ESC 2024: Hello there, Lëtzebuerg

Today we were greeted by the news I never thought would drop but now it is official. Luxembourg is making a big comeback to the Eurovision Song Contest in 2024.

This is clearly the ESC equivalent of Abba revealing they would release a new album after 40 years.

Five-time winners Luxembourg made their last appearance to date in Millstreet 1993 and have not been seen or heard since. For many years, they were a consistently interesting participant that heavily employed talent from other countries but before their departure they had a string of lackluster placings, usually with local performers instead.

1993 was a very different world so what kind of Luxembourg can we look forward to next year? I see three possible scenarios.

1. Local Luxembourg

This would mean acting like a showcase for singers and songwriters from the Grand Duchy itself. Not a huge talent pool to choose from but in today's media climate, Luxembourgish acts would be better prepared for the international heat then they were back in the early 90's. With a good home studio, your songs can sound as good and impressive regardless where in the world you are from.

2. Luxembourg and Surroundings

Being a small country, Luxembourg automatically gets a lot of influence from their neighbour countries. They could establish themselves as a platform also for artists from Germany, Netherlands, Belgium and France that would like to be seen on the ESC stage but for some reason do not want to enter (or do not fit into) their own country's selection process. This wouldn't rule out the occasional home-grown entry whenever something strong enough would be on offer.

3. RTL Group Luxembourg

RTL Group - with its head quarters in Luxembourg - is one of Europe's largest and most successful broadcasters and in their own words "a leading entertainment company". Why not let all the international branches of RTL look for potential talent in their territories to find a joint candidate to be promoted across their enormous platform? Also this modus would in no way rule out the odd Luxembourgois act going to the ESC now and then.

Regardless of the path they will chose, I hope Luxembourg will be in it to win it with a determination to launch great hit songs like they used to do back in the day.

I also hope Monaco's new public service broadcaster TV Monaco will be up and running according to schedule as they have a budget allocated for re-joining the ESC as well. The thought of possibly having Luxembourg and Monaco back the same year is making my tired old heart sing.

New rules needed for small countries?

There was quite a bit of optimism going on in the Eurovision fan-world about a month ago, as it seemed Luxembourg's minister of culture had nodded her head in agreement with a demand for the grand duchy to return to the Eurovision Song Contest.

The minister in question soon stated in public she had been misunderstood and that she in no way had given her support to any project of the kind.

Luxembourg is generally believed to stay away mainly for financial reasons, something that often make people sigh and wonder why the richest country on the continent can't afford to take part.

Being the richest country on the continent is really the big problem for Luxembourg as the participation fee for each country is calculated in accordance with how large the audience is as well as the GDP of the country in question. It means RTL would have to pay an awful lot more per viewer than any other country in competition. Is that fair?

A country being wealthy does not necessarily mean that its state broadcaster is.

While Luxembourg is the most extreme example, this remains a real problem also for the microstates of Europe, like Monaco or Andorra. In theory all ESC participants are state broadcasters, while some more resemble local or regional tv stations financially.

If the EBU really means business with their scaling-down project, to make Eurovision less expensive and less enormous, then it would be a nice gesture to let the smaller countries take part while paying a little bit less. Let the bigger ones carry the smaller ones so everyone could participate.

And although Luxembourg isn't a microstate, maybe something could be done to make their fee - if they were to come back - seem a little bit less absurd.

Sophie Carle - 100 % d'amour (Luxembourg 1984)

Nobody's favourite but mine, part 4

Are you ready, folks? Here comes a fourth selection of songs I really liked through the years even though I have a nagging feeling I could be the only one. The former three episodes suggest that I am not alone at all, which leads me nicely onto the first song of the bunch.



Patricia Kraus - No estás solo (Spain 1987)

I never understood why anyone wouldn't like this one. It's original, energetic and pretty modern for it's time, and Patricia could be one of the coolest females ever. She is wearing a leather corset and enough rouge to suggest that she fell headlong onto the makeup-table only seconds before she had to enter the stage, still manage to look like that is the most natural thing ever.

