ry4n's Eurovision reviews - 2020 GF!

[born]

“A-Ba-Ni-Bi” is a classic!

[ry4n]

Jerusalem 1979

Host: Israel
Participants: 19
Voting method: 12-point system (juries only)

Winner: Milk and Honey - Hallelujah
Country: Israel
Points: 125 (57.9% of highest score possible)
Language: Hebrew
YouTube | Spotify | Lyrics


General Overview

So the 1970's close with one of the stronger Eurovision contests. Israel exceeded expectations as host. The interval is a spectacle – it involves a synchronized dance routine and finishes with 100+ people storming the stage. The postcards are creative – the artists mime “humours” stereotypes in front of a painted backdrop (a green screen?). I imagine this wasn't cheap to produce in '79. The stage is practical – it's another wide platform with a giant fancy sculpture. And the intro package showcases stunning local architecture.

It's a shame, however, that the '79 contest is so dragged out. It's nearly 3 hours (which is 30-40 minutes longer than '78 and '80). The vote reveal is the slowest I've ever seen. Mostly because the presenters repeated every vote in English, French and Hebrew. That said, this is an exciting vote reveal. The audience lose their s**t everytime Israel received 12 points. And it was a nail-biter between Israel and Spain up until the last country was called – which was Spain, who couldn't vote for themselves. Spain gave Israel 10 points and the reaction was thunderous.

The 1979 contest contains a strong set of entries. I had a difficult time choosing what to cut from my top 10. Numbers 7-11 in the running order are a whirlwind (Greece through France).

The Entries

Portugal: Manuela Bravo - Sobe, sobe, balão sobe
Cute bop with natural breeziness.

Italy: Matia Bazar - Raggio di luna
Bland.

Denmark: Tommy Seebach - Disco Tango
A fresh-sounding entry that fuses disco and tango. The instrumentation is quite intricate.

Ireland: Cathal Dunne - Happy Man
A cheesy song, with a booming joyous chorus, but too cringe and tedious.

Finland: Katri Helena - Katson sineen taivaan
Serviceable female vocal ballad with a big note at the end.

Monaco: Laurent Vaguener - Notre vie c'est la musique
Whatever.

Greece: Elpida - Sokrati
A tribute to Socrates. The vocal performance is kinda jarring/terrifying but angsty. The performers even dress in ancient Greek robes.

Switzerland: Peter, Sue, Marc, Pfuri, Gorps and Kniri - Trödler und Co
Switzerland earns the WTF award of '79. Peter, Sue & Marc show up again, featuring some other names this time. The band cobbles together an array of yard junk to play as musical instruments – garbage bags, rakes, shutters, aluminum cans. One guy even mimes a trumpet solo with a watering can and a hose. It's dumb but entertaining.

Germany: Dschinghis Khan - Dschinghis Khan
Oh boy I've been waiting for this one. The song is a tribute to Genghis Khan and his infamous exploits of violence and women. This performance just goes all in. The tribal chants. The choreo. The “ohohohoh / ahahahah” bit. The outfits. It's quirky without trying too hard. It's exactly what I want from a “weird” Eurovision entry. Honestly iconic: www.youtube.com/watch?v=eAEUrp2V4ss

Israel: Gali Atari & Milk and Honey - Hallelujah
(winner review below)

France: Anne-Marie David - Je suis l'enfant soleil
France serves clean, powerful vocals. Anne-Marie David (the winner of 1973) provides another intense belter.

Belgium: Micha Marah - Hey Nana
Cute bop but lacks something. The "hey hey nanananana" bit is catchy though.

Luxembourg: Jeane Manson - J'ai déjà vu ça dans tes yeux
A beautifully sung, emotive vocal ballad. But a pretty boring one.

Netherlands: Xandra - Colorado
A catchy bop. It's fun and carefree, especially with all the jumping around. And it feels more current than most of the other entries.

Sweden: Ted Gärdestad - Satellit
"SATELLIT! SATELLIT! OHHH-OHHH!" is infectious as f**k. I don't like the verses as much though.

Norway: Anita Skorgan - Oliver
A cute song but too forgettable.

United Kingdom: Black Lace - Mary Ann
This is just “whatever”. The UK chose Black Lace, who would release the novelty song “Agadoo” some years later. There's a gritty rock voice here that I don't quite like. The song lands in 7th place; still a come down from their recent dominance.

Austria: Christina Simon - Heute in Jerusalem
Austria's entry calls for peace in Jerusalem but it's such a sluggish ballad. Honestly un-listenable.

Spain: Betty Missiego - Su canción
Spain achieve their 3rd runner-up finish since their double win. “Su canción” is an uplifting, relaxing number that features 4 children on stage as backing singers. Normally I'd find this CRINGE, but it's cute here.

The Winner

Israel proves they're a serious Eurovision competitor with back-to-back victories. Their second winner, “Hallelujah”, is one of the most iconic. The song is a comforting church hymn, a reassurance of support, and a giant group hug. It's uplifting and full of heart. The performance begins with Gali Atari singing solo. But as the song progresses, another singer enters the stage one at a time. Likewise, the arrangement is minimal at first with one voice and sparse piano notes. But as more voices join in, the orchestral bombast gradually increases. And after 3 minutes, the whole world is singing as one giant chorus. “Hallelujah” is about bringing people together so it makes sense.


Verdict: An overrated winner for me.


My points go to....
01. Germany: Dschinghis Khan - Dschinghis Khan
02. Denmark: Tommy Seebach - Disco Tango
03. Finland: Katri Helena - Katson sineen taivaan
04. Portugal: Manuela Bravo - Sobe, sobe, balão sobe
05. Greece: Elpida - Sokrati
06. Belgium: Micha Marah - Hey Nana
07. Netherlands: Xandra - Colorado
08. Spain: Betty Missiego - Su canción
09. Switzerland: Peter, Sue, Marc, Pfuri, Gorps and Kniri - Trödler und Co
10. Sweden: Ted Gärdestad - Satellit

11. France: Anne-Marie David - Je suis l'enfant soleil
12. Luxembourg: Jeane Manson - J'ai déjà vu ça dans tes yeux
13. Norway: Anita Skorgan - Oliver
14. Israel: Gali Atari & Milk and Honey - Hallelujah
15. Italy: Matia Bazar - Raggio di luna
16. Monaco: Laurent Vaguener - Notre vie c'est la musique
17. Ireland: Cathal Dunne - Happy Man
18. United Kingdom: Black Lace - Mary Ann
19. Austria: Christina Simon - Heute in Jerusalem

Leo ✔ Ｓｏｕｎｄｃｌ🕤ｃｋ born fearlessarrow kimberly Mylo13 💜 Future Captain

[Leo ✔]

I never had watched that "Dschingis Khan" performance, how cringe but entertaining it was.
I think "Hallelujah" is a good winner but this year Spain really deserved to win, but they sabotaged themselves...

[kimberly]

can't wait for mid 90's-present lmao I don't know most of these old winners besides abba, celine and "poupée de cire poupée de son"

[ry4n]

The Hague 1980

Host: Netherlands
Participants: 19
Voting method: 12-point system (juries only)

Winner: Johnny Logan - What's Another Year
Country: Ireland
Points: 143 (66.2% of highest score possible)
Language: English
YouTube | Spotify | Lyrics

General Overview

1980 feels like a reboot year. It's the landmark 25th edition, but it doesn't feel like it. Mainly because no one wanted to host the thing. Israel could not afford it again - actually, they withdrew entirely because of a national holiday. Meaning that this is the only contest where the reigning champ is absent. The 1979 runner-up Spain also declined to host. As did the UK, who were always the reliable back-up plan. So in the end, the Netherlands accepted the job with a low budget.

And I can tell the Dutch broadcaster put minimal effort into this. They reused the same venue as 1976. The stage looks similar - it's a wide platform with moving floating shapes in the background (which resembles a grey mask with red eyes; or an alien face). The opening sequence is the usual local footage, leading to the orchestra playing for a bit. The presenter, Marlous Fluitsma, speaks to the audience exclusively in Dutch. And there's no postcards – instead, a representative from each country goes on stage to introduce their song. On the bright side, 1981 will begin a 41-year streak of the most recent winning country hosting the next one.

Having said that, I like that the interval act showcases Caribbean culture. It involves some upbeat music and dancers on stage. I don't like that they kept interrupting their performance to cut to the Green Room though.

The vote reveal is amusing, where Marlous pulls out a different phone to call each country. 1980 is also the year when the spokespersons began reading their points in ascending order instead of running order. Which adds more suspense and less confusion. Too many countries were submitting incorrect votes.

Turkey returns and Israel's absence allows Morocco to debut. Meanwhile, Monaco says goodbye for 25 years.

Despite the low budget, 1980 is a strong year. It has some bops! There's also a lot of campy entries and gimmicky staging; probably because of “Dschinghis Khan”.

The Entries

Austria: Blue Danube - Du bist Musik
A forgettable start to a new decade. The only interesting aspect is the Space Age synth, which sounds like my friend's phone alarm. The composition is just too mild. The verses are bland. The bells are so subtle. The “DU BIST MUSIK!” chorus ending (with the horns) is meh. And the lyrics are whatever – they compare the subject to a lengthy list of composers and music terms; conclusively declaring “you are music!”. The song does work as an opener though – it's light and carefree, with a 'good morning' vibe. And the drum/string intro and the “harmony, melody...” part are okay.

Turkey: Ajda Pekkan - Pet'r Oil
The juries underrated Turkey back then. The intro establishes a traditional sound with the hand drums and strings. The “a-MAN... PET'R OIL” hooks, along with the intensifying bit afterwards, is so catchy. And the “WHOOOA” dives, vocal chants, finger bells, and hand claps are positives too. The orchestra could be more powerful, but it's still good. The lyrics are (supposedly), literally about petrol. It's a commentary on humanity's overdependence on oil and the role money plays. Basically, oil makes life more convenient by powering our modern technology. I assume this was a response to the 1970s oil crisis and recession.

Greece: Anna Vissi and the Epikouri - Autostop
An undeniably catchy “circus music” entry with a slick performance. I like the way they move around, while Anna points a lot. The dramatic slowdowns are super effective too. But she says “Autostop” too many times and it gets annoying after a while. Otherwise, the intro is like a blustering wind. The drums stomp around in the verses. There's some xylophone and backing ad libs. And the chorus has a marching band rhythm - it also pauses for a farting horn. The lyrics are about hitch-hiking to explore the world.

Luxembourg: Sophie & Magaly - Papa pingouin
An iconic, delightfully camp, and ridiculously catchy nursery rhyme that features a man in a penguin costume. He waddles, trips, mutters, makes funny faces, gets spanked, and tries to fly lol. The backing singers also wear penguin tuxedos. And the lyrics are comical, where this grumpy penguin wishes he could fly, until he's compassionately convinced to love his life the way it is. The orchestra moves smoothly and calmly. The chorus is well-constructed, with the “LE PAPA PINGOUIN...” repetitions, the accompanying xylophone clacks, and how the strings slide in afterwards. The call-and-response sections and the “papapa..” escalations are also great.

Morocco: Samira Bensaïd - Bitaqat Hub
Morocco's only participation flopped. Maybe the song was too foreign for the juries. It doesn't have the catchiest chorus either. But it's a lovely song with a smooth texture and a great message. The strings, hand drums, and Samira's robe establish a cultural vibe. Those strings are incredible too – especially the twirling intro (with the dings), and how they overpower and tiptoe in the first verse. The “oh oh oh” and “la la la” ending is nice too. The lyrics ask for peace and to end racism. Samira says we want unity, safety, justice, prosperity, loyalty, and happiness; free from greed and rival neighbours.

Italy: Alan Sorrenti - Non so che darei
Why was this 6th? It's a light and relaxed soft rock song, but in a very bland and boring way. Alan's falsetto in the chorus is unbearable. The leaning and swaying from the backing members is giving stoner energy, although the pink and purple clothing is visually appealing. And the instrumental and lyrics are unremarkable. Alan just wants one more night with his ex. He doesn't hide it or know why.

Denmark: Bamses Venner - Tænker altid på dig
This is kinda boring – it's a very laid back and minimalist song. But it's also sweet and comforting, the melody is nice, and I don't mind Bamses's raspy vocals. The percussion kicks drive the verses, alongside some violins and subtle tambourine. While chorus speeds up somewhat. I like the little horn hops during it. On stage, everyone wears blue or red overalls and striped shirts. The backing looks unhappy though. In the lyrics, Bamses has to leave for a while (for work?) The subject dreams of things being normal again. But he's always thinking of them.

Sweden: Tomas Ledin - Just nu!
Rock entries were uncommon back then. Tomas flaunts his high assertiveness on stage; including some “manspreading”. But oops at him disconnecting the microphone wire. The “Just nu!” shouts are super catchy, albeit repetitive. The recurring clawing piano riff, the tense strings, the stretchy guitar responses, and the softer post-chorus (with the flutes) are all highlights. But the song fizzles out towards the end. The bridge is the same as the post-chorus, but with more “JUST NU!”s. The lyrics are about needing to escape the mundane city life. The chorus exclamations are when he's had enough.

