ry4n
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Post by ry4n on May 7, 2020 15:37:38 GMT -5
This might be my favorite Irish winner. For me, it's a song that I want to like, but it feels like lost potential. I can understand why others like/love it though.
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ry4n
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Post by ry4n on May 10, 2020 17:36:15 GMT -5
Dublin 1997Host: Ireland Participants: 25 Voting method: 12-point system (20 juries / 5 televotes) Format: Relegation – the 23 highest average scores between 1993-1996 + the host + Italy Winner: Katrina and the Waves - Love Shine a Light Country: United Kingdom Points: 227 (78.8% of highest score possible) Language: English YouTube | Spotify | LyricsGeneral OverviewDublin hosts Eurovision for the third time in four years; all in the same venue as well. Consequently, the Irish broadcaster RTE produced another high budget spectacle. The intro package and the postcards look futuristic, but also aesthetically 90's, with how the footage is spliced and overlayed. Throughout the night, several well-known Eurovision artists interject an awkward “good luck” message. It's similar to Norway's concept from last year. Celine Dion, Bobbysocks!, Sandra Kim, Cliff Richard, Julio Iglesias, Bucks Fizz and I think all seven of Ireland's winning artists feature (I might have missed Dana). The stage design in '97 is smaller but sufficient. The artists are confined to a circle, but it looks neat in the overhead shots. The presenters are Carrie Crowley and Boyzone frontman Ronan Keating. In fact, Boyzone headline the interval segment with their bland cheesiness... I've never been a fan of their music. But Ireland enlisting a current, mainstream artist is a step in the right direction. The group charted all over Europe in the 90s. The Eurovision contest underwent three major format changes in the late 90's. The first of those is implemented in 1997: televoting. Five countries - Austria, Germany, Sweden, Switzerland and the UK - ditched their juries in favour of the viewers. Two of the biggest beneficiaries are the novelty entries from Iceland and Denmark. A sign of things to come in the next decade. Bosnia & Herzegovina, Germany and Ireland also benefit. On the flip side, Malta and Slovenia were hindered the most. Each earned 60+ jury points and 0 televote points. Also, the rule regarding backing tracks is relaxed this year. Although the orchestra is still a staple. The EBU reinstated the relegation system in 1997, but with a twist – the lowest average scorers over the previous few contests would be excluded. So Slovakia, Romania, Finland, Belgium and (North) Macedonia are absent. Bosnia & Herzegonia were nearly relegated as well until Israel declined. Furthermore, Italy returned, pushing the number of participants to 25. Finally, some miscellaneous observations: 1997 is the first contest since the Spice Girls and the Backstreet Boys broke into the European pop charts; and there is a copycat of each this year. The flag waving has become more noticeable by this point. The audience appears more casually dressed for a change. And the fog machine makes its (first?) appearance. The Entries Cyprus: Hara & Andreas Konstantinou - Mana mou In 5th place, this was Cyprus's (equal) best placing until “Fuego”. “Mana mou” meshes Eastern sounds with 90's Eurodance. The energy never stops moving forward, and I love how the traditional instruments keep sneaking in, like they're scratching an itch. The ominous atmosphere is so enchanting; especially the parts when everyone sings together. The song paints an exotic boat ride image, while the poetic lyrics express the beauty of Cyprus. And the chorus melody is infectious. The "dubba dubba" + bouzouki bridge gives me goosebumps as well. Turkey: Şebnem Paker & Grup Ethnic - Dinle Two "ethnic" bangers in a row! And Parker represents Turkey two years in a row. Prior to 1997, Turkey's best placing was 9th. So "Dinle" reaching 3rd place must've been a shock. In the worst running order slot too. The chorus is so infectious, with the unusual melody and the bouncy, clap-a-long rhythm. It immediately grabs you because it's such a different energy from the pensive verses. Said verses involve hand drums and Parker's mystical long notes. But it's a cohesive switch-up. The hazy lute(?) intro and the windy wooden flute are also highlights. As well as the call-and-response outro. Norway: Tor Endresen - San Francisco Norway's trajectory really went 1st -> 2nd -> 0 points. “San Francisco” is a 1960's-inspired soft rock song that nostalgically romanticizes that decade. The lyrics are basically a list of 60's references. It's just too goofy for me, the vocals are annoying, the music is dated (even though I realize that's the point), and I don't care about the topic. Austria: Bettina Soriat - One Step Austria delivers a funky beat, some attitude, and nonstop choreo! I like that sliding move. The lyrics are equally saucy, where Bettina criticizes her lover's lackluster performance in the bedroom. It's a catchy song, with the "Bad lovin' (lovin' lovin' lovin') BAD MAN BAD LOVIN'" part, the backing emphasizing the last verse line, and the English/German switch in the chorus. While the last minute of the song throws in multiple instrumental breaks. Maybe it wasn't polished enough to place better though? Ireland: Marc Roberts - Mysterious Woman The host entry is the runner-up again! We came so close to yet another Irish winner. Interestingly though, they have not been in the top 5 since. The chorus melody is strong here, but the song is too melodramatic for me. Marc is entranced by a stranger at the airport that he never speaks to. He acts like he missed the love of his life. The premise is just so ridiculous. And yet he sings with so much devastation and the song's atmosphere is so moody and tragic. I like the busy piano, but the bridge is weak. Slovenia: Tanja Ribič - Zbudi se The earliest example of the televote tanking a jury favourite. Unsurprisingly, it happens to a ballad. The first half of "Zbudi se" is a slow, careful build-up, leading to an intense second half. The entire song has a dark yet beautiful texture that draws me in. It's such a haunting atmosphere and the climax is so good. In the song, Tanja tells the story of a girl waiting for her prince to rescue her. Switzerland: Barbara Berta - Dentro di me Switzerland continues their slump. This song tries to be an inspirational anthem, but I immediately forget what it sounds like once it's over. Nothing stands out until the triumphant trumpet and the fist-pumping "DENTRO DI ME" chorus. But it isn't powerful enough. I think the arrangement is too relaxed, which makes it sound bland. Netherlands: Mrs. Einstein - Niemand heeft nog tijd This is quite the urgent, hectic song. The orchestra is so busy and expansive... and excessive. The instrumental speeds and rushes through like a hurricane wind. But it fits the lyrics, where the group criticizes the modern go-go lifestyle. There's even a ticking clock in the intro and bridge to reinforce the point. That bridge is a necessary rest as well. The chorus melody works for me. And I like the way they walk around the stage. They're always swaying too. But the song is kinda "one note". Italy: Jalisse - Fiumi di parole Italy's final appearance for 14 years. Alessandra's voice is stunning, angelic and powerful. The verses are tranquil with the drums, but also eager with the piano. And the chorus is like punching the wall. The dramatic forceful bang after the song title is so impactful, and there's a satisfying conclusion line afterwards. It's a very instant chorus melody. The backing vocals elevate the later choruses too. In the song, Alessandra firmly rejects her lover's B.S.; instead she wants a heart-to-heart exchange. She looks confident on stage, but the staging is a bit too simple. The key change at the end doesn't quite work either. Spain: Marcos Llunas - Sin rencor Spain lands in 6th place with a heartfelt, passionate ballad. It's a mature break-up song, where Marcos displays respect towards his ex instead of resentment or coldness. It was a mutual decision. He only requests no grudges. Musically, it's not the most unique ballad ever, and Marcos has some awkward mannerisms on stage. But I love his soft romantic vocal. This song took a while to grow on me. It starts off gentle (with rainsticks??), then progresses with the drums, then the electric guitars, then the backing vocals at the climax. Germany: Bianca Shomburg - Zeit Germany is back in the final, but this wasn't really a successful placement either. “Zeit” is just a boring ballad. The instrumental isn't interesting. The soprano saxophone doesn't stick out enough. And Bianca's screams of “ZEIT, ZEIT” are annoying AF. Poland: Anna Maria Jopek - Ale jestem I love the New Age era of Eurovision. The way this chorus crashes down is so captivating and magical, and how the atmosphere completely surrounds you. It paints the image of dancing in grassy fields. Like reconnecting with nature. The verses are also nature-esque, with the clanging metal and wood. And the bridge crashes down even harder. The song has an anxious vibe too. The lyrics encourage living life to its fullest. Estonia: Maarja-Liis Ilus - Keelatud maa Maarja competes two years in a row; thankfully without the older guy this time. "Keelatud maa" has a very down-to-Earth, stress-free, heart-to-heart atmosphere. Her voice is so sweet, and the melody is really nice. In the lyrics, Maarja gently encourages her aloof lover to open up. The orchestra is beautifully calm here. It starts with an honest piano, then the strings and drums take over. The backing vocals also provide a great climax. And the fog machine is used later on. Bosnia & Herzegovina: Alma Čardžić - Goodbye This beat reminds me of “I Will Follow Him” by Peggy March. The plucking and snapping in the verses hook you in, and the “Goodbye [dramatic blast] oh oh oh oh oh” chorus is catchy. (The pre-chorus is a break between these two parts). But the song is just seems... basic and forced, and I just can't get into it. The sax solo is fine. The key change is meh. And Alma shows her vocals in the bridge. Portugal: Célia Lawson - Antes do adeus The other "nul points" from this year, and another song about goodbyes. Portugal goes for quirky staging here – the backing singers dryly mutter their lines while wearing sunglasses, snapping and looking super serious. Maybe they were excited about the Men In Black release that summer. The lyrics describe the end of relationship. The verses are boring night lounge music though. It's too calm, the muttering responses are lame, and the staging is distracting. The chorus tries to jump out, but I don't remember it. Célia's voice is the only aspect I like. Sweden: Blond - Bara hon älskar mig The weaker of the two boyband songs this year imo. “Bara” is such generic Swedish pop. The song has no personality and the lyrics are generic “boyband sings about a girl” stuff. It's an easy song to listen to at least - with the jogging beat, the parts when they sing together, the obvious chorus melody, and the stomp-stop bridge. There's lots of acoustic guitar in this too. But I just don't find anything about this entry interesting. Greece: Marianna Zorba - Horepse Greece continues to bring the traditional sounds. This one has long bouzouki solos, hand drums, Marianna using finger cymbals, and a man appearing to shake a bundle of grapes. The chorus melody is catchy, and the atmosphere is enchanting, but the instrumental sections are too long. I keep waiting for the verses to begin. The lyrics are about the power of dancing. I love the bouzouki riff before the chorus, and the stretched-out "argaaaaa argaaaaa" in the verses. Marianna's voice really adds to the atmosphere. The song has a medieval vibe. Malta: Debbie Scerri - Let Me Fly Malta sends a traditional entry instead of their usual adult contemporary ballads. The dark New Age sounds in the verses (the pan flutes, the rain beads, the harp) are a compelling atmosphere. Plus the acoustic guitar in the intro. While the chorus indeed "flies" with how the drum booms and strings are used. Unfortunately, Debbie's vocals are too flat and drowned out to "fly" with it. Also, the chorus reminds me of Greece 1996. There's a vocal chant + snare drum part as well. Lyrically, Debbie needs to hear the songs that evoke pleasant memories of her ex. Hungary: V.I.P. - Miért kell, hogy elmenj? The Hungarian version of the Backstreet Boys. They even sit on stools, and the drum beat is similar to Max Martin's sound. Still, “Miért” is an uplifting and breezy song, and V.I.P.'s facial expressions are charming. There's a fog machine here too. I just find this entry likeable for some reason, even if it isn't original. It makes me feel like everything will be okay. The chorus melody is good, especially the last line. And I like the instrumental swirl after the chorus. In the lyrics, they want this person back. It has an inviting vibe. Russia: Alla Pugacheva - Primadonna This puts Russia in the relegation zone. In response, they don't even broadcast the 1998 event... which disqualifies them from 1999 as well. So, Alla celebrates a primadonna who has overcome her flaws. The song is theatrical, but her performance sells it, like when she "drinks" the microphone at the end. The chorus also drunkenly stumbles around in slow-motion slams, like after having too many Russian vodkas. But this entry doesn't quite work. The "Primadonna" echoes are a bit silly. The backing vocals become too intense, like a crowd. The verse instrumental stumbles on the last line, and the first chorus randomly interrupts in the middle. And the outro goes on too long with too much going on. Denmark: Kølig Kaj - Stemmen i mit liv Denmark's last time singing in Danish for 24 years. This is a "novelty entry" that doesn't try too hard. It involves a Drew Carey lookalike who raps, and a telephone operator on stage. He calls her at the start to flirt, complete with dialing sound effects. The lyrics are silly, where Kølig keeps trying to call this woman, even getting fired from his job in the process. His rapping is fine I guess. But the chorus is the catchy part, where the backing singers take over, and Kølig ad libs. I like the strings too. And the two backing dancers are engaging. France: Fanny - Sentiments songes This subdued, moody, melancholic ballad is right up my alley. The instrumental stays minimal, but it never sounds empty either. While Fanny's voice is soothing and comfortable, and she has stage presence. I love that deep tearful string response after "sentiments" in the chorus. It's both the main hook and a vibe. The verses also have a decent melody. In the song, Fanny idealizes embracing a loving connection. Croatia: E.N.I. - Probudi me Croatia sends their own '90s girl group. Unfortunately, this is the song that prevented Croatia from having 7 top 10s in a row. “Probudi me” is a light, upbeat and fun song, and the choreo is well-executed, but it's just so basic. The vocal chanting intro is like a morning sunrise. The verses have spunk and attitude, with some "ha ha"s thrown in. And the pre-chorus build-up is great, concluding with that string bit. But the "tu tu tu" chorus is so underwhelming to me. And the whole song is powered by a generic '90s drum beat. The bridge is like schoolyard chatter. United Kingdom: Katrina and the Waves - Love Shine a Light (winner review below) Iceland: Paul Oscar - Minn hinsti dans The most "WTF" entry of 1997. Iceland and Denmark are previews of what's to come in 2000s Eurovision. The staging involves 5 women in latex outfits, while Paul gestures sexual poses. He sings, well mutters, about abandoning this vapid lifestyle over a techno beat. I just find it pretentious rather than artistic. Plus the song has no melody, and the techno beat is so monotonous, until it slows down in the outro. And only stops for a brief piano bridge. The WinnerThe UK achieve their first win since “Making Your Mind Up” 16 years prior. It's their 5th victory overall, and their most recent one. They had several close calls in the interim, including four #2's between 1988-1993, and losing to Celine Dion by one point. But the Brits pull it off this time! And towards the end of their run of dominance. The UK rarely missed the top 10 during the language restriction years. But that will change drastically in the 21st century, to say the least. “Love Shine A Light” is certainly one of the most obvious winners ever. Nobody else stood a chance this year. Indeed, the jury/tele vote is a blowout. It's the 3rd strongest winner by percentage in the 12-point era. And with 227 points, it even surpassed the points record. A record that won't be broken again until 2004, when the number of participating countries is significantly inflated. The 1990's saw the UK experiment with social messages, pop, indie, rap and trance, but ultimately an inspirational adult contemporary song prevailed. “Love Shine A Light” is possibly the most uplifting winner in Eurovision history. The organ intro, that moment when the electric guitar kicks in, the throaty “AAAAALL” exclamations... the arrangement is so epic-sounding. It brightens up the world (pun intended) and inclusively invites everyone to join the celebration. The melody easily sticks in my head. Katrina sings with compassionate conviction. The mint green shirt + black blazer combo is somewhat iconic. The only flaw is that the lyrics are cheesy and repetitive. But even that doesn't bother me much. Verdict: G.O.A.T. tier. Puts all the other UK and Irish winners to shame. My Ranking01. Turkey: Şebnem Paker & Grup Ethnic - Dinle 02. United Kingdom: Katrina and the Waves - Love Shine a Light 03. Cyprus: Hara & Andreas Konstantinou - Mana mou 04. Poland: Anna Maria Jopek - Ale jestem 05. Italy: Jalisse - Fiumi di parole 06. France: Fanny - Sentiments songes 07. Slovenia: Tanja Ribič - Zbudi se 08. Estonia: Maarja-Liis Ilus - Keelatud maa 09. Austria: Bettina Soriat - One Step 10. Greece: Marianna Zorba - Horepse 11. Spain: Marcos Llunas - Sin rencor 12. Denmark: Kølig Kaj - Stemmen i mit liv 13. Hungary: V.I.P. - Miért kell, hogy elmenj? 14. Ireland: Marc Roberts - Mysterious Woman 15. Netherlands: Mrs. Einstein - Niemand heeft nog tijd 16. Malta: Debbie Scerri - Let Me Fly 17. Croatia: E.N.I. - Probudi me 18. Russia: Alla Pugacheva - Primadonna 19. Bosnia & Herzegovina: Alma Čardžić - Goodbye 20. Sweden: Blond - Bara hon älskar mig 21. Portugal: Célia Lawson - Antes do adeus 22. Norway: Tor Endresen - San Francisco 23. Iceland: Paul Oscar - Minn hinsti dans 24. Switzerland: Barbara Berta - Dentro di me 25. Germany: Bianca Shomburg - Zeit Leo ✔ Soundcl🕤ck born fearlessarrow kimberly Mylo13 💜 Future Captain
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Future Captain
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Post by Future Captain on May 10, 2020 17:43:00 GMT -5
The best entry ever from the British Isles, hands down.