It does take forever until she gets to a chorus but that's not the end of the world, is it? Clearly worth more than the ten points it had to content itself with.



Helen & Joseph - L-Imhabba (Malta 1972)

Malta had a tough start in Eurovision - for their first two entries they sang in their native tongue and ended in last place on both occasions. I can sort of see what the juries meant in 1971 but this adorable little gem would have deserved to be showered in points. The line where they sing about freaks, Hell's Angels and hippies is worth a top ten placing alone. Not to mention the more than impressive body language of the conductor during the instrumental break. And extra points for fashion, of course.



Park Café - Monsieur (Luxembourg 1989)

For the last few years that Luxembourg were in the contest they more seldom commissioned potential hit songs from French record labels - or did nobody want to provide them anymore? - and turned to local talent instead, mostly with pretty moderate success. Park Café entered something as unusual as a song inspired by a recent hit movie - "Who Framed Roger Rabbit?" - and provided a far more jazz inspired sound than the audience was used to and the juries remained largely unimpressed.



Telex - Eurovision (Belgium 1980)

Belgium is clearly one of those nutty countries that you just don't know what to expect from. When you least expect it they will do something really crazy and unexpected and most of Europe will sit there with their jaws hanging between their legs, not knowing what hit them.

For some reason, synthesiser pioneers Telex - Belgium's own Kraftwerk but with a sense of humour - decide to throw themselves into competition with a song about the contest in question and a pronounced desire not to be understood and go through the voting without a single point. The stunt failed, the Belgians managed to collect a minor number of points and even avoided the last place, and the trio managed to thoroughly confuse their own fans in the process. What remains is a cute little masterpiece that is sure to make you smile. And when you're done smiling, check out their cover versions of Ça plane pour moi, Twist à Saint-Tropez or Rock Around The Clock. Genius!



Mrs Einstein - Niemand heeft nog tijd (Netherlands 1997)

When Dutch tv selected these feisty females internally they were presented like a group that were sure to rock the boat in a big way in Dublin. They sort of did. Not only were they nicknamed "Old Spice" - which I think was pretty witty - but most people wouldn't believe their ears. A full-tempo rip-off of Paul McCartney's Bond theme Live And Let Die that would leave people out of breath as well as in serious doubt of what the Dutch were thinking.

Only I really, really like it. I think it is fun and energetic and far superior to most entries the Dutch sent in during those eight long years they constantly failed to qualify. Old Spice for the win!

Eurovision for Americans

One of the great big problems in the world today is the lack of visions, of engagement, of commitment... So how wonderful isn't it to see that it least someone has it in them?

I always wonder how non-european eurofans percieve the magic of the Eurovision Song Contest. It must be exotic with all the flags and all the countries and all the languages, then calling all the capitals up to collect the points...

So, it feels good to see that there is a blog devoted to explaining Eurovision for Americans, trying to make the whole package a little bit more understandable. Go in there, read it and applaud the initiative.

And all you other non-European fans - if you feel like it, I would love to hear what makes the contest special to you. Leave a comment and tell me.

And, to celebrate the American blog, one of the Americans that have taken part at the ESC through the years.



Jeane Manson - J'ai déjà vu ça dans tes yeux (Luxembourg 1979)

Bad Draw Day: Luxembourg 1984

When Luxembourg hosted the 1973 ESC, they won on home ground and several people involved rated their chances quite highly of repeating the trick when hosting eleven years later.

Their song was seen as a fresh and modern piece of very catchy pop, more bang up to date than the very classical ballad they had won with the year before.

Unfortunately, they were drawn at the dreaded #2 spot, right after the sensation of the year - the synchronised singing and dancing boys from Sweden - and what was expected to be a candidate for victory had to content itself with a lacklustre tenth place.

In all fairness, maybe the draw wasn't the only thing pulling this one down. Model-turned-singer Sophie Carle apparently sang flawlessly in all rehearsals but lost her plot completely on the day of the final, not exactly standing out as the Maria Callas of Luxembourg.