Switzerland: Paola - Cinéma
No more weirdness from Switzerland for a while. Instead, Paolo praises the magical world of cinema! She explains how movies define our childhood. She also lists several Disney characters and old school actors. The song itself switches styles several times – from a classic, gentle, pretty ballad to big band brass to an energy-releasing chorus to a tap dance break. And finally, a tuba outro lol. The “cinéma, cinéma” hook is alright. And Paola's vocals and stage presence are highlights.

Finland: Vesa-Matti Loiri - Huilumies
Vesa's voice is so irritating. Finnish has those unfortunate “oi oi oi” sounds. The lyrics explain how his flute expresses the wide range of everything he feels. He even plays a flute solo 3 times. He also scats during the bridge. Otherwise, the intro sounds like a sitcom theme. The backing vocals emphasize certain parts. And the chorus does this thing where it speeds up midway, then stops, intensifies, and normalizes.

Norway: Sverre Kjelsberg & Mattis Hætta - Sámiid ædnana
An interesting concept that lacks cohesion. After the Christmassy intro, the first minute involves a bunch of random tempo changes, as Sverre plays the guitar in Luke Skywalker clothing. Then Mattis walks out, and it becomes a completely different song, where he repeats the same “yoik” endlessly. I prefer the latter 2/3 though. It begins a cappella, then adds one instrument at a time (and Sverre singing separately) to build intensity; until the ending quiets again. It symbolizes a distant chant growing stronger. The lyrics support the then-recent protests against building a hydroelectric dam on Sami land.

Germany: Katja Ebstein - Theater
The only artist with 3 top 3s. Unless you count the writing credits of the man that beat her. This one is pretty camp. The mimes are very distracting, but they make the staging memorable. I like when they waltz side-to-side with Katja. Their background muttering enhances things too. The lyrics are about the facade that stage performers must put on, even if they're sad or scared on the inside. There's a theater piano intro, then the song starts as a ballad. The circus-y beat takes over soon enough though. There's also a teeth-chattering piano and some piano slides. And the “THEATER, THEATER” hooks are catchy.

United Kingdom: Prima Donna - Love Enough for Two
So. Much. Cringe. This is giving church summer camp vibes. It's sooo wholesome. I really dislike the performance – the three smiling couples, the peppy voices, the touching, the bright clothing, them standing together at the end. The chorus is catchy I guess, but not in an enjoyable way. The wedding bells and the key change are ugh. And the song title sounds like they want a threesome. I doubt that's what they meant, but it's a corny love song regardless. Otherwise, it's a summery easy listening song.

Portugal: José Cid - Um grande, grande amor
Portugal equals their best placement so far (7th). This is giving Elton John vibes. The first 15 seconds are a piano ballad. Then, after a few door knocks, the energetic orchestra takes over. The chorus melody feels big. The verse contains some dramatic bursts. The bridge rests for a soft backing refrain. And there's a false ending. José's performance is full of life, even though he just plays the piano and later stands up. In the song, he says goodbye to his lover in multiple languages. He sounds very happy about it. He calls it a “big love”, but he's a “free bird” now.

Netherlands: Maggie MacNeal - Amsterdam
This is nothing like “I See a Star”. The dark atmosphere is very compelling. The string intro establishes that mood. The verses sound sorrowful and pensive, while the chorus is ominously inviting thanks to the swinging bass stomps and panicked carousel sounds. That chorus creates an image of Maggie standing on a busy Amsterdam street at night, where she welcomes everyone. The “Amsterdam, Amsterdam” hooks are solid. And I like that descending light xylophone(?) scale that morphs into a piano. The oboe moment is nice too. The lyrics praise the city. Maggie makes it sound like a special, unforgettable place that has everything. It's where people feel freedom and belonging.

France: Profil - Hé, hé, m'sieurs dames
Basic and repetitive. The title phrase appears in every single stanza. It's a catchy hook, but it's too perky in the verses. The chorus, which feels more hectic, changes that hook to a joyous shout instead though. Otherwise, there's some “dodododo”s and background “ahhh”s. And the bouncing verse guitar is alright. But the song doesn't have much going on. The lyrics are about partying and having fun tonight. On stage, they open their arms, point, and sway side-to-side; while wearing rainbow glitter shirts not long after the pride flag was adopted.

Ireland: Johnny Logan - What's Another Year
(winner review below)

Spain: Trigo Limpio - Quédate esta noche
I love the dark atmosphere and how the song continually switches between lowkey and explosive. Even if they say “...a mí esta noche” a lot. The acoustic guitar intro establishes the mood. The orchestra sounds pretty at points. The first and last choruses grow midway, with a pounding drum initiating the switch. The second chorus leads to a trumpet moment instead, which allows the two verses to have different volumes as well. And the song ends on a galloping drum to intensify things further. In the lyrics, their lover is about to leave without an explanation – their suitcase is already packed. But the narrator offers affection and passion to persuade them to stay tonight.

Belgium: Telex - Euro-Vision
Belgium foreshadows the wacky 2000s. The chorus contains just one word (“Eu-RO-vis-ION”) said 6 times, with 4 synth notes repeating the same pattern. The main synth beat is quite static; until the ending slows down and turns squeaky. The lyrics get meta about the contest itself. The singer uses a talking voice. And his performance is eccentric – he pretends to smoke, plays with his scarf, makes goggle hands, twists his wrists, and pulls out glitter and a camera from his pockets. I just don't find this amusing.

The Winner

Another decade begins with Ireland winning in the Netherlands, after some confusion over who would host it, while Katja Ebstein and the UK are in the top 3. This means Ireland achieves their second victory, as Johnny Logan starts his Eurovision dominance. He will contribute 4 songs over the next 12 years; all of which will reach top 2.

“What's Another Year” also sets the template for many upcoming Irish entries. Ireland's winning formula is a down-to-Earth artist singing about relatable common situations and emotions, usually as a ballad, in an honest way. Sure, they benefited from the language restriction rule back then, but they understood accessibility.

“What's Another Year” is a “mid” winner for me though. It sounds like a Christopher Cross song, who I find boring. It's early '80s yacht rock and easy listening. I prefer the bombastic “Hold Me Now”. Still, the saxophone makes this one stand out - it's my favourite part. I also like when the strings enter. And when Johnny raises his voice in the first chorus. But I'm disappointed he doesn't do it again. The second chorus, which is placed after the sax solo, is a fragile moment instead. And there's no final chorus – the outro just repeats the song title alongside a backing refrain. The backing voices are soft though.

Also, I can't decide if Johnny's performance is heartbreaking or sappy. He even sits on a stool to make it personal. In the lyrics, he's been waiting a long time for his ex to return. But his waiting seems futile. So he sighs “what's another year?”, as if 52 more weeks of misery won't bother him. He's lost everything, so what's the point of moving on. It comes across as self-pitying though.

Otherwise, Johnny jumping up and down when he won was cute. And this became a big chart hit in Europe.


Verdict: It's okay.


My points go to....
01. Netherlands: Maggie MacNeal - Amsterdam
02. Morocco: Samira Bensaïd - Bitaqat Hub
03. Turkey: Ajda Pekkan - Pet'r Oil
04. Spain: Trigo Limpio - Quédate esta noche
05. Portugal: José Cid - Um grande, grande amor
06. Germany: Katja Ebstein - Theater
07. Luxembourg: Sophie & Magaly - Papa pingouin
08. Switzerland: Paola - Cinéma
09. Greece: Anna Vissi and the Epikouri - Autostop
10. Sweden: Tomas Ledin - Just nu!

11. Norway: Sverre Kjelsberg & Mattis Hætta - Sámiid ædnan
12. Ireland: Johnny Logan - What's Another Year
13. Denmark: Bamses Venner - Tænker altid på dig
14. Austria: Blue Danube - Du bist Musik
15. France: Profil - Hé, hé, m'sieurs dames
16. Belgium: Telex - Euro-Vision
17. Italy: Alan Sorrenti - Non so che darei
18. Finland: Vesa-Matti Loiri - Huilumies
19. United Kingdom: Prima Donna - Love Enough for Two


Leo ✔ Ｓｏｕｎｄｃｌ🕤ｃｋ born fearlessarrow kimberly Mylo13 💜 Future Captain

[fearlessarrow]

Also starting in 1980, the points are read in ascending order instead of running order. This adds more suspense and less confusion. Too many countries were submitting incorrect votes.

omg yikes

[ry4n]

Apr 4, 2020 15:51:35 GMT -5 fearlessarrow said:

Also starting in 1980, the points are read in ascending order instead of running order. This adds more suspense and less confusion. Too many countries were submitting incorrect votes.

omg yikes

Nothing too egregious. The scrutineer caught most of them before the countries hung up. Most of the errors were like giving 4 points to two different countries, or missing whoever received 3 points.

I presume back then nobody knew the votes until the countries were called, unlike today with the jury finals.

[ry4n]

Seriously, what a weird gimmick.

[Leo ✔]

I live for that Mickey Mouse phone

[ry4n]

Dublin 1981

Host: Ireland
Participants: 20
Voting method: 12-point system (juries only)

Winner: Bucks Fizz - Making Your Mind Up
Country: United Kingdom
Points: 136 (59.6% of highest score possible)
Language: English
YouTube | Spotify | Lyrics



General Overview

I consider 1981 to be a solid year. Yeah, there's one too many male ballads (probably because of Johnny Logan), but most of the entries are trying something interesting. Every year has some bland duds though.

The production is sufficient, aside from the scoreboard issues. The opening montage shows a variety of Irish culture – famous artifacts, stone forts, castles, doorknobs, and sports. Then it ends with this jagged globe map of Europe. The postcards also return this year, which begin with that same jagged map.

The interval act embraces Irish culture as well. It's a sequence of pre-recorded videos; beginning with a single dancer and some bagpipes by a misty stone fort. Then it cuts to a crowd of traditional dancers and musicians inside a castle room. And it finishes by mixing in modern guitars and drums.

I like the stage design. It consists of warm pastel colours and several circles, which creates an inviting and calm ambience. It's similar to Dublin 1971 stage. I don't have anything to say about the presenter, Doireann Ní Bhriain, though.

The vote reveal is a mess. Austria's spokesperson started listing their points in the running order instead of the new way. The scoreboard had to be corrected several times; like Ireland mistakenly having 326 points and Turkey randomly losing points. And connecting to Yugoslavia was difficult, leading to the iconic “I don't have it”. Despite all that, this was a very close contest. Five different countries held the lead at various points. And the UK / Germany / Switzerland were all tied at 120 points with 2 countries remaining. Ultimately, only 15 points separated the eventual top 4.

Germany loses by 4 points, and they take that as motivation to crush the competition next year. France, on the other hand, throws a tantrum over getting 3rd place and withdraw next year.

Otherwise, Cyprus debuts; which means this is the first instance of Greece giving 12 points to Cyprus! Yugoslavia also returns after 5 years. Israel is back too. And Italy is absent for the first time ever.

The Entries

Austria: Marty Brem - Wenn du da bist
Austria opens the show again. But the bizarre staging is more memorable than the song. The backing singer (whose voice is too quiet) wears a swimsuit and an American football helmet; while the other dancers have headphones on. They move in slow motion, lift their legs, freeze, and do the splits. The staging doesn't match the lyrics either; where Marty feels sad, lonely and lost when his lover is gone. The world just carries on normally. Musically, it's a boring, indistinct ballad. The melody is nonexistent and the instrumental is bland; aside from maybe the intro and chorus transitions.

Turkey: Modern Folk Üçlüsü & Ayşegül - Dönme Dolap
The funky guitar and disco strings are cool. The drum/flute intro and the horn appearances are also highlights. And I initially like Ayşegül's solo, where she changes microphone stands. But the chorus feels more like a pre-chorus and the song goes nowhere. The stage presence looks stiff too. The lyrics compare life to a carousel. Both have their ups and downs, but friends stick by during the lows.

Germany: Lena Valaitis - Johnny Blue
I love the storytelling lyrics, the tragic atmosphere, and how the song builds. It opens with a melancholic harmonica, which continues to play a big role. The bass and piano are highlights during the first half. Then the drums, strings, and backing vocals become more prominent to intensify the second half; until the post-bridge rests. The “blue... blue.. BLUE JOHNNY BLUE” refrain is super catchy too. “Johnny Blue” is a folk song about a blind man. When he was little, the other kids ostracized and bullied him for not seeing colours; hence his nickname. But music became his outlet and now he's famous, because his songs inspire others to escape life's darkness.