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Leo ✔
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Post by Leo ✔ on May 10, 2020 19:48:14 GMT -5
"Love Shine A Light" is one of the best winners, no doubt about it. Glad everybody here agrees. I also agree with the Turkey entry, I think is one of their best songs. Spanish entry was popular here so I have a special place for it.
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Soundcl🕤ck
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Post by Soundcl🕤ck on May 10, 2020 19:56:54 GMT -5
Turkey was actually my favorite entry that year, but Love Shine A Light definitely deserved the win.
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ry4n
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Post by ry4n on May 14, 2020 19:09:15 GMT -5
Birmingham 1998 Host: United Kingdom Participants: 25 Voting method: 12-point system (21 televotes / 4 juries) Format: Relegation – the 18 highest average scores between 1993-1997 + the host + the 6 relegated in '97 incl. Israel Winner: Dana International - Diva Country: Israel Points: 172 (59.7% of highest score possible) Language: Hebrew YouTube | Spotify | LyricsGeneral OverviewThe 1998 contest is the unofficial finale of the old-fashioned era of Eurovision. The format is essentially revamped in '99. This is the final appearance of the live orchestra, a consistent staple since 1956. That said, backing tracks had become more prominent, since the EBU relaxed the rules in 1997. Several of this year's entries excluded orchestral accompaniment entirely. 1998 is also the last year to enforce the language restriction rule. Consequently, as of 2020, 19 of the 21 winners succeeding “Diva” are in English (or mostly English in the case of Ukraine x2). Furthermore, 1998 is the end of the UK's dominance over the contest. Imaani loses by 6 points this year!... and then the UK never comes close to winning again (except 2002 I guess). In fact, they will only grace the top 10 twice after this. Appropriately, the UK hosts the finale. It is their 8th time staging the contest, beating Ireland's record. The presenters are longtime commentator Terry Wogan, who returns to his booth during the performances and the vote reveal, alongside Ulrika Jonsson. The pair deliver British wit, as expected. They also pay homage to Katie Boyle, who presented the contest four times in the 60s and 70s. The theme of old vs new runs strong in '98. The postcards exemplify this - they transition from old-timey aesthetics and classical music to modern renditions. They even feature the instrumentals to several contemporary UK chart hits. As for the interval act, it meshes a wild variety of music genres. Five countries successfully experimented with televoting in 1997. In response, nearly everybody switches over in 1998, with the exception of Hungary, Romania, Slovakia, and Turkey, who retained their juries. In other words, this is the first contest majorly controlled by the viewers. Incidentally, the 1998 contest introduces the country name labels at the bottom left corner of the screen. Just one country debuts and it's The Former Yugoslav Republic Of North Macedonia. The stage design isn't one of my favourites, but it upholds the roominess of the preceding years. The aesthetic incorporates pastel colours and an array of flashing light bulbs behind the artists. The camera editing is heavy on the visual effects, like Oslo '96. There's more fog machine. And the voting graphics look more advanced this year, thanks to the Europe map animation. The audience, meanwhile, is unusually rowdy. The vote reveal is definitely an exciting one. The lead changed multiples times, and only 7 points separated the top three (Israel / UK / Malta) in the final result. It was up in the air until the final country (Macedonia) was called, at which point Israel and Malta were tied for first place. Macedonia awarded 8 points to the former and 0 to the latter, ensuring a suspenseful finish. The broadcasted scoreboard was later readjusted because the Spanish correspondent neglected to give points to Germany. She also caused confusion in 1996, when she said “Holland” instead of The Netherlands, and the host misheard it as “Poland”. Overall, 1998 is a ballad-heavy year, and so many of them involve “I can't live without you” lyrics. So many entries blend into each other. It's a tough one to get through. The Entries Croatia: Danijela - Neka mi ne svane A dramatic ballad and a surprise dress reveal secures a top 5 placing for Croatia. The song is lyrically depressing, where Danijela would rather “cease to exist” than face the reality of the break-up. Midway through the performance, she removes her black cloak to reveal a sparkling white dress, which symbolizes her transformation from depression to openness; or from concealment to pride. She is beaming in that white dress. I love how the song briefly slows down during that transition to grab your attention. Moreover, “Neka” is a well-structured ballad that peaks and climaxes nicely. The chorus melody works and Danijela's voice is elegant. Greece: Dionysia and Thalassa Group - Mia Krifi Evesthisia The Greek entry was mired in backstage drama. The composer (Yiannis Valvis) kept complaining about the staging, and the artists nearly withdrew in response. Valvis was ultimately banned from attending the Grand Final. Anyway, “Mia” is a haunting ballad that's addressed to a stalker. It's powered by an electric guitar. The performance seems “off”, though, like the lead singer doesn't want to be there. The electric guitar commands attitude but her voice is too shaky and unfocused to match. The Greek entry ultimately received 12 points... all from one country (guess which one). France: Marie Line - Où aller By earning 3 whole points, this is one of France's worst results ever. “Où aller” is a smooth, chilled-out R&B-influenced number, where Marie encourages finding one's path in life. The disco strings are a highlight, and the instrumental is attracting and dreamy. But the chorus goes nowhere. Spain: Mikel Herzog - ¿Qué voy a hacer sin ti? ZZZZZ. Spain submits a generic, dated, tedious Eurovision ballad sung by a Harry Potter lookalike. The lyrics are overly despondent too. “Qué voy” is just so indistinct and dull. There's nothing special about it. And I dislike the “ahhhh” part from the backing vocalists. Switzerland: Gunvor - Lass ihn A nul points entry here. That said, “Lass ihn” is more forgettable than bad. It mostly lacks a lasting melody (I usually forget how it goes). Though there are two redeeming qualities. One is the violinist, Egon Egemann, who represented Switzerland himself in 1990. And secondly, the lyrics promote a meaningful message – the singer implores her friend to walk out on a toxic relationship. Slovakia: Katarína Hasprová - Modlitba Slovakia's last appearance for 11 years, and their final time on the Grand Final stage (their qualification rate will be 0/4). Definitely one of the worst performing nations in Eurovision. “Modlitba” is a standard Eurovision ballad, accompanied by some nasally vocals from Katarína. Her long and loud notes are unpleasant. Still, the pre-chorus melody is excellent, the song has a wistful tone, and the vocal notes in chorus do resonate. Poland: Sixteen - To takie proste “To takie proste” is an overshadowed entry, but it's cute “happy in love” song. I usually like the innocently joyful ones. It's in the genre of late-90s soft rock, so it's contemporary. In the song, the protagonist feels assured in her relationship, despite the imperfections. The arrangement is light and breezy like frolicking in the meadows. While the band exhibits humble giddiness on stage. The fiddle bridge is nice too. Israel: Dana International - Diva (winner review below) Germany: Guildo Horn - Guildo hat euch lieb! So Germany responds to their recent lacklustre results by blatantly trolling. And it pays off! This landed in 7th place. The staging is unprecedented, risque and bizarre. In the performance, Guildo strips, physically touches audience members, rings cowbells, and climbs the scaffolding. The song itself is terrible (it's typical 1970s soft rock mixed with unabashedly conceited lyrics), but the title phrase hook lands. The performance is amusing but it's too much and it's cring-y. Note: Stefan Raab, who will represent Germany himself in two years time, conducted and composed this. Malta: Chiara - The One That I Love The first of Chiara's trio of entries. This year sees Malta borrow from Ireland's winning formula – a humble and personal adult ballad. And it worked – “The One...” was 7 points from dethroning Dana. The staging involves an assortment of candles, which establishes an intimate ambiance, while Chiara delivers a classy performance. The song itself is too ordinary and slow and boring for me, though. Her 2005 entry is better. Hungary: Charlie - A holnap már nem lesz szomorú This is Hungary's last appearance until 2005. It's another 90s Hungarian entry to feature unappealing gravelly male vocals. Yuck. This could be a Rod Stewart ballad from the 70s. It's so dated. The song is breezy and uplifting, though, where Charlie promises a brighter future to his seriously ill partner. And the harmonica is okay. But ultimately “A holnap” is too breezy and it becomes a lullaby. Slovenia: Vili Resnik - Naj bogovi slišijo Slovenia delivers an anguished, dramatic ballad, as Vili supplies a passionate vocal performance. “Naj” is thankfully more imaginative than the other ballads this year. Mainly in how the ominous chorus strikes and amplifies. The verses, by comparison, are more lowkey. The sombre instrumental is effective too. Although the pacing is a bit slow. Ireland: Dawn Martin - Is Always Over Now? Ireland selects another uncomplicated, down-to-Earth offering of Adult Contemporary. This one is inoffensive with a soft texture, and it contains an animated chorus melody. It's an agreeable and effortless listening experience. Dawn also delivers a mature tone after being dumped. In the song, she challenges her ex's false promises. The word “always” has become meaningless. The lyrics are relatable, much like Ireland's recent winners. Portugal: Alma Lusa - Se eu te pudesse abraçar This year sees Portugal mix traditional instrumentation with a 90s drum beat. They also bring back José Cid, their representative from 1980, to compose it. “Se eu” exudes a warm and cozy vibe of togetherness, while the lyrics embrace Portugal's influential footprint on the world. The traditional instruments play a dominant role on this song, which I admire. The backing sounds full, varied, and the arrangement contains multiple instrumental-heavy breaks. It's also one of the rare times I like bagpipes. That said, the vocal melody isn't the most immediate or memorable. In regards to the visuals, this one involves several camera wipes. Romania: Mălina Olinescu - Eu cred This is a standard vocal ballad, but with a bittersweet one. The orchestra swells towards the song's climax while Mălina is on the verge of tears during her performance. She cries that she needs her ex back. Tragically, Mălina would commit suicide years later. “Eu cred” follows a formulaic and dull arrangement though. United Kingdom: Imaani - Where Are You? The 15th (and most recent) instance of the UK landing in second place. “Where Are You?” contains one of the best instrumentals in ESC history. The backing track is intricate, polished and multi-layered. It mixes late 90s elements of R&B and dance. I love the acoustic guitar, the drum beat, and the skidding sound effect. The orchestral strings complement it too. Imaani, meanwhile, inserts personable emotion into her vocal tone. The song is contemporary, chill, soulful, and tender. The arrangement executes the melancholic “pained longing” angle without sounding overly miserable. And the responses from the backing singers boost the catchiness. Cyprus: Michael Hajiyanni - Genesis The Cypriot entry is a triumphant ballad that celebrates the “genesis” of the human race. That's a unique lyrical theme. And it's not a dreary ballad! The explosive chorus is effective, partly due to by the blast of celebratory horns. While Michael's passionate intensity makes the genesis sound like a revolutionary event. The flutes(?) also portray the image of nature's beauty. But the vocals are a little too intense and shout-y. Netherlands: Edsilia Rombley - Hemel en aarde A top 5 result for the Netherlands here. “Hemel en aarde” is effortless, smooth, soulful, and feelgood. It's a burst of joy. While Edsilia exhibits warm effervescent stage presence. In the song, she compares the force of love with the force of weather/nature. The melody flows naturally and the chorus is an earworm. Sweden: Jill Johnson - Kärleken är Another standard Eurovision ballad, but at least it's sung with conviction. The lyrics were inspired by the death of Princess Diana. Jill honours her legacy and assures that she's still with us spiritually. But the arrangement is too...formal? It lacks emotion. Though I like the double exclamations of brass at the end of the chorus. The chorus melody is discernible and Jill provides bursting vocal climaxes. She's a capable vocalist. Fun fact: this is the last time Sweden sings in Swedish. Belgium: Mélanie Cohl - Dis oui This is Belgium's first top 10 since Sandra Kim, which was 12 years prior. The performance involves a similar vibe to Poland's – cute cheeriness. In the song, Mélanie tries to convince her ex to come back. The vibe is warm and uplifting, the drum beat is mainstream for the 90s, and Mélanie is confident and persuasive on stage. And she was only 16! But the “dis ouiiiiiii” hook is kind of annoying. Plus the song's structure is too simplistic for my liking. Finland: Edea - Aava Finland circumvents the disadvantage of their "unappealing" language by limiting themselves to 6 words. The arrangement expresses the wondrous beauty of nature. The instrumental injects plenty of quirky sounds. And the song contrasts lowkey verses with a chorus that jumps out with vocal chants. It's an alluring atmosphere, but I'm left feeling underwhelmed. My reaction is “that's it?” Norway: Lars Fredriksen - Alltid sommer Norway leaps back into the top 10 with a slice of lighthearted retro soft rock. “Alltid sommer” is a pleasant “happy in love” song that includes an immediately infectious chorus melody. The “Alltid evig sommer, sa du” line is a great hook due to the bounciness of it. Moreover, the drum beat drives the song, and there's plenty of energy. Lars, meanwhile, exudes charisma on stage. The only negative is that it's dated. Estonia: Koit Toome - Mere lapsed Yeah, the “Verona” guy from 2017. “Mere lapsed” is an adorable entry. It's a gentle and romantic piano ballad with a satisfyingly melody. In the song, Koit employs a sea voyage metaphor to illustrate the new life together with his partner. The texture is sentimental, heartfelt and soothing. It's like he's singing it directly to the viewers. I melt while watching his performance. There's plenty of camera wipes on this one too. Turkey: Tüzmen - Unutamazsın Tedious and dated. “Unutamazsın” is a dramatic orchestral ballad that's reminiscent of a movie soundtrack. In the performance, Tüzmen expresses pained longing, while the orchestra reaches bombastic heights. It's too dull for me though. It just drones on. They even struggled to cut it down to 3 minutes in rehearsals. F.Y.R. Macedonia: Vlado Janevski - Ne zori, zoro North Macedonia debuts (under their defunct name). “Ne zori, zoro” is another ballad in 1998, but there's a downbeat and brooding vibe to it. I love the darker tone. The lyrics reference the Macedonian tradition of needing parental approval before getting married. Vlado remarks that if he's rejected, he'll resort to drinking. The instrumentation captures this bleak atmosphere well, thanks the ominous bass guitar and the rich orchestra. As does Vlado's raspy vocals. Musically, the backing vocals also elevate the chorus melody. The WinnerIsrael achieves their first win since their back-to-back victories in 1978/79. Deservedly so, they are one of the best countries in Eurovision. “Diva” is one of those turning points in the contest's chronology. I'd argue this is the moment where the modern era begins, stylistically speaking. The previous few winners were adult ballads, while the next several champions are all upbeat pop-leaning songs. Indeed, “Diva” is the most mainstream winner since Carola, thanks to the techno beat and the careful staging. “Diva” is a song that expresses self-acceptance, self-pride and self-empowerment. Dana demonstrates all three in her stage presence. Her charisma and confidence embody the “diva” persona. And she projects the song's message in a genuine way. So many inspirational anthems are forced, clumsy or come off as pandering. But “Diva” avoids that. In the lyrics, Dana idolizes powerful women from history, mentioning the names of (Queen?) Victoria, Aphrodite and Cleopatra. In a sense, validating the female gender. Meanwhile, the staging and camera work are well-calculated. The quick cuts and swipes are amusing, but they're interjected meticulously. The flashing lights convey a runway aesthetic. And the part where the three backing singers walk sideways into the frame is a slick visual. And the song is a bop. From the dramatic opening, to the clappy beat, to the catchy chorus, to the slow-down bridge... it's a slick pop song. Sidenote: I must mention that gaudy feather dress Dana wore in her reprisal. Verdict: G.O.A.T. tier. I admire so much about this song. My Ranking:01. United Kingdom: Imaani - Where Are You? 02. Netherlands: Edsilia Rombley - Hemel en aarde 03. Croatia: Danijela - Neka mi ne svane 04. Israel: Dana International - Diva 05. Estonia: Koit Toome - Mere lapsed 06. Norway: Lars Fredriksen - Alltid sommer 07. Portugal: Alma Lusa - Se eu te pudesse abraçar 08. Poland: Sixteen - To takie proste 09. F.Y.R. Macedonia: Vlado Janevski - Ne zori, zoro 10. Ireland: Dawn Martin - Is Always Over Now? 11. France: Marie Line - Où aller 12. Sweden: Jill Johnson - Kärleken är 13. Cyprus: Michael Hajiyanni - Genesis 14. Belgium: Mélanie Cohl - Dis oui 15. Slovenia: Vili Resnik - Naj bogovi slišijo 16. Romania: Mălina Olinescu - Eu cred 17. Slovakia: Katarína Hasprová - Modlitba 18. Germany: Guildo Horn - Guildo hat euch lieb! 19. Malta: Chiara - The One That I Love 20. Finland: Edea - Aava 21. Switzerland: Gunvor - Lass ihn 22. Greece: Dionysia and Thalassa Group - Mia Krifi Evesthisia 23. Turkey: Tüzmen - Unutamazsın 24. Spain: Mikel Herzog - ¿Qué voy a hacer sin ti? 25. Hungary: Charlie - A holnap már nem lesz szomorú {By the way, here is the list of the songs featured in the postcards, with the UK chart peaks in brackets:} Croatia: M People – Sight For Sore Eyes (#6 – 1994) Greece: Supergrass – Alright (#2 – 1995) France: Duran Duran – Ordinary World (#6 – 1993) Spain: (classical) Switzerland: (classical) Slovakia: Apollo 440 – Ain't Talkin' 'Bout Dub (#7 – 1997) Poland: Bluetones – Slight Return (#2 – 1996) Israel: Pulp – Common People (#2 – 1995) Germany: Pet Shop Boys – Always On My Mind (#1 – 1987) Malta: Catatonia – Mulder And Scully (#3 – 1998) Hungary: Manic Street Preachers – A Design For Life (#2 – 1996) Slovenia: Lighthouse Family – Ocean Drive (#11 – 1996) Ireland: The Verve – Bittersweet Symphony (#2 – 1997) Portugal: Suede – Beautiful Ones (#8 – 1996) Romania: Simply Red – Something Got Me Started (#11 – 1991) UK: Kula Shaker – Hush (#2 – 1997) Cyprus: Underworld – Born Slippy (#2 – 1996) Netherlands: Texas – Polo Mint City (DNC album track – 1997) Sweden: The Beautiful South – Don't Marry Her (#8 – 1996) Belgium: James – She's A Star (#9 – 1997) Finland: Mansun – The Chad Who Loved Me (DNC album track – 1997) Norway: (classical) Estonia: Van Morrison – Bright Side Of The Road (#63 – 1979) Turkey: (classical) F.Y.R. Macedonia: The Lightning Seeds – Sugar Coated Iceberg (#12 – 1997)
(I had to Shazam some of these) (they should've done all #2 hits since the UK has so many #2's in Eurovision) Leo ✔ Soundcl🕤ck born fearlessarrow kimberly Mylo13 💜 Future Captain
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Leo ✔
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Post by Leo ✔ on May 14, 2020 19:37:23 GMT -5
I saw this edition last saturday and the best was the voting and the memes on Twitter.
