chill until all the countries were called, like a school teacher. Actually, this is one of the most dominant victories ever. Musically, the entries of 1994 are monotonous. 19/25 of them are ballads, most of which contain similar structures. I don't inherently dislike ballads, but this is a tedious selection to sit through. Eurovision is clearly broken in the '90s. The orchestra is such an outdated aspect at this point. The Entries Sweden: Marie Bergman & Roger Pontare - Stjärnorna This adult-contemporary ballad reminds me of the Peobo Bryson duets from Aladdin and Beauty And The Beast. “Stjärnorna” has a bold, pleading chorus melody sticks with me, because of the duo's harmonies and drums. But the song's arrangement is too flavourless and stiff for my liking. And the verses are forgettable. In the lyrics, they hope the sun will illuminate the day until the moon and stars can shine at night. This relates to their relationship somehow. Marie and Roger even exchange a kiss at the end. Finland: CatCat - Bye Bye Baby This entry is notable for the negligees, the two break dancers, and the main hook being in English. The English hook is a bit flat vocally (that key change...), but the duo holds a defiant attitude against their cheating lover. There's no pain or regrets. The English hook is also kinda basic but it's catchy and memorable. The verse melody is good too, and the instrumental has a surrounding, ominous, urgent, on edge atmosphere. I love the dominant strings in this. Ireland: Paul Harrington & Charlie McGettigan - Rock 'n' Roll Kids (winner review below) Cyprus: Evridiki - Ime anthropos ki ego Evridiki, who represented Cyprus just two years prior, executes a powerfully intense performance. “Ime...” is an ominous ballad, where she is fed up with the carnage of war. The lyrics humanize the soldiers involved. I love the slow-moving intense chorus here - there's just something captivating about its pacing. Same with the Mediterranean instrumental break and intro. And how she goes on a tense rant at the end. Iceland: Sigga - Nætur This has such a feelgood vibe, created by the sparkly synth intro, the prominent comforting backing vocals in the chorus, and Sigga's confident cheerful energy. That chorus is so catchy, again because of the backing, and from the drums entering to energize and ease things. The verses are more like sitting and waiting. Sigga has good excited vocals as well. Lyrically, she cherishes the nighttime dreams of her crush. Cute. United Kingdom: Frances Ruffelle - We Will Be Free (Lonely Symphony) An underrated UK entry that sounds like nothing else from 1994. It's more subtle and accessible than those big orchestra ballads. The funky guitar, the soulful backing singers, the soft-spoken verses, and the ominous string bridge stand out. The chorus is neat, with how Frances echoes the backing vocalists. The pre-chorus is good too. She sounds down-to-earth, while wearing that metal leaf crown. And the world issue lyrics are more practical than UK 1990/91. Frances stays hopeful that we'll live in freedom and harmony someday. She tells the oppressors to go to confession. There's mentions of segregation, fighting wars, and being treated as invisible. The UK will continue trying new things in the '90s! Croatia: Tony Cetinski - Nek' ti bude ljubav sva The next 7 songs are all ballads, so strap yourself in. Croatia's is nothing I haven't heard before. The chorus is passable but pretty average - the backing vocals and drums enhance it. The verses are forgettable, aside from maybe the bells. The trumpet break could be more impactful too. Still, Tony's voice and stage presence are smooth. In the lyrics, he struggles to cope with his lover cheating. Portugal: Sara Tavares - Chamar a música One of the few times Portugal made top 10. Sara's vocals are stellar, but the song by itself is pretty boring. It's an ordinary formulaic Eurovision ballad, and the chorus vocal is actually kinda annoying. The slight harmonica and chorus drums are okay. The lyrics describe Sara's writing process to create a love song for her partner. Switzerland: Duilio - Sto pregando Switzerland substitutes for Italy's absence by submitting their own old-fashioned Italian ballad. Duilio sounds compassionate, as he prays for people's lives to improve. There's a good variety of instruments here. Halfway through, the drums kick in and the orchestra expands, while his voice grows more wary. But the song still doesn't really go anywhere? The middle is so repetitive. This entry is just 'whatever'. Estonia: Silvi Vrait - Nagu merelaine This song sure does exist. It's just bland and blends into the background. The chorus melody makes an effort, and there's electric guitar moments, a nagging piano, and chorus drums, but it doesn't get stuck in my head easily. Silvi is charming at least. She compares her relationship to the changing sea waves. Romania: Dan Bittman - Dincolo de nori This running order is a snooze. Romania's ballad builds to something, and Dan's performance is passionate and genuine. It starts with an active piano and smooth vocals, while the backing choir and strings create an angelic chorus. But after the drums and electric guitars kick in, the second verse isn't clean. The backing is more shriek-y. And Dan tears his throat apart at the end - a disappointing climax. The lyrics are about him trying to be a better person. Malta: Chris and Moira - More than Love Top 5... really? This sounds like “The Living Years” by Mike + The Mechanics. “More than Love” is an inspirational anthem that falls flat. The big chorus melody is tedious. The performance lacks passion, aside from Moira's ad libs at the end. And Chris's vocals are rough. The instrumental sounds like "The Lion King" at first. Then the electric guitar progresses things. The chorus synths are alright. But ugh at the bells at the end. The lyrics are about pursuing the dream of becoming a musician. Netherlands: Willeke Alberti - Waar is de zon In a year full of boring ballads, this is the most boring one. There's no melody, personality or flavour whatsoever. It starts as a piano ballad and becomes dramatic later. But the orchestra does nothing interesting. Willeke spends most of the song longing for her ex, who comes back during the bridge. Germany: MeKaDo - Wir geben 'ne Party This is the energy boost I needed. Germany is finally back in the top 3! With a party song about partying. It's a bop and the trio has so much fun with it. It's kinda disco, but more rambunctious, and the instrumental consumes the entire space. The bouncy rhythm is consistent and nonstop like a river. Plus there's catchy hooks everywhere: the "Wo ist 'ne Party? x2" jumps in the verses. The quick "shake it, take it..." pre-chorus, with the horn blasts and steps. The repeated song title building tension in the chorus, and the "OH WHOA WHOA OH"s releasing it. And the conversation bridge is delightfully random. The keyboardist's ad libs are cringe, but that's nitpicking. Slovakia: Tublatanka - Nekonečná pieseň Slovakia sends a rock song that sounds closer to '80s hair metal than '90s grunge or Britpop. The composition is pretty basic, but it's easy to listen to. The strings complement it and I like the melody. The verses push up, the pre-chorus switches, and the chorus flows freely. The "vráť, vráť, vráť" hook is catchy. The vocals are... tolerable. And the guitar solo is fine. But the lyrics sound controlling, in persuading this person to come back. Lithuania: Ovidijus Vyšniauskas - Lopšinė mylimai Lithuania achieves "nul points" on their debut. The chorus attempts a melody, but it's still an extremely boring ballad. The instrumental is formulaic and flavourless. The electric guitar in the intro and bridge is a tease. The vocals become more unpleasant as the song progresses. And the lyrics are kinda creepy? Norway: Elisabeth Andreassen & Jan Werner Danielsen - Duett “Duett” is a duet (duh!), featuring one half of Bobbysocks! In the lyrics, their "song" (or love) is powerful enough to melt the frozen river. Elisabeth's solo verse is fine. But most of the song is a relentless shouting match. Why are the vocals as LOUD as humanly possible? I don't understand the appeal of this. The instrumental is also yet another bland, flavourless ballad that doesn't sound unique. The chorus drums help a little. But for a romance ballad, I feel nothing. Bosnia & Herzegovina: Alma & Dejan - Ostani kraj mene Bosnia are welcomed with huge applause again. This duet ballad does have emotion. The verses are a bit boring, but once the gentle pre-chorus harmonies come in, I feel it. The song has a bittersweet, insecure, vulnerable tone of how much they need each other. I love how the harmonies grow from soft to loud through the chorus (amplified by the trumpets and drums). The ensuing back-and-forth works well too, and how the orchestra ascends afterwards. Greece: Kostas Bigalis & The Sea Lovers - To trehandiri This sounds like a Greek tourism ad. It's a summery song, but too simple in composition, and the traditional guitars sound cheap. Greece has incorporated Mediterranean sounds better in other years. The most memorable aspect is a silly “Didi diri diri” nonsense hook. And the lyrics are about corny romance on a fishing boat. Meh. The lurching intro is okay. Austria: Petra Frey - Für den Frieden der Welt Petra calls for peace in this earnest singalong; to end the suffering and division. The chorus is very catchy and the vibe is uplifting. But the instrumental is a little dated. And there's not much else to comment on. Spain: Alejandro Abad - Ella no es ella The worst vocals of the night. Alejandro sings in this forced, exaggerated, unnatural way. Spain were lucky to avoid relegation. In the lyrics, he struggles to resist the temptation to cheat with a more exciting girl. Umm... anyways. The instrumental is kinda country, and the chorus guitar splashes are alright. But that voice is unbearable. Hungary: Friderika Bayer - Kinek mondjam el vétkeimet? This is breathtakingly gorgeous. Hungary “debuts” with a gentle, melancholic ballad. “Kinek...” has such a rich texture and mood. It's both sad and soothing. And reflective and cathartic. The minimalist instrumental is ideal. The acoustic guitar is the main focus. It establishes the mood, alongside Friderika's soft vocal. The verses only add tambourine shakes. And I love when the orchestra melts the chorus. The bridge adds a little tension too. The lyrics describe Friderika's feelings of abandonment and guilt. There's no light, words, or love; just bleak nothingness. She's pregnant and alone. She's too vulnerable to be tormented. Russia: Youddiph - Vechny strannik Russia's debut has very different verses and chorus. The former are calm and casual. They have a wandering or 'shopping at the street markets' vibe. While the latter is more anguished, where Youddiph's vocals are explosive, and the instrumental switches to typical Eurovision ballad sounds. I'm not 100% sold on the chorus, but it definitely jumps out. The staging is also notable for Youddiph's red dress/cloak thing. In the lyrics, she says her ex is welcome back anytime. Poland: Edyta Górniak - To nie ja! Poland debuts at #2! With an impressive vocal performance. Edyta sings the first verse softly, then turns up the volume in the chorus. She also unleashes big notes from the bridge onward. The chorus melody is memorable too. And she gives emotion. I interpret the lyrics as Edyta challenging the unfair, repressive, judgmental expectations of women. She snaps “I'm not Eve!” (from the Bible). She's innocent! I just wish the instrumental wasn't so standard. I like how the verses move steady and introduce one new instrument at a time though. The chorus is mostly drums. The jury rehearsal sparked controversy because she partially sang in English. Poland was not disqualified however. France: Nina Morato - Je suis un vrai garçon The only “weird” entry of '94. Nina inserts some odd-sounding “mow mow mow”s. She randomly screams at one point. She slips in a French expletive. She crouches down several times, and has odd body movements. And she sings with a cynical, mocking tone. The lyrics flip gender stereotypes, where Nina avoids her partner that she's cheating on. It makes her “a real boy” (Pinocchio reference?) The song sounds '90s. It's mainly acoustic guitar slaps and drums, with a string break bridge. The WinnerSo Ireland pulls off the impossible – three consecutive wins. It's an unprecedented feat that I doubt will ever happen again. And that's not the only record Ireland breaks in '94. This is their 6th victory overall, more than any other country. And “Rock n Roll Kids” is the first song to surpass 200 points, shattering the points record. It's actually one of the strongest winners, percentage-wise. Despite all that... “Rock n Roll Kids” is probably my least favourite Eurovision winner ever. The bare bones arrangement is depressingly dull and monotonous – there's no climax. It doesn't build to anything. Indeed, Paul & Charlie do not “rock n roll anymore”. The orchestra is completely silent, instead focusing solely only on Paul's piano and Charlie's acoustic guitar. I prefer songs that are more dynamic. The lyrics, meanwhile, are basic and cheesy. Examples: “We were the rock 'n' roll kids / Rock 'n' roll was all we did” and “I was yours and you were mine / That was once upon a time”. But above all else, two middle-aged guys reminiscing over their youth does not appeal to me. The song is effective in evoking nostalgic memories. It's a remark on how much life changes. But this sentiment embodies what I dislike about mid 90's Eurovision. It's fixated on the past. Paul & Charlie long for their youth, without offering any thoughtful commentary on the matter. It's also Ireland employing the same formula three times in a row – a humble, introspective ballad sung by everyday man/woman, supported by simplistic staging and arrangement. I'm over it at this point. The English songs have such a disproportionate advantage. Verdict: TRASHHHHHHHH. My points go to....01. Hungary: Friderika Bayer - Kinek mondjam el vétkeimet? 