Luxembourg: Jean-Claude Pascal - C'est peut-être pas l'Amérique
The 1961 winner returns with... another song that sounds like it's from 1961. This is a sleepy crooner ballad. The strings are dated. The melody is weak. And the lyrics are whatever. JCP explains why music is important to him. It's eternal too. But I don't get the point of saying “American [music] isn't everything”. Otherwise, the slowdown transitions, and the bass guitar + hi-hat parts are okay, but not impactful enough. There's also backing “ooh”s and a backing choir bridge.

Israel: Hakol Over Habibi - Halayla
This is funky and disco, but with an Israeli sound. Shlomit's stage presence is great. The repetition of various phrases is catchy; particularly the “Ma shehaya, ma shehaya...” back-and-forth, the “laila laila la”s, and the “HALAYLA” shouts. And the backing vocals enter and exit at the right times. The song also grows in intensity, but it's too monotonous. It feels like one long chorus, aside from the Mediterranean intro/outro, which I do like. In the lyrics, this couple will say things tonight they've never said before, even if it feels like they have.

Denmark: Debbie Cameron & Tommy Seebach - Krøller eller ej
The feelgood atmosphere, the energetic dancing, and Debbie's likeability are great. She stands centre stage while Tommy's on the keyboards. She briefly joins him too. But the song's structure is off. The first minute is hype, with the video game 'pew's, the overpowering disco instrumental, and the melody holding anticipation. The chorus is a decent release, but the post-chorus is too tense and long. The ensuing dance break is also great, with the horns and psychedelic guitar. But then the second verse sounds like an outro. The lyrics are about loving their children regardless of what they look like.

Yugoslavia: Seid Memić Vajta - Lejla
Yugoslavia's return involves some unpleasant raspy vocals. Thankfully they have better entries coming up. The verses are a typical ballad. Then a swinging bass guitar appears, the orchestra pauses, and the chorus is breezy sleepy soft rock, with backing “nanana”s. The chorus is more bearable. In the lyrics, Seid says they would've been happy together had his ex stayed.

Finland: Riki Sorsa - Reggae OK
This is definitely reggae, but I have a hard time taking it as a serious reggae song. It's also monotonous and never-ending. There's too many “Reggae... OK”s. The intense intro doesn't transition smoothly. Riki's voice is unpleasant. The gym class whistles are unnecessary. The accordion break is too long. And the goofy backing members are cringe. I'm indifferent on the clapping breakdown. The lyrics are about opening people's minds to a music genre they aren't used to it.

France: Jean Gabilou - Humanahum
The end of France's most dominant period. “Humanahum” is very 'doom and gloom' and serious. The lyrics reflect Cold War dread, but they're still relevant today. It's set in the year 3000, where an old man recounts how wonderful Earth once was, before war exterminated all life. I like how the song builds in intensity: the strings get heavier, the drums shift gears, and the despair rises in Jean's voice. The chorus is also catchy and ominous, with the escalating “Humanahum”s and “Terre! Terre! Des Hommes!” The soft backing responses add an interesting contrast to the verses too. And the church organ intro is chilling.

Spain: Bacchelli - Y sólo tú
The blandest entry of '81. It's too easy-listening for me. The “nada nada nada” and “whoa oh whoa” hooks are too light. It has a relaxing summer beach vibe though. The xylophone-y intro, hand drums, and whistling flutes are alright. But the heavy strings and trumpet crashes makes it sound old-fashioned. The lyrics are about a dreamy romantic date on the beach.

Netherlands: Linda Williams - Het is een wonder
The obligatory circus music entry. The calliope plays a major role, right from the intro. The chorus is catchy, with the handclaps, and how it recedes at first, then the calliope and bouncy acoustic rhythm swoop in after. The verses also feature these sparkly whistles. The song has a warm, relaxed, and bright atmosphere, but it's kinda basic and lacks substance. In the lyrics, Linda remarks on the positive effect this person's love has had on her. She's become a new person.

Ireland: Sheeba - Horoscopes
The message is such a 'first world problem' LOL, but it's a good one. Sheeba advises against relying on horoscopes (or “celestial lies”) for answers. Because it's “crazy” to surrender control of our lives. Instead, we decide our own destinies and success. One of the stanzas even lists all the star signs... except mine! (and Sagittarius). Regardless, the melody is super catchy: “DON'T LET THE PLANETS...” I like the slow intro with the violin. The song turns energetic after that. And the deep cellos are a highlight.

Norway: Finn Kalvik - Aldri i livet
Norway is last place again with “nul points”. The vocals aren't the greatest. The first verse is quite bare and boring. And I dislike that scurrying instrument in the intro and chorus (alongside the tripping cymbals). The pre-chorus melody and strings are nice though. And Finn gives a personal performance. He plays the guitar on a stool. In the lyrics, he asks his lover to remember his promise that he'll never leave them.

United Kingdom: Bucks Fizz - Making Your Mind Up
(winner review below)

Portugal: Carlos Paião - Playback
The juries didn't get Portugal's zany staging. The backing members are like marionettes. They squat during the intro bangs, they have funny microphone movements and leg extensions, and they turn their heads during the “AY PLAYBACK” hooks. They also wear separate colours. The numerous “playback”s are very catchy. The verses are dark, with a circling synth and Carlos sounding like a commander. Plus some addictive piano growls and violins surrounding the “AY PLAYBACK”s. The pre-chorus then feels anxious. And the sudden shift into the chorus is effective. It's a cynical song that calls someone out for deceptively using playback to cover up bad vocals.

Belgium: Emly Starr - Samson
That “SAMSON!” *guitar* *horn* *bell* bit is so dramatic and addictive. Emly's arm movements really sell it. I also like the victorious Roman horns and drums in the intro, the funky verses, the pre-chorus “ooh”s, and the whispering bridge. It's a fun entry. On stage, there's historical robes, and two dancers waving giant feathers. The lyrics reference the Biblical story of Samson and Delilah, where Emly fancies this 'playboy' who won't commit. She wants to be his only girl.

Greece: Yiannis Dimitras - Feggari kalokerino
This is a long and dramatic intro. There's cymbal crashes and digital ripples, as the camera shows a rose. Then the piano creates a compelling mood. The orchestra and vocals are very grand here. And Yiannis delivers an old school performance. But him staring at and sitting by the pianist is kinda creepy. The lyrics are poetic and romantic. The melody isn't that memorable, but the instrumental is intriguing.

Cyprus: Island - Monika
Cyprus's debut is super wholesome, comforting, and uplifting. That saxophone cheers me up. And the “MONI MONI [...] MONIKA” chorus is certainly catchy. Nearly the entire song has the same melody and atmosphere, from the piano intro until the outro slows down. But it works. The overpowering harmonies and the key change win me over. The “ooh”s and “nanana”s are filler though. On stage, they sway a lot. The lyrics celebrate this couple's many years together and overcoming the hard times.

Switzerland: Peter, Sue and Marc - Io senza te
The folk trio saved their best for last. Their 4th appearance is in Italian; effectively substituting for Italy's absence. The song has a bittersweet finality vibe. The late running order spot is perfect. The pan flute moments are nature-esque and give goosebumps. The verses are calm and reflective, where (Peter or Marc) pour their heart out through their raspy vocals. There's two thumps, then Sue's chorus is an anthem. In the lyrics, the couple have a beach walk conversation. They want to put the past behind and recapture what they had, because they don't know how to move on.

Sweden: Björn Skifs - Fångad i en dröm
The Blue Swede guy returns, as Sweden selects another rock song. The restless stomping beat and the punching chorus hook have attitude! The chorus is also boosted by the guitar responses, the stops, and the whimsical instrument afterwards. The strings are a highlight in the verses too. And the slower pre-chorus breaks things up. The lyrics are about being trapped in a dream that doesn't provide your desired escape.

The Winner

“Making Your Mind Up” is a turning point in Eurovision. The skirt removal gag was risqué for the time, although it's tame by today's standards. It signalled that staging matters in this contest. Fast forward to today, and yeah, the staging often plays an critical role in a song's placement. Does this mean gimmicks are now valued over talent? I don't know, it's a tired debate.

So the UK achieves their 4th victory, despite an off-key vocal performance from Cheryl. Apparently she was given the lead mic by mistake. The studio version is cleaner. Still, the song carries frantic energy from start to finish. It chugs along like a fast locomotive. The snare drum drives things, but my fave part is the guitar solo. There's also pauses upon the title phrase. Some clapping towards the end. And the instrumental (and the staging) are like dancing at a 1950s diner.

The song is fairly camp and catchy: “DON'T LET YOUR INDECISION...” is the best part. Lyrically, the narrator encourages the subject to tease and play games. But eventually, they'll have to decide on making this relationship official. There's some sexual innuendos (“speed it up; slow it down; turn it on; put it out”); leading to the “bending the rules” to “see some more” line. That line is when the skirt pull happens.

On stage, the 4 members wear separate colours. They shake their hips, jog on the spot, do 360 turns, put their hands on their heads (like going crazy), and do various arm movements. They also kinda squat during the chorus. Plus there's a dance break, where the ladies jump into the men's waists.


Verdict: I like it. Enjoyable enough but also kinda empty.


My points go to....
01. Germany: Lena Valaitis - Johnny Blue
02. Portugal: Carlos Paião - Playback
03. Switzerland: Peter, Sue and Marc - Io senza te
04. Belgium: Emly Starr - Samson
05. Sweden: Björn Skifs - Fångad i en dröm
06. Denmark: Debbie Cameron & Tommy Seebach - Krøller eller ej
07. Ireland: Sheeba - Horoscopes
08. United Kingdom: Bucks Fizz - Making Your Mind Up
09. France: Jean Gabilou - Humanahum
10. Cyprus: Island - Monika

11. Israel: Hakol Over Habibi - Halayla
12. Netherlands: Linda Williams - Het is een wonder
13. Greece: Yiannis Dimitras - Feggari kalokerino
14. Turkey: Modern Folk Üçlüsü & Ayşegül - Dönme Dolap
15. Norway: Finn Kalvik - Aldri i livet
16. Spain: Bacchelli - Y sólo tú
17. Luxembourg: Jean-Claude Pascal - C'est peut-être pas l'Amérique
18. Yugoslavia: Seid Memić Vajta - Lejla
19. Austria: Marty Brem - Wenn du da bist
20. Finland: Riki Sorsa - Reggae OK

Leo ✔ Ｓｏｕｎｄｃｌ🕤ｃｋ born fearlessarrow kimberly Mylo13 💜 Future Captain

[fearlessarrow]

Apr 6, 2020 18:18:21 GMT -5 ry4n said:

1981 sees Cyprus debut. Which means this is the first instance of Greece giving 12 points to Cyprus! 

Ah an Eurovision tradition lol

[ry4n]

Harrogate 1982

Host: United Kingdom
Participants: 18
Voting method: 12-point system (juries only)

Winner: Nicole - Ein bißchen Frieden
Country: Germany
Points: 161 (78.9% of highest score possible)
Language: German
YouTube | Spotify | Lyrics

General Overview

Harrogate might be the most obscure city to host Eurovision. Either that or Millstreet. In typical British humour, the opening sequence displays a “where is Harrogate?” graphic, translated into every language. This is followed by the usual footage of local stuff; eventually ending in a video of everyone arriving at the venue. There's also lots of flower images this year. The presenter is Jan Leeming, who is pretty professional (ie. boring). Although she did mess up on announcing the winner lol.

The postcards are amusingly dated. They begin by showing the respective commentator's booth. The flag appears on screen next. Then there's some computer transition effects that switch between different videos, ending with the artists making these long, hilariously awkward poses.

The stage is more cramped than usual - it's a tight corner. But at least it's a unique design compared to previous years. The interval act is whatever though. It's a pre-recorded montage of local scenes, leading to a gathering at a castle, as the orchestra plays.

1982 is the only year when France did not select a song. The broadcaster protested the contest, criticizing the low level of talent and quality. I suspect they were unhappy about losing to Bucks Fizz by 11 points. Greece also withdrew at the last minute. Apparently they didn't think the song was good enough? Lol. Italy didn't come back either, so we're down to 18 competing entries.

I'll say the song quality in 1982 is average overall. It's not the best '80s contest, but not the worst either.

The Entries

Portugal: Doce - Bem bom
This is the ideal opener. Portugal injects some energy to create hype for tonight's show. The instrumental is like marching into battle, where the commanding “tribal” drum beat drives the entire song. The intro strings give that vibe too. As do the infectious “hey!” chants, with the overhead claps. It's a fun song. Plus the musketeer outfits and the arm movements make the staging memorable. And I like that drum plunge transition. The lyrics give hourly updates of an overnight date until breakfast.

Luxembourg: Svetlana - Cours après le temps
A dull song with church choir harmonies and preachy lyrics. Svetlana condemns seeking money, glory or victory; because it requires constant effort, discarding others, and self-loathing. She chooses love instead. I cannot stand this call-and-response routine, where the soft backing voices repeat the previous stanza, as Svetlana rebuts in this high “angelic” vocal, and her face is edited onto the right side of the screen. Nor do I like her whistling at the end. The second verse also blends into the chorus. And the “lalala”/drum/clap breakdown is whatever. Otherwise, the song starts with a relaxed guitar and a ticking clock, and there's horn jolts throughout.