This is my favorite.
My favorite songs were: Romania, Croatia, Israel, UK, Malta and Portugal. Israel is a deserving winner. Spanish entry is a mess and i kinda hate it. Germany was a mess, and it was entertaining but the song is horrible.
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Post by Future Captain on May 14, 2020 19:37:39 GMT -5
Diva! The start of the modern Eurovision that we all know and love. Still one of my favorite Eurovision entry ever
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ry4n
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Post by ry4n on May 17, 2020 16:56:55 GMT -5
Jerusalem 1999 Host: Israel Participants: 23 Voting method: 12-point system (19 televotes / 4 juries) Format: Relegation – the 16 highest average scores between 1994-1998 + the host + the 6 relegated in '98 incl. Lithuania Winner: Charlotte Perrelli Nilsson - Take Me to Your Heaven Country: Sweden Points: 163 (61.7% of highest score possible) Language: English YouTube | Spotify | LyricsGeneral OverviewIsrael gets to stage the final Eurovision Song Contest of the decade / century / millennium. Coincidentally, they seem to do this every 20 years (they also close out the 1970's and the 2010's). This year, Eurovision reverts to a small auditorium, the same one used in 1979. A strange and regressive decision indeed. Incidentally, every subsequent contest in the 21st century has been held in a larger capacity arena. 1999 is the year that pop music overtakes the contest. If 1998 is the finale of the old-fashioned era, then 1999 is the premiere of the (early) modern one. This is partially because the Israeli broadcaster IBA dropped the in-house orchestra for budgetary reasons. It had been a staple of the contest since 1956. The orchestra was replaced with backing tracks, which allowed for a more diverse range of production. This became a permanent change for future contests – a decision that upsets Eurovision purists to this day. The language restriction rule was also abandoned in 1999. Indeed, 12/23 of this year's entries are entirely in English. Consequently, Ireland, the UK, and Malta no longer hold an advantage due to the widespread fluency of English, as all three countries miss the top 10. Along with the recent switch to televoting, these three format changes drastically altered the face of Eurovision. But they were necessary to modernize the contest. The presenters this year are Dafna Dekel (who represented Israel in '92), Yigal Ravid and Sigal Shachmon. Their presentation style appears sloppy and forced. They even pause the contest midway through to raise a toast (a segment that goes on too long). Meanwhile, the stage design is similar to the one from 1979 – a flat, serviceable layout that features a giant, eye-catching sculpture in the background. Israel put a lot of effort into the postcards. Each one focuses on a different Biblical painting. Said paintings become animated. The postcards then transition into live action "skits" that focus on an object from the painting. They're meant to be comical but they're also corny (and downright bizarre at times). Elsewhere, the interval act is well-choreographed – it's essentially a pre-recorded music video starring Dana International. Latvia and Hungary declined to participate in '99, which allowed Portugal to avoid relegation. The vote reveal isn't as chaotic as 1998, but the point difference between Iceland and Sweden was extremely close until the last two countries (Bosnia and Estonia) were called. Bosnia ultimately gave their 12 points to Sweden and 0 to Iceland, which sealed the deal. The '99 contest ends with a message of unity: all the artists from the 23 participating countries join Charlotte on stage during her reprisal. Afterwards, the entire group sings “Hallelujah” together as a tribute to the victims of the Balkan War. The Entries Lithuania: Aistė - Strazdas Lithuania's first appearance in 5 years, following their nul points debut in '94. “Strazdas” establishes nature imagery and an inspirational vibe despite containing very few lyrics. The folksy instrumentation chronicles the journey of overcoming one's nerves. I like how the song gradually builds. The climax creeps up on you. While Aistė's squawky vocals and the usage of the Samogitian dialect complete the mental picture of a chilly forest. Her voice adds character, but it's also the biggest drawback. It's grating. Belgium: Vanessa Chinitor - Like the Wind Another New Age track here. The Belgian entry is indeed “like the wind”, where both the instrumentation and Vanessa's vocal tone gently float in the breeze. The melody is carefree and lively enough. The “running on... endlessly...” line is the best hook, especially with the echoes. It's a simplistic song, where she mirrors the freedom of the wind. The “like the wind...” part falls a little flat, though. But the backing track is atmospheric thanks to a swooshing sound. Spain: Lydia - No quiero escuchar Spain finishes dead last with one point. To be fair, it's a bland song and the melody is too passive. Lydia's ugly rainbow dress is more memorable. In the song, she suspects her lover is cheating, so she rejects his excuses. The lyrics express a defiant attitude but it's not matched in the performance or the arrangement. The execution opts for misery instead. I'm not a fan of Lydia's voice either. Croatia: Doris Dragović - Marija Magdalena JAM! The “ah ah ah ah ah” chants are so haunting and the stomping Eurodance beat is so dominant. The two styles really complement each other. They combine to create a powerful song that overtakes you. Meanwhile Doris exerts gusto into her performance. It's unfortunate, however, that Croatia cheated to create those chants – the backing track contains pre-recorded vocals. Which is obvious since there's only one backing singer on stage, who couldn't possibly produce that effect on their own. Croatia were subsequently penalized in the relegation formula for future contests. Actually the staging in general is poorly planned. Doris's positioning is odd. Fun facts: this isn't Doris's first time on the Eurovision stage (Yugoslavia 1986), nor is it the first entry to reference the Biblical figure Mary Magdalene (Austria 1993). United Kingdom: Precious - Say It Again So the UK decided to jump on the 90s R&B girl group trend. “Say It Again” sounds like an American chart hit from the time. The acoustic guitar, the drum kicks, and the record scratches are very 1999. It is a polished, mainstream, summery R&B/pop song, where the narrator needs simple reassurance of their lover's feelings. The chorus hooks are strong, namely the “say it again – say it” and the “lying next to me” parts. The key change is effective and the choreo is adequate. But the overall structure is too “safe” and lacks ambition. It never soars to the next level. Slovenia: Darja Švajger - For a Thousand Years Darja returns from 1995. This time she sings the hell out of this theatrical/orchestral ballad. “For a Thousand Years” is reminiscent of Disney movies, complete with vocal gymnastics. It's a grandiose showtune. The choruses are satisfyingly climactic, though. The lyrics, meanwhile, are a snapshot of Darja's feelings while she's with her lover. Turkey: Tuğba Önal & Grup Mistik - Dön Artık Turkey submits another traditional entry, which I always appreciate. This one is driven by an energetic beat. While the back-and-forth exchange in the chorus creates a catchy melody. It's a clever succession of phonetic syllables, but the harmonizing is too ugly to make it work. The pre-chorus is the best part. Norway: Stig Van Eijk - Living My Life Without You This falls into the “so bad it's good” category for me. The instrumental reeks of 90s Max Martin pop. That's usually a good thing, but Stig delivers one of the worst vocal performances in Eurovision history. It's tragic. The backing singers carry the chorus. The song itself is as basic and generic as it gets. Literally a Backstreet Boys reject. And Stig's outfit choice is hilarious. That said, at least he delivers some charisma on stage. Denmark: Trine Jepsen & Michael Teschl - This Time I Mean It Here's another song whose production channels 90s Max Martin! The Danish entry is on the slower, romantic side though; in the vein of “As Long As You Love Me” by the Backstreet Boys. The song attempts to be a relaxing, sugary duet, where two exes give it another try. But it's just... “blah”, and Michael's goofy body language annoys me. France: Nayah - Je veux donner ma voix This entry would have sent France into the relegation zone if the “Big 4” hadn't come into existence next year. “Je veux” is a thundering French ballad, where Nayah wishes to give everything, even her life, to bring peace. Most notably though, she extends the final note for 10 whole seconds. The chorus is melodic enough, but “Je veux” is too heavy in tone and the presentation is too histrionic. The song ties to be an important anthem, but it doesn't connect. Netherlands: Marlayne - One Good Reason Netherlands supplies a catchy, sunshiny, effortless pop song. In the lyrics, Marlayne reassures her lover that she's committed to, and confident in, their relationship. She sings it well, and she expresses delightful expressions on stage. The pre-chorus stands out. And the backing singers reinforce and elevate the chorus well. I'm a sucker for purely feelgood entries, and this is brimming with positivity. Poland: Mietek Szcześniak - Przytul mnie mocno Zzzzz. Poland's ballad contains no refrain or hooks; instead it steadily builds to a climax. But it's such a dull experience and it lacks a melody to latch onto. I instantly forget how it goes. The lyrics are poetic, though, where Mietek is grateful for his partner. Iceland: Selma - All Out of Luck 1999 is the closest Iceland has ever come to winning Eurovision (although 2020 might have been their year under normal circumstances). They were the runner-up in 2009 as well, but the margin was significantly wider. “All Out Of Luck” is a disco-influenced 90s pop song, where Selma encourages people to adopt a positive outlook on life. The tone is bright, the chorus is highly impactful, and Selma sings with empathy. The whole song flows effortlessly. The fast-paced production is energetic while ejecting a variety of sounds. The verse/chorus contrast is excellent. Plus the staging might be the best of the night – it involves a brisk choreo routine featuring two dudes in trench coats. Cyprus: Marlain - Tha'nai Erotas Cyprus receives 2 points despite being a hot favourite. The running order slot, along with the lacklustre choreography, might explain that. But I find that Marlain's vocal melody doesn't match the hi-NRG Eurodance beat. The pacing of the two components seems out of sync. It's too choppy and messy, and it sounds like two different songs. The club beat is still euphoric though, and it's refreshing for Eurovision. And I like how the song starts as a piano ballad to set up the “drop”. But I don't think this song works at all. Sweden: Charlotte Nilsson - Take Me to Your Heaven (winner review below) Portugal: Rui Bandeira - Como tudo começou The definition of forgettable and inoffensive background music. “Como” is a breezy 1970s soft rock song, but it struggles to hold my attention for 3 minutes. Not even Rui letting loose during the guitar solo is enough. This song is just one big pile of nothing. Lyrically, Rui regrets hurting his ex. Ireland: The Mullans - When You Need Me This is an unremarkable, bland, lifeless snoozefest. The empty staging does not help either. Nor the annoying vocals. In the song, the narrator realizes they were emotionally distant, but they promise to be supportive from now on. I can appreciate the message, but meh. It's a tedious experience. Austria: Bobbie Singer - Reflection A cute, bubbly, dreamy slice of pop/rock. “Reflection” breathes a sugary sweet charm that reminds me of Sixpence None The Richer. Bobbie's effervescent stage presence boosts the appeal too. The song might be basic (hence why it's not in my top 10), but the hooks are decent. Israel: Eden - Yom Huledet (Happy Birthday) This is the fourth consecutive year where the host entry lands in the top 5. “Happy Birthday” is corny and lyrically straightforward, and the dance beat is generic, but the choreography is slickly designed. There's so much movement despite the boyband mostly standing in one spot. They are charming AF, while conveying the joyous nature of birthdays. The song is still average, but the live performance salvages it. The bridge/transition into the key change is great, though. Malta: Times Three - Believe 'n Peace “Believe 'n Peace” breaks Malta's their top 10 streak, which began upon their return in '91. Understandable as this is so... amateur. The harmonies are all over the place, the lyrics are empty, the chorus is really repetitive (especially towards the end), and the trio appear awkward on stage. Germany: Sürpriz - Reise nach Jerusalem – Kudüs'e seyahat This is Germany's best result between Wind and Lena. Ironic, since Corinna May was originally selected this year but her song was disqualified. “Journey To Jerusalem” effectively illustrates travelling to the religious capital to find unity and peace. Notably, the lyrics casually rotate between four languages: German, Turkish, English, and Hebrew. The “Eastern” instrumentation is enchanting. The clap-a-long marching rhythm is infectious. The collective melody in the chorus is immediate. And the ensemble projects encouraging energy on stage. Bosnia & Herzegovina: Dino & Béatrice - Putnici Bosnia's first top 10 placing. It only took six attempts. Similar to Germany, Hari Mata Hari were originally selected for 1999, but their song was disqualified. Also, Bosnia has now switched to their current flag. “Putnici” is an unconventional duet – Dino raps the verses in Bosnian, the duet delivers the pop chorus in French, and the instrumentation is traditional folk. But these elements mesh and flow smoothly. It's an intriguing “ethnic” entry. I like the succession of syllables and the violin responses in the chorus. The artists' stage presence is natural too. Lyrically, “Putnici” is about embracing a deterministic viewpoint. Estonia: Evelin Samuel & Camille - Diamond of Night There's a wondrous nature-y atmosphere in the Estonian entry, where the singer explains how the celestial bodies guide her. “Diamond of Night” captures an aura of triumphant finality. It's an appropriate closer. The song builds nicely, and the percussion establishes a momentous pacing. The WinnerSweden scores their 4th victory, setting the stage for their dominance in the 21st century. Across the next 20 contests, Sweden will attain 11 top five placings, 0 relegations, and only one semi-final non-qualifier. Crazy. Only Russia can rival those stats in that time period. Italy and Turkey as well, but they've each had long absences. Also noteworthy, Melodifestivalen switched to the 50/50 system for their voting in 1999. Though contestants were still required to perform in Swedish until 2002... even though the artists translated their songs to English for the Eurovision stage. Bizarre, I know. There was significant ABBA revival in 1999. The Mamma Mia musical debuted, the BRIT Awards opened with an ABBA tribute, A*Teens became a thing, and Charlotte Nilsson (later Perrelli) won Eurovision with an ABBA-inspired melody. Incidentally, this lead to multiple Schlager-pop songs winning Melodifestivalen in the next decade. But more on that in future write-ups. “Take Me To Your Heaven” is definitely a catchy song. The pre-chorus leaps out effectively. The choir elevates the hooks (“love you till the end of time” and “when my nights are cold and lonely” being two notable examples). The key change is seamless. And it's easy to get lost in the chorus melody. It naturally flows in a buoyant manner. It's a well-crafted, unabashed pop song. And Charlotte pulls off a great performance. So why don't I love this? Well, I find it too... camp? Cheesy? Tacky? On-the-nose? It's never quite clicked with me. Verdict: I like it. My Ranking:01. Croatia: Doris Dragović - Marija Magdalena 02. Germany: Sürpriz - Reise nach Jerusalem – Kudüs'e seyahat 03. Iceland: Selma - All Out of Luck 04. Bosnia & Herzegovina: Dino & Béatrice - Putnici 05. United Kingdom: Precious - Say It Again 06. Netherlands: Marlayne - One Good Reason 07. Estonia: Evelin Samuel & Camille - Diamond of Night 08. Sweden: Charlotte Nilsson - Take Me to Your Heaven 09. Slovenia: Darja Švajger - For a Thousand Years 10. Belgium: Vanessa Chinitor - Like the Wind 11. Lithuania: Aistė - Strazdas 12. Israel: Eden - Yom Huledet (Happy Birthday) 13. Austria: Bobbie Singer - Reflection 14. Norway: Stig Van Eijk - Living My Life Without You 15. Turkey: Tuğba Önal & Grup Mistik - Dön Artık 16. Cyprus: Marlain - Tha'nai Erotas 17. France: Nayah - Je veux donner ma voix 18. Spain: Lydia - No quiero escuchar 19. Denmark: Trine Jepsen & Michael Teschl - This Time I Mean It 20. Poland: Mietek Szcześniak - Przytul mnie mocno 21. Ireland: The Mullans - When You Need Me 22. Portugal: Rui Bandeira - Como tudo começou 23. Malta: Times Three - Believe 'n Peace And now we circle the Baltic Sea for a few years. The next 3 winners are a doozy. Leo ✔ Soundcl🕤ck born fearlessarrow kimberly Mylo13 💜 Future Captain