02. Germany: MeKaDo - Wir geben 'ne Party 03. United Kingdom: Frances Ruffelle - We Will Be Free 04. Cyprus: Evridiki - Ime anthropos ki ego 05. Poland: Edyta Górniak - To nie ja! 06. France: Nina Morato - Je suis un vrai garçon 07. Finland: CatCat - Bye Bye Baby 08. Iceland: Sigga - Nætur 09. Bosnia & Herzegovina: Alma & Dejan - Ostani kraj mene 10. Russia: Youddiph - Vechny strannik 11. Slovakia: Tublatanka - Nekonečná pieseň 12. Sweden: Marie Bergman & Roger Pontare - Stjärnorna 13. Austria: Petra Frey - Für den Frieden der Welt 14. Portugal: Sara Tavares - Chamar a música 15. Croatia: Tony Cetinski - Nek' ti bude ljubav sva 16. Estonia: Silvi Vrait - Nagu merelaine 17. Greece: Kostas Bigalis & The Sea Lovers - To trehandiri 18. Romania: Dan Bittman - Dincolo de nori 19. Switzerland: Duilio - Sto pregando 20. Norway: Elisabeth Andreassen & Jan Werner Danielsen - Duett 21. Malta: Chris and Moira - More than Love 22. Ireland: Paul Harrington & Charlie McGettigan - Rock 'n' Roll Kids 23. Lithuania: Ovidijus Vyšniauskas - Lopšinė mylimai 24. Spain: Alejandro Abad - Ella no es ella 25. Netherlands: Willeke Alberti - Waar is de zon Leo ✔ Soundcl🕤ck born fearlessarrow kimberly Mylo13 💜 Future Captain
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ry4n
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Post by ry4n on May 4, 2020 7:32:37 GMT -5
Dublin 1995Host: Ireland Participants: 23 Voting method: 12-point system (juries only) Format: Relegation – bottom 7 of 1994 are excluded Winner: Secret Garden - Nocturne Country: Norway Points: 148 (56.1% of highest score possible) Language: Norwegian YouTube | Spotify | LyricsGeneral OverviewIreland hosts the Eurovision Song Contest three times in a row. I doubt any other country would agree to that. Incidentally, they also happen to stage the landmark 40th edition. The opening sequence indulges in Eurovision legacy, with a chronological montage of the 39 previous contests. And since I've reviewed them all, I recognize every clip! It triggers those nostalgic endorphins. Transitioning from that, the stage unfolds like a garage door to allow presenter Mary Kennedy to enter. The production is on par with 1994 so far. But that's where the spectacle wears off. The remainder of the 1995 contest does not live up to last year's impressiveness. The stage design is more generic, and I get tired of the dark lighting in every performance. Meanwhile, the interval act involves Gregorian chants... and it's dreary. A definite step down from Riverdance. The bottom seven of 1994 are relegated, while the five absentees return. The EBU decided to cut down the number of participants to 23. Switzerland misses out for the first time since joining in 1956. Which means Germany is the only country remaining with 100% participation. Finland, meanwhile, kicks off a decade-long stretch where they're relegated every other year. And Lithuania, following a nil-point result on their debut, opts to sit out until 1999. The 1995 entries are more varied than last year's ballad gluttony. Although the mid 90's continue to be ballad-heavy. Strangely, the English speaking countries do not dominate this year - the UK, Malta and Ireland all land in the midtable. Instead, the Nordic countries prevail, with Norway, Sweden and Denmark all occupying spots in the top 5. The suspense level in the vote reveal is moderate this year. Sweden lead early on, but Norway pulled ahead around the halfway point, while Spain had a late surge. Oddly, 70% of the top 10 perform within the final 9 slots of the running order. The Entries Poland: Justyna - Sama That violin is PAINFULLY out of tune; like nails on a chalkboard. Justyna's voice during the last minute is just as grating. Which is a shame, because "Sama" has such an intriguing dark, depressing atmosphere. It's an experimental song that turns messy. It combines traditional instruments with the classic orchestra and a '90s drum beat. That's three genres and time periods. The song starts delicately melancholic and pensive. Then the drum beat enters into a trance. Then Justyna "wakes up" and begins folk chanting with backing responses; eventually unleashing a high-pitched whistle. The lyrics are enigmatic, alluding to a sense of abandonment and possibly abuse? Ireland: Eddie Friel - Dreamin' "Dreamin'" breaks Ireland's winning streak. And it didn't even come close to winning. The song is so lackadaisical that I assume Ireland were trying to lose this time. Eddie looks bored on a stool, singing a song from the 1950's crooner era. The instrumental and backing vocals give that vibe. It's so dated. The song is dreamy, but in the sense that I zone out. It's like sitting on a dock, drifting away in thought. There's string flutters, a foot-tapping beat, an accordion break, and some lazy "la la la"s. But it's boring. Eddie's vocals aren't my fave either. Germany: Stone & Stone - Verliebt in Dich Germany had one good result and then went right back to flopping. In dead last this time! “Verliebt in Dich” is an uplifting devotion to God. The chorus sounds epic with the catchy “OH-OH!”'s and the omnipresent backing vocals. But the lead vocals are... not good. Plus the transitions after the chorus are too sudden. The dripping faucet intro and the bridge are too bare; which exposes the weak vocals. And I don't care for the religious lyrics. But I like when the bagpipes and drums enter. There's a marching verse and the chorus is strong. Bosnia & Herzegovina: Davorin Popović - Dvadeset prvi vijek Inoffensive and lacks impact. The song starts off as boring classical. Then the bass guitar enters, but the verses are just elevator music. Then, out of nowhere, the chorus jumps out and it's kinda catchy? Like, finally the song has energy. But the post-chorus keyboard is too soft. And we go back to the terrible verses after. Ultimately, I forget about this song once it's over. Norway: Secret Garden - Nocturne (winner review below) Russia: Philipp Kirkorov - Kolybelnaya dlya vulkana A standard Eurovision ballad that offers nothing special. K*rkorov's performance is dramatic, but his vocals are off-putting, and the song is tedious and not catchy. He also metaphorically sings to a volcano, pleading it not to erupt. Sure. I'm struggling to find anything else to say. This guy will write and produce a bunch of famous Eurovision entries years later. Iceland: Bo Halldórsson - Núna Yay, another boring ballad. This song has no texture or flavour whatsoever. Bo seeks a night of passion, but where's the romance? I feel nothing. And this is such a long and boring build-up for a climax that's barely worth it. It goes from the piano, to some 'blah' backing vocals, to light drums and synths, to a bigger second chorus, to a guitar solo. And finally, the orchestra leaves and returns during the "Núna, ef þú vilt, mun nóttin!" climax. But the song and/or Bo are so