Sophie Carle - 100 % d'amour (Luxembourg 1984)

Germany 2006: Vicky should be grateful

The 2006 Eurovision could have seen not just one but two previous winners battling it out for a second victory. Sweden gave Carola renewed confidence while Germany rejected Vicky Leandros in their national final.

Surely Vicky, who sang twice for Luxembourg and who is still a solid name within German showbiz, must have felt a bit deflated when defeated by hobby project Texas Lightning. But in retrospect, maybe she would be grateful rather than anything else.

First of all, her self-composed song may be clean-cut and robust but is, above all, fantastically dull. There is not a single element of surprise during these three minutes, and when the song is so undynamic in itself, Vicky's emotional delivery almost turns comical.

I am a big fan of Vicky and her singing style, so I am quite pleased that she never got to expose herself like this Europe-wide. Now she is left with her dignity in tact.

Also, while Carola's fifth place was not a fiasco it wasn't really a success either. Not a single country had her in their top spot, and no comeback winners have fared well ever since.

Charlotte Perrelli flopped in Belgrade, Niamh Kavanagh crashed and burned in the Oslo final and Dana International didn't even make it out of the semi finals in Düsseldorf. You will not be automatically loved by the audience just because you won the whole thing once.

Vicky Leandros should be very grateful, indeed.



Vicky Leandros - Don't Break My Heart (Germany 2006 national final)

Tobson's Winners: 1986 - 1990

For me, personally, these five years are the most important in Eurovision history. Possibly not the best. I can't tell. I know them by heart, the songs and the performances, I grew up with these songs.

Even the bad ones feel like old friends. I can understand them, explain their weaknesses. Like them a little bit anyway. Forgive them for not being masterpieces.

It also makes picking out favourites even harder. It is like selecting one favourite among your children. Almost.

What I am trying to say is that for every favourite picked in this chapter, there are several other candidates close behind in the running. One day I will dissect these years in detail here on the blog.

But now for my personal winners.

1986 - Germany



Ingrid Peters - Über die Brücke geh'n (Germany 1986)

1986 offers one of my favourite selection of entries ever. Here is a wide range of styles and moods, many really good choruses and a heap of really good performances.

Switzerland and Luxembourg offer very strong songs, Turkey is a real gem, Portugal has a great pop number, France and Norway are fun, Yugoslavia is tender and the list goes on.

But this German song is like a wonder of elegance and craftmanship. It has a large and breezy sound, it has a very strong handle of a chorus and it is brilliantly sung by Ingrid Peters.

In retrospect, the lyrics are also touching, as a love song between the "two Germanys" to build a bridge, to understand each other and to have a peek over the wall.

Less than four years later the wall would crack down, and you could see right through it.

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


1987 - Turkey



Seyyal Taner & Lokomotif - Sarkim sevgi üstüne (Turkey 1987)

Another year bursting full of personal favourites. Belgium, Italy, Yugoslavia, Finland, Cyprus, Spain, Norway... the list is neverending.

But the Turks knock the socks off everyone. Mainly because they were really doing what I have already pinpointed as my favourite asset: they do their thing without trying to be loved by everyone.

They were loved in Brussels throughout the week, seen as a possible surprise act, appearing on stage like a musical thunderstorm, breaking every rule concerning how you should sound, look and act on the eurovision stage.

That earned them a big fat zero in the end. Not one of the twenty-one juries considered this entry worthy of a single point. Even the famously neutral SVT commentator made a remark how strange he found that verdict.

If you were different during the late 80's, the juries would punish you. These days, standing out from the rest is an asset. I like the new world order better.

Real winner:
Johnny Logan - Hold Me Now (Ireland)


1988 - Luxembourg



Lara Fabian - Croire (Luxembourg 1988)

Out of these five years, I find 1988 to be a somewhat weaker edition compared to the others. Anyhow, there are a few songs that are absolute top class. Like Israel. Like Turkey.

And like Luxembourg, introducing Lara Fabian, in a few years time set to be a huge household name in the entire French-speaking world.

This is an attempt at the classical French ballad again, the kind that would just walk in and floor all competition. But despite being powerful and lyrical, it didn't quite make it all the way.