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Post by ry4n on May 20, 2020 16:57:21 GMT -5
Stockholm 2000 Host: Sweden Participants: 24 Voting method: 12-point system (19 televotes / 5 juries) Format: Relegation – the 13 highest average scores between 1995-1999 + Big 4/Host + the 5 relegated in '99 + Latvia Winner: Olsen Brothers - Fly on the Wings of Love Country: Denmark Points: 195 (70.7% of highest score possible) Language: English YouTube | Spotify | LyricsGeneral Overview:Eurovision enters the new millennium in Stockholm. The Swedes selected the biggest venue yet (a hockey arena), which accommodated the largest audience yet – 16,000. The loud energy emanating from the crowd makes this year's contest feel “big”. The presenters are Kattis Ahlström and Anders Lundin, who deliver a “playing dumb” style of humour. I enjoy it. The 2000 contest marks the installation of “The Big 4”. Whereby the four largest financial contributors – Germany, France, Spain and the UK – are exempt from relegation. Italy will join the quartet upon their return in 2011. This was a timely decision as France would have been relegated this year otherwise, with Spain suffering the same fate in 2001. Consequently, these four countries no longer have an incentive to avoid the bottom end of the scoreboard... which is where they'll frequently end up in the next two decades. The stage design incorporates a series of moving pillars that house vertical video screens. It's pretty cool. The postcards highlight an activity or an object or a person from each country. After each entry, the feed cuts to a “backstage camera”, where the outgoing performers pass by the upcoming ones. There's three intermissions during the running order – which seems excessive, but I imagine there's logistical reasons for that. The visual department utilizes a digital clock font and a block-y Europe map to look futuristic. Also, the 2000 contest employs that creepy lips logo, which absorbs each country's respective flag colours into a swirly pattern. The interval act involves a sequence of short, unrelated, cultural clips around Europe. This is followed by an engaging dance/drum routine on stage. It's one of the better intervals. 2000 sees Latvia debut and Russia return after a two-year absence. While Greece, Hungary and Slovakia declined. Also, the first comprehensive Eurovision compilation CD is released. Denmark was a runaway winner, although Russia and Latvia had strong showings too. The Netherlands reverted to the jury vote because the Dutch broadcaster had switched to news coverage of a local fireworks disaster. The Entries:Israel: PingPong - Sameach “OHHHH... BE HAPPY!” This vocal performance is so tragic and limp that it turns the song's message into sarcastic happiness. Same with their casual body language on stage. “Sameach” is a jumpy party song that sounds childish at first, but it's actually a protest song, in regards to Israel's divisive and destructive political environment. The ensemble even waves Israeli and Syrian flags during the performance which... did not go over well. Netherlands: Linda Wagenmakers - No Goodbyes The Dutch entry is notable for Linda's oversized tablecloth dress. She disrobes it when the beat hits to reveal two backing dancers hidden underneath. Afterwards, she mostly bounces in one spot. As for the song, “No Goodbyes” is a dance/pop number, where Linda asserts a clean break-up, instead of listening to the denials and excuses. The song has potential to be a banger, but the elongated “no goodbyeeeeeeees” refrain falls flat due to her vocal. And ultimately, the last minute of the song feels like padding to reach 3 minutes. United Kingdom: Nicki French - Don't Play That Song Again Yep, the same Nicki French who covered “Total Eclipse Of The Heart” in 1995. Her Eurovision entry is a buoyant and melodic dance/pop song. It's cute in a way, but also quite campy and average. Indeed, the arrangement channels Steps's formula from the time. The dance beat is generic too. The choreo projects some liveliness, though. Ultimately “Don't Play...” landed in 16th place, which was a major under-performance for the UK at the time... it's only going to get worse from here. Estonia: Ines - Once in a Lifetime The Estonian entry was a favourite, but it finished in 4th place. The poor running order slot did not help. In the performance, Ines is dressed in cowgirl attire, but the song is as country as Madonna's “Don't Tell Me” (although this predates that). She is on the edge of adulthood, optimistic about the uncertain road ahead of her. The sloshing beat is smooth and Ines implies a self-assured vibe. The song is a little basic though. Still, it's better than their upcoming winner. France: Sofia Mestari - On aura le ciel France have hit a slump, although their next two entries do pretty well. “On aura le ciel” isn't a bad entry; it's more forgettable than anything else. The song is breezy adult contemporary with day-dreamy lyrics. It's pleasant but the arrangement is too bare and underdeveloped. Romania: Taxi - The Moon It seems like Romania are emulating Oasis's “Wonderwall” here. The lead singer's nasally, warbled vocal style is an acquired taste. It adds character, but I find it annoying and unpleasant. Otherwise, he gives a heartfelt performance, and the pan flute bits are nice. Malta: Claudette Pace - Desire “Desire” isn't the most innovative entry ever. It's a flirtatious and somewhat campy song with a bouncy Spanish dance rhythm. But Claudette's pure enthusiasm sells it so well. She joyfully projects her voice as she shuffles about in one spot. I like the uplifting energy. Although the staging is basic and out-of-date. The contest has moved past this type of stationary performing. Norway: Charmed - My Heart Goes Boom The Norwegian girl group delivers a giddy bubblegum pop song that's guided by a prominent tambourine rhythm. The song is very early-2000s teen-pop, and a bit childish in that way. But the “boom!”'s are effective, the chorus is catchy, and the choreo routine bops along to the beat. This is the kinda stuff I bopped to back then anyways. Russia: Alsou - Solo Russia returns with a bang! “Solo” is the runner-up of 2000. The country's placements were shaky in the '90s, but this year established them as a serious contender for the next two decades. Russia will land in the top three 8 more times after this. So, “Solo” is a slick, contemporary, pop/rock song with a bit of attitude. The production contains Max Martin influences and the chorus is effortlessly catchy (“NOW I WAIT IN THE COLD”). The self-isolating drop down during the “going solo” part is effective. And the staging is well-executed – the fog machine adds an allure, while the choreo routine is smooth and distinct. In the song, Alsou dumps this person without a second thought. Belgium: Nathalie Sorce - Envie de vivre A last place finish for Belgium here. “Envie de vivre” encompasses a typical French ballad structure, while shuffling between drum-n-bass and disco instrumentals. It attempts old and new styles simultaneously. But the execution isn't particularly seamless.. or catchy. Lyrically, it's an inspirational song, where Nathalie states that we need love to live. Cyprus: Voice - Nomiza Alexandros Panayi appears again – this time in a duet co-starring Christina Argyri. “Nomiza” describes how the broken-up pair still can't resist each other. The atmosphere is striking, thanks to the tense, pounding drums and the harmonies. It's like a force of nature erupting. The first ~2 minutes are spent billowing anticipation, while the final portion reaches a powerful climax (that drum break!). The production is enchanting during the former. But the song feels underdeveloped in a way. The camera work is neat though. Iceland: August & Telma - Tell Me! Iceland's entry exudes a retro beach party vibe. The duet brings animated enthusiasm to the stage as they pursue a relationship with each other. And the melody is bursting with energy. It's cute. Spain: Serafín Zubiri - Colgado de un sueño The pianist Serafin also represented Spain in 1992. I did not like his previous entry at all, but this one is alright. It's written by the composer of “Vuelve conmigo”. In “Colgado”, Serafin defiantly resists anybody or anything that holds him back from pursuing his dreams. I like the message. Still, it's not the most compelling ballad melody. Denmark Olsen Brothers - Fly on the Wings of Love (winner review below) Germany: Stefan Raab - Wadde hadde dudde da? Lol. Raab delivers another zany performance, after organizing Germany's ridiculous joke entry in 1998. This one involves a hype man, dizzying camera work, white and gold outfits, and a gold stage aesthetic. While the song centers around the repeated catchphrase “What do you have there?”, as Raab quick raps over a dated disco beat. It's like an embarrassing, drunken karaoke night at the pub. I also get Austin Powers vibes. The audience loved it though, as the song placed 5th and reached #2 in the German charts. But like Germany's '98 entry, this is something I'd only ever enjoy in Eurovision context. Switzerland: Jane Bogaert - La vita cos'è? Ostensibly, this is generic Eurovision vocal ballad #8384. But the calm instrumentation and the explosive chorus provide an atmosphere of resilience, and the pacing doesn't drag. The chorus melody sticks with me, at least. Still, I can't decide if this entry is powerful or annoying. Croatia: Goran Karan - Kad zaspu anđeli Croatia sends a tense romance ballad. It's dramatic without turning tedious. The staging notably involves a mysterious dancer who's hidden under a black veil. She reveals herself towards the end. Meanwhile, Goran delivers a powerful vocal, especially in the chorus. And the song has an atmosphere of brooding passion. Sweden: Roger Pontare - When Spirits Are Calling My Name The host entries continue to place strongly (Sweden lands in 7th). The audience reception to this is thunderous, of course. “Spirits” is one of Sweden's most unique entries. The song involves Pontare, who is of Sami descent, expressing indigenous pride. The chorus is triumphant and contains a catchy singalong melody. The staging involves traditional outfits. The fog machine adds to the aura of the outdoors. And I believe this is the first Eurovision entry to include pyrotechnics. F.Y.R. Macedonia: XXL - 100% te ljubam This is... a mess. The vocals are astonishingly poor. Most notably in the verses, where the solo rotations are flat. Furthermore, the lyrics are a little obsessive. And the song relies too heavily on that overly repetitive chorus. XXL drills that melody and it gets annoying quickly. There's just something really robotic about this entry. Finland: Nina Åström - A Little Bit Nina delivers a humble, heartfelt, relatable message. She describes drawing strength from her hometown connections. The arrangement is like a warm embrace. It's not the catchiest song but it works. Not a fan of the city/country shout-outs though. Notably, Nina beat Nightwish at the Finnish national final. Now that would've been an interesting selection. Latvia: Brainstorm - My Star Latvia debuts in 3rd place! “My Star” is a light rock song with a feelgood atmosphere. The lead singer expresses a smitten tone as he follows his heart. He also employs some bizarre body movements, facial expressions and vocal intonations. I like the bouncy melody and the sunshiny vibe, and the metal chimes add a unique touch. It's a sweet song. But the performance is a little too cringe. Turkey: Pınar Ayhan & The SOS - Yorgunum Anla Turkey selects an mystical, Spanish-influenced song that conveys a Mediterranean dance vibe. Lyrically, Pınar is at the point where she wants to move on from the heartache. The flamenco(?) instrumentation is a highlight, and there's a bursting chorus, but this song kind of fades into the background. There's something underwhelming about the structure. Ireland: Eamonn Toal - Millennium of Love A last hurrah for Ireland perhaps? “Millennium of Love” reached 6th place and their 19 subsequent entries have not surpassed that. Most of them perform pretty badly, actually. “Millennium of Love” employs the same bland, dated ballad formula Ireland exploited in the 90's. The lyrics address various global issues that humanity must resolve in the new millennium. But it's so corny and hokey and cringe. And they double down with candles on screen. Austria: The Rounder Girls - All to You Austria channels 1960's Motown. Which is a unique style for the contest. “All to You” is an uplifting song, where the trio describes the bubbly affect their love interest has over them. The Rounder Girls emit great energy on stage. But the chorus doesn't quite reach the heights it could. The Winner:Denmark achieves their first win in 37 years! That gap is longer than an entire generation – indeed, Eurovision was still in black-and-white back then. So a second victory was overdue. Following Denmark's win in 1963, the country withdrew for 11 years between 1967-1977, they attained a strong run in the mid-to-late 80's, and they faltered a bit in the 90's. Their trajectory over the next 19 years will be inconsistent. “Fly on the Wings of Love” is notable for the brief vocoder effect before the key change. And for the Olsen Brothers being one of the oldest acts to win Eurovision. In fact, both siblings are older than the contest itself – Jorgen was 50 and Niels was 46. It is quite rare for anyone over 40 to win it. The song is minimalist, with folk/New Age instrumentation. It's lead by acoustic guitars, while the pan flute establishes a mountain sound. In the song, the narrator cherishes a lifelong loving partnership. The lyrics illustrate a romantic slow dance on the beach at night. And the bare staging highlights an atmosphere of humble gratefulness. The song's stripped-back nature fulfills the message. The laid back verses are comforting and touching, and the chorus is catchy. But the chorus lyric is cliche and the marbled-mouth vocals are grating at times. Also, the vocoder portion seems gimmicky. It worked for Cher because “Believe” is a club song. But it doesn't fit this song's message. Sidenote: A trance cover reached #8 in the UK charts in 2003: www.youtube.com/watch?v=x4bxUOxY2M0 Verdict: It's okay I guess. But I never listen to this song out of choice. My Ranking:01. Sweden: Roger Pontare - When Spirits Are Calling My Name 02. Russia: Alsou - Solo 03. Iceland: August & Telma - Tell Me! 04. Croatia: Goran Karan - Kad zaspu anđeli 05. Latvia: Brainstorm - My Star 06. Malta: Claudette Pace - Desire 07. Norway: Charmed - My Heart Goes Boom 08. Estonia: Ines - Once in a Lifetime 09. Austria: The Rounder Girls - All to You 10. Cyprus: Voice - Nomiza 11. Finland: Nina Åström - A Little Bit 12. Turkey: Pınar Ayhan & The SOS - Yorgunum Anla 13. Germany: Stefan Raab - Wadde hadde dudde da? 14. Denmark: Olsen Brothers - Fly on the Wings of Love 15. Switzerland: Jane Bogaert - La vita cos'è? 16. Spain: Serafín Zubiri - Colgado de un sueño 17. Netherlands: Linda Wagenmakers - No Goodbyes 18. France: Sofia Mestari - On aura le ciel 19. United Kingdom: Nicki French - Don't Play That Song Again 20. Romania: Taxi - The Moon 21. Israel: PingPong - Sameach 22. Ireland: Eamonn Toal - Millennium of Love 23. Belgium: Nathalie Sorce - Envie de vivre 24. F.Y.R. Macedonia: XXL - 100% te ljubam Next up: the most forgettable Eurovision of the century Leo ✔ Soundcl🕤ck born fearlessarrow kimberly Mylo13 💜 Future Captain
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Post by ry4n on May 24, 2020 19:53:07 GMT -5