Norway: Jahn Teigen & Anita Skorgan - Adieu
The two artists that Norway couldn't stop sending between 1977-1983 do a duet together! It's a very heartbreaking performance, where they sing directly to each other by the piano. It's a piano ballad, obviously. The orchestra supplements certain moments, but the song is too slow and the melody just doesn't stick with me. In the lyrics, they say goodbye to each other.

United Kingdom: Bardo - One Step Further
Probably the most complicated choreo seen in Eurovision so far. It starts cringe, with them sitting, turning, humping, and rolling on the floor. Once they stand up, they continue their coy interactions, including a foot shuffle move and Sally raising her leg. But the performance is so rehearsed and robotic, the vocals are stiff, and it's a similar entry to Bucks Fizz. The orchestra also sounds sterile, despite the rumbling drums, the verse responses, the chorus shakes and whistles, and the quieter post-bridge. Still, the chorus is catchy. In the lyrics, they keep approaching each other, but they're too shy to speak.

Turkey: Neco - Hani?
Well, this is a fairly innocuous and repetitive disco song. There's too many “___ hani?” backing responses, and their voices are annoying. I kinda like the jittery xylophone (with the horn responses) and the “haniiiii-IIIII... hani” hooks. But the song's second half feels like it refuses to end - there's a rest, a horn break, a funky breakdown, and an intense outro. It just keeps going. In the lyrics, this person walks away whenever Neco pursues them. He wonders where to find someone interested in him.

Finland: Kojo - Nuku pommiin
Kojo sings about Cold War anxiety. That very long pre-chorus “ahhhhhh” represents the nuclear bombs falling, and the 'BOOM BOOM' drums is when they explode. He suggests sleeping to calm down. The second verse even sounds dreamy. There's also a wild guitar solo and someone striking a large drum on stage. But Kojo's raspy vocals are so unappealing and the composition is messy. Like how that banging intro transitions weirdly. And how the slo-mo ending drags out suspense until the last drum strike.

Switzerland: Arlette Zola - Amour on t'aime
Eurovision's “circus music era” started with Sandie Shaw, and it ends here. The chorus melody has that carnival sound, but it's still a bop: “A. MOUR. ON. T'AIME-UH”. It punches along victoriously, while the horns elevate it, and Arlette stepping across the stage makes it more impactful. The Mediterranean intro and the key change are also highlights. The lyrics say we need love above all the other things we do to satisfy ourselves. And that love persists despite government oppression (I think?)

Cyprus: Anna Vissi - Mono i agapi
The Greece 1980 singer switches countries, giving Cyprus their joint-best placement before “Fuego”. The song has a cool atmosphere, but I just find the “Mono i agapi” refrain repetitive and dreary. It doesn't reach its full potential. Anna's performance is emotive though. There's a crashing intro. The first verse is very minimal. And my fave parts are the pre-chorus and whenever the orchestra repeats the chorus melody. The lyrics are about how life is insignificant and temporary. Once it's over, you don't come back. But love prevails.

Sweden: Chips - Dag efter dag
This is an agreeable Schlager-pop song, with 2 likeable performers, and 4 cool saxophonists in the background. But the composition is safe and generic compared to Sweden's upcoming entries. The harmonies also remind me of ABBA. That piano slide intro is the same as “Dancing Queen”. Still, the horns and the bouncy keyboards push things forward. The chorus intensifies midway. And the song is breezy and has a lounge vibe. The lyrics are about confessing one's feelings.

Austria: Mess - Sonntag
An obvious attempt to copy last year's winner. Austria goes for a wholesome, cheerful, 1950s teenager thing, but it's way overdone. The dancing and the forced smiles are so cringe. The chorus repetition is beyond annoying – the “Sonntag”s sound out of breath. And the lyrics look like an elementary school kid wrote them, explaining why they love Sundays. The pre-chorus is okay I guess.

Belgium: Stella - Si tu aimes ma musique
The most modern entry of '82. The intro uses video game sound effects and a sparkly piano, while the camera shows a music box. The verses are intriguingly dark; with a drooping beat, piano shards, poof sounds, and I love when the synths and drums take over. The chorus is just okay though. It doesn't ruin the song, but it would've been my #1 otherwise. Still, the snapping beat and the stops are effective. The last chorus throws in some horns too. The lyrics are about the positive effect of music.

Spain: Lucía - Él
This foot-stomping beat was made for the tango dancing happening on stage. The castanet pauses are also infectious. The chorus pulls me in, with how it intensely sinks deeper and deeper alongside the horns. The triple halts afterwards and the “Él...” lead-ins are effective as well. There's a long instrumental break where Lucía whispers sensually. I like how she holds her hand out. And the lyrics are amusing, where Lucía confidently invites this guy for a drink, despite having a boyfriend already, whom she calls him a “faithful dog” lol. She prefers this new guy, even though he forgets her, and the boyfriend is serious about their relationship.

Denmark: Brixx - Video, Video
Denmark brings New Wave to Eurovision. The “video video (...video)” refrain and the “oh whoa oh”s are pretty catchy. The song starts with a very rapid synth, then the rock instruments enter soon after. The strings elevate things, particularly in the latter half of the chorus. But the song really needs a bridge or a shake-up at the end. The lyrics are funny, where the narrator doesn't see a problem with his video addiction, even though Susanne left him and his friends are concerned.

Yugoslavia: Aska - Halo, halo
This is kinda forgettable, but I enjoy the retro girl group vibes. The “shoobeedoo-a”s, the “ohhhh WAH OH”s, and the “halo... halo halo halo”s are pretty catchy too. There's also an excited horn intro, some drum shake moments, and a '50s dancing beat. The dancing looks amateur though. The trio bounces along while barely moving their feet. They also turn sideways, flop their heads over, and slide their wrists across. In the lyrics, they try to phone this guy, but they can't reach him.

Israel: Avi Toledano - Hora
This sounds like getting drunk at an Israeli family gathering. With slick choreography. First, the backing members cackle and run a circle around Avi. Then they walk side to side, move with Avi, join outstretched arms, and in the chorus, they do that 'hands out, hands on waist, balance on tiptoe' move. Meanwhile, the loud shouts of “HORA!” and “HEY!” are ridiculously catchy. The verses are restrained by contrast, with a bouncy spring beat. The fiddle is a highlight. The pre-chorus is solid. And the “lai lai lai”s and the clapping breakdown are fine. The lyrics illustrate the scenery of Avi's homeland.

Netherlands: Bill van Dijk - Jij en ik
Netherlands out-cringes Austria. Bill is just too eager. I hate the pointing and the leg extensions. The female members looking surprised when he interacts with them is ugh. And the musicians look awkward when the camera cuts to them. Otherwise, the song is light and fluffy, but it's pretty bland. There's an intro whistle and horn squeals after each “KIJK!”. The lyrics are about how they're back together now that winter's over.

Ireland: The Duskeys - Here Today Gone Tomorrow
This sounds like a '70s entry. The orchestra is very engulfing here; particularly the brass. The melody is a little too chipper. The sideways turns and arm swaying is a little too rehearsed. And there's lots of “lalala”s. But the chorus is catchy at least. The subtle rubber band guitar is alright too. The lyrics describe a love interest that only sticks around temporarily.

Germany: Nicole - Ein Bißchen Frieden
(winner review below)

The Winner

1982 is Germany's moment. After competing in all 27 contests thus far, the most populated participating country finally pulls off a victory. They came close many times before this – like their trio of bronze medals in the early '70s. And especially their strong run starting in 1977, where they kept earning more points than the previous year. That just leaves Belgium, Norway, Finland, Yugoslavia, and Portugal as the only '50s/'60s participants that are yet to win. Three of those will get it by the end of the decade; the other two will have to wait awhile.

This year's results were an utter blowout. It's the second most dominant victory of the 12-point era after 2009. “Ein bißchen Frieden” (“A Bit Of Peace”) even went #1 in several European charts after this. And yeah, it seems like an obvious winner to me too. Nicole's performance truly feels like a “moment” at the end of the running order. It's like the world just pauses for 3 minutes, as everyone holds their lighters in the air and sings along. She pours her heart into her performance – it's so genuine. That final chorus where her voice soars above the backing vocalists gives me the chills. She seems so sweet too. And she sits on a stool like Johnny Logan two years prior, while playing an acoustic guitar.

Peace songs will never be my favourite thing in Eurovision. I would've preferred Germany winning '81 instead. However, everything is executed so well here, not just the performance. The humming (also gives me chills). The harp. The campfire melody. The long S in “bißchen”. The way the song just floats along. The key change!! The false ending!! The lyrics aren't idealistic or preachy either. Nicole admits: “I know my songs won't help very much”. And she's right, Eurovision has had zillions of peace songs, and nothing ever changes. Her wish for peace sounds futile. In fact, she wishes for just “a bit” of peace. Like, even microscopic progress would be welcome. I can do without the metaphors though.

Also of note, Nicole switches between 4 languages during her winner's reprisal – German, English, French and Dutch. I believe that's a Eurovision first; to not sing in your country's native language for the reprisal. It won't be the last time either.


Verdict: YASSSSS. The performance is much better than the studio version.


My points go to....
01. Spain: Lucía - Él
02. Israel: Avi Toledano - Hora
03. Germany: Nicole - Ein bißchen Frieden
04. Belgium: Stella - Si tu aimes ma musique
05. Portugal: Doce - Bem bom
06. Switzerland: Arlette Zola - Amour on t'aime
07. Denmark: Brixx - Video, Video
08. Cyprus: Anna Vissi - Mono i agapi
09. Yugoslavia: Aska - Halo, halo
10. Sweden: Chips - Dag efter dag

11. United Kingdom: Bardo - One Step Further
12. Ireland: The Duskeys - Here Today Gone Tomorrow
13. Norway: Jahn Teigen & Anita Skorgan - Adieu
14. Turkey: Neco - Hani?
15. Finland: Kojo - Nuku pommiin
16. Austria: Mess - Sonntag
17. Netherlands: Bill van Dijk - Jij en ik
18. Luxembourg: Svetlana - Cours après le temps




Leo ✔ Ｓｏｕｎｄｃｌ🕤ｃｋ born fearlessarrow kimberly Mylo13 💜 Future Captain

[Future Captain]

A prime example of Eurovision entries being much better in live than in studio recordings

[Leo ✔]

first time hearing this and I like it. Nice song

[kimberly]

this song is still big in Germany! people love it (so do I!)

[ry4n]

Munich 1983

Host: Germany
Participants: 20
Voting method: 12-point system (juries only)

Winner: Corinne Hermès - Si la vie est cadeau
Country: Luxembourg
Points: 142 (62.3% of highest score possible)
Language: French
YouTube | Spotify | Lyrics

General Overview

This year's presenter is Marlene Charell, who is a major part of the show. She gives excessively long song introductions, she communicates everything in 3 languages (German, English and French) and she performs as the lead dancer in the ballet interval. She also opens the program by announcing the 20 countries, as the respective artists walk onto the stage. Which is a prototype for the flag parade seen today; albeit 3 decades too early.

There are no postcards this year. Instead, we stare at the country name for a while as we hear '80s music. Then Marlene introduces every songwriter, conductor and artist, while standing beside a different floral arrangement that resembles the respective flag colours. Later, during the voting, she repeats every vote in 3 languages, fumbling over the translations several times. This vote reveal is glacially slow (I usually switch to 1.5 speed to get through it). Indeed the 1983 contest is as dragged out as Jerusalem 1979. It finishes around the 3-hour mark; whereas the past few contests were closer to 2.5 hours. The top 4 was very close though, like '81.

1983 also employs one of my least favourite stage designs. The platform is a narrow strip, featuring a set of flashing lights built around some scaffolding. It just looks like an industrial warehouse and I dislike the lighting.

Italy and Greece return; as does France under a different broadcaster. Meanwhile Ireland withdraws due to a workers' strike. The only other contest Ireland has missed since debuting was their 2002 relegation.

I'll say 1983 is a strong year. Well... actually, my top 10 is very strong. There's still quite a few weak and messy entries. But at least the bad entries are memorable.

The Entries

France: Guy Bonnet - Vivre
The 1970 balladeer returns. I love this sombre, solemn, haunting atmosphere. It's different from France's usual ballads. That reappearing piano riff is bone-chilling. The backing singers enhance the mood whenever they appear. The verses hold tension until the “Loin, loin, si loin...” part shrinks back. The violin break and the quicker bridge offer a temporary escape. And there's a dramatic ending. The “viiiiivre”s are also a good hook. The lyrics advise living and loving again, despite all the pain that happens after two lovers depart forever.