stuffy. Austria: Stella Jones - Die Welt dreht sich verkehrt Austria sends a modern jazz song with plenty of saxophone! I love how the sax runs loose, while the drums make it sound '90s. The dangerous string jabs add something too. And Stella has a warm voice, right from the opening "HOOHOO!" The vibes are chill and comfortable, like hanging out in the lounge. Stella embodies that vibe, and the song is lively in a relaxed way. The chorus melody sticks out, with the exclaimed lines, but it could be more memorable. The ending is also kinda dramatic. The lyrics describe how this person changes Stella's world. Spain: Anabel Conde - Vuelve conmigo Spain's fourth runner-up, and their last top 5 until "SloMo". Anabel provides an impressive vocal performance here. Her screams are jaw-dropping and she has confident stage presence. The verses are smooth, brooding, and pounding. Then, after the drums enter, the chorus is a shockwave in comparison. There's ominous James Bond strings, while the fierce "VEN! VEN!" demands are ridiculously catchy. The guitar break also spells danger. In the song, she desperately needs this person to “come back”. She feels empty and lonely and can't forget them. Turkey: Arzu Ece - Sev! Turkey provides an uplifting ballad that encourages people to love and laugh, and to adopt a positive attitude. Arzu brings compassion and empathy to her performance. And I like the melody on this one. The verses are more pensive, whereas the chorus is more worked up. The a cappella intro is fine. But the orchestra doesn't really do anything special here. Croatia: Magazin & Lidija - Nostalgija Croatia's '90s dominance begins with this collaboration of pop band Magazin and opera singer Lidija. I guess opera is nostalgic. The song starts with a fiddle and a subtle orchestra. But the operatic "No-STAL-gija! No-STAL-gija!" chorus becomes more intense each time, particularly the vocals and strings, and it's too much for me. Lidija also wails beneath verse 2, and ends the song with a high note. Still, the duo's voices are beautiful, and there's an endearing cheerful vibe. The lyrics are about nostalgia from missing a loved one. France: Nathalie Santamaria - Il me donne rendez-vous France's '90s entries are so interesting. I love this consistent, light, bouncy, wiggling groove that's mixed with a dark atmosphere. It's a soft, chill, and warm texture. It just sounds "cool" and very '90s. Nathalie's performance also has personality. And the string responses elevate the chorus (which starts with a thunderclap), while the strings are more apprehensive in the post-chorus, and a blues keyboard follows. In the song, this guy keeps performing grand gestures to get a date with Nathalie, but she's into it. Hungary: Csaba Szigeti - Új név a régi ház falán ... and we're back to the boring ballads. This one starts as an overly dreary and depressing piano ballad with whispers and dim lighting. The orchestra joins in next. But once Csaba switches to gravelly vocals, it's just unbearable. Eventually the drums and guitar enter, but the climax is STILL boring. In the lyrics, Csaba desperately searches for his ex that he can't find. Belgium: Frédéric Etherlinck - La voix est libre The boring ballads continue. Belgium's post-relegation return is another flop. Well, at least this one has a melody, but it's an annoying one. Frédéric's vocal is too... tense? The backing vocals are tedious. And I've heard this power ballad structure a million times before. The instrumental starts (and ends) quietly, but becomes a Bryan Adams rock song in between for some reason. The lyrics inspire using your voice to improve your self-esteem and feel free. It goes for a fist-pumping chorus. But meh. United Kingdom: Love City Groove - Love City Groove The most risky entry of 1995, by being the first rap song in Eurovision history. This contest needed modernizing. I'm glad the juries gave it a decent placing. And thankfully, “Love City Groove” is not cringe-y novelty rap. Although the arm waving is kinda awkward. It wants to be a respectable rap song. And their rapping sounds good (I'm not an expect on that though). Regardless, it's a summery song, where two infatuated people flirt, while the other dude hangs out I guess. There's a '90s hip-hop beat, plaid clothing, casual dancing, some "HUH!"s, and a catchy chorus ("In the morning...") MC Reason has good stage presence too. This became the first ESC song to reach the top 10 of the UK singles chart in 8 years. Portugal: Tó Cruz - Baunilha e chocolate This is just a bland nothing. I couldn't even tell you what this song sounds like. The melody and instrumental aren't memorable. Tó praises Portuguese exploration and colonialism because it allowed his interracial relationship to be possible. The lyrics lack any subtly whatsoever and the metaphors are pretty cringe. Cyprus: Alexandros Panayi - Sti fotia This consuming atmosphere is incredible. The song starts with some vocal chanting as Alex walks underneath a windy bedsheet. He has commanding stage presence. The verses are like anxiously sailing the seas, waiting to see what's ashore. They hold anticipation and tension with the hand drum slams. Then the chorus is super intense, with big booms and a cluttered back-and-forth. It's like Alex and the backing keep cutting each other off. But it's overwhelming in an epic way. The post-chorus is too stiff though. Lyrically, Alex is committed to choosing his own path in life. Sweden: Jan Johansen - Se på mig Sweden is back in the top 3. “Se på mig” is a calm and comforting ballad, where Jan sees his partner struggling and promises to support them. I like when his voice goes soft in the chorus and the guitar response that follows. The song has a nice mood, and the bridge intensification works. It's like taking a moment to just breathe and ground yourself. The instrumental uses a bunch of short sounds alongside crisp drums. There's an exhaling pre-chorus too. But there's no "wow" factor to this entry. Denmark: Aud Wilken - Fra Mols til Skagen I love this unusual, quirky, minimalist beat; and how it just patiently and idly waits. It has a '90s charm. The slight banjo hooks me in too. The organ(?) and "ah-HUH" backing boost the verses. And the chorus vocal swell-up is really effective, alongside that subtle accordion. Aud's mannerisms are charming too. In the song, the winter snow prevents her from visiting her long distance partner. It's cute. Slovenia: Darja Švajger - Prisluhni mi The orchestra is very prominent here. There's early '90s keyboards, a big orchestra opening, some dramatic bangs, heavy amounts of strings, a stumble into chorus 2. It's a bit dated. But Darja's voice elevates this so much. Her belting notes are gorgeous. She sounds compassionate too. And the chorus really soars. In the lyrics, she helps this person open up and leave the darkness. I like how the second verse switches up. And the song sounds like the final scene of a movie. Israel: Liora - Amen I'm not interested in church hymns, but