The chorus is a more enticing proposition, but only because of the opera. I love the cat’s eye motif.ī: So are we assuming Fredrik Kempe penned the English bits and Malena Ernman the French bits? Either way neither part offers any interest, and overall they say just as little as those Hero gave us last year.Ī: Discard the vocals here and you realise just how empty those verses are. Vocally he’s not as strong as I thought he would be, but the song sounds better than it has a right to. Petr has a touch of ’80s glamour about him that only leaves me wondering what happened to the shoulder pads. V: The sheeted figure being blown about by the wind machine is intriguing but doesn’t add a lot to the performance. Kind of like In My Dreams, but without being anywhere near as attractive. I feel only Turkey has the right and the wherewithal to produce thirty-second instrumental openings to their Eurovision entries, although the furrow this etches in my brow soon turns to a grudging admiration of how together it sounds. There’s certainly a genuine tug to at least some of it.Ī: Carbon-dated within the first few seconds of its life. He does pretty well for someone who clearly had the ‘Eurovision throat’, but is outshone by the glamorous and aloof backing vocalists.ī: Lines like “Guide me through this barren sky” leave themselves wide open, although in fairness this is probably the best set of lyrics Belarus has given us. V: If Mr Ouchène was going for that tail-end-of-career Elvis look – slightly greasy and altogether unappealing – he got it just right. have tried stuff like this many times and never gotten close to its authenticity or sense of fun. I think it’s because of the obvious but unaffected feel-good factor. The lyrics as a whole are pretty clever actually, although some lines jar.Ī: For a genre I was never part of and have never really gotten into, this is surprisingly easy to like from the get-go. Surprising depth to the vocals.ī: I love the transition from “he’s too fat to rock ‘n’ roll” to “he’s too dead to rock ‘n’ roll”.
This has much more in common with Push The Button than simply going second in the (first) semi: its worthiness is worn away by a performance that just goes on and on, nullifying any comic appeal (which is nevertheless brilliantly captured in the stage). V: Much of this subtlety is lost in the transition from studio to stage, unfortunately. I wonder why they chose to hide them from public view on such an empty stage.ī: There’s something very right about how wrong these lyrics are, especially when paired with the intentionally hammy, low-budget preview video.Ī: Lots of innovative touches to this when you listen for them, especially when the backing track is shed of its vocals. Her vocals are good, but eclipsed by those of the backing vocalists, which are fabulous. The swivel chair makes it look as though Andrea’s about to conduct a current affairs show interview. V: A much slicker performance than I would have expected, although the choreography is cheesy. The way the vocal arrangement is so tightly interwoven with the strings in the verses is annoying, given that (i) that’s the last thing either of them should be and (ii) they’re both far more interesting in the chorus. Although the twist in the tale is probably quite a clever observation of relationships that aren’t good for you, it’s still a bit lame.Ī: Two has-been Germans and a Spanish schlager queen do not a successful song-writing team make. Song-wise there’s plenty to like, but I’m not sure there are many enduring classics among them.ī: “Everybody’s talkin’ ’bout all the things I’m missin’” says it all really. Production values which are unlikely ever to be surpassed, and artistic merit to boot.
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