Norway: Jahn Teigen - Do Re Mi
Jahn's third and final entry is about the music scale, which just makes me think of The Sound of Music. It's a silly and basic concept, but the cutesy backing singers provide a strong pre-chorus. Anita kisses Jahn at one point too. The song opens with the pianist playing that scale. Then it becomes a calm sunny acoustic guitar thing. And the last chorus increases the tempo. However, the chorus is weird, where Jahn is out of sync with the “do re mi...”s from the backing.

United Kingdom: Sweet Dreams - I'm Never Giving Up
The UK sends another joyful song with group choreo, just like '81 and '82. The trio dances around some barstools, which fall over during the last chorus transition. They also release flower petals. The instrumental is very hectic and dominant, and it kinda drowns things out. It throws in some panicked piano, drum stutters, and twinkle bells. The pre-chorus escalation is great though (including the horns) and the chorus pushes through nicely. The lyrics are straightforward – they refuse to give up on this relationship.

Sweden: Carola Häggkvist - Främling
The first of Carola's three entries in three different decades! I love that ominous guitar that starts each verse and how her joyful shouting escalates the pre-chorus. There's a big note in the chorus too. Her vocals are impressive. The song has good energy. And her dancing is camp. But the chorus melody is a little underwhelming. Still, Carola's charisma makes me love the song anyways. In the lyrics, she begs this person to open up because they're like a stranger keeping secrets. Also, was that a mic fail at the start?

Italy: Riccardo Fogli - Per Lucia
The chorus is impactful, with the ominous church bells, Riccardo's intense passion (he sounds like he's on his knees), and how his voice raises halfway through it. The song's atmosphere is like carrying a heavy burden during a dark night. The lyrics list the extreme things Riccardo will do for this Lucia girl, because she means that much to him. Almost like he isn't doing enough. The accordion adds a Mediterranean feeling and the flute transitions are nice.

Turkey: Çetin Alp & the Short Waves - Opera
This is a confusing mess. After that “ahhh” + drum build-up intro, the song goes from classical to jazzy to...the most random switch-up ever. It becomes 1920s Vaudeville with an excessive amount of “opera!”s and “lay lay lay”s that are beyond annoying. It's such a sudden energy change. Then it returns to classical as if nothing happened. Meanwhile, the backing dancers wear a bunch of historical costumes. The lyrics list various famous works, composers, and opera terms. I guess this guy loves opera.

Spain: Remedios Amaya - ¿Quién maneja mi barca?
This is an iconic mess. The blue curtain dress. The random camera angles of her feet. Her wobbly vocals that sound like she's summoning demons. The wonky beat, with the drum slaps and funky guitar. The lyrics repeating the same demands over and over again. There's also a heavy heartbeat + cymbal crash intro, some tense orchestra moments, and chorus clacks. This is definitely a 'love it or hate it' entry, and I struggle to listen to it multiple times. Flamenco rarely does well in Eurovision.

Switzerland: Mariella Farré - Io così non ci sto
I often forget about this song. It's nothing special. The acoustic guitar verses are fine, and I like when the backing intensifies the second verse, but the chorus is kinda annoying. Mariella provides some emphatic vocals and stage presence though. There's also some string transitions and chorus stops. The lyrics are about how she doesn't like being “the other woman”. It's just casual sex – he'll return to his wife later.

Finland: Ami Aspelund - Fantasiaa
Finland is back on track! It's a haunting yet playful song. There's a dangerous intro, then the orchestra stops, and the piano is extremely restless in the verses, as the backing turn their heads. The chorus becomes this super cluttered and overwhelming thing, but in a very epic way. Especially when it heightens halfway through. And I LOVE that false start into the second chorus, followed by Ami's sideways hip walk lol. In the lyrics, she's curious about this mysterious guy who brings his dog to the park. She wonders if it's a fantasy.

Greece: Christie Stasinopoulou - Mou les
Yawns. The verses are like a dreamy fairytale, but Christie's voice makes me sleepy. And the chorus just sounds messy and 'off'. Then the bridge randomly switches to jazz for some reason. In the lyrics, her lover is nostalgic for ships and trains, so she'll close the ports and stations to make him stay. That sounds controlling.

Netherlands: Bernadette - Sing Me a Song
Cute and catchy, but also repetitive and basic. Bernadette wants everyone to “sing her a song” so she can better understand the world. Every genre and race is invited. The contrast between the verses and chorus is interesting. The former are more childlike and delicate, with the bells and falsetto vocals. While the latter inserts a driving beat and lowers the vocals. The backing also heighten the chorus midway through.

Yugoslavia: Daniel - Džuli
Yugoslavia matches their best placement. It's also their first top 10 since 1972. “Džuli” is a fun, feelgood, retro, rockabilly-type song. The instrumental is consistently energetic. The jumping piano, the bass, and the accordion are highlights. As is the chorus, with the tongue-clicking beat, Daniel's scratchy stretched-out “Juuuuulie”s, the horn responses, and the camera cuts to the smiling clapping dancers. He looks confident on stage too. I also love when the violins enact the key change. In the lyrics, he misses his summer romance with Julie.

Cyprus: Stavros & Constantina - I agapi akoma zi
The verse melody is quite strong, and the way it intensifies midway is pretty powerful. But this entry is way too wholesome. Like when the backing singers smile and sing to each other. Or when the instrumental drops out for that overly sweet refrain. Or how the lyrics wish for the world to sing along to “love is still alive”. The orchestra also sounds like a family sitcom theme; the intro in particular. It is uplifting though. And the intense ending is okay.

Germany: Hoffmann & Hoffmann - Rücksicht
Germany's host entry extends their top 5 steak. The brothers give a genuine and heartfelt performance, and the song is such a vibe. It has a cathartic finality feeling of finding closure. The lyrics are reflective, where the narrator tries to figure out why his relationship ended, throwing out various suggestions. Ultimately they were selfish and lacked consideration. The song is mainly soft rock. Each verse begins with a blues guitars. While the chorus pauses and the '80s synth responses stick with me.

Denmark: Gry Johansen - Kloden drejer
I'm usually a sucker for '80s instrumentals, but this chorus is so flat and the dancing is so... amateur? The drums and the guitar just drag the chorus down. The verses are better, where the melody is more active, and there's some horns and tense strings. But there's just... not much happening here. The lyrics imply there's always a new tomorrow. I believe she's trying to help this person that sent an S.O.S.

Israel: Ofra Haza - Hi
Israel performing in Munich was significant because of WWII and the 1972 Olympics massacre. Appropriately, “Hi” celebrates still being alive. It's a similar entry to “Hora”, by having a slick choreo routine with big smiles. It starts with the backing members wandering in the background. Then they turn around and go “ahhhh”. But it's the chorus movements that are so hypnotic, where all 6 walk in a circle, hop like puppets, and step left and right. That chorus is catchy AF too, with the “HI HI HI” party chants and the “...SABA” emphasis that follows. There's also the big horn intro, the bouncy verse beat, the backing ad libs in verse 2, Ofra's big vocals in the pre-chorus, the bridge breakdowns, and the dramatic ending. Yeah, this is my favourite Israeli entry ever.

Portugal: Armando Gama - Esta balada que te dou
Armando gives an honest and heartfelt performance to accompany his comforting piano ballad. It's a fairly simple arrangement. The melody is nice, the title phrase sticks out, and the electric guitar solo is unexpected in a good way. I also like when the drums enter. It's one of those songs I often forget about, but when I hear it again, I really like it. Armando wrote this song to cherish his relationship that faded away.

Austria: Westend - Hurricane
Austria brings a modern '80s production, with lots of walking across the stage, a random ballet dancer, and some ugly gym outfits. But I just zone out during this song. It's so empty and the chorus goes nowhere with those repetitive “hurricane, hurricane, hurricane”s. The “DUN DUN”s in the verses are alright though. The lyrics describe the narrator's loneliness as he seeks the hurricane feeling of love.

Belgium: Pas de Deux - Rendez-vous
Now this is some '80s synthpop indulgence I can get into! Even if the song is extremely monotonous. It repeats the same two phrases, while the instrumental is very constant. The drum slaps and knocks drive things, but the brass and flute moments break the monotony at least. And the duo wildly swinging their arms is hilarious. I also like when they pull one another at start and when they walk across the stage crouched over. They pull out some flutes at one point too.

Luxembourg: Corinne Hermès - Si la vie est cadeau
(winner review below)

The Winner

Despite 1983 having all these creative songs, the winner ends up being a French ballad that could've won in the '70s. Almost as if there was a push back after Bucks Fizz. Which means Luxembourg achieves their 5th (and final) win, tying France's record at the time. Not an overwhelming victory, but they held a comfortable lead through the vote reveal. The juries were all over the place though. The previous 4 winners were considerable hits across Europe, but “Si la vie est cadeau” only peaked high in the Francophone countries. I think Yugoslavia actually had the biggest chart hit from this year (and Sweden in the Nordic countries).

Corinne sings the hell out of this. She out-intensifies Anne-Marie David from 1973. Yes it's a passionate performance, but it's so overdone and relentless. The song is basically 70% intense screaming. It starts subtle though. The first verse grows as the piano enters; followed by the drums, and finally the screaming. I like when her voice softens during the song title and the last chorus line. The song is such a gut punch too.

The lyrics are about how Corinne's ex made an unnecessary promise to have a baby together, and then he didn't follow through on it. Now Corinne is devastated. He's gone and happiness was too short. She surmises that life (and love) are a gift that's given, returned or stolen.

When I first heard this song, I thought it was a very powerful ballad, but now the drama and the intensity are too much. It's my least favourite '80s winner. And it's probably Luxembourg's least relevant winner as well.


Verdict: Meh.


My points go to....
01. Israel: Ofra Haza - Hi
02. Finland: Ami Aspelund - Fantasiaa
03. Yugoslavia: Daniel - Džuli
04. France: Guy Bonnet - Vivre
05. Sweden: Carola Häggkvist - Främling
06. Germany: Hoffmann & Hoffmann - Rücksicht
07. Portugal: Armando Gama - Esta balada que te dou
08. Italy: Riccardo Fogli - Per Lucia
09. United Kingdom: Sweet Dreams - I'm Never Giving Up
10. Belgium: Pas de Deux - Rendez-vous

11. Cyprus: Stavros & Constantina - I agapi akoma zi
12. Netherlands: Bernadette - Sing Me a Song
13. Luxembourg: Corinne Hermès - Si la vie est cadeau
14. Norway: Jahn Teigen - Do Re Mi
15. Denmark: Gry Johansen - Kloden drejer
16. Switzerland: Mariella Farré - Io così non ci sto
17. Spain: Remedios Amaya - ¿Quién maneja mi barca?
18. Austria: Westend - Hurricane
19. Greece: Christie Stasinopoulou - Mou les
20. Turkey: Çetin Alp & the Short Waves - Opera




Leo ✔ Ｓｏｕｎｄｃｌ🕤ｃｋ born fearlessarrow kimberly Mylo13 💜 Future Captain

[ry4n]

Luxembourg 1984

Host: Luxembourg
Participants: 19
Voting method: 12-point system (juries only)

Winner: Herreys - Diggi-Loo Diggi-Ley
Country: Sweden
Points: 145 (67.1% of highest score possible)
Language: Swedish
YouTube | Spotify | Lyrics

General Overview

The production feels more modern this year. The presenter is 19-year-old Désirée Nosbusch, who has an unusually casual approach for the time. She's an efficient host too, since this year's runtime is roughly 2h15m. The postcards feature 1980s 3D animations that look horribly dated in an amusing way. The interval involves a dude interacting with a crudely animated horse. And the 1984 contest embraces big hair, synthesizes, and those hexagon drum kits.

The stage design is improvement from 1983, but literally anything would be. However, I don't like that we've returned to these big distracting objects in the background. There's an arrangement of mobile floating geometric shapes. Plus staircases on either side. This stage design should've been left behind in the 70s.

That said, Eurovision still embraces its own legacy/nostalgia, as the show opens and closes with the orchestra playing a medley of Luxembourg's 5 winners + “L'amour est bleu”. I find that pretty neat. I wish more of these older contests would acknowledge the winning song that brought the contest to this country. Luxembourg were masters at creating melodic French ballads. But it also signals the end of an era; because, aside from Celine, no other French ballad has won since then. And Celine's song had '80s elements in it anyways.

Ireland returns but Greece and Israel (due to a national holiday) are out again. Also, it's funny how Carola and Linda Martin reached top 3 in consecutive years... because they'll also win in consecutive years.

Otherwise, this seems like a forgettable year? There's still a good amount of songs I like, but there's at least 8 I don't care about. And why do so many lyrics mention trains? It's also difficult to find good quality audio of this year.

The Entries

Sweden: Herreys - Diggi-Loo Diggi-Ley
(winner review below)

Luxembourg: Sophie Carle - 100% d'amour
These vocals are AWFUL. I keep wincing at every missed note. Luxembourg clearly weren't winning back-to-back this time. Sophie's cutesy tone makes the song seem cheesy too. The lyrics are full of clunky metaphors. But basically, she's sick of bad news and heartbreak songs, so she wants to spread “100% love” and change people's perspectives. The only positive aspect is the '80s synthpop production, with the dramatic bangs, guitar hops, and elastic-y chorus.