She was beaten by another icon to be of French song, Céline Dion. Her career needed the victory more, as it apparently opened doors for her American career. But Lara's song is stronger. My winner.

Real winner:
Céline Dion - Ne partez pas sans moi (Switzerland)


1989 - Italy



Anna Oxa & Fausto Leali - Avrei voluto (Italy 1989)

I almost had to call this a tie in the end. How can I judge which one is better, this one or Finland? And then we have Turkey a very close third. And Spain a very close fourth.

But there is a raw, untamed energy and wrath in this song that I find overwhelming. Also this one breaks out from the eurovision formula in a nice way that proved a bit too much for the juries.

But the juries have possibly never been less up to the task than in 1989. They hardly do a single thing right, the entire voting is a mess. The final result is a farce.

Yugoslavia won with a happy song, but hardly their most convincing effort ever. More commercial songs, like Sweden, Austria and Germany, were left behind. When the winning team is welcomed on stage, the audience gives them a glacial reception with no cheers and no applause.

Rather a revealing image of where the ESC was heading for the next couple of years.

Real winner:
Riva - Rock Me (Yugoslavia)


1990 - Israel



Rita - Shara barechovot (Israel 1990)

Late 1989 had shaken Europe and by 1990, the landscape looked different. New times with no possibilities, and maybe this made the juries a bit braver again.

They did favour more classical songs like Ireland and Iceland, sure, but also gave high points to daring choices like France and Spain.

However, the demanding and experimental pop lament from Israel prooved too much and Rita landed the second worst result of the Jewish state until then. It does take a few listenings, admittedly, and maybe the juries simply didn't have the time to break into it fully.

But this is a lovingly crafted little masterpiece of a song, belted out with gusto and conviction. Maybe not the song you whistle in the shower the next day, but a very fine piece of pop art.

Real winner:
Toto Cutugno - Insieme: 1992

Tobson's Winners: 1981 - 1985

Now we are quickly approching the times that formed my idea of what Eurovision was and what it was supposed to sound like.

The first ESC I know I saw at least fragments of is 1983. The night of ESC 1984 was spent at my uncle's and as he had no functioning tv set, I had to content myself with the radio broadcast. Then we came home in time for the voting, so I remember seeing my native Sweden win.

In 1985 and 1986, I was allowed to sit up until Sweden had performed, then it was time for bed. And 1987 was the first year I saw in full.

My ideas of these years and songs have been formed through cover versions on tape, the odd newspaper article I happened to come across and very fluid memories from here and there.

And then, when I finally saw the live versions, I had to change my mind. Again and again. My old ideas and likes and dislikes crashed into what I really saw and heard. And if I was the judge now, these are my winners.

1981 - Portugal



Carlos Paião - Playback (Portugal 1981)

I admit that this is a pretty odd choice. But 1981 is a pretty odd year. It contains a handful of real pearls mixed up with a whole bunch of mediocre songs that are not really bad (not a single song is outright bad in 1981) but that fail to make a difference.

This portuguese piece of plastic pop surely makes a difference. It is obnoxious, repetitive, pokes fun at showbiz in general and is performed in a very tongue-in-cheek fashion by Carlos and his strutting backing vocalists.

I love the entries that come to Eurovision not craving to be loved. A great portion of attitude and a distinct will to be different is more than enough for me.

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


1982 - Spain



Lucia - El (Spain 1982)

Provocation seems to go down well in my list. At the time, this had a pretty distinct taste of politics, aimed at the host country.

But provocation alone is boring. The urge to do something different in a contest that was turning more and more streamlined is a far more interesting trait.

And this song may be political, but it is also furious, tempestuous, sexy and funny. Again, completely lacking a will to kiss up and be gentle and loveable.

The european juries wanted a little peace but I'd rather like a bit of tango.

Real winner:
Nicole - Ein bisschen Frieden (Germany)


1983 - Luxembourg



Corinne Hermès - Si la vie est cadeau (Luxembourg 1983)

The last real outburst of The Classic French Ballad, up until this point crushingly superior to most genres in the ESC but now rapidly losing in strength.