that final chorus is overwhelmingly gigantic - the harmonies, the trumpets, the bells, the strings. The orchestra builds to that moment. Liora also begins solo, while the backing choir joins her later. I'm having "Hallelujah" flashbacks. The song feels like one continuous chorus, with the second verse being a detour. And plenty of "ah-ah-ah-amen"s. Liora wanted candles on stage but the producers rejected it. That would've been too obvious. Anyways, Israel won't be back in the final until... "Diva". Malta: Mike Spiteri - Keep Me In Mind Once again, Malta sends an '80s power ballad that sounds familiar. Including unappealing raspy vocals and a tedious tiresome chorus. This is literally "This Time 2.0". In the lyrics, Mike's relationship has fizzled out, but he seems clingy. It's as if his ex isn't allowed to move on. I only really like the pre-chorus (with the backing and drum escalation) and the harmonica parts. And maybe the soft '80s synths in the verses. But the chorus is too dramatic. Greece: Elina Konstantopoulou - Pia prosefhi Greece brings the traditional sounds. That pan flute gives me the chills. And 1995's dark lighting is perfect for this. “Pia prosefhi” has a haunting atmosphere and outraged lyrics. Elina asks which prayer will save those who desecrated her land, history and autonomy. As if that prayer doesn't exist. The "one star" line probably refers to a specific flag. There's a spoken word intro, and the instrumental starts off eerily quiet. The hand drums and bouzouki come next. Then the tugging beat. Then a vocal chanting bridge. I've seen criticisms that it isn't climactic enough, but I disagree. The WinnerIreland finally loses... to a country that piggybacks off their style. 1995's winner, “Nocturne”, incorporates Celtic influences and the violinist (Fionnuala Sherry) is Irish. The other half of Secret Garden (composer Rolf Løvland) is Norwegian, though. Regardless, this is Norway's second victory; exactly one decade after their first. Interestingly, their 1985 winner also emulated the preceding one (Sweden). Norway has had an inconsistent trajectory during the interim – some entries performed well, others not so well. So “Nocturne” comprises just 24 words and 5 lines of lyrics. It's essentially an instrumental track. The sparse vocal sections appear at the very beginning and end, where the angelic-voiced Gunnhild Tvinnereim signals the transitions between day and night, and vice versa. The predominant instrument sandwiched between this is Fionnuala's violin, supplemented by a penny whistle and a nyckelharp. This was unprecedented in Eurovision. “Bandido” (Spain 1990) and “Rendez-vu” (Belgium 1983) employed lengthy instrumental sections, but nothing like this. Should “Nocturne” have been disqualified? Well, I personally love the song, so I don't care lol. “Nocturne” is reminiscent of a movie score. It's so atmospheric and melancholic. The darkly lit stage enhances the ambiance. The gradual, methodical pace conveys a sense of confronting anxieties. The minimalist nature paints the image of a lonely nighttime walk, deep in thought. And the climax around the 2/3 mark gives me goosebumps. Verdict: G.O.A.T. It's one of the best compositions in ESC history. These 90's winners are all over the place, quality-wise. My points go to....01. Spain: Anabel Conde - Vuelve conmigo 02. Norway: Secret Garden - Nocturne 03. Greece: Elina Konstantopoulou - Pia prosefhi 04. Denmark: Aud Wilken - Fra Mols til Skagen 05. France: Nathalie Santamaria - Il me donne rendez-vous 06. Cyprus: Alexandros Panayi - Sti fotia 07. United Kingdom: Love City Groove - Love City Groove 08. Austria: Stella Jones - Die Welt dreht sich verkehrt 09. Slovenia: Darja Švajger - Prisluhni mi 10. Turkey: Arzu Ece - Sev! 11. Sweden: Jan Johansen - Se på mig 12. Croatia: Magazin & Lidija - Nostalgija 13. Israel: Liora - Amen 14. Poland: Justyna - Sama 15. Germany: Stone & Stone - Verliebt in Dich 16. Ireland: Eddie Friel - Dreamin' 17. Bosnia & Herzegovina: Davorin Popović - Dvadeset prvi vijek 18. Belgium: Frédéric Etherlinck - La voix est libre 19. Malta: Mike Spiteri - Keep Me In Mind 20. Iceland: Bo Halldórsson - Núna 21. Portugal: Tó Cruz - Baunilha e chocolate 22. Russia: Philipp Kirkorov - Kolybelnaya dlya vulkana 23. Hungary: Csaba Szigeti - Új név a régi ház falán The men were boring this year. Leo ✔ Soundcl🕤ck born fearlessarrow kimberly Mylo13 💜 Future Captain
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Soundcl🕤ck
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Post by Soundcl🕤ck on May 4, 2020 7:40:37 GMT -5
Beautiful song!!! One of the best in Eurovision history.
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Future Captain
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Post by Future Captain on May 4, 2020 7:58:14 GMT -5
Not Norway doing Irish-style entries better than Ireland ever did
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born
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Post by born on May 4, 2020 8:08:06 GMT -5
This is an all time high in the history of Eurovision!
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Leo ✔
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Post by Leo ✔ on May 4, 2020 8:31:30 GMT -5
The top 2 of the contest being your top 2 and my top 2!! Sadly, Anabel's career was kinda boicotted for their own country. Funny how they didn't expect to do well but Anabel pulled those vocals.
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ry4n
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Post by ry4n on May 4, 2020 9:15:22 GMT -5
The top 2 of the contest being your top 2 and my top 2!! Sadly, Anabel's career was kinda boicotted for their own country. Funny how they didn't expect to do well but Anabel pulled those vocals. Her song grew on me the most (I watch every performance three times before finalizing my reviews). Spain has been impressing me lately! I see they have a few more top 10's before sinking to the bottom with the rest of the big 4.
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born
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Post by born on May 4, 2020 10:53:35 GMT -5
Since everyone's sharing stories & cool info, let me add that the Cypriot performer (Alexandros Panayi) was also the backing vocalist (& vocal coach) for Helena Paparizou when she won in 2005 as well as other entrants such as Sergey Lazarev, Sakis Rouvas & Farid Mammadov!
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kimberly
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Post by kimberly on May 6, 2020 22:22:50 GMT -5
Just caught up, my favorite of the winners in the 90's so far is Carola. Loved her song in 2006 too!
"Nocturne" is a masterpiece. It has that same familiar-yet-unknown, thrilling-but-comforting sensation I get from songs like Beyoncé's "Love On Top" -- even though they are vastly different.
Ireland is boring. That's their brand. Thank god being bland doesn't win in the current state of Eurovision.