France: Annick Thoumazeau - Autant d'amoureux que d'étoiles
I always forget about this song. It's nothing new from France. The verses are gentle; while the chorus amplifies the drums/vocals/strings, with some catchy “il y a”s and a double punch. Then the sax appears later on. But I don't like that switch into the post-chorus longing. In the lyrics, Annick is confused about which way is right or wrong. But this person makes her happy regardless. She says the world is beautiful if you pay attention.

Spain: Bravo - Lady, Lady
A comforting folk song and some catchy “lady lady lady”s puts Spain in the top 3! I like the storytelling, where this lady wastes years of her life, foolishly hoping this guy returns. The lyrics are very descriptive as well. The song's calming vibe conveys her delusion. I also like the acoustic guitar and '80s drum rhythm, the backing echoes, the stop when the chorus begins, and how the chorus intensifies midway (with the backing “ahhhh” and the singer's agonized vocal). The bridge bangs are effective too.

Norway: Dollie de Luxe - Lenge leve livet
The staging is memorable for the karate outfits, but why are they wearing them? The arm swinging also reminds me of Belgium '83. Moreover, the vocals are kind of a mess. That opening scream hurts my ears. And the song is so flat. There's a consistent drum beat, some celebratory chorus horns, a mid-chorus rev-up, and the verse 2 guitar ricochets. But meh. The lyrics advocate for the preservation of life in this violent world.

United Kingdom: Belle and the Devotions - Love Games
This sounds exactly like a Supremes song. The harmonies, their signature stomping beat, the very prominent backing ad libs, the liberal usage of “baby”, the spoken word “oh darling”, the bells. The lyrics keep it simple as well, where Belle asks why did this guy lead her on. It's camp, but I enjoy it as a tribute act. The drum shake transitions are also effective. And the song is pretty catchy (“baby, baby, why!... ooooh!”) I don't like how Laura and Linda stand backwards for so long though. Allegedly they were lip syncing.

Cyprus: Andy Paul - Anna Maria Lena
Well, this is bland and forgettable AF. Nothing in the instrumental or melody pulls me in. The strings, the twinkle bells, the “Aaaaaaanna”s, the “oooh”-ing bridge, and the “Aaaaaaanna .. MARIA LENA!” hooks fail to make impact. The only memorable aspect is Andy's hair. And the lyrics are nothing special – he's just in love with this “Anna Maria Lena” girl.

Belgium: Jacques Zegers - Avanti la vie
I guess this entry is creative, but it creeps me out: the blank, zombie-like stares into the camera, the swaying, Jacques' tense deep vocal, the backing whispers, and the shadow lighting at the beginning. Plus how the instrumental is so static. The lyrics command us to keep moving forward in life and be free. Which is why the bass and drums persistently march forward through the whole song; with guitar reverberations in between. It can be hypnotic, but in an unrelenting way.

Ireland: Linda Martin - Terminal 3
Finally Ireland tries something different. The song's various switch-ups are really effective. The verses are urgent, featuring some guitar growls. While the sudden bursts of “TERMINAL 3: FLIGHT'S ON TIME” really grab attention. I like the horns that follow it. That chorus is super short and it sounds like an ad jingle. But it's enough to ease the tension. There's also a couple of daydream-y bridges and the anticipatory horn/drum intro reappears. I should note Johnny Logan wrote this. The lyrics follow Linda's anxious mind as she's about to reunite with her long distance partner at the airport. He asked for her to meet him there. There's plenty of plane and airport references too.

Denmark: Hot Eyes - Det' lige det
The first of the duo's 3 appearances. The song isn't groundbreaking, but it's very cheerful, the chorus is catchy, and their interactions by the piano are cute. Kirsten also pushes Søren away during the key change, and he kisses her forehead at the end. In DMGP, she actually shoved him into a pool. In the lyrics, Søren's arrival cheers Kirsten up on a rainy day. He nervously uses the word “love”, then they run in the rain. Musically, there's a bouncy, foot-tapping groove, some whistle transitions, and a mid-verse piano jolt. The backing also emphasize the chorus nicely.

Netherlands: Maribelle - Ik hou van jou
A slow ballad, but a gorgeous one. The orchestra builds in a captivating way, the melody really stands out, and Maribelle's tone is bittersweet. She really needs this person back and she offers her affection. The song moves at a steady and careful pace. It starts with just the piano, followed by the bass and strings. The chorus grows and intensifies, culminating in the cymbal crash. Then the song softens back in the second verse, besides the strings. And those expansive 1950s-style strings drive the climax.

Yugoslavia: Vlado & Isolda - Ciao, amore
The wedding bells, the rapid claps, and the “Ciao-ow amore-eh... CIAO LJUBAVI” hooks are infectious. But Vlado's raspy vocals are unappealing. And the song/performance seem overly serious. Particularly those bells, the super formal attire, and their interactions. The lyrics describe the day they had to depart, where Isolda was waiting for the train, but that's not important anymore. I guess they're back together. Otherwise, the verses have this quirky computerized sound, the mid-chorus switches to a tambourine, and there's a sax outro.

Austria: Anita - Einfach weg
A basic '80s pop song. With a string intro. The chorus “whoa oh oh yeah”s and claps are kinda catchy. I noticed the camera cuts to the backing every time it happens. But that chorus is such a “that's it?” moment, and then the song just... ends anticlimactically. The lyrics are about needing a temporary escape for her mental health. Anita leaves without regret or needing anyone's approval. But she clarifies it's not because of the subject.

Germany: Mary Roos - Aufrecht geh'n
Mary Roos returns after 12 years. The lyrics have a good message – she resolutely rejects her ex to prioritize her own well-being, even if it's not emotionally easy and she hasn't healed yet. She even walks away on stage at one point. But the composition is so bland. The chorus melody is too ordinary and does nothing for me. While the orchestra doesn't do anything noteworthy. She has a decent voice at least.

Turkey: Beş Yıl Önce, On Yıl Sonra - Halay
Much better than Turkey's last 3 entries. I find this one intriguing; with the bass, the whip sound effects, the Turkish harmonies, the “Ha-al-ayyyy” hooks, the chorus horns, the sideways turns, and the hand holding. I just wish the chorus had more to it. The lyrics invite everyone to join this lively dance, no matter where you come from. There's even a short dance break. The group's stage presence is what sells this.

Finland: Kirka - Hengaillaan
Finland copies Yugoslavia '83, but it's a fun entry regardless. The energy on stage makes me smile. And the song rotates through various catchy sections. There's the dramatic stops and triangle dings in the pre-chorus, the drum escalations, the flooding chorus melody, the “babada babada babada dododododo” hooks with the horns, and the backing “ha ha ha haha”s. Krika also pulls out the harmonica at one point. In the lyrics, his friend group misses the last train. But instead of stressing about it, they party all night long at the station. There's timestamp updates throughout. They even miss the morning train lol. I like the message.

Switzerland: Rainy Day - Welche Farbe hat der Sonnenschein?
Boooooring. I immediately forget how this song goes after hearing Italy. The chorus harmonies are so 'blah'. The production is kinda '80s, but uhhh, that's all I got. The lyrics are pretty cheesy too. They wonder how to paint a picture of the world, because it has both beautiful qualities and war, hunger and misery.

Italy: Alice & Franco Battiato - I treni di Tozeur
This is so 'out-there' in a strangely alluring way. It's the combination of the hypnotic '80s drum beat, the heavy strings, the deadpan delivery, the intense rising chorus melody, and the very random and unexpected opera singers in the bridge. Those opera singers also quote Mozart and wear Italian flag colours. I don't like when Franco creepily stands behind Alice, but it doesn't bother me as much as Belgium's creepiness. The title references a train track that the Tunisian king commissioned for himself; wasting government resources and endangering lives in the process. The lyrics describe a deserted, abandoned place.

Portugal: Maria Guinot - Silêncio e tanta gente
The Portuguese Adele before Adele was even born. It's a very honest, personal, and beautiful piano ballad. The melody isn't the most accessible, and the backing vocalist is unnecessary, but Maria opens up completely in her performance. And I love when her voice expands and contracts. The lyrics are deep and introspective, where she notices love during the silence and finds her life's purpose among the crowd.

The Winner

So Sweden racks up their second win during the 10-year anniversary of “Waterloo”. They actually weren't all that dominant in the intermediate years. Carola was the one who brought them back into the top 3 last year, and Sweden will land there again next year.

Herreys are a wholesome trio of brothers. While the lyrics are about one's life improving upon discovering a pair of golden shoes. The song title is also meaningless. So I wonder if this was meant as a joke, because the audience won't understand Swedish anyways. The Nordics could sing literal nonsense and no one would know back then. I say this because I get the impression the Nordics were tired of the language rule around this time - Herreys even switched to English midway through the winner's reprisal.

Regardless of the silly lyrics, “Diggi-Loo Diggi-Ley” is still a catchy bop. The '80s drum 'pew-pew's, the orchestra responses in the verses, the call-and-response between the brothers, the way the chorus pushes through, the chorus claps, the “diggi-LOO diggi-LEY” emphasis, and the key change are all effective. Herreys also appear bright and happy on stage. Their colour designated shirts, white pants and golden shoes are memorable; as is their coordinated arm choreography.

Buuuuuut it's still kind of a dumb song.


Verdict: I like it.


My points go to....
01. Ireland: Linda Martin - Terminal 3
02. Italy: Alice & Franco Battiato - I treni di Tozeur
03. Finland: Kirka - Hengaillaan
04. Spain: Bravo - Lady, Lady
05. Netherlands: Maribelle - Ik hou van jou
06. Portugal: Maria Guinot - Silêncio e tanta gente
07. Turkey: Beş Yıl Önce, On Yıl Sonra - Halay
08. Sweden: Herreys - Diggi-Loo Diggi-Ley
09. Denmark: Hot Eyes - Det' lige det
10. United Kingdom: Belle and the Devotions - Love Games

11. Yugoslavia: Vlado & Isolda - Ciao, amore
12. France: Annick Thoumazeau - Autant d'amoureux que d'étoiles
13. Austria: Anita - Einfach weg
14. Germany: Mary Roos - Aufrecht geh'n
15. Norway: Dollie de Luxe - Lenge leve livet
16. Cyprus: Andy Paul - Anna Maria Lena
17. Luxembourg: Sophie Carle - 100% d'amour
18. Belgium: Jacques Zegers - Avanti la vie
19. Switzerland: Rainy Day - Welche Farbe hat der Sonnenschein?




Leo ✔ Ｓｏｕｎｄｃｌ🕤ｃｋ born fearlessarrow kimberly Mylo13 💜 Future Captain

[ry4n]

Soooo, after some contemplation, I decided my paragraph format was confusing. So I've reformatted my write-ups. Now you can easily see which songs I'm talking about.

I edited my write-ups back through 1967 (basically when I started commenting on all/most of the entries). I also extended my full rankings back through '67. My comments have remained largely untouched, but I did add a little meat to the entries that were lacking.

I might redo the ballad-heavy years of 1956-1966 later on for the sake of completeness. Buuuut moving forward is my goal now.

I am committed to commenting on the 1,000+ songs ahead of me... I can't wait for the semi-final years!

Leo ✔ Ｓｏｕｎｄｃｌ🕤ｃｋ born fearlessarrow kimberly Mylo13 💜 Future Captain

[Future Captain]

the bolded highlights and more clear sectioning made the whole thing much easier to read. thank you and great job! looking forward for your comments on the rest of the years

[Leo ✔]

Thanks for all this journey!

[born]

You’re really doing a great job Ryan!

[fearlessarrow]

Echoing everyone else's sentiments but I LOVE the work you're putting into this and I enjoy reading through each post!

[ry4n]

Thanks for the appreciation everyone. <3

[ry4n]

Gothenburg 1985

Host: Sweden
Participants: 19
Voting method: 12-point system (juries only)

Winner: Bobbysocks! - La Det Swinge
Country: Norway
Points: 123 (56.9% of highest score possible)
Language: Norwegian
YouTube | Spotify | Lyrics

General Overview



The 1985 contest is presented by the iconic Lill Lindfors, who injects Swedish humour into the show. She also has a “wardrobe malfunction”, where the bottom portion of her dress rips off, but she reveals a hidden second dress. I'm glad we're moving past the formal hosts of the older Eurovision years. Lill actually represented Sweden in 1966 as part of a duet. And she aptly opens the show by breaking into song. She also never leaves her stool after introducing each entry, so she's always sitting in the background of every performance, watching it with us. I find that so amusing.

1985 is the 30th edition of Eurovision. Naturally the guest of honour is the original winner, Lys Assia. The postcards emphasize that Eurovision is a song contest by only including the songwriters and composers. This year's stage design looks roomy, and it encompasses neon lights, which create an 80′s downtown nightlife aesthetic.