Other winds were blowing, other tempos climbed the charts, other moods hit home better with the audience. But once Corinne Hermès stepped onto that stage in Munich, it was as if nothing had ever happened and that a big ballad in French would always beat everything else.

The French ballad wouldn't sink away over night, there would be more songs of this kind. In 1988 and 1993, Luxembourg and Switzerland would actually place rather high with this kind of song.

But the era was over. And what a worthy ending, with one of the strongest and most elegant winning songs ever.

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


1984 - Italy



Alice & Franco Battiato - I treni di Tozeur (Italy 1984)

One question will always haunt me. When there is a song like this one in the running, what kind of jury favours a ditty like "Diggi-loo diggi-ley" instead?

What do they look like? Do they have ears? What do they have for breakfast? And who decided that they, out of all people in the world, should be on the Eurovision jury?

This Italian entry was stylish, original and immensly beautiful, the kind of victory that could have injected some well-needed commercial interest at a point were just that started to ebb away from the ESC.

Shame on the juries.

Real winner:
Herreys - Diggi-loo diggi-ley (Sweden)


1985 - Finland



Sonja Lumme - Eläköön elämä (Finland 1985)

Gothenburg 1985 looked very exciting as two countries that had never fared well in the contest were tipped as likely winners: Norway and Finland.

We all know how the story goes as Norweigan Bobbysocks stormed to victory and Sonja Lumme from Finland somehow slid into oblivion and ended in a ninth place. If it had anything to do with being drawn at the dreaded second starting position or not, we will never know.

"Long Live Life" has anyhow turned into a eurovision evergreen, well loved by fans as well as the general audience in Finland. And rightly so. A powerful chorus and a powerful performer who squeezes every drop of schlager juice out of her song.

Eurovision in Bergen 1986 was a very attractive setting. But Helsinki would not have been out of place either.

Real winner:
Bobbysocks - La de swinge (Norway)

Tobson's winners: 1971 - 1975

After the fiasco in Madrid, where four countries shared the top spot, the EBU spent the following five years trying to figure out a system that would make such a situation easier to avoid in the future.

The introduction of expert jurors, two from each participating country, was maybe not the smartest of ideas in retrospect, for a multitude of reasons, but at least they managed to select the right winner, at least in my opinion, every year they were in function.

And since these three winners were also to be found in my favourite winners ever blog post , you won't be in for many surprises in this section.

1971 - Monaco



Séverine - Un banc, un arbre, une rue (Monaco 1971)

Also 1971 sees a fair share of good songs, but none that can compete with this epic bittersweet classic. Séverine gives the performance of a lifetime and got a pretty successful career in Germany in return.

This was a commercially successful entry all over the continent that everyone could be happy with. Everyone but the people at monegasque television, who (probably after some serious panicking) turned down the offer to host next year's competition.

Real winner:
Séverine - Un banc, un arbre, une rue (Monaco)


1972 - Luxembourg



Vicky Leandros - Après toi (Luxembourg 1972)

Another almost mythical Eurovision winner, who managed to beat the "unbeatable" New Seekers by rather a margin in the end.

Also 1972 has a couple of real gems (Germany's Mary Roos, Portugal's Carlos Mendes and Austria's Milestones - all fantastic songs), but there is no way around an entry like "Après toi".

Rumour had it at the time that German television had rejected it from its national final and only then was it translated into French and selected by Luxembourg, a rumour strongly denied by Vicky herself.

Germany would have looked a bit silly rejecting a song like this and - let's face it - it would never have won in its German version. It somehow needs the darkness in the French version for the drama to blossom like it should.

And blossom it does.

Real winner:
Vicky Leandros - Après toi (Luxembourg)


1973 - Luxembourg



Anne-Marie David - Tu te reconnaîtras (Luxembourg 1973)

For the third year running, I agree with the expert juries. Does that mean I am a snob, liking the same thing experts like? Perhaps.

But also, these three years have winners that are easy to identify. Because they are fantastic songs.

Israel's Ilanit is almost as good as this one. Almost, almost. But for me, this is the one winning song that blows all the others off the tree.

Anne-Marie David for president!