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ry4n
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Post by ry4n on May 7, 2020 12:02:16 GMT -5
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Post by ry4n on May 7, 2020 12:03:17 GMT -5
Oslo 1996 Host: Norway Participants: 23 (+7 DNQ's) Voting method: 12-point system (juries only) Format: 29 countries competed in a pre-qualify round – top 22 + host advanced to the Final Winner: Eimear Quinn - The Voice Country: Ireland Points: 162 (61.4% of highest score possible) Language: English YouTube | Spotify | LyricsGeneral OverviewThe 1996 contest is at a crossroads between the old-fashioned Eurovision and the approaching modern era. Firstly, the production values are excessive this year. Dublin '94 sure set the bar high. Secondly, presenters Ingvild Bryn and Morten Harket (lead singer of a-ha) are fun, casual and comedic. The previous post-Rome '91 presenters were none of those things. And finally, Gina G's global success rendered the jury system irrelevant. Oslo '96 is the flashiest Eurovision yet. The stage is essentially four stages in one. The orchestra is situated in the leftmost quadrant, while the performances alternate amongst the other three. The interval act, which is an ensemble of street performers, takes advantage by occupying all three simultaneously. The stage design also encompasses a moving overhead metal structure. The postcards, meanwhile, feature a brief “good luck” message from a local politician. And there's a pyro explosion upon the winner announcement. This is an experimental contest, visually speaking. The editors employ an editing trick in every entry, such as filters, graphics and random cuts to black-and-white. It's honestly distracting and unnecessary. Also, the performances are in wide screen (and letterboxed) for some reason, but everything else is in 4:3 aspect ratio. The most extravagant aspect, however, is the scoreboard. Oslo introduced a “blue screen” chamber, where a 3D holographic scoreboard is projected. Which is amazing technology for the time. Also notable: the Norwegian correspondent delivers the host country's votes in person, which is an amusing moment. So Eurovision had not produced a significant chart hit since, arguably, “Hold Me Now” nine years prior. The 1996 contest finally produced a mainstream hit with “Ooh Aah... Just A Little Bit”. The song became a mega-smash across Europe, topped the UK charts and it even reached #12 on the Billboard Hot 100. Surprisingly, the juries ranked it in eighth place. Instead, they opted to crown Ireland yet again. Gina G's success exposed that the jury system was broken. Consequently, five countries switched to televoting in 1997, with the rest following suit the year after. The relegation system was also flawed. In 1996, the EBU abandoned it in favour of a pre-qualifying round... where the juries listened to audio tapes. Which proved to be a worse idea. 29 countries competed, with the top 22 joining Norway in the Grand Final. The seven DNQ's were: Hungary, Germany, Denmark, Macedonia (who miss out on debuting), Russia, Israel, and Romania. Which means this is the first, and only, time Germany are absent from the Grand Final. And they were not pleased about that. Ultimately, it became a catalyst for the establishment of The Big 4/5 a few years later. And the EBU reinstated the relegation system in 1997. In the wake of “Nocturne”'s success, several of the 1996 entries highlight their instrumental aspect. Random fun fact: the next three years will see the host country land in second place. The Entries Turkey: Şebnem Paker - Beşinci Mevsim Turkey kicks things off with some coffeehouse jazz, including long violin + accordion breaks. The verses are alluring, with the fidgety rhythm, and the soft, melancholic, downbeat texture. They also have a cool melody. And I like when the accordion slides in. But I don't like Parker's voice during the "Hep sondu, hep zordu..." parts - there's just something off with the rhythm switch. In the lyrics, her relationship is lingering in the uncertain, waning autumn phase, and she wants to skip to the “fifth season”. Editing trick: split mirror United Kingdom: Gina G - Ooh Aah... Just a Little Bit The UK continues to modernize the contest; this time with hi-NRG Eurodance. “Ooh Aah” is an instantly catchy song, but it's so kitsch with that overpowering synth riff and the cheesy “ooh aah” hooks. Still, within Eurovision context, it's revolutionary. I've seen comments that Gina's live vocal was lacking, but she still has fun on stage, and her sparkly dress is memorable. There's also two energetic backing dancers. The EBU rules at the time required every instrument to be shown on stage, so the UK included two computers. This song is waaaay too camp for me to fully love it though. I enjoy it within the context of Eurovision, but not as much when compared to other 90s dance music, if that makes sense. Editing trick: black-and-white shots of the dancers Spain: Antonio Carbonell - ¡Ay, qué deseo! Spain previously attempted flamenco fusion in 1983, and it received "nul points". They tried it again in 1996 and the results aren't much better. This singing style is just unattractive to me. It's essentially off-key wailing. The backing vocalists are too quiet during the call-and-response as well. The song channels beach imagery, where Antonio seeks a mysterious woman that evades him. Editing trick: multiple fades to black Portugal: Lúcia Moniz - O meu coração não tem cor Portugal's best result before 2017. “O meu” involves traditional elements, an inventive song structure, and hooks from beginning to end. The verses are like eagerly sailing the seas, before they descend via a whistle and raise back up with the backing. Then the pre-chorus marching chant escalation is INSANE. And I love how the chorus instrumental drops out for the Portuguese guitar, then the drums come in. The lyrics are about uniting the world through dance, music, and food; by listing examples from different cultures. The switch-ups are so well-executed here. The song has an adventurous sea voyage vibe and Lúcia's brings happy energy. Editing trick: multiple switches to black-and-white Cyprus: Constantinos - Mono gia mas Cyprus's romantic seduction ballad is kinda boring. Constantinos is a charmer, but I cringe at that wink at the end. He brings big vocals to the chorus, while the orchestra builds into something grand, and the guitar solo is okay. But the song's climax is all tension without release. Editing trick: fuzzy filter Malta: Miriam Christine - In a Woman's Heart Malta (just barely) extends their top 10 streak. This is probably my favourite '90s Malta entry. It has a melancholic atmosphere, a '90s drum beat, and lyrics that explain the susceptibility of a “woman's heart”. The chorus is pretty catchy and I really like the modern '90s vibes of the instrumental. The piano and strings elevate it. The only issue is Miriam's vocals. The instrumental drowns her out. Editing trick: a glitter heart shape Croatia: Maja Blagdan - Sveta ljubav Croatia's (equal) best placement before 2024. Also, the highest note in Eurovision history! And she does it twice! My ears are suffering. The high notes are memorable, but they're so random and annoying and gimmicky. In the lyrics, Maja draws strength from “divine love”. I guess it's so overwhelming she has to scream. The New Age instrumental captures the empowering vibe. It optimistically and bravely marches forward, with some heavy bell clangs. While the chorus melody