The interval involves two guys on stage vigorously playing folk music on acoustic guitars, with scenery images interspersed.

Greece and Israel return, while the Netherlands and Yugoslavia miss out due to national observances. Also noteworthy: 13 artists return from previous contests in some form or another.

As of 1985, the scoreboard now displays the position as well as the points. Also, I've noticed the audience has become noticeably more reactive to the vote reveal. Probably because the host country and their Nordic neighbour are two huge favourites in '85. But the result is a tense one. Germany lead for most of the process, while Norway lagged behind. However, after the UK voted only 3 points separated Germany/Sweden/Norway. Then Switzerland gave 0 points to Germany and pushed Sweden into the lead. Next, Sweden “shockingly” gave their 12 points to Norway. And Norway held a comfortable lead for the 3 remaining calls.

Also, there's three songs involving children this year.

The Entries

Ireland: Maria Christian - Wait Until the Weekend Comes
So Maria's lover is about to dump her, but she tries to delay it, hoping the upcoming weekend (and summer) will change their mind. The lyrics are pretty simple and straightforward. The intro/verses have an innocent springtime vibe, while the “hoooold me now” chorus stands out, and she ends on a high note. But the song is very average, plain, inoffensive, and safe in all aspects. That trumpet solo doesn't do much either.

Finland: Sonja Lumme - Eläköön elämä
Finland delivers some kick-ass attitude, thanks to the electric guitars and Sonja's commanding vocals. The verses are restless, and I love when the synths appear midway. Then the chorus is a burst of adrenaline, where Sonja raising her fist is very effective; as is the mid-chorus clapping (with how the orchestra guides it and stops). And I love how the guitar leads into that chorus. The lyrics comment on light pollution; however this person gives Sonja hope, as she recalls her grandfather's advice.

Cyprus: Lia Vissi - To katalava arga
This is such a lifeless ballad. The verses are calming, but in a boring way, and the chorus vocal and instrumental just sounds blah and ugly. The guitar itches are the only thing catching my attention. In the lyrics, Lia “realized too late” that she had committed to a relationship that wasn't going to last. Now she feels purposeless and lonely, and secretly hopes they return.

Denmark: Hot Eyes - Sku' du spørg' fra no'en?
Hot Eyes return from last year, except Søren's daughter joins them on stage this time. She grabs some garments and puts them on; while her dad arrives later on. She also sneaks in between her “parents”. This staging is cringe. The song is cute, cheerful and interactive. There's a bouncy beat, some old-timey piano bits, a call-and-response with the kid, and the “parents” telling the kid “no”. But the melody is kinda thin and not that catchy. The intro is alright though. In the lyrics, Kirsten spots her childhood friend in the club. When he asks her to dance, she responds with an inside joke.

Spain: Paloma San Basilio - La fiesta terminó
I'm shocked this didn't make top 10. Paloma's belting is so powerful in the chorus. I love when her voice expands and contracts. The verses feel personal. And her performance brings out the song's emotions. I also like the guitar intro and chorus stumbles. In the lyrics, she asks why her ex has showed up again, since she's already moved on. She clarifies she didn't mean to call them “love”. And she's basically begging them to stop trying.

France: Roger Bens - Femme dans ses rêves aussi
This dark, tragic, brooding atmosphere is alluring, especially with the extensive-sounding violins, and the darkly lit stage really complements it. Meanwhile, Roger agonizingly screams several times. He sounds really concerned for women's well-being. The lyrics validate being a woman, and the characteristics they possess. The chorus drums switch-up the mood, but the “femme...” hooks had to grow on me.

Turkey: MFÖ - Didai didai dai
Turkey brings the tropical sounds with this relaxed, sunny, joyful song about catching feelings. The “oh oh whoa oh; didai didai dai” hooks are catchy, and I like how the second verse changes things up with the clapping. The tropical guitar and the mini-blast transitions are also highlights. But the last minute feels like filler. Too many instrumental breaks, bridges, choruses, and a clapping breakdown. The trio has fun on stage at least, with their robotic “dad dancing”.

Belgium: Linda Lepomme - Laat me nu gaan
Belgium finishes dead last in the year before they win. Linda was a last minute replacement anyways. Mireille Capelle was originally selected, but BRT wouldn't approve the lyricist she wanted. The Walloon broadcaster must've had enough. But yeah, this is an excruciatingly boring ballad. Linda is on the verge of tears, but it's too slow and depressing for me. The sports horn intro, the “country” guitars, and the flutes can only do so much. The chorus just sounds “off”. In the lyrics, Linda vents to her lover about his controlling behaviour. She begs him to let her go, but she backtracks at the end.

Portugal: Adelaide - Penso em ti, eu sei
I like the contrast between the gentle verse instrumental and the huge, powerful vocals in the chorus. Adelaide's intense belting is impactful. She also ends on a very long note. While the verses use high-pitched piano riffs, guitar itches, and subtle whispering from the backing. In the lyrics, she prepares to leave her lover in the morning. Still, it's not as good as Spain, which is a similar entry.

Germany: Wind - Für alle
The first of Wind's 3 appearances. I usually dislike peace anthems. This big singalong chorus that makes everyone join hands can get tedious. But the melody and harmonies in the verses are so strong, the lyrics aren't too cheesy or idealistic, and Wind seem earnest. It's anthemic and uplifting. There's also an ominous horns/violins/snapping intro and the verses use this inconsistent snap-splash beat. The song is dedicated to those who remain hopeful about the future of the world; while acknowledging that thoughts can often revert to negative, and change requires sacrifices.

Israel: Izhar Cohen - Olé, Olé
The winner of 1978 returns, as Israel sends another “Hora”/“Hi”-type song. But I don't mind since the chorus is INSANELY catchy - from the “OLE OLE” shouts, to the rapid 4 claps, to the dramatic pounding stops. The intro also creates hype. The verse instrumental is fidgety, including stray drum hits and twinkles. The strings add something. And the “na na na na” outro is a bonus. The song is like an Israeli party. But oof at that off-key backing singer. The choreo is slick as well, while the 5 dancers wear infectious smiles. The lyrics describe the beautiful sky and bringing people together.

Italy: Al Bano & Romina Power - Magic Oh Magic
The (then-)married couple returns from 1976. Romina's vocals are weak in the opening verse, but things improve once Al enters. There's an overwhelming chorus melody, an English hook, and a peaceful, dreamy vibe. While the backing singers wear the Italian flag colours, just like last year. And the soft bridge is sweet I guess. But Al and Romina's voices don't really mesh for me. And the song is kinda whatever. In the lyrics, they keep saying “ciao” to each other, as they're departing. But the strange, slightly Italian music makes them fantasize of reuniting I guess?

Norway: Bobbysocks! - La det swinge
(winner review below)

United Kingdom: Vikki - Love Is…
This is as inoffensive as Ireland, but the lyrics tell a story, and Vikki sounds caring. It's about the complexities of dating. How one person makes advances, while the other cautiously hesitates because of stranger danger. Vikki encourages taking that chance. The fidgeting guitar reminds me of “Edge of Seventeen”, but without the spunk. The pre-chorus is catchy (with the bell shakes and guitar), the backing boosts the chorus, and the verses sound pleasant. Meanwhile, Vikki sits on a chair and later sideways steps.

Switzerland: Mariella Farré & Pino Gasparini - Piano, piano
Those “piano, piano *clap-clap-horn pip*” hooks are catchy, but the verses are kinda boring, and Mariella looks uncomfortable when Pino sings to her. Still, the drum slap + string rise intro and the horn jab pre-chorus escalate things nicely. And I like when they start at the telephone pole. In the lyrics, Pino decides to take this new relationship slowly, but Mariella objects.

Sweden: Kikki Danielsson - Bra vibrationer
Lill makes sure to clarify what the title actually means. This is textbook Swedish pop. It's a jubilant, energetic, lively song; featuring two engaging backing dancers. The intro is joyous. The verses insert some guitar roars. The pre-chorus intensification is great, culminating in the triple stomp + pause. And the chorus flows effortlessly. In the lyrics, Kikki meets a new crush who gives her the “good vibrations” that the previous ones didn't. She's fallen for them quickly, and is aware this could be a problem, but she can't help it.

Austria: Gary Lux - Kinder dieser Welt
The last Austria entry I'll enjoy for a while. The melody is super strong, the song relaxingly drifts like a cloud, and Gary's performance feels professional. There's also some “do do do”s and steel drums. The lyrics are... okay. Gary asks to provide what third world citizens need (rain for the harvest, courage for the defenceless, home for the refugees). And to bring happiness to the children. The backing also say “children” in various languages.

Luxembourg: Margo, Franck Olivier, Diane Solomon, Ireen Sheer, Chris & Malcolm Roberts - Children, Kinder, Enfants
I can't stop laughing at how bad this is. It's another song about children, where the lyrics praise their imaginative minds. But it sounds like music that was actually made for infants. It's also very monotonous. That “na na na na... na na na na...” nursery rhyme melody spins like a merry-go-round. And once the three different couples start singing over each other, I'm just... confused. Also ugh at when they turn around one at a time. And playing patty-cake at the start.

Greece: Takis Biniaris - Miazoume
This is a fairly boring and old-fashioned ballad from Greece. Although Takis brings good vocals and stage presence. The verses have these little sounds poking through, while the chorus has a couple drum stumbles. But it's not enough. The backing “ahhhh” in the chorus is like white noise. The lyrics say we'll always be separated by our differences, but certain moments unite us. We're all the same.

The Winner

One of the worst performing countries achieves their first victory! Seriously, Norway had an abysmal track record before 1985, including SIX last place finishes, and hardly any top tens after the black-and-white era. It probably didn't help that they kept sending returning artists. Well actually, both members of Bobbysocks! are returning artists as well.

So naturally, Norway finally wins with a song that sounds more like a Swedish entry. In fact, “La Det Swinge” sounds pretty similar to Sweden's own entry from this very same year. Although there is a connection with the artists - Elisabeth Andreassen represented Sweden in 1982 with Kikki Danielsson, under the name Chips. AKA the very same Kikki Danielsson whose song I just reviewed in this write-up. Meanwhile, Hanne Krogh represented Norway in 1971. And this won't be the last time either Elisabeth or Hanne compete in Eurovision. ALSO, “La Det Swinge” was written by the same guy who composed Norway's next winner.

“La Det Swinge” is camp, but their performance is so much fun. Elisabeth and Hanne look like they're having the time of their lives. The '80s nightclub staging aesthetic is perfect. The duo makes use of the open stage too. The purple glitter jackets are memorable. And the air punches when the instrumental stops is really effective. Moreover, the “OHHH HIII HO” hook is so infectious. I love how the propelling bass beat. And there's plenty of saxophone! “La Det Swinge” circumvents the language rule by making the chorus sound like it's English, when it actually isn't. Lyrically, the song is about losing yourself in the music. The energetic, steady flow of the melody and instrumentation allows Bobbysocks! to do just that.

Verdict: YASSSS. I unabashedly love this.


My points go to....
01. Finland: Sonja Lumme - Eläköön elämä
02. Norway: Bobbysocks! - La det swinge
03. Israel: Izhar Cohen - Olé, Olé
04. Spain: Paloma San Basilio - La fiesta terminó
05. France: Roger Bens - Femme dans ses rêves aussi
06. Austria: Gary Lux - Kinder dieser Welt
07. Sweden: Kikki Danielsson - Bra vibrationer
08. Germany: Wind - Für alle
09. Portugal: Adelaide - Penso em ti, eu sei
10. United Kingdom: Vikki - Love Is...

11. Turkey: MFÖ - Didai didai dai
12. Switzerland: Mariella Farré & Pino Gasparini - Piano, piano
13. Ireland: Maria Christian - Wait Until the Weekend Comes
14. Italy: Al Bano & Romina Power - Magic Oh Magic
15. Greece: Takis Biniaris - Miazoume
16. Denmark: Hot Eyes - Sku' du spørg' fra no'en?
17. Cyprus: Lia Vissi - To katalava arga
18. Belgium: Linda Lepomme - Laat me nu gaan
19. Luxembourg: Margo, Franck Olivier, Diane Solomon, Ireen Sheer, Chris & Malcolm Roberts - Children, Kinder, Enfants




Leo ✔ Ｓｏｕｎｄｃｌ🕤ｃｋ born fearlessarrow kimberly Mylo13 💜 Future Captain

[ry4n]

Bergen 1986

Host: Norway
Participants: 20
Voting method: 12-point system (juries only)

Winner: Sandra Kim - J'aime la vie
Country: Belgium
Points: 176 (77.2% of highest score possible)
Language: French
YouTube | Spotify | Lyrics

General Overview

1986 is the most '80s-sounding contest. Most of the entries included synthesizers, electric guitars, and/or those hexagon drum machine things. I'm always in favour of Eurovision adapting to current trends, and who doesn't love '80s synthpop, but this year can be monotonous when every song has similar instrumentals. Also, the first half of the final is much stronger than the second half.