Copenhagen 2001 Host: Denmark Participants: 23 Voting method: 12-point system (mostly televotes) Format: Relegation – the 12 highest average scores between 1996-2000 + Big 4/Host + the 6 relegated in '00 incl. Greece Winner: Tanel Padar, Dave Benton & 2XL - Everybody Country: Estonia Points: 198 (75.0% of highest score possible) Language: English YouTube | Not on Spotify | LyricsGeneral Overview:Copenhagen upgrades the Eurovision Song Contest from an arena to a stadium. The capacity was 38,000; doubling Stockholm's record from the previous year. This large venue (a football stadium) included a retractable roof, which essentially turned the contest into an outdoor concert. This ultimately proved to be a mistake, however. A significant portion of the attendees could not see the stage. And, logistically, Eurovision just isn't suited for stadiums. Indeed, the successive host countries have stuck with smaller venues below ~20,000. The 2001 contest is known for being one of the worst. Or at least, one of the most forgettable. The running order is saturated with weird and underwhelming entries. The novelty entries can be fun, but they also tarnish Eurovision's reputation; feeding into the negative stereotypes. Which is the case with Russia and Latvia this year. The first half of the running order is largely dreadful, as most of the high rankers are slotted in the second half. Indeed, the top 3 are within the final 4 songs. And, percentage-wise, the final results are quite top-heavy. The show opens with the Olsen Brothers performing, accompanied by a fireworks display. The presenters are Natasja Crone Back & Søren Pilmark, who speak almost exclusively in rhyming couplets for the whole show. The latter also “accidentally” shatters the trophy and performs a magic trick. I enjoy comedic hosts, but these two are a bit much. The 2001 contest contains one of the more notable interval acts – the Aqua medley. It also features Safri Duo on drums. The set list includes “Around The World”, “Barbie Girl”, “Turn Back Time”, “Roses Are Red”, “My Oh My”, “Lollipop (Candyman)”, “Doctor Jones” and “Cartoon Heroes”. This evokes nostalgia of my childhood. But having said that, the group looks like they don't give two s**ts. There’s swearing, sexual gestures, and I'm 90% sure it's all lip synced. Greece returns after a two-year absence, and attains their best result to date. Coincidentally, there's two separate artists under the mononym Michelle (Netherlands and Germany), and two separate songs titled “[Out] On My Own” (Netherlands and Norway). The audience is noticeably reactive during the vote reveal since Denmark was in contention to win consecutively. They were even leading at the halfway point. The gap between Denmark and Estonia was deceptively close, however, since Denmark voted last, and they couldn't vote for themselves. The Entries: Netherlands: Michelle - Out On My Own The first entry of 2001 aptly involves unconventional staging. Michelle and the backing singers spend the first ~2 minutes sitting on the floor, before standing up towards the end. It symbolizes Michelle's rise to freedom. The song is a stagnantly arranged ballad that's borderline a cappella with how bare the instrumental is. It doesn't build to anything. The lyrics describe “leaving the nest” and the new freedoms of adulthood. Iceland: Two Tricky - Angel The “death slot” sends Iceland into joint-last place with Norway. “Angel” is pleasant, inoffensive, unassuming radio fodder or background music. The lyrics aren't anything special either. But it's also a calming and charming vibe, and the melody does stick. I just wish the song was less bland, because it's a pretty likeable song. Bosnia & Herzegovina: Nino Pršeš - Hano The Bosnian entry involves an “ethnic” beat and a lackadaisical demeanour from Nino. He tries to look “cool”, with the sunglasses, the leaning poses, and the jailbird orange outfit. But the presentation is effectively mysterious. The song is directed at “Hano”, who won't reciprocate Nino's feelings. The lyrics are quite bitter. It's one of the more intriguing entries this year. Although Nino isn't the best vocalist. Norway: Haldor Lægreid - On My Own Norway are tied with Iceland for last place. The arrangement emulates the upcoming Idol/X Factor ballad template. Indeed, Haldor belts some big notes towards the end. Overall though, the song is slow and tedious and the chorus is lacking. And Haldor's performance feels emotionless. Lyrically, he resumes his life path after being held back. Israel: Tal Sondak - En Davar “En Davar” is a formulaic Israeli entry. There's a charming performer, a meticulously planned out choreo routine, a danceable rhythm, and the instrumentation channels Eastern elements. The shouting chorus is certainly catchy but the song doesn't do anything original with the formula. It's tiresome. Lyrically, Tal uses this song to erase his lover's sadness. But he comes off rather smarmy. Russia: Mumiy Troll - Lady Alpine Blue Here comes the weird entries. The Russian band lives up to their name – “Lady Alpine Blue” is a troll entry. The purposefully unappealing kind that gives Eurovision a bad reputation. Mumiy Troll channel Latvia's eccentricity from 2000, but the lead singer's facial expressions and vocal style are just creepy. The lyrics are nonsensical too. Sweden: Friends - Listen to Your Heartbeat “Listen To Your Heartbeat” was accused of plagiarizing Belgium's 1996 entry... to the point where the songwriters pursued legal action. The song was ultimately approved once matters were resolved outside of court. Also of note, “Heartbeat” is the first appearance of composer Thomas G:son; near the beginning of his bloated national final discography. So, Sweden channels ABBA again. The piano notes are reminiscent of “The Winner Takes It All”. The song contains a catchy pop melody, but it just screams safe. The song is basic, but that's an excusable flaw in 2001. It's well-staged though - with the red outfits and the body movements. But the song is similar to Sweden's winner from just 2 years ago. Lithuania: SKAMP - You Got Style This is such a weird and messy entry. “You Got Style” employs a flirtatious, strutting disco groove, while Erica sings in a casual style, and Viktoras raps a verse in Lithuanian. The song's premise involves Erica and Viktoras checking each other out in/on the club/street. It's a fun concept and the song has a chill rhythm. But Erica's vocal style is too offbeat; it's like she's singing the wrong melody. Plus the clothing choices on stage are typical early 2000s ESC goofiness, including colourful afros and plaid pants on the backing. Latvia: Arnis Mednis - Too Much Time for the next weird/joke entry. Hard pass to whatever this is. “Too Much” is a prime example of what was wrong with Eurovision around this time. It’s unappealingly tacky with the genre switches and Arnis’s annoying singing style. The premise is also silly. Arnis is about to get married, so he parties with other girls the night before the wedding, but then his wife finds out. So now he's in deep trouble. It's a self-deprecating song, but I don't find it particularly funny. Croatia: Vanna - Strings of My Heart The Croatian entry encompasses intricate production, with a pounding dance beat and prominent strings. Vanna exudes splendid vocals. But the arrangement is monotonous... it's essentially a 3-minute long chorus. Still, it's brilliant compared to the rest of 2001. Portugal: MTM - Só sei ser feliz assim This... exists. There's not much to say about the Portuguese entry. The song is a nonentity. The performance is amateur. The duo are dressed in suits, they sway a lot, and the lyrics are lovey-dovey. It's meant to be a feelgood song but it's just “there”. Ireland: Gary O'Shaughnessy - Without Your Love This instrumental is straight out of 1991. Yeesh. This is Ireland's worst result since debuting. In 21st place, that's low enough to be relegated from 2002, so it's safe to say Ireland's dominance over the contest has passed. “Without Your Love” is another formulaic Irish ballad. The heartbreak lyrics are uninspired and the whole thing is just overdone. Spain: David Civera - Dile que la quiero Spain returns to the top 6 following a few misfires. “Dile” contains a Spanish dance rhythm, while David emulates Ricky Martin. He delivers energy and confidence on stage, while his animated dance moves and beaming smile are cute. The song has a harmless groove that's easy to enjoy. France: Natasha St-Pier - Je n'ai que mon âme Likewise, France returns to the top 4 after a few rough years. In 2001, they select an artist born in the Canadian province of New Brunswick, which is right next door to where I'm from. “Je n'ai que mon âme” is a straightforward vocal ballad, harking back to the French ballad era of Eurovision. The Celine Dion comparisons are obvious. Natasha delivers a classy performance, though, and the lyrics are mature. It's a predictable arrangement, but it's done well, and it reaches an "epic" climax. It's really refreshing in a year like this. Turkey: Sedat Yüce - Sevgiliye Son Ireland aren't the only ones stuck in the past this year. This Turkish entry assumes that Eurovision is still in its orchestral ballad era. “Sevgiliye Son” shifts between bombastic climaxes and subdued breathers. It's sufficiently melodramatic for a song about pained longing, though. Sedat's vocals, meanwhile, are smooth. The arrangement is compelling enough, but the song is kinda tedious. United Kingdom: Lindsay Dracass - No Dream Impossible The UK entry attempts a fresh idea here, but the execution is a disaster. “No Dream Impossible” is a cliche, inspirational pop song that employs a trance beat. There’s also a shoehorned rap bridge that doesn’t fit in at all. Lindsay's image, meanwhile, resembles someone who just came from the gym. She looks disengaged and her vocals are all over the place. Slovenia: Nuša Derenda - Energy Slovenia serves a contemporary, electrifying club banger. The ominous, buzzing voltage sounds are thrilling. It encapsulates the euphoria Nuša feels from this elusive person. In the performance, she supplies fierce stage presence. And the bridge is epic – with the vigorous piano notes, the backing dancers lifting Nuša up, and the thunderous transition into the final chorus. The lighting is smart too. Poland: Piasek - 2 Long Another forgettable entry. “2 Long” is light and breezy, and the gospel choir is uplifting. Piasek wants to mend the relationship he screwed up. He has a casual approach to the matter. The staging isn't remarkable either, aside from when Piasek ditches his fur coat. The chorus is catchy enough though. Germany: Michelle - Wer Liebe lebt The fourth consecutive top 10 placing for Germany. “Wer Liebe lebt” is a standard vocal ballad. The song has a predictable arrangement, but it's well-sung and Michelle looks classy in that stunning dress. While the lyrics are poetically dreamy; describing the power of love. France's ballad is more compelling, though. I find this chorus kinda annoying. Estonia: Tanel Padar, Dave Benton & 2XL - Everybody (winner review below) Malta: Fabrizio Faniello - Another Summer Night Malta hops on the Latin pop trend of the early 2000's. The performance is similar to Spain's, where Fabrizio is a sexy male show-off. This time with hip shakes. There's a summery beach romance vibe and the guitar responses are a highlight. But his vocals aren't the most appealing and the live performance is kinda flat. Greece: Antique - (I Would) Die for You Possibly the best Greek entry ever? By landing in 3rd place, this was Greece's best result in the contest so far. This is also Helena Paparizou's first appearance, as she is the lead singer of Antique. “Die For You” is a euphoric, haunting song that's lead by a bouzouki and employs a contemporary shuffling dance beat. That bouzouki sets the mood perfectly. The chorus melody hits hard. The “No one else could ever love you like the way I do” part is like an entrancing plunge. And Helena breathes stage presence. Denmark: Rollo & King - Never Ever Let You Go The host entry is the runner-up yet again. Honestly, this is better than “Fly on the Wings of Love”. “Never Ever Let You Go” is a feelgood, harmonica-lead, folksy jubilee. The overall arrangement flows and floats effortlessly. And that harmonica provides the song with distinct character. It's a cute duet, where the pair radiates warmth on stage as they express their irresistible feelings of each other. The Winner:Estonia is the first virgin winner since Yugoslavia 1989, which was 12 years prior. Interestingly, 2001 starts a run of 8 consecutive first-time winners (from Estonia '01 to Russia '08) – many of which are Eastern European countries. The 2000's witnessed a shift in that regard; where the newer participants attained better results, in general, than the longstanding Western ones. So 2001 provides, arguably, the most forgettable winner of the 21st century. “Everybody” illustrates a drunk karaoke night at the pub. It's a disco party song that invites the audience to join in. Which is perfect for a crowd this size. The duet admittedly brings energy to the stage, although Tanel's smirks and frisky dance moves verge on smug cockiness. Even moreso in his reaction to winning. The pairing of Tanel Padar and Dave Benton sees two different generations and races bond. Incidentally, Dave is the oldest person to win Eurovision at 50. (The other credited artist – 2XL – are the backing singers). The duo's friendship is convincing on stage. The song establishes a call-and-response routine, where Dave commentates on Tanel's lines by roasting him. It's what close friends do, but it's so dumb to hear it in song form. Dave directs lines such as “All right - You give it to them now”, “I guess this is party time”, “Young and handsome, they say”, and “He's goin' for a ride now” towards Tanel... and it's all a bit cringe. I can appreciate laid back vibes, but “Everybody” treads too closely to being a joke entry. And I do not want joke entries winning Eurovision (more on that in 2002). That said, the “come on everybody” refrain is catchy. Verdict: It's okay, not quite trash. Still a bottom 10 winner though. My Ranking:01. Greece: Antique - (I Would) Die for You 02. Slovenia: Nuša Derenda - Energy 03. France: Natasha St-Pier - Je n'ai que mon âme 04. Denmark: Rollo & King - Never Ever Let You Go 05. Spain: David Civera - Dile que la quiero 06. Bosnia & Herzegovina: Nino Pršeš - Hano 07. Iceland: Two Tricky - Angel 08. Croatia: Vanna - Strings of My Heart 09. Lithuania: SKAMP - You Got Style 10. Sweden: Friends - Listen to Your Heartbeat 11. Estonia: Tanel Padar, Dave Benton & 2XL - Everybody 12. Netherlands: Michelle - Out on My Own 13. Poland: Piasek - 2 Long 14. Germany: Michelle - Wer Liebe lebt 15. Malta: Fabrizio Faniello - Another Summer Night 16. Turkey: Sedat Yüce - Sevgiliye Son 17. Israel: Tal Sondak - En Davar 18. United Kingdom: Lindsay Dracass - No Dream Impossible 19. Ireland: Gary O'Shaughnessy - Without Your Love 20. Norway: Haldor Lægreid - On My Own 21. Portugal: MTM - Só sei ser feliz assim 22. Russia: Mumiy Troll - Lady Alpine Blue 23. Latvia: Arnis Mednis - Too Much This year suxxxx. Greece should have won. Leo ✔ Soundcl🕤ck born fearlessarrow kimberly Mylo13 💜 Future Captain
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Leo ✔
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Post by Leo ✔ on May 24, 2020 20:00:14 GMT -5
I agree this year is terrible. Greece should've won.
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kimberly
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Post by kimberly on May 24, 2020 20:04:27 GMT -5
Paparizou was robbed... but I'm glad she came back
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Soundcl🕤ck
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Post by Soundcl🕤ck on May 24, 2020 20:11:16 GMT -5
what a boring year, omg.......
Greece was #3 ? Easily the best song that year, easily.
^ Yeah, Helena slayed even harder 4 years later.
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mrmike855
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Post by mrmike855 on May 24, 2020 20:42:38 GMT -5
Greece was definitely the standout this year, though France's song is really nice too. 2001 was certainly a bad year, but at least we had Greece, France, Slovenia and Germany, which are well-remembered fan favorites, however, 2002 has just as many crap songs without any ones worth caring about.
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Post by ry4n on May 24, 2020 21:09:33 GMT -5
Yeah my top 3 (Greece/Slovenia/Denmark) are the only 3 songs I truly love. The French and German ballads didn't fully impress me, but I appreciate them. Spain/Croatia/Malta ended up with high placings in my ranking by default. And everything from Sweden downwards are song I don't really care about that much.
Been a while since I've looked at 2002, but I hear it's a doozy too. Ay ay ay ay ay ay.