Real winner:
Anne-Marie David - Tu te reconnaîtras (Luxembourg)


1974 - Italy



Gigliola Cinquetti - Si (Italy 1974)

In all fairness, Non ho l'età is quite a good little song, but this is Gigliola's real moment in the sun. This is where she gets to shine and show just how good a performer she is.

This was also quite a risky choice for Eurovision as it really is too sophisticated, too soft, too slow. For Brighton, they had to shorten the first verse and they also performed the song at a slightly higher pace than on record.

This is an almost hypnotic little song, very classy and very engaging. Lucky break it didn't win, as that could have put Abba's career at risk, but this is clearly the moral winner of the year.

Real winner:
Abba - Waterloo (Sweden)


1975 - Italy



Wess & Dori Ghezzi - Era (Italy 1975)

It is a surprising fact that Italian television, who doesn't give a toss about the ESC, have come up with so many brilliant entries through the years.

It could even be that it is because of this fact, not in spite of it. Since ESC was never a big deal in Italy, their stars could go there without fear of wrecking their careers, and they never felt the pressure to fit in with typical eurosongs.

This is also a surprisingly juicy number, soulful and passionate, and not at all as well-mannered as most eurovision entries were at the time. Wess & Dori complement each other very well.

And even if the pace is - again - slightly faster compared to the record version, making the live version lack a bit in dynamic, the orchestra is up to scratch and carries this song nicely.

Real winner:
Teach-In - Ding A Dong (Netherlands)

Tobson's winners: 1966 - 1970

During this period, the ESC gets what could be described as its greatest innovation of all time as the contest was broadcast in colour from 1968 and on.

A politically turbulent period of time in Europe and elsewhere, especially the mythical year of 1968, and pop culture began to take over also at Grand Prix Eurovision de la Chanson.

By now, the contest was a commercial hitmaker and big labels wanted to send their most interesting names into competition, in hopes of breaking the international market.

On the continent, the German market was by far the most important one to crack in terms of record sales and it was about as common to record German versions of eurosongs as making the English versions.

1966 - Luxembourg



Michèle Torr - Ce soir je t'attendais (Luxembourg 1966)

France Gall sent shivers through old Europe and her fresh faced appearance inspired no less than six countries to send more modern and upbeat entries, performed by young women, to see if the success could be repeated.

It couldn't - the young ladies most probably stole points off each other and a convincing victory was given to a male solo singer instead.

The best one of these six was, in my opinion, the best song on the night, competing for host nation Luxembourg, performed by Michèle Torr who was about to recieve star status in her native France a few years later.

For me, this is an irresistible piece of French pop: inspired, lightweight but not silly and, above all, very well performed. Strangely enough, it was heavily ignored by most juries with the exception of Sweden, giving it top marks.

Real winner:
Udo Jürgens - Merci chérie (Austria)


1967 - France



Noëlle Cordier - Il doit faire beau là-bas (France 1967)

It would be absolutely impossible to rank all songs that ever took part in the ESC, but if I could, this one is very likely to be in the top ten.

A power ballad of a rare sort, complimented by a surprisingly raw lyric, not at all sticking to the usual voice of the modest heartbroken woman we often hear in song lyrics.

This woman is sweet at first, then scornful ("When you left it was to get happy / if it worked, then good for you") and then falls out into a bitter chorus about how much she hates all the people around her. "I hate them because they never talk to me about you."

A powerful, original and beautiful entry, but the juries wanted a happy pop tune instead. Not a bad choice, either.

Real winner:
Sandie Shaw - Puppet On A String (United Kingdom)


1968 - France



Isabelle Aubret - La source (France 1968)

For the second year in succession, the French entered a good song with somewhat controversial and, this time, slightly disturbing lyrics, inspired by "The Virgin Spring" by Ingmar Bergman.

Isabelle Aubret was good already when she won in 1962, but now she is sensational, telling the story of the innocent girl who gets raped and killed by three men in the forest. Yes, all of this is there in the lyrics. So much for family viewing.

One would think that a classical piece like this would be perfectly suited for the grand orchestra, but the musicians let this song down as well.