Norway, being the unlikeliest of winning countries, cherishes their hosting duties. There's even (Norwegian) royalty in attendance – which was unprecedented for Eurovision. The stage design resembles a cave. Or to my eyes, a Himalayan salt lamp. The background contains an arrangement of stalagmites. Presenter Åse Kleveland, who represented Norway in 1966, opens the show by welcoming the audience in song. She also mentions a quick fact about each entry before introducing them individually.

The interval is a series of pre-recorded videos featuring a folk singer, a flute player, and a children's choir in various locations. It transitions to the singer appearing on the live stage at the end.

The postcards feature a graphic of an actual postcard! And they conclude with a video of the artists waving at the camera in front of a green screen image.

Iceland debuts, completing the Nordic quintet. They're the final country to debut before the expansion into Eastern Europe. Greece and Italy withdraw again, while the Netherlands and Yugoslavia are back. A shame since Greece's entry (“Wagon-lit”) would've been in my top 3.

The vote reveal isn't super exciting – Belgium was a runaway winner, collecting 10's and 12's from 14/19 countries. Interestingly, the top 3 are all French (Belgium, Switzerland and Luxembourg). France, however, flops.

The Entries

Luxembourg: Sherisse Laurence - L'amour de ma vie
The 500th Eurovision performance. The “SANS RAISON” responses and stuttered claps can get addictive. The verses march, while the chorus soars. The intro horns and chorus strings nice too. And Sherisse's vocals are great. But that chorus is just a generic French ballad with cliche lyrics. In the verses, Sherisse feels love “for no reason”, because she fantasizes for someone to express love back, also “for no reason”. It's good, but not top 3 good.

Yugoslavia: Doris Dragović - Željo moja
Doris's voice is so comforting, and the song has a dreamy, smooth, sweet texture. The chorus melody and the high-pitched keyboard riff stick with me. The booms after “SVE!” are a great hook. And there's an acoustic guitar solo. My least fave aspect is probably the backing voices. In the lyrics, Doris longs for her ex to return.

France: Cocktail Chic - Européennes
France's biggest flop since 1966. The song just isn't that interesting or memorable. The chorus lingers in a flat way, with the bland instrumental responses. The orchestra tries to add tension in the intro/post-chorus, but meh. And the lyrics are whatever, where “European girls” prefer travelling across Europe rather than anywhere else. Even if American music is played everywhere. But I roll my eyes at them listing famous cities and celebrities. On stage, they turn, point, and walk forwards and back.

Norway: Ketil Stokkan - Romeo
This staging is so camp. The dancers are dressed like the Marie Antoinette era. But their interactions are funny, and the hop-slide move is fun. It's also the first time a drag queen appears in Eurovision! The “RO-ME-O; RO-ME-O” hook is catchy AF too. It's an upbeat pop song, with some guitars, and an audience clap-along breakdown. In the lyrics, Ketil overcomes the nerves, doubts, and pride to ask this person out, but he gets turned down. He tries to change their mind, but realizes he's crossing a line.

United Kingdom: Ryder - Runner in the Night
I get lost in this instrumental easily. It's very indulgent in 1980s sounds. The rubber band beat and drum strikes are hypnotic, while the brass pokes boost the chorus. There's also '80s drum 'pew-pew's and a guitar solo. And the singer has a distinctive voice and decent stage presence. The chorus could be a little stronger, but the “runnin', runnin'...” bridge is a good switch-up. In the lyrics, he “did a runner” on his partner, but now he wants a second chance. He admits his mistakes.

Iceland: ICY - Gleðibankinn
Iceland's debut took a while to grow on me. It's not immediately impactful. But the trio's performance is fun and likeable. I like when they walk into frame suddenly, change positions, and kick/punch on the horn release. The melody becomes catchier with repeated listens too (“Leggur ekkert inn!”) The title means “bank of joy”, where the lyrics use bank terms to promote happiness (“Never deposit, only withdraw”). The music has a darker tone though. Otherwise, there's a scrambled intro and a second verse beat pause.

Netherlands: Frizzle Sizzle - Alles heeft ritme
The better girl group from this year. I prefer this choreography, with the wrist twirl + putting one foot out move. They also change positions and have fun interactions. It's a cheerful pop song, where the melody sounds conversational at times. The scampering keyboard riffs, horn transitions, and tense bridge are highlights. It's a cute song, but not a super remarkable one. The lyrics promote living to your own rhythm, instead of worrying about being late for things.

Turkey: Klips ve Onlar - Halley
Turkey's first top 10 and their best result before 1997. The title is a reference to Halley's Comet, which could be seen from Earth in 1986. They hope it will inspire a better world, since our problems seem so trivial in this giant universe. The song has an existential, haunting atmosphere. The vocal harmonies are cool and the drums are hypnotic. The “BIR MÜJDEEEE” and “HAY HALLEY H-HAY HALLEY” hooks are so catchy. The trumpets elevate things in verse 2. And the middle section has a cool back-and-forth, a guitar solo, various greetings, and a “sen de, sen de, sen de” bit.

Spain: Cadillac - Valentino
Spain also indulges in '80s synth rock. The verses are more reserved and dark, with a circling synth beat, and guitars/bells between the short phrases. Then the urgent chorus disrupts things, with a grumbling bass and synth/horn slides. And there's a clap before the “Vaaaaalentiiiiiino” part. It has a dangerous atmosphere. In the lyrics, he seductively hooks up in a Madrid hotel, and compares himself to romantic film actor Rudolph Valentino from the silent era.

Switzerland: Daniela Simmons - Pas pour moi
Breathtaking. Daniela's performance is honest and professional. Her vocals are great, and she ends on a big note, of course. The intro sounds grand. Every verse line beginning with a rushed “pas-pour-moi” is a clever hook. The chorus is gorgeous and immediate. The mid-chorus stumble works. And the icy piano solo is the cherry on top. In the lyrics, Daniela desires long-term romantic love, because casual hook-ups are “not for her”. But that seems to hard to find.

Israel: Moti Giladi & Sarai Tzuriel - Yavo Yom
Well, the bad songs had to arrive eventually. Despite the energetic drum beat and drum-shake moments, this is so boring and monotonous. The chorus vocals are awful. I don't know what Sarai is trying to do in verse 2. And the dancers just seem pointless. The verses are passable I guess. The lyrics are very vague, with a theme of hope.

Ireland: Luv Bug - You Can Count On Me
4th place... really? There's nothing special about this entry. It's so plain. It must be the English language bias. The chorus is too repetitive, her stage presence is kinda awkward, and the lyrics offer no depth or insight on this break-up. She's just harping on her ex's promise (the song title). The instrumental is bland too, with the verse guitars, chorus drums, and bridge jabs.

Belgium: Sandra Kim - J'aime la vie
(winner review below)

Germany: Ingrid Peters - Über die Brücke geh'n
Good vocals but a pretty bland ballad from Germany here. The lyrics promote unity and understanding people from other cultures. I think there's a Berlin Wall reference too. The song has this firm anthemic feeling, with the bold chorus singalong, the marching drum slams, and the intro/post-chorus horns. The chorus melody is okay, but the song doesn't do much for me. There's also a harmonica in verse 2.

Cyprus: Elpida - Tora zo
How did this place last? The chorus is so catchy (“TORA, TORA ZO!”) Yeah, the transition into the drum breakdown is messy, Elpida walks around the stage awkwardly at one point, and the lyrics are mediocre. She's living her dreams through all this exotic island imagery. But I enjoy the tropical sounds from the bongos and horns. The chorus hook is boosted by the subtle guitar too.

Austria: Timna Brauer - Die Zeit ist einsam
Yawns. This is boring as shit and waaaaay too slow. It's mostly a soft-textured piano and strings ballad. But the middle section goes for this expansive sound, with piano stomps, horns, crashing drums, and a gong... alongside some irritating vocals. The lyrics describe how time feels lonely, tired, un-moving, and quiet after Timna's break-up.

Sweden: Lasse Holm & Monica Törnell - E' de' det här du kallar kärlek?
It's so unusual for Sweden to send something so unserious. The backing singers' outfits include: a 1920s suit, a maid costume, and a gym leotard. There's a shirtless guy doing a guitar solo. The orchestra claps and sings along towards the end. There's plenty of funny antics happening on stage. Lasse & Monica oversing most of the song and shout the chorus hook; which is annoying. But the backing echoing that chorus and the mid-chorus piano make it catchy. Thee lyrics are also comical – their infatuation is too distracting and tormenting, and if that's what love is, they don't want it lol. Musically, it's Schlager.

Denmark: Lise Haavik - Du er fuld af løgn
Denmark were very cheerful in the '80s. But this one seems basic compared to the others. There's a bouncy drum beat, joyful horns, wholesome twinkly bells, and the chorus is catchy enough. Lise bounces on stage too. But I just forget about it. It's a playful song, where she knows this person is lying about not being into her. Things will change once they're alone.

Finland: Kari Kuivalainen - Never the End
The lyrics are meaningful, where Kari can't find his place in this world. He puts the past behind him. Growing up means creating a new start. And his environment is a fog. But the composition is so boring. The vocals and orchestra do not pull me in. The first verse is quiet, while the chorus is bigger with the drums, strings, and backing voices. And verse 2 adds flutes and sax.

Portugal: Dora - Não sejas mau para mim
This chorus goes nowhere – there's too many “oh oh”s. The melody and instrumental aren't that exciting either. There's a tranquil intro before the beat comes in. Then some drum strikes, a pause upon the chorus, and a sax solo. But it's kinda bland. Her voice sticks out though. In the lyrics, she says “don't be so angry with me” when she just wants to be together. But there's a positive vibe, as she's focused on the good memories.

The Winner

Belgium achieves a long overdue victory. They are the last of the original 7 participants to obtain a win. As of 2020, however, this is Belgium's only win. Though they come close in 2003.

Sandra Kim is the youngest Eurovision champion at just 13 years old. Switzerland attempted to get Belgium disqualified for being underage, but were unsuccessful.

“J'aime la vie” (“I Love Life”) is the most 80′s-sounding Eurovision winner. It's pure pop. Insert it into a playlist of 1986 chart hits and it'd fit right in. The composition is the best thing about “J'aime la vie”. The drums are great, especially the post-chorus transition. The verse melody is very strong and the backing singer responses add more hooks. The mid-chorus keyboard and stumble hook me too. However, I find the chorus annoying. Yes, the repetition in “j'aime, j'aime la vie” is catchy. But Sandra's young teenage vocals are jarring when she projects. Otherwise, she handles the song well, both vocally and in spirit. She looks like she's enjoying herself with the swaying dance moves. And the lyrics contain an innocent charm you'd expect from someone inexperienced in life.


Verdict: I like it. I wish I liked it more, but her voice annoys me too much.


My points go to....
01. Switzerland: Daniela Simmons - Pas pour moi
02. Turkey: Klips ve Onlar - Halley
03. Yugoslavia: Doris Dragović - Željo moja
04. Norway: Ketil Stokkan - Romeo
05. United Kingdom: Ryder - Runner in the Night
06. Belgium: Sandra Kim - J'aime la vie
07. Spain: Cadillac - Valentino
08. Cyprus: Elpida - Tora zo
09. Sweden: Lasse Holm & Monica Törnell - E' de' det här du kallar kärlek?
10. Luxembourg: Sherisse Laurence - L'amour de ma vie

11. Iceland: ICY - Gleðibankinn
12. Netherlands: Frizzle Sizzle - Alles heeft ritme
13. Denmark: Lise Haavik - Du er fuld af løgn
14. Germany: Ingrid Peters - Über die Brücke geh'n
15. Portugal: Dora - Não sejas mau para mim
16. France: Cocktail Chic - Européennes
17. Finland: Kari Kuivalainen - Never the End
18. Ireland: Luv Bug - You Can Count On Me
19. Israel: Moti Giladi & Sarai Tzuriel - Yavo Yom
20. Austria: Timna Brauer - Die Zeit ist einsam




Leo ✔ Ｓｏｕｎｄｃｌ🕤ｃｋ born fearlessarrow kimberly Mylo13 💜 Future Captain

[Future Captain]

yeah the teenage vocals make it a bit harder for me to really like this song, which is a huge shame since i really love every other element of the song

[ry4n]

Apr 13, 2020 21:46:21 GMT -5 Future Captain said:

yeah the teenage vocals make it a bit harder for me to really like this song, which is a huge shame since i really love every other element of the song

Yeah, same.

[Future Captain]

okay but that age scandal probably make the swiss produce enough salt to be a major exporter

[nak]

all kinds of everything is so cute ugh

[ry4n]

Apr 13, 2020 22:07:26 GMT -5 Future Captain said:

okay but that age scandal probably make the swiss produce enough salt to be a major exporter

So salty they recruit a future legend in two years time to ensure a win (well not really, she wins by one point)