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Future Captain
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Post by Future Captain on May 25, 2020 1:13:43 GMT -5
Greece was robbed
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ry4n
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Post by ry4n on May 29, 2020 20:50:56 GMT -5
Tallinn 2002Host: Estonia Slogan: “A Modern Fairytale” Participants: 24 Voting method: 12-point system (mix of juries and televotes) Format: Relegation – the top 13 of 2001 + the Big 4 + the 7 relegated in '01 Winner: Marie N - I Wanna Country: Latvia Points: 176 (63.8% of highest score possible) Language: English YouTube | Spotify | LyricsGeneral Overview:The 2002 contest is at the peak of Eurovision's weird and underwhelming period of the early 2000's. Much like 2001, most of these entries are disposable. There's not much beyond my top 10 that I care about. The Estonian hosts reinvent the stage design by constructing a looping arm that extends into the audience. A few artists take advantage of this (Estonia, Malta and Denmark for example). While the ambiance is set with pastel colours cast by spotlights against the floor and backdrop. It brightens up some performances. Otherwise, the stage design is too compact this year – it's something I'd expect in a national final, not the Eurovision grand stage. It feels like a step backwards. 2003 is when the arena layout begins to resemble today's contests, though. The 2002 contest introduces a modern staple – the slogans. The inaugural slogan is “A Modern Fairytale”. Consequently, each postcard highlights a classic fairy tale with “amusing” interpretations. The presenters are Annely Peebo and Marko Matvere, who waste no time diving into the first entry. They also sing in 1950's style during the intermission. Their overall presentation style is awkward and scripted like most modern hosts. The interval act, meanwhile, features a hypnotic synchronized dance and drum routine. And the paint blob graphics utilized in the scoreboard are neat. The relegation system reverts to the original method, whereby the bottom placers of the previous contest are excluded, as opposed to the lowest averages over so many years. Incidentally, Latvia only qualified because Portugal withdrew. Which is an interesting turn of events. The voting system is bizarre this year. 8 countries employed the 50/50 system, 11 opted for strictly televotes, and the other 5 remained juries-only. This did not carry over into 2003. Also, the recap is switched to reverse order (ie. starting with song #24 and ending with song #1). The EBU were attempting to circumvent biases with these modifications, I presume. The vote reveal itself was a close race between Malta and Latvia throughout the entire proceedings. There was only a 3-point different when the last country was called up. The Entries: Cyprus: One - Gimme The Cypriot entry is an ideal opening act – the chorus emits an energetic pounding beat and the boyband delivers engaging choreography. It pumps the audience up. The vocals in the verses are considerably flat, though, which is deflating. But the chorus is a bop. Also, the black outfits are very 2002. This is the entry where the editors accidentally cut to the next postcard during the performance (for a brief second). United Kingdom: Jessica Garlick - Come Back The UK selects Pop Idol contestant Jessica Garlick. She was recruited for the national final literally one month after being voted off the show. “Come Back” is a sultry, heartfelt, personal ballad where Jessica expresses longing and regret. The chorus employs an effective tension/release moment with the pauses. It's a unique style for a Eurovision ballad, in my opinion, and it ultimately earned the UK a top 3 placing. Their penultimate top 10 as of 2020. Austria: Manuel Ortega - Say a Word This is one excessively repetitive chorus – it consists of just two identical phrases spoken 8 times. Still, “Say A Word” is a thumping pop song, and Manuel exudes charismatic stage presence. There's something about his arm movements. But yeah, there's not much going on here. Greece: Michalis Rakintzis - S.A.G.A.P.O. This is such a bizarre entry. The staging is straight out of a Sci-Fi movie – the band is dressed in space age combat gear and they march like an army. The synthesizer complements this aura of futuristic existential dread. Meanwhile, the band requests the subject to “say the password”, which is apparently “S'agapo” (the Greek word for “I love you”). There is a cringe factor to this though. Spain: Rosa - Europe's Living a Celebration The Spanish entry is a burst of unadulterated joy, as any celebration should be! There's so much enthusiasm displayed by Rosa and the backing singers. They frantically bounce and jump around the stage... it's a work-out. It's both believable and inviting. There's also a brisk, thumping dance/pop beat. Although, perhaps the word “celebration” is said too many times. And the song is arguably basic. Croatia: Vesna Pisarović - Everything I Want I would've expected Croatia to place higher this year. “Everything I Want” is a 2000's pop/rock song that encompasses plenty of spunky “DUN DUN”'s in the instrumental. Vesna exudes fierceness on stage, while she describes how this romantic partnership has improved her life. It's a feisty, modern pop song, which is a rare sight in early 2000s Eurovision. But, the execution needs a bit more impact. It doesn't sound like the final draft. Russia: Prime Minister - Northern Girl The Russian Backstreet Boys, right down to the Max Martin-esque beat and the white outfits. This is basically a worse version of the Cyprus entry. The chorus melody is a bop, but when the members rotate solos in the verses, it's a train wreck. The stage energy isn't on the same level either. The choreo is awkward at times. The lyrics are sweet, on the other hand, where they wish for this cold “Northern Girl” to open up. Estonia: Sahlene - Runaway “Runaway” caps off 6 top tens in 7 years for Estonia, just before they plunge into disqualification territory. The song's texture is vaguely country – regardless, it's a unique sound for Eurovision. “Runaway” is a joyful and bouncy song that flows naturally, in an uncluttered, nonstop fashion. Sahlene, meanwhile, performs with high confidence. She sings well, she exudes effervescent energy, and she smartly performs in the stage extension – which creates the illusion that the audience is a part of the song. The lyrics are also endearing, where Sahlene encourages her lover to be more open minded. F.Y.R. Macedonia: Karolina - Od nas zavisi So after multiple listens, I still can't remember what this song sounds like. It seems to be building to something, but then it goes nowhere. There is a foreboding vibe though, both in the instrumental and the lyrics (namely the line “But that, you know, depends on us”). Israel: Sarit Hadad - Light a Candle The epitome of good verses/bad chorus. Israel's ballad teases intrigue in the build-up to the chorus. The Hebrew verses are melancholic and hopeless. They segue into a thundering pre-chorus. But then the chorus ruins it by becoming a cliche inspirational anthem. It's a tedious “lighters/candles in the air” singalong in English. The lyrical message, meanwhile, is about restoring hope to the despondent. Switzerland: Francine Jordi - Dans le jardin de mon âme Did Switzerland just stop trying at this point? This is one dull and bland French ballad. Francine's voice is beyond irritating to me as well. She presents a beaming smile and dreamy lyrics, though. Sweden: Afro-dite - Never Let It Go 2002 is the year Melodifestivalen expands into 4 semi-finals and a second chance round, effectively tripling the number of entrants. Also English songs are now permitted. “Never Let It Go” is a buoyant disco number. The rhythm and the lyrics encourage letting loose on the dance floor, and Afro-dite does just that on stage, while dressed in shiny aluminum foil dresses. The bouncy chorus melody is captivating, and the plunks before the chorus is a nice touch. But the vocals are a bit messy. Finland: Laura - Addicted To You Another disco-inspired song. The Finnish entry is breezy and carefree, and Laura exudes animated, bubbly energy on stage. The song describes the effect her lover has on her. It's an overall pleasant entry, but the arrangement is too plain. Laura sells it the best she can though. Denmark: Malene Mortensen - Tell Me Who You Are Denmark plummets into last place one year after hosting the contest. The backing choir elevates the chorus into a warm embrace – it's a catchy melody. While Malene pleads for her lover to open up. But the staging is plain, and Malene's demeanour appears awkward. Still, I don't think this deserved last place. Bosnia & Herzegovina: Maja - Na jastuku za dvoje The Bosnian entry is naturally breezy and retro, and there's sufficient hooks, but the choreo is hilariously terrible. It's so simple and awkward. Maja just rolls with it, though. The song is boosted by the guitars and the soulful backing. The latter adds character. And the lyrics express a cynical outlook on one night stands. That said, this entry doesn't stand out much, although I have soft spot for it. Belgium: Sergio & The Ladies - Sister Belgian opts for a joke entry this year. Sergio is a complete goofball on stage – he flails, cartwheels, and his outfit resembles motorcycle gear. While the composition emulates 1970s R&B/rock elements, but in an outdated way. Sergio's grunting vocal style is not appealing either. There's just an aura of tacky sleaziness to this entry. France: Sandrine François - Il faut du temps “Il faut du temps” is a Celine Dion-esque power ballad from France that places in the top 5. Deja vu from 2001. Both are captivating vocal performances, though. Their previous entry had a self-assured atmosphere, whereas Sandrine is working towards that goal. In “Il faut du temps”, the mood is more sombre and dramatic. The song intensifies as it progresses, reaching a climax when the guitars enter. Sandrine conveys the importance of patience, growth, perseverance, and fortitude in overcoming adversity. It's a strong message. But it doesn't hit me as hard as last year's. Germany: Corinna May - I Can't Live Without Music This is painful to watch. The staging is such a poor decision for a blind performer. Corinna unfortunately appears overly stiff and the backing singers seem clueless. Not to mention that Corinna's vocals are all over the place. Still, it's meaningful song that describes what music means to a blind person. The chorus employs a thumping beat and the unifying melody, but everything else is a mess. Corinna was originally selected to represent Germany in 1999 where her song was disqualified. Turkey: Buket Bengisu & Group Safir - Leylaklar Soldu Kalbinde Turkey usually shines when they submit traditional/Eastern entries, but this one is mediocre. The nonsense “duba duba duba” hook is too comical. It's also flimsy and deflating. While the lead singer seems “off” at times. Still, the room-shaking beat is enjoyable, and there's a playful moment or two on stage. Malta: Ira Losco - 7th Wonder The runner-up and Malta's best result as of 2020, although the points margin was slightly closer in 1998. “7th Wonder” is one of the catchiest songs of the 2002 contest: ie. “IS HE MAGICAL, LOGICAL, NATURAL, I WONDER”. That bouncy chorus melody is such an earworm. And the song's simplistic nature exudes a sweet, sunshiny, fairy tale charm. It stands out from the pack. While Ira delivers a decent performance (well, except for the unnecessary bra glitter). Still, the double final chorus trick doesn't quite work. Romania: Monica Anghel & Marcel Pavel - Tell Me Why This is too old-fashioned for me. “Tell Me Why” is a mature break-up ballad, where the duet analyzes why it went wrong. They interact effectively on stage, but the bawling/screaming vocals and the sluggish pace are tedious. Monica was DNQ'ed in 1996, so she earns her redemption here. Slovenia: Sestre - Samo ljubezen The Slovenian entry stars a trio of drag queens dressed in sparkly red flight attendant outfits. Consequently, this caused a stir in Slovenia from the narrow-minded. Lovely. The performance is eye-catching, and the song channels retro downbeat bluesy? rock songs. I'm not sure what the instrumental reminds me of, but it's enchanting. Latvia: Marie N - I Wanna (winner review below) Lithuania: Aivaras - Happy You Visually pretentious and poorly sung. And why does Aivaras keep leaning to one side? The Lithuanian entry is supposed to be colourful and feelgood but it's so flat. What a sour note to end on. The Winner:From one Baltic state to another. Latvia wins Eurovision on their third year of participation. Which was a record at the time, excluding the 1950's contests. It's definitely refreshing to see the newer countries prevail. It's safe to say that Eastern Europe has successfully integrated themselves into the contest. As we'll see with the next several winners. If “I Wanna” is known for one thing, it's the surprise dress reveal. Towards the end, the backing dancers gradually removal Marie's androgynous white suit to unveil a red dress underneath. The staging is flawlessly executed. The entire choreography routine is slick, playful and visually engaging. Marie breathes charisma as well. And the colour palette from the spotlights is warm and inviting. Musically, though, “I Wanna” is not exactly current. It's inspired by salsa rhythms and cabaret shows. Plus the “ay ay ay ay ay ay” bit is too corny. That said, the frothy rhythm is infectious, and the chorus melody latches itself into my brain quite easily. “I WANNA BE THE SUNSHINE IN YOUR ARMS”. The horns elevate the hooks, as does the “bump”'s on the final chorus line. The lyrics, meanwhile, address the games, deceit and power dynamics of Marie's romantic relationship. She reveals that she plays along to gain the upper hand. At least, that's how I interpret it. And the play on gender roles fits the costume change. There's no denying that “I Wanna” is a silly entry, and it's arguably the closest resemblance to a novelty song winning Eurovision. I personally prefer the more serious pop songs being crowned, but “I Wanna” accomplishes its craft well. Verdict: I like it. My Ranking:01. Estonia: Sahlene - Runaway 02. United Kingdom: Jessica Garlick - Come Back 03. Malta: Ira Losco - 7th Wonder 04. France: Sandrine François - Il faut du temps 05. Sweden: Afro-dite - Never Let It Go 06. Spain: Rosa - Europe's Living a Celebration 07. Croatia: Vesna Pisarović - Everything I Want 08. Slovenia: Sestre - Samo ljubezen 09. Latvia: Marie N - I Wanna 10. Cyprus: One - Gimme 11. Finland: Laura - Addicted to You 12. Israel: Sarit Hadad - Light a Candle 13. Bosnia & Herzegovina: Maja - Na jastuku za dvoje 14. Denmark: Malene Mortensen - Tell Me Who You Are 15. Greece: Michalis Rakintzis - S.A.G.A.P.O. 16. Austria: Manuel Ortega - Say a Word 17. Russia: Prime Minister - Northern Girl 18. F.Y.R. Macedonia: Karolina - Od nas zavisi 19. Turkey: Buket Bengisu & Group Safir - Leylaklar Soldu Kalbinde 20. Belgium: Sergio & The Ladies - Sister 21. Romania: Monica Anghel & Marcel Pavel - Tell Me Why 22. Germany: Corinna May - I Can't Live Without Music 23. Switzerland: Francine Jordi - Dans le jardin de mon âme 24. Lithuania: Aivaras - Happy You Leo ✔ Soundcl🕤ck born fearlessarrow kimberly Mylo13 💜 Future Captain
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Leo ✔
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Post by Leo ✔ on May 29, 2020 21:13:01 GMT -5
I saw this like a month ago or a little less.
Below my list.
1 UK 2 Croatia 3 Israel 4 Switzerland 5 Macedonia 6 France 7 Sweden 8 Latvia 9 Finland 10 Germany 11 Romania 12 Denmark 13 Turkey 14 Spain 15 Malta 16 Bosnia & Herzegovina 17 Estonia 18 Lithuania 19 Russia 20 Slovenia 21 Austria 22 Belgium 23 Greece 24 Cyprus
UK deserved the win, Croatia slays. Greece and Cyprus are trash.
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Soundcl🕤ck
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Post by Soundcl🕤ck on May 29, 2020 21:15:52 GMT -5
Another boring year imo.
My first ESC was 2004 ESC, and I can't wait for it!
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ry4n
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Post by ry4n on May 29, 2020 21:31:31 GMT -5
I'm excited for 2003. It's perhaps not the best quality-wise, but it's certainly an interesting contest. The UK getting "nil points", Belgium singing in a fake language, t.A.T.u., the super close finish, the top 3 of 2002 becoming the bottom 3 of 2003. Also whatever the hell that Austrian entry is.