Maybe that is why it was beaten by two pop songs instead? Or maybe the mood of this song wasn't quite the party starter people needed in these troubled times?

Real winner:
Massiel - La la la (Spain)


1969 - Spain



Salomé - Vivo cantando (Spain 1969)

To be honest, I'm not sure about this one. Or, I'm sure I absolutely adore song, singer, performance and outfit. But I'm not sure it is my outright favourite.

1969 is a very strong and even year where several songs claim the title as my favourite: Italy, Ireland, Belgium, Portugal, Switzerland, France...

But the massive madness in Salomé's way of attacking this entire number casts makes this a winner. At least it is the best out of the four songs sharing the trophy this year.

Real winners:
Salomé - Vivo cantando (Spain)
Lulu - Boom Bang A Bang (UK)
Lenny Kuhr - De troubadour (Netherlands)
Frida Boccara - Un jour, un enfant (France)


1970 - Germany



Katja Ebstein - Wunder gibt es immer wieder (Germany 1970)

Watch out, modern times are coming. In more ways than one.

Television-wise, Dutch television (selected to host after a draw between the four winners of 1969) invented the postcards, partially to make up for the low number of participants. Only 12 countries took part after Sweden, Norway, Finland and Portugal dropped out after the split winner fiasco in Madrid.

But the German entry also signalled that new musical influences would, again, find their way into the ESC. Hippie-esque, with a touch of flower power, this song had a groove never before heard in the ESC.

Or it should have had, since this is yet another song the orchestra is unable to do justice. Also Katja is yet to compose that stage magic she would develop later in her career.

But in its recorded form, this song is stunning and a brilliant example of the creativity in the German market at this time.

Real winner:
Dana - All Kinds Of Everything (Ireland)

Tobson's winners: 1961 - 1965

The early years of Eurovision are a bit blurry, in all fairness. There are good songs sprinkled here and there, but the show didn't quite find its format or tone until the mid-sixties.

Also, it took a few years to find the ESC formula for songs, the thing we usually try to break away from these days. Back then, it was necessary to find a common ground, a common idea what a eurosong should sound like, for them to be comparable at all.

The early 60's were times of social changes, pop music and a young generation breaking away from their parents, creating a serious shift in the occidental culture. This didn't break through to the Eurovision Song Contest, run by the parental generation, ensuring family friendly programming.

For the period 1961 - 1965, the occasional pop song would sneak into competition, but the real breakthrough would have to wait a few years still.

1961 - Italy



Betty Curtis - Al di là (Italy 1961)

Big athmospheric ballad of a kind the Italians do best. Or do they? There is something about this melody line that I'm not fully comfortable with.

It takes too long, I almost lose interest during the build up, but when Betty Curtis bursts into the enormous chours, I forgive the rest and hum along happily.

And this isn't a fantastic year, there is not so many strong contenders to beat. Quite a few entertaining little ditties (perhaps inspired by the 1959 winner?) but no real unmissable pearls in my history book.

Real winner:
Jean-Claude Pascal - Nous, les amoureux (Luxembourg)


1962 - Sweden



Inger Berggren - Sol och vår (Sweden 1962)

Sweden's first big moment in Eurovision and, in my mind, perhaps their greatest to date. (Sorry, Abba.)

Maybe it doesn't have the same appeal if you don't understand the cute lyrics about the young girl getting into trouble as the gentleman inviting her out for lunch steals her fur coat (intended as a present for his own girlfriend) and leaves her with the bill, but it is still a very happy and catchy little song.

Inger Berggren is an enigmatic and likeable singer, who unfortunately never reached the level of stardom she would have deserved, but thanks to this song she will never be forgotten.

And again, the recorded version is way better - tight, well produced and with a backing group in top gear. It would take a while until the backing tracks entered the stage.

Real winner:
Isabelle Aubret - Un premier amour (France)


1963 - Switzerland



Esther Ofarim - T'en va pas (Switzerland 1963)

Yes... Switzerland again. But they were good during the first years. Must give them that.

And you can't argue with a song like this. Difficult and accessible at the same time, possibly lacking a chorus but instead stubbornly hammering out the hook until it stays in place.