hits like a tidal wave. The instrumental dance break is hypnotic too. And she does give it her all. Editing trick: low frame rate during the dance section Austria: George Nussbaumer - Weil's dr guat got Austria delivers some insane frantic gospel. The intro is slow, but the song soon becomes a sprint, and it only rests during the stop/start verse. In fact, the ending speeds up even more. But it's not exhausting. It's a very charming and uplifting entry. The lyrics, which are in the regional dialect Vorarlbergish, encourage enjoying life. The backing vocals emphasize all the catchy parts. And I like how they excitedly wander around the stage while George sits at the piano (the piano drives the song). But oops at that one backing singer starting too early. Editing trick: none? Switzerland: Kathy Leander - Mon cœur l'aime A dated, bland, and forgettable French ballad. I feel like Switzerland were lost after 1993. In the song, Kathy regrets breaking up with her lover. Her voice is alright, but this melody goes nowhere and the instrumental isn't very distinct. I always forget how this song goes. The arrangement certainly tries to build to something though. Editing trick: water ripple filter and a Vaseline filter Greece: Marianna Efstratiou - Emis forame to himona anixiatika Marianna returns from 1989. This one is in the traditional kalamatianó genre. It has that unique Greek sound, with an alluring about a 7/8 time signature. The tugging beat is very prominent here. The chorus is like a triumphant warrior, and the orchestra elevates it, but it needs more punch. The pre-chorus is my fave part instead. Her embrace with the backing singer is cute though. And the lyrics are down to Earth, describing the subtle interactions of a relationship. I just prefer Greece's '91/'92/'93/'95 entries more. Editing trick: film strip on the side of the screen Estonia: Maarja-Liis Ilus & Ivo Linna - Kaelakee hääl Estonia had a strong track record during 1996-2002, and it begins with this duet between 15-year-old Maarja and 46-year-old Ivo. I will assume it's a father/daughter bond, otherwise that age difference is creepy. In the song, Maarja gives Ivo a seashell necklace as a memento while they're apart. The instrumental sounds calm/nice, but I'd like this better without Ivo's raspy growling. Because Maarja's vocal parts have a cute bouncy melody, and her "ahhhhh" bridge is a highlight. Editing trick: black-and-white spotlight thing Norway: Elisabeth Andreassen - I evighet The host entry is the runner-up! This is Elisabeth's fourth Eurovision entry; meaning she has placed 8th, 1st, 6th and 2nd. Impressive! “I evighet” is a gorgeous New Age ballad. Her vocals are angelic, especially in the operatic chorus, and she looks professional on stage. The song has a very peaceful atmosphere. It feels like a restart in life. The pan flutes and vibrating guitars are highlights. The instrumental starts minimal, and gradually builds without overdoing it. I just love the vocal/instrumental combination here. The lyrics express how love is eternal. Editing trick: water ripple filter France: Dan Ar Braz & l'Héritage des Celtes - Diwanit Bugale France sinks to the bottom 5 after eight consecutive top 10's. “Diwanit Bugale” is a soothing lullaby about childhood innocence. The lyrics are in the regional dialect Breton, and there's a Celtic instrumental bridge. The song does have a melody, but it's soooo slow and lethargic. The singing is too soothing. The group sounds like they're falling asleep. Editing trick: multiple fades to grey Slovenia: Regina - Dan najlepših sanj I always forget this entry exists, but I enjoy it whenever I hear it. It has a relaxing and chill atmosphere. There's a '90s drum beat. The clarinet elevates things. And the chorus jumps to the foreground in a good way, with how the backing joins in. The post-chorus, which switches to just Regina, does a similar thing. The lyrics use nature metaphors for Regina's dream of love. Editing trick: sunbeam filter Netherlands: Maxine & Franklin Brown - De eerste keer This is incredibly catchy - the hooks are so BIG and BOLD and right in front of my face. From the "na na na" intro, to the "whoa oh oh" and "LANG GELEDEN x3" escalation, to the instrumental pokes before the chorus, and how the chorus sort of slides left, then slides right, then holds and concludes. That chorus easily gets stuck in my head. The duo also shout the verses and bridge. In the lyrics, they link up again after a long time of not speaking. On stage, they bring excited energy, chemistry, and an endearing quality. It's a very cheerful song, but not in an annoying way. Editing trick: none? Belgium: Lisa del Bo - Liefde is een kaartspel Another entry that opens with some "na na na"s. This song just flows so effortlessly and easily, like a river. It moves forward quickly, consistently, and comfortably without obstruction. There's an affectionate, uplifting vibe. And Lisa has fun stage presence. In the song, she describes the game of love she's experiencing. She's more into him, than he is into her. The chorus is pretty catchy, with the stressed syllables, the little sax(?) responses, and how the last line jumps out. Meanwhile the verses have backing "ya ya ya"s and stray guitars. And the bridge adds some worrying. Side note: Sweden 2001 was accused of plagiarizing this. Editing trick: revolving panel thing Ireland: Eimear Quinn - The Voice (winner review below) Editing trick: blurry filter Finland: Jasmine - Niin kaunis on taivas This deserved better than last place. It's a warm song, lead by Jasmine's acoustic guitar, where she cherishes a romantic walk at night with her lover. She's humbly sweet on stage too. I just like the nighttime folk song vibes, even if the composition is kinda simple. The guitar and consistent foot-tapping drums have good energy, and the chorus uses folk harmonies with the backing. Editing trick: film strip on the side of the screen Iceland: Anna Mjöll - Sjúbídú Iceland submits a tribute to the jazz era, which namedrops several legendary musicians. However, the “shoo-bee-do”'s are annoying AF, and they take up most of the song. That chorus is so flat, repetitive, and incomplete. The song just has no energy either. It begins as a cappella doo-wop, then the elevator music piano enters, then the big band brass, then the climax tries to liven up. But it's just... boring. The body movements on stage are alright I guess. Editing trick: multiple switches to black-and-white Poland: Kasia Kowalska - Chcę znać swój grzech... A slow ballad, and a polarizing vocal, but Kasia sings with so much heartbreak and fragility. It's such a raw performance. She screams in anguish because her lover won't return her affection, and they avoid discussing the topic, so she wants to know what she did wrong. She automatically blames herself, which is tragic. The instrumental moves carefully (it's mainly piano and strings). While the chorus is intense, painful, and powerful. And the song ends on a sad note. Editing trick: blue filter Bosnia & Herzegovina: Amila Glamočak - Za našu ljubav Amila's directionless screaming in the second half is difficult to endure. Meanwhile, the instrumental is soothing at the start, but in a boring way, and the synths sound dated in 1996. The guitar bits are okay though. Some drum splashes are added midway, then there's nature-esque hollow wood, and a string break. But despite that, the song doesn't really build to anything. The structure feels so aimless. The lyrics are about longing. Editing trick: water ripple