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Leo ✔
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Post by Leo ✔ on May 29, 2020 21:36:43 GMT -5
I saw 2003 last week and is way better than 2002. That Belgium entry was interesting for sure. t.A.T.u being messy as expected, wow
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Post by ry4n on Jun 4, 2020 18:16:36 GMT -5
Riga 2003 Host: Latvia Slogan: “Magical Rendez-vous” Participants: 26 Voting method: 12-point system (23 televotes / 3 juries) Format: Relegation – the top 15 of 2002 + the Big 4 + the 6 relegated in '02 + Ukraine Winner: Sertab Erener - Everyway That I Can Country: Turkey Points: 167 (55.7% of highest score possible) Language: English YouTube | Spotify | LyricsGeneral Overview:2003 is when the Eurovision Song Contest begins to expand again. The stage design undergoes a significant transformation to resemble the modern ones. Mainly, the floor is replaced with a giant glass LED screen. Stockholm utilized similar screens in 2000 with the pillars, but I believe every contest from 2003 onward employs LED boards in some fashion. It's the main design aspect I associate with modern Eurovision (ie. being bombarded with a dizzying array of visuals). The audience layout also looks less like an auditorium this year. And another extravagant gimmick happens before the vote reveal – the back of the stage wall is lifted to surprise reveal the green room behind it. Between this contest and the next, the ESC franchise will undergo two more significant expansions. Firstly is the number of participants. Ukraine debuts this year, pushing the number of entries to 26, the largest so far. Consequently, with more countries wishing to debut in the near future, 2004 will be the first one with a semi-final. Therefore, 2003 is the last one to employ the relegation system. Which was never an ideal solution imo. The other major expansion is the launch of Junior Eurovision later on in 2003. I can safely say that I have never watched it. This year's presenters are Renārs Kaupers (lead singer of Brainstorm) and Marie N, in other words Latvia's representatives of 2000 & 2002, respectively. Their style is forced with scripted jokes, which has become the standard for Eurovision hosts by this point. In the intro, they call up Lys Assia, the International Space Station, and Elton John. The graphic design theme involves cute claymation. The postcards employ a jittery stop-motion technique. And the interval is a music video featuring songs by Iļģi, Brainstorm, Marie N and Raimonds Pauls. 2003 also witnesses one of the closest finishes in the contest's history. Only 3 points separated the top three (Turkey / Belgium / Russia) at the end. The final country to be called (Slovenia) changed the outcome, as Belgium were leading at that point. Meanwhile, the audience was notably rooting against Russia. Two notable mistakes happened during the scoring: the Bosnian correspondent skipped a country and had to start over, while the Spanish correspondent gave 9 points instead of 10. Also, the scoreboard switches to high-low instead of the running order, which was the norm for the previous 45+ contests. The reverse recap is utilized for the second year in a row. And the tie-breaker rule is changed from the most 12's to the most countries. This year also showcases more elaborate staging and plenty of female attitude! The Entries: Iceland: Birgitta - Open Your Heart The Icelandic entry is a genuine, warm, heartfelt promise of support. Birgitta reassures her lover that it's okay to open up to her. The lyrics are sweet, and she appears compassionate on stage. Musically, “Open Your Heart” is a fairly standard mid-00's pop/rock song, but the empathetic tone makes it special. Austria: Alf Poier - Weil der Mensch zählt HAHAHAHA, what the actual F. So the song bounces along as a light children's nursery rhyme, but then it abruptly switches to death metal after each chorus. The lyrics are just as bizarre; linking animal behaviour to a cynical view on humanity. Alf also sings in an unusual accent (the Styrian dialect), while dancing silly. And there's cardboard cutouts on stage. It's successful shock humour. The flashing lights during the death metal parts are a nice detail. Musically, though, the song is awful, and Alf's vocals are tone deaf. In 6th place, it is Austria's best result in 14 years. Ireland: Mickey Harte - We've Got the World This is so derivative of “Fly on the Wings of Love”. Indeed, the melody and instrumentation are quite similar. Still, “We've Got the World” is convincingly romantic and charming - Mickey's beaming smile enhances that. The Irish entry channels the radiant nature of the Olsen Brothers song well. The chorus leaps out effectively too. Also notable, Mickey utilizes an Irish green guitar. Turkey: Sertab Erener - Everyway That I Can (winner review below) Malta: Lynn Chircop - To Dream Again “To Dream Again” is a super bland entry. Lynn basks in sweet, sunshiny love. The song is pleasantly inoffensive on the ears, and the backing singers are the best aspect, but there's nothing interesting about it and the melody is forgettable. Bosnia & Herzegovina: Mija Martina - Ne brini So much attitude! The Bosnian entry asserts a firm, foreboding stance. It's accomplished through Mija's stage presence, and the funky “bow-wow” beat - both are relentless and hostile. The guitar interlude and the spiteful lyrics complete that vibe. The bitter tone is justified because her ex is distorting reality. The common complaints are that this entry is monotonous and aggressive, but I still dig it. Portugal: Rita Guerra - Deixa-me sonhar Portugal's ballad is bittersweet, classy and beautifully sung, but it's let down by the tediously sluggish chorus. Still, Rita's vocals are lovely, the backing singers add character to the texture, and the instrumentation is rich. The pre-chorus melody is a highlight too. In the song, Rita declares that her ex can take everything but the fantasy that they're still together. It's a relatable and tragic sentiment. Croatia: Claudia Beni - Više nisam tvoja This is essentially a cleaner version of the Bosnian entry. The aggressive, strutting guitar rhythm and the harsh vocal tone convey so much attitude and fortitude. They complement Claudia's assertive stance, where she scathingly rejects her toxic lover. It's such a powerful “F you” song. The staging breathes confidence as well. And the pause before the chorus is a nice touch. Cyprus: Stelios Constantas - Feeling Alive Well, the 1999 Latin-pop groove is passable, thanks to the Spanish guitar and the pounding dance beat. But Stelios's vocals are rough and he lacks charisma. He just looks uninterested and stiff throughout the performance. And the chorus melody flatlines because of it. Ironic for a song titled “Feeling Alive”. Germany: Lou - Let's Get Happy Germany's attempt to cheer people up is too corny and kitsch for me, and the dance beat is annoyingly overbearing. Also the backing singers are so chipper it seems fake. Still, “Let's Get Happy” does spew positive energy, the bellowing chorus sticks, and the colourful outfits are radiant. Russia: t.A.T.u. - Ne ver', ne boysia These off-key vocals are disastrous. Yikes. So, Russia drafted t.A.T.u. for Eurovision in the immediate wake of “All The Things She Said” smashing across Europe. Which could be seen as a deliberate ploy to secure a victory. Indeed, the audience were audibly rooting against Russia during the vote reveal. All of their 10's and 12's came from Eastern countries. Still, “Ne ver', ne boysia” is an ominous, brooding song with an unconventional melody and enigmatic lyrics. It's a rush of anxiety. The main line “don't believe, don't fear, don't ask” is chilling. Meanwhile, the staging involves clever lighting tricks, showcasing a darker visual than the other 2003 entries. The poor vocals are too distracting, however. It definitely sounds better in studio form. Spain: Beth - Dime This bop deserved better than 8th place. “Dime” contains an early 2000's dance club beat, complemented by an unmistakable Spanish flair. Beth meanwhile exudes natural, sexy confidence on stage. The hip shakes are fire. The room-shaking “dun dun dun” beat is infectious and energetic. And the melody floats along nicely. In the song, Beth warmly invites her lover to come back after a rough fight. She embraces a positive attitude over the situation. Israel: Lior Narkis - Words for Love Eugh, this song annoys the s*** out of me. And, while the staging is creative, it makes me roll my eyes. Simply put: Israel's 2003 entry does too much. Lior is overconfident in being a smarmy charmer. The lyrics are conceited. The jaunty melody is beyond annoying. And then there's the outfits! The song states “I Love You” in multiple languages, so the 5 backing singers execute a costume change to reveal those multilingual phrases on their tops. And they do it a second time to spell “L O V E U”. But it's so campy. Netherlands: Esther Hart - One More Night “One More Night” is such an uplifting and heartwarming track. The lyrics and the melody aren't that special, but the tone is so carefree, and the energy on stage is radiant. The air guitar moment in particular is cute. Other highlights include the elevation in the final chorus and the backing vocalists. United Kingdom: Jemini - Cry Baby The UK receives “nul points”! This was, by far, their worst Eurovision result at the time. And they never recovered afterwards, aside from a couple of exceptions. “Cry Baby” is iconic for all the wrong reasons. It is definitely a terrible entry. For example, there's the tacked-on Spanish guitars, the cheap-sounding production, the horrific vocals, and the unnatural-sounding “cry cry baby” hook. Everything is so mechanically forced. Also, that “cry cry baby” hook and the stage presence are too silly for the song's message (of two lovers stringing each other along). Meanwhile Chris Cromby dances like a maniac as if it'll salvage this mess. But I can't rank this entry last due to its iconic status. Ukraine: Olexandr - Hasta la Vista What a bewildering and disappointing debut. You'd never guess that Ukraine would become a powerhouse in the contest after this. “Hasta la Vista” starts as an old-fashioned ballad, but quickly changes genres and becomes something insipid and messy. It's a lame kiss-off song. The chorus is annoying. And Olexandr's operatic vocals are mismatched with the style and pacing. The staging is interesting though, with the spinning body contortionist and the spaceship image. But each aspect of this entry doesn't connect to one another. Greece: Mando - Never Let You Go Mando provides a captivating vocal and her bodice is a bold choice. It's an impassioned performance, and the instrumentation is nice, but the melody is lacking. It doesn't seem memorable enough to me. The song is kinda bland. The lyrics are a bit clingy too. Norway: Jostein Hasselgård - I'm Not Afraid to Move On Norway submits a touching and compelling piano ballad. Yes, it's a little dull, but the song channels a cinematic sound too. The simplistic arrangement allows “I'm Not Afraid” to feel personal and raw as Jostein convincingly conveys heart in his performance. The set-up succeeds in holding the audience's focus. And he's super charming in the way he looks into the camera. Moreover the lyrics are reassuring and defiant. France: Louisa Baïleche - Monts et merveilles Starting in 2003, France will not place any higher than 15th for 6 years. Doesn't help that this is another Celine Dion-esque ballad; vocally anyway. “Monts et merveilles” is a break-up song that starts off subdued and dull, but becomes graceful and comforting by the end. It's a beautiful song, but it takes a while to get going. I like the heartwarming tone in the chorus, though. The hand drum part is unexpected. And the lyrics are well-written, introspective and reflective. Poland: Ich Troje - Keine Grenzen – Żadnych granic SO DRAMATIC. The Polish group performs an epic power ballad that calls for peace. They express unity amongst their geographic neighbours by incorporating the three respective languages – Polish, German and Russian. The song describes how viewing the Earth from outer space can change one's perspective of the world. The chorus is anthemic in an otherworldly way. But Michał Wiśniewski's throaty, gravelly vocals are just not my thing. And the song moves too slowly. This became Poland's first top 10 since their debut entry earned second place in '94. Latvia: F.L.Y. - Hello from Mars The Latvian entry screams “we don't want to host again”. Indeed, it received 5 whole points... all from fellow Baltic nation Estonia. The lyrics are intentional nonsense disguised as an inspirational message. The trio injects some energy into their performance to nearly make it work, though. And “Hello from Mars” has a more sensible arrangement than “Cry Baby”. But the whole concept is cringe-worthy, juvenile, amateur and dumb. Belgium: Urban Trad - Sanomi Speaking of lyrical content being irrelevant. Belgium nearly wins the contest with an imaginary language. Such a bold move. That said, it sounds like a real language and it's aurally pleasant. “Sanomi” is a tranquil New Age folk song. The melody and instrumentation are smooth, the vocals are angelic, and the “Léala, léala” part is catchy. It paints the image of laying peacefully in the grassy fields. The claw hands are notable too. Estonia: Ruffus - Eighties Coming Back These lyrics are confusing. Why does the subject dread the “80's coming back”? And how and why is that decade coming back? Furthermore, the song is nostalgic for the 80's but there's no synthesizers. And the band are also dressed like they're at a job interview. I don't get what this song is going for. The lead singer makes it sound meaningful though. He's quite emotive on stage. The piano riff is nice too, and there's a calming indie rock vibe, even if it is coffeehouse / elevator music. The instrumental focuses on creating a vibe. Romania: Nicola - Don't Break My Heart Romania copies “Freestyler” by the Bomfunk MC's. But that's okay because the scratchy beat is so euphoric. Nicola's whiny voice is an acquired taste, but it adds a unique character. The zaniness on stage is brilliant though - the DJ, the oversized records in Romanian flag colours, the dance moves, the costume changes. It's such a “left field” entry... but in a good way! Although the song is arguably monotonous. Sweden: Fame - Give Me Your Love Sweden votes for another ABBA-esque / Schlager-pop song to represent them. “Give Me Your Love” is essentially an improved version of their 2001 entry. The melody is more dynamic this time. Namely the “try to believe..” and the “I'm waiting tonight..” leap-outs. The stutter in the final chorus is a nice touch too. The overall arrangement chugs along nicely. And the duet convincingly portrays the rush of bliss of pursuing a new relationship. Yeah, Sweden's endless ABBA soundalikes in the 2000's become predictable and tedious at times, but “Give Me Your Love” is way too catchy to resist. Slovenia: Karmen - Nanana Another Eurovision ends on a sour note. “Nanana” is such basic “bargain basement” bubblegum pop. Even if it is bubbly with a retro flair, the Slovenian girl group appears amateur. The Winner:Turkey achieves a surprise victory in a close race (they weren't high in the betting odds beforehand). This is the country's first win, and their 25th participation in the contest. A feat that seemed unimaginable before 1997, as Turkey's previous best placing was 9th in 1986. This momentum will lead to more strong placings before they withdraw permanently starting in 2013. So “Everyway That I Can” ushers in the “Eastern beat” that dominates Eurovision in the mid-2000's. The 2004 and 2005 winners follow the same path. It's honestly the best thing to happen to the contest during this decade. It's such a breath of fresh air. The thunderous instrumental on “Everway” just energizes the crowd so well. The sound fills the arena. And that moment when the percussion beat hits in the intro is electrifying. The instrumentation is a merger of exotic traditional elements and modern pop aspirations. Meanwhile, the strings, which are reminiscent of Holly Valance's “Kiss Kiss”, elevate the exoticism and the catchiness. The staging portrays a slick visual as well, encompassing the crawls, the belly dancing, and the giant ribbon thing attached to Sertab's dress. Sertab, meanwhile, emits a fierce attitude. Part of it is how her vocal delivery cuts against the melody in the verses. The rapping middle 8 as well. Or when she shoves off the backing dancers. All those lines jumping out results in a hook-filled song. Thematically, “Everyway” is alluring but also distraught (“ILL CRY, ILL DIE”), where Sertab is relentless in her pursuit. Verdict: YASSSSS. It's in my top 15 winners. Although, I think their 1997 entry is still slightly better. My Ranking:01. Turkey: Sertab Erener - Everyway That I Can 02. Spain: Beth - Dime 03. Romania: Nicola - Don't Break My Heart 04. Croatia: Claudia Beni - Više nisam tvoja 05. Belgium: Urban Trad - Sanomi 06. Iceland: Birgitta - Open Your Heart 07. Netherlands: Esther Hart - One More Night 08. Sweden: Fame - Give Me Your Love 09. France: Louisa Baïleche - Monts et merveilles 10. Bosnia & Herzegovina: Mija Martina - Ne brini 11. Norway: Jostein Hasselgård - I'm Not Afraid to Move On 12. Ireland: Mickey Harte - We've Got the World 13. Portugal: Rita Guerra - Deixa-me sonhar 14. Estonia: Ruffus - Eighties Coming Back 15. Russia: t.A.T.u. - Ne ver', ne boysia 16. Austria: Alf Poier - Weil der Mensch zählt 17. Greece: Mando - Never Let You Go 18. Poland: Ich Troje - Keine Grenzen – Żadnych granic 19. Slovenia: Karmen - Nanana 20. Germany: Lou - Let's Get Happy 21. United Kingdom: Jemini - Cry Baby 22. Malta: Lynn Chircop - To Dream Again 23. Cyprus: Stelios Constantas - Feeling Alive 24. Ukraine: Olexandr - Hasta la Vista 25. Latvia: F.L.Y. - Hello from Mars 26. Israel: Lior Narkis - Words for Love Leo ✔ Soundcl🕤ck born fearlessarrow kimberly Mylo13 💜 Future Captain
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Soundcl🕤ck
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Post by Soundcl🕤ck on Jun 4, 2020 18:27:16 GMT -5
Totally deserved winner. Great and catchy song, but I still prefer their 1997 and 2009 entries. I miss Turkey on ESC so fucking much.
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ry4n
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Post by ry4n on Jun 4, 2020 18:48:17 GMT -5
Now my recaps become complicated. Hmmm. I think I'll do separate posts for the semi-final and grand final.
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Leo ✔
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Post by Leo ✔ on Jun 4, 2020 19:34:41 GMT -5
Here is my top for 2003
1. Spain 2. The Netherlands 3. Turkey 4. Belgium 5. Greece 6. Slovenia 7. Iceland 8. Poland 9. Croatia 10. Portugal 11. Romania 12. Germany 13. Cyprus 14. France 15. Sweden 16. Russia 17. Ukraine 18. Latvia 19. Norway 20. Malta 21. Israel 22. Estonia 23. Bosnia & Herzegovina 24. Ireland 25. United Kingdom 26. Austria
SPAIN'S ANTHEM. "Dime" is amazing, deserved top 5!! Turkey is a great winner, and shows how important is to have a killer stage. Belgium is good too, I didn't hear this song before and never checked it out for curiosity.
UK is just a mess, and how Austria perform that well is beyond me. Iceland as a starter is great tbh. Russia and the vocals... they really did a terrible job there.