I wouldn't argue with Esther Ofarim either, who seems sweet and determined at the same time, and who spent the greater part of her career thinking she actually won the entire contest.

Maybe she thinks so still. Who would have dared telling her?

Real winner:
Grethe & Jørgen Ingmann - Dansevise (Denmark)


1964 - United Kingdom



Matt Monro - I Love The Little Things (UK 1964)

Despite acheiving one of the 15 second places the UK have secured to date, this is a more or less forgotten entry on home ground. Instead, Matt Monro had a smash hit with a cover version of the Austrian entry by Udo Jürgens.

In my mind, there is no doubt as to which is the better out of these two songs. The UK entry is a melodic, light footed little pop pearl, created by songwriting genius Tony Hatch, in a lovely arrangement that makes use of the orchestra but still feels more modern than most (at the time).

Also the Netherlands entered a good pop song, and France sent in a beautiful ballad, but the UK wins by being so appealing and so well crafted.

Real winner:
Gigliola Cinquetti - Non ho l'età (Italy)


1965 - Luxembourg



France Gall - Poupée de cire, poupée de son (Luxembourg 1965)

For the second time only, I agree with the juries about the winner. What would there be to disagree with here? The winning song is a masterpiece and one of the best winners still, forty-six years later.

It has a very modern feel, a raw youthful energy, rather philosophical lyrics, a naïve charm in France Gall, and more than a hint of... well, lust. And sex. For the first time in the history of the contest.

The whole song is a wake-up call to the old generation, the ominous knock on the door, that the old times are over and something new is about to take over and make its way even inside this clean-cut competition.

Real winner:
France Gall - Poupée de cire, poupée de son (Luxembourg)

The five best winners ever... according to Tobson

For the people who know me, it will come as no surprise that I am hopelessly down with old, bombastic and dramatic eurosongs in French. And when I compile my all-time top five of winners, that the French dominate completely.

The most surprising and unpredictable thing about my list is that it includes six songs, not five. Silly, I know. But these six songs are so clearly above the rest of the winners in my list, it would be blasphemous not to include them all.

Sixth place:



Corinne Hermès - Si la vie est cadeau (Luxembourg 1983)

Wonderfully breezy, airy big ballad - the last winner representing this genre - in a great vocal delivery by Corinne Hermès. It wasn't a huge commercial success at the time and is a bit forgotten among winners these days. Which is ridiculous. Fantastic stuff!

Fifth place:



Séverine - Un banc, un arbre, une rue (Monaco 1971)

This is such a fantastic evergreen - a mega hit at the time, translated into most languages. In Finland, for instance, I'm sure more people think of this as a Finnish song rather than an ESC winner because the domestic version was so popular. Classic but not dated.

Fourth place:



Marie Myriam - L'oiseau et l'enfant (France 1977)

This could be a bit old-fashioned in the sense that it keeps growing on me and the older we both get, the more I love it. In my eyes, it keep unfolding and growing intro something bigger, better and more beautiful every time. Also this one made it big in various versions around the continent, and maybe nothing can be better praise than people thinking your song is their own.

Third place:



France Gall - Poupée de cire, poupée de son (Luxembourg 1965)

It is beyond me how a song written in 1965 can still sound so modern and up-to-date as this one. Shockingly modern at its time and the first song with a pop sound ever to win the ESC. Do not think we are not grateful! France herself has had a bit of a problem accepting this older part of her career, but I hope she also recognises what a fantastic song this is. The ever-growing number of cover versions of it just underlines how indestructible this masterpiece is. If you want to see the performance from Naples (impossible to imbed for some reason) it can be found here .

Second place:



Vicky Leandros - Après toi (Luxembourg 1972)

When the sun sets in Euroland, it is never to rise again. When the heart is broken, no glue can put the pieces back together. The emotion of this song is strong enough to knock down an elephant, and the performance by Vicky is almost frighteningly spot on. Surprisingly, and disappointingly, it works very badly in its English and German versions, where some silly lyricist made happy, cheerful lyrics for it