filter Slovakia: Marcel Palonder - Kým nás máš In 18th place, this is Slovakia's best result ever. Yeah, they're not very successful in Eurovision. “Kým nás máš” has a warm vibe of finality, acceptance, and being 'at peace'. The lyrics are about love saving us from doing evil and cruel things. The verses, which are mainly piano and strings, are nice. The chorus is pretty catchy too... but it's too sloooow. There isn't a bridge either. Editing trick: multiple fades to black and crystal wipe Sweden: One More Time - Den vilda The entire top 4 of 1996 were New Age songs, but Sweden is my favourite. “Den vilda” has a magical melody from beginning to end, even if that melody just repeats over and over again. I don't get bored of it. The soft harmonies are beautiful. The instrumental is gorgeous and atmospheric. It's mainly piano at the start, until the orchestra adds a deep, expansive, approaching sound. There's a clarinet break. Then the strings are the climax. It creates winter imagery. I love when the vocal shifts between quiet and loud as well. And the lyrics are mysterious. This is better than most of Sweden's winners. Editing trick: blurry ripple thing The WinnerLOL, back to Dublin in '97. Ireland cements their mid 90's dominance with four victories in five years. Ridiculous. “The Voice” is their most recent win, however. As much as I despise Ireland's win in 1994, at least there was excitement in it breaking all the records. This one is unnecessary. “The Voice” is a New Age, atmospheric song that channels Ireland's Celtic roots. Eimear Quinn explains that she's the “voice” of Mother Nature. The omnipresent force in the world. The day-dreamy instrumental, plus the fuzzy filter, paint the image of green meadows in the rain. The song goes for an epic build-up, and there's a Celtic instrumental break. While I appreciate Ireland finally incorporating traditional elements into their entry, “The Voice” is borderline bland and irritating. I keep expecting the final chorus to explode into a powerful anthem.. but it never reaches those heights. The final section just deflates into that flat “I am the voiiiiiiice” refrain. It's an underwhelming climax. Also, I'm not fond of Eimear Quinn's high-pitched vocal. She's supposed to sound angelic, but it's jarring and unnatural. Verdict: It's OK. My points go to....01. Portugal: Lúcia Moniz - O meu coração não tem cor 02. Sweden: One More Time - Den vilda 03. Poland: Kasia Kowalska - Chcę znać swój grzech... 04. Netherlands: Maxine & Franklin Brown - De eerste keer 05. Austria: George Nussbaumer - Weil's dr guat got 06. Norway: Elisabeth Andreassen - I evighet 07. Belgium: Lisa del Bo - Liefde is een kaartspel 08. United Kingdom: Gina G - Ooh Aah... Just a Little Bit 09. Malta: Miriam Christine - In a Woman's Heart 10. Finland: Jasmine - Niin kaunis on taivas 11. Greece: Marianna Efstratiou - Emis forame to himona anixiatika 12. Turkey: Şebnem Paker - Beşinci Mevsim 13. Ireland: Eimear Quinn - The Voice 14. Croatia: Maja Blagdan - Sveta ljubav 15. Slovenia: Regina - Dan najlepših sanj 16. Estonia: Maarja-Liis Ilus & Ivo Linna - Kaelakee hääl 17. Slovakia: Marcel Palonder - Kým nás máš 18. Cyprus: Constantinos - Mono gia mas 19. Switzerland: Kathy Leander - Mon cœur l'aime 20. France: Dan Ar Braz & l'Héritage des Celtes - Diwanit Bugale 21. Bosnia & Herzegovina: Amila Glamočak - Za našu ljubav 22. Iceland: Anna Mjöll - Sjúbídú 23. Spain: Antonio Carbonell - ¡Ay, qué deseo! (this seemed like my wordiest write-up yet, but this contest has so many talking points) Leo ✔ Soundcl🕤ck born fearlessarrow kimberly Mylo13 💜 Future Captain
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born
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Post by born on May 7, 2020 14:42:49 GMT -5
This might be my favorite Irish winner.
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ry4n
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Post by ry4n on May 7, 2020 15:34:54 GMT -5
Bonus! The 1996 DNQ Flops
Might as well since I reviewed the DNQ's in '93, and I will comment on the semi-final flops in the modern ones. My reviews for the 7 DNQ's are based on the national final performances (they all had one).
Germany: Leon - Planet of Blue Germany attempts to send Hi-NRG Eurodance, but the UK beat them to the punch. "Planet of Blue"'s instrumental is more true to the genre. With the right staging, this could've been an amazing novelty entry. It's lyrically silly while being melodramatic - the countdown is on! Leon is about to blast off into space to observe the blue planet he loves. In that regard, perhaps it's ahead of its time. Also, the vocals aren't the greatest.
Denmark: Dorthe Andersen & Martin Loft - Kun med dig A fairly standard duet love ballad. Perhaps the orchestra could've added some oomph, because the arrangement is sparse on the national final.
Hungary: Gjon Delhusa - Fortuna A serviceable ballad with a heartfelt performance. Gjon asks the Greek goddess Fortuna to spread some good luck. The obscurity of the Hungarian language doesn't help win votes, though.
Israel: Galit Bell - Shalom Olam It's energetic and bouncy, but the lead singer's vocal is so scratchy. It's a unifying song that promotes peace.
F.Y.R. Macedonia: Kaliopi - Samo ti Yep, the same Kaliopi from the 2012 contest. At least she gets her redemption after not qualifying in '96. Her national final performance features anguished pleas, animated movement, and warm voices from the backing.
Romania: Monica Anghel & Sincron - Rugă pentru pacea lumii Such an LQ copy on YouTube. This came last in the pre-qualifying round. "Rugă" is a vocally intense ballad, where Monica is extremely upset over the misfortunes that have fallen upon Eastern Europe. She prays for world peace. The song sounds really dated though. And those backing vocals are a lot.
Russia: Andrey Kosinskiy - Ya eto ya This is pretty forgettable. I'm not used to Russia flopping this hard in Eurovision.
My full 1996 ranking: 01. Portugal: Lúcia Moniz - O meu coração não tem cor 02. Sweden: One More Time - Den vilda 03. Poland: Kasia Kowalska - Chcę znać swój grzech... 04. Netherlands: Maxine & Franklin Brown - De eerste keer 05. Austria: George Nussbaumer - Weil's dr guat got 06. Germany: Leon - Planet of Blue 07. Norway: Elisabeth Andreassen - I evighet 08. Belgium: Lisa del Bo - Liefde is een kaartspel 09. United Kingdom: Gina G - Ooh Aah... Just a Little Bit 10. Malta: Miriam Christine - In a Woman's Heart 11. Finland: Jasmine - Niin kaunis on taivas 12. Greece: Marianna Efstratiou - Emis forame to himona anixiatika 13. Turkey: Şebnem Paker - Beşinci Mevsim 14. Ireland: Eimear Quinn - The Voice 15. Croatia: Maja Blagdan - Sveta ljubav 16. Slovenia: Regina - Dan najlepših sanj 17. F.Y.R. Macedonia: Kaliopi - Samo ti 18. Estonia: Maarja-Liis Ilus & Ivo Linna - Kaelakee hääl 19. Hungary: Gjon Delhusa - Fortuna 20. Slovakia: Marcel Palonder - Kým nás máš 21. Romania: Monica Anghel & Sincron - Rugă pentru pacea lumii 22. Cyprus: Constantinos - Mono gia mas 23. Israel: Galit Bell - Shalom Olam 24. Denmark: Dorthe Andersen & Martin Loft - Kun med dig 25. Switzerland: Kathy Leander - Mon cœur l'aime 26. Russia: Andrey Kosinskiy - Ya eto ya 27. France: Dan Ar Braz & l'Héritage des Celtes - Diwanit Bugale 28. Bosnia & Herzegovina: Amila Glamočak - Za našu ljubav 29. Iceland: Anna Mjöll - Sjúbídú 30. Spain: Antonio Carbonell - ¡Ay, qué deseo!
Yeah... Germany's the only robbery here. The rest I can see why they didn't make it through.
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