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mrmike855
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Post by mrmike855 on Jun 4, 2020 19:57:22 GMT -5
Fun fact: while Latvia only got to go to Eurovision 2002 because Portugal withdrew, Turkey was only 4 points away from being relegated, 2 years where the winner almost didn't have a chance to perform.
Also fun fact, Olexander would be the last solo male Ukraine would send until Melovin in 2017 (and one of only 2). It makes sense why no one remembers him and maybe why Ukraine was hesitant to send another solo male.
We're finally getting out of the doldrums of the dance-pop era and entering the ethnopop era, where the years will be filled with jokes and some really good songs, every year from now until 2008, except 2004, will have a joke song in the top 10
In terms of the songs, 2003 is the best year since the mid 90s, the top 10 this year is pretty solid (except Russia and Austria, but Russia was always going to do amazing with T.A.T.U, and Austria had the well-love joke song) Turkey wasn't my favorite song of the year (still top 5) it lead to some pretty amazing and creative songs to come, so I'm glad it won. However, there are few songs worth caring about outside of the top 10, I guess Bosnia and Croatia are the best, but they still pale in comparison to the top 10.
One last note, while everyone blames Cry Baby for the UK's 1.5+ decade slump in Eurovision, it seems more likely that the lifting of the language rule hurt them more, they sent some pretty mediocre crap in the preceding years (looking at you UK 2001) and, other than 2002, they never made the top 10, something that they accomplished 38 out of 40 years up to 1999. Cry Baby was just the bottom falling out.
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ry4n
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Post by ry4n on Jun 4, 2020 20:17:17 GMT -5
Fun fact: while Latvia only got to go to Eurovision 2002 because Portugal withdrew, Turkey was only 4 points away from being relegated, 2 years where the winner almost didn't have a chance to perform. Also fun fact, Olexander would be the last solo male Ukraine would send until Melovin in 2017 (and one of only 2). It makes sense why no one remembers him and maybe why Ukraine was hesitant to send another solo male. We're finally getting out of the doldrums of the dance-pop era and entering the ethnopop era, where the years will be filled with jokes and some really good songs, every year from now until 2008, except 2004, will have a joke song in the top 10 In terms of the songs, 2003 is the best year since the mid 90s, the top 10 this year is pretty solid (except Russia and Austria, but Russia was always going to do amazing with T.A.T.U, and Austria had the well-love joke song) Turkey wasn't my favorite song of the year (still top 5) it lead to some pretty amazing and creative songs to come, so I'm glad it won. However, there are few songs worth caring about outside of the top 10, I guess Bosnia and Croatia are the best, but they still pale in comparison to the top 10. One last note, while everyone blames Cry Baby for the UK's 1.5+ decade slump in Eurovision, it seems more likely that the lifting of the language rule hurt them more, they sent some pretty mediocre crap in the preceding years (looking at you UK 2001) and, other than 2002, they never made the top 10, something that they accomplished 38 out of 40 years up to 1999. Cry Baby was just the bottom falling out. I think I tend to "overrate" songs that push the contest in new directions like Diva or Poupee de ciree, and that's a big reason why I love Turkey 03 so much. I see it as the seminal song that starts the ethnopop era. Everyone loves to copy the recent winner, so.. I really love t.A.T.u.'s song but the performance is just horrible lol. Yeah the language rule is 100% a factor. Back in the 80's, the UK would send any old crap and they would still land in the top 10 lol. I think it's a combination of that + a poor song + a poor performance. Terry Wogan blamed it on the Iraq War but that's a weak argument imo.
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ry4n
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Post by ry4n on Jun 9, 2020 12:59:55 GMT -5
Istanbul 2004: The Semi-FinalHost: Turkey Slogan: “Under The Same Sky” Overall Participants: 36 Voting method: 12-point system (all televotes except Monaco) Format: 1 Semi-Final / Grand Final = the top 10 of the semi + the top 10 of '03 + the Big 4 General Overview:2004 is the point when Eurovision became more of a corporation – with the launch of Junior Eurovision in the autumn of '03, the EBU acquiring the broadcasting rights for themselves, and the inauguration of the iconic heart logo. 2004 is also the year that introduces the semi-final format – a permanent change moving forward. This allowed for more countries to participate. Indeed, in addition to the 5 relegated countries from 2003 returning, there are four debuts: Albania, Andorra, Belarus and Serbia & Montenegro. Furthermore, Monaco decided to rejoin after a 25-year hiatus. So the era of “Two Eurovisions” (and later “Three Eurovisions”) begins! Interestingly, Serbia & Montenegro won the 2004 semi-final while Ukraine placed 2nd. The reverse happened at the Grand Final, which might be a result of the running order slots. Greece also placed 3rd on both nights, implying that the semi qualifiers may have an advantage. Although plenty of auto-qualifiers have performed well since. Nearly all 36 participating nations voted in the 2004 semi-final, with the exceptions of France, Russia and Poland, who did not broadcast it. The voting system removed juries entirely this year, except for Monaco during the semi due to errors. Also, Croatia erroneously gave 4 points to themselves somehow. The belated correction didn't change the final results, however. And these weren't the only technical mishaps – the Turkish television viewers missed the Slovenian entry due to a misplaced commercial break. The interval act features a neat drum routine, followed by a bizarre skit that lampoons ABBA on the 30th anniversary of “Waterloo”. The Grand Final consisted of 14 auto-qualifiers (the top 10 of 2003 + the Big 4) plus the top 10 of the semi-final. Much like today, the placings and points of the semi-final qualifiers were kept secret until the Grand Final. The hosts revealed the top 10 via randomized red envelopes, which also determined the running order slots in the final for each song (the 14 auto-qualifiers were already drawn). Quality-wise, the 2004 DNQ's are mostly mediocre. But I believe there's issues with the audio quality in this broadcast. The Entries: × Finland: Jari Sillanpää - Takes 2 to Tango Well, the Finnish entry delivers on its promise. The instrumentation and the dance moves are unmistakably tango. The song's groove and the staging are enjoyable. And the metaphorical lyrics, which describe the angel and the devil dancing together, are intriguing. But the execution lacks sufficient charm or enchantment. And Jari's tone in the performance appears ill-suited for the subject matter. I expected more. × Belarus: Aleksandra and Konstantin - My Galileo Belarus delivers a folk/country number as their debut entry. Aleksandra's bleating vocal style is certainly polarizing, but I love the quirkiness of it. “My Galileo” is a whimsical song that portrays a bubbly, assured aura of journeying. The lyrics compare Aleksandra's infatuated feelings to how the Earth rotates the sun, even referencing historical astronomer Galileo in the process, who supported a heliocentric view of the universe. That is textbook Eurovision cheese. × Switzerland: Piero Esteriore & The MusicStars - Celebrate CRINGE. Switzerland manages “nul points” in a semi-final! Czechia 2009 is the only other time that's happened. They deserved it though, as “Celebrate” is laughably awful and amateurishly performed. The harmonies are disorganized, the instrumental is empty, and the lyrics are so mundane. It's like “Celebrate” was written for a 5-year old's birthday party. × Latvia: Fomins and Kleins - Dziesma par laimi Another entry ruined by possible sound issues. The “na na na”'s in particular are vocally shaky, and the instrumental sounds suppressed. So Latvia selects a rock band for 2004, but “Dziesma” lacks the magical innocence of their 2000 entry (“My Star”). It's sonically and melodically inoffensive. Still, the lead singer displays some charisma, and the song is uplifting. × Israel: David D'Or - Leha'amin The concept just doesn't work in my opinion. “Leha'amin” aims to inspire an optimistic worldview in the face of the adversity, while David projects an angelic tone. But the chorus lacks that powerful edge and it never soars. David's operatic vocals, while talented, aren't my thing. And the backing doesn't add enough support either. But again, that could be the sound issues. Ultimately though, Israel placed joint-11th in the semi-final. × Andorra: Marta Roure - Jugarem a estimar-nos 2004 witnesses the debut of one of the worst performing countries in Eurovision: Andorra. Their qualification rate is 0/6. Incidentally, “Jugarem” is the first instance of the Catalan language in the contest. Unfortunately though, this is a highly forgettable entry. The choreography is active and involved but not that striking, and the melody is too monotone and basic to properly stick in my head. The lyrics, though, are an analytical look at a one night stand. × Portugal: Sofia Vitória - Foi magia These 2004 DNQ's are so underwhelming. Portugal opts for cocktail-lounge disco this year. “Foi magia” is breezy and it features warm backing vocals. It's nearly a bop as it's somewhat catchy. But the melody and the instrumental are too dormant. The song ultimately fades into the background. It's also noticeably repetitive. And I wish the performance was bubblier and bouncier. ✓ Malta: Julie and Ludwig - On Again... Off Again Finally something decent! “On Again... Off Again” employs an energetic melody, a bouncy beat, and the duet emits chemistry on stage. The concept is amusing - it involves a playful back and forth between a dysfunctional couple, who eventually reconcile by the end of the performance. They double down by having Julie copy Ludwig's operatic vocal style towards the end, proving that they do have something in common. It's corny and campy, but fun and cute. And the two vocal styles mesh together. × Monaco: Maryon - Notre planète We waited 25 years for this? What a mediocre return. On the positive side - Maryon expresses an important message of environmental protection, and the choreo routine is decent and flows well. But, this entry is too bland, average-sounding and forgettable to ever qualify. The melody is too weak. ✓ Greece: Sakis Rouvas - Shake It Haha, this entry is wild. So, 2004 is the beginning of a strong decade for Greece - “Shake It” is the first of 9 top tens in 10 years for them. So Sakis's vocals on the semi-final, and even in the studio version, are tragic. But the appeal of “Shake It” lies in the “Ethnic” beat, the extremely catchy, rapid-fire chorus, and Sakis's natural sizzling charisma on stage. The song oozes chaotic energy. It's somewhat seductive, and the instrumentation contains that uniquely Greek sound. Plus the “I would trade my life...” bit is a great hook. “Shake It” is pure zaniness and it defines mid 2000's Eurovision. ✓ Ukraine: Ruslana - Wild Dances (winner review... in the Grand Final post) × Lithuania: Linas and Simona - What's Happened to Your Love? The Lithuanian entry involves a similar concept to Malta's. It's a playful performance where the duet analyze why they drifted apart. It tells a story and I like interactive duets. “What's Happened” is also eccentric in presentation - as Baltic entries often are. The instrumentation channels Spanish elements, the outfits are kitsch (except for Simona's), and Linas has a deadpan facial expression. I have a soft spot for this though. ✓ Albania: Anjeza Shahini - The Image of You Albania debuts with a smooth pop bop! “The Image of You” is a rush of bubbly emotions. It's a cute entry. Meanwhile, Anjeza is confident on stage and she projects spotless vocals into it (in the semi-final, at least). The chorus is well constructed between the melody progression and how the backing singers elevate it. It's effortlessly catchy! Also, the nightlife backdrop on the LED screen sets the ambience. ✓ Cyprus: Lisa Andreas - Stronger Every Minute Cyprus delivers a stunning, tearful power ballad. “Stronger Every Minute” excellently contrasts Lisa's fragility with her self-empowering fortitude. The former is illustrated by the delicate instrumentation and the lack of backing singers, where Lisa is exposed and vulnerable. As the song builds to a braver chorus three times, she's able to find her inner strength. It's a compelling ballad. ✓ F.Y.R. Macedonia: Toše Proeski - Life “Life” ticks all the boxes of a Balkan ballad – it conveys a melodramatic tone, there's an “exotic” instrumental, and the staging is eye-catching. The chorus is pretty catchy too. The lyrics, meanwhile, are enigmatic, where they characterize Toše's internal insanity. He also exudes commanding stage presence. His distress is overexaggerated, but this entry encapsulates what this era of Eurovision is all about. The strings are a highlight too. Musically, though, “Life”'s production and structure are monotonous. × Slovenia: Platin - Stay Forever This couldn't be more uneventful if it tried – both the song and the staging, aside from the quick kiss. Like, there's literally nothing interesting to mention about it. × Estonia: Neiokõsõ - Tii Estonia and Belarus are the only 2004 NQs that had protentional for me. And even then, the vocals are rough on “Tii”. I'm a sucker for “ethnic” entries though. The song illustrates partaking on a journey to seize freedom, where the dynamic instrumentation routinely switches gears to keep things fresh. Also, the melody is lively and mystical, and the dance routine involves joyful prancing. The choreo lacks refinement though. Estonia ultimately finished in joint-11th place with Israel. ✓ Croatia: Ivan Mikulić - You Are the Only One Croatia continues their midtable streak (this will land at 12th in the Grand Final). “You Are the Only One” follows the standard Eurovision ballad template. The chorus is sufficiently dramatic and devastating with big vocal climaxes, and Ivan projects passion. It's well-performed, but a little too gloomy and desperate. Still, I do like the contrasts between the downbeat parts and the explosive chorus. The transition into that chorus is a highlight. × Denmark: Tomas Thordarson - Shame on You This era of Eurovision features so many Ricky Martin copycats. Denmark's version even employs a Latin beat! On stage, Tomas displays some swagger, as he wishes to salvage a damaged relationship. He even roller skates at one point. The Danish entry isn't bland per se – the chorus is catchy enough. But overall it comes off a bit... generic? And Thomas's body language is off-putting at times. ✓ Serbia & Montenegro: Željko Joksimović & Ad-Hoc Orchestra - Lane mojeThe winner of the semi-final and the eventual runner-up overall. “Lane moje” might be my favourite Balkan ballad ever. It is the epitome of smoothness. The arrangement flows naturally, despite the instrumentation being so diverse and dynamic. The vocal is beautiful too. The song builds nicely and finishes with a dramatic final chorus. The lyrics are introspective. And I like the flute intro and the violin solo. There's just something Medieval and cinematic about this song. From a technical/objective standpoint, “Lane moje” is the best entry of 2004. It's breathtaking. ✓ Bosnia & Herzegovina: Deen - In the Disco Oh boy. “In the Disco” falls into the “so bad it's good” territory for me. And not just because Deen is cute! His flamboyant stage presence and the song's unabashed “trashiness” is what makes this work. “In the Disco” is certainly memorable, between the dance beat, the hip thrusts, the banal chorus lyric, and Deen's charisma. He even performs bare chested in the semi-final. ✓ Netherlands: Re-Union - Without You 2004 is the last time that the Netherlands qualifies until 2013. Interestingly, “Without You” goes from 6th in the semi-final to 20th in the Grand Final. It's an acoustic ballad, reminiscent of “More Than Words” by Extreme. But the bare bones minimalism renders this into dullness territory. The melody is there, but it's not strong enough to overcome the empty background. Although the lyrics are sweet and the duo displays charming smiles. My Ranking:01. Serbia & Montenegro: Željko Joksimović & Ad-Hoc Orchestra - Lane moje ✓02. Ukraine: Ruslana - Wild Dances ✓03. Cyprus: Lisa Andreas - Stronger Every Minute ✓04. Albania: Anjeza Shahini - The Image of You ✓05. F.Y.R. Macedonia: Toše Proeski - Life ✓06. Greece: Sakis Rouvas - Shake It ✓07. Malta: Julie and Ludwig - On Again... Off Again ✓08. Croatia: Ivan Mikulić - You Are the Only One ✓ 09. Belarus: Aleksandra and Konstantin - My Galileo 10. Bosnia & Herzegovina: Deen - In the Disco ✓ 11. Estonia: Neiokõsõ - Tii 12. Lithuania: Linas and Simona - What's Happened to Your Love? 13. Finland: Jari Sillanpää - Takes 2 to Tango 14. Portugal: Sofia Vitória - Foi magia 15. Latvia: Fomins and Kleins - Dziesma par laimi 16. Denmark: Tomas Thordarson - Shame on You 17. Netherlands: Re-Union - Without You ✓18. Israel: David D'Or - Leha'amin 19. Andorra: Marta Roure - Jugarem a estimar-nos 20. Monaco: Maryon - Notre planète 21. Slovenia: Platin - Stay Forever 22. Switzerland: Piero Esteriore & The MusicStars - Celebrate Most of these DNQ's are so bad... Leo ✔ Soundcl🕤ck born fearlessarrow kimberly Mylo13 💜 Future Captain
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Future Captain
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Post by Future Captain on Jun 15, 2020 22:28:21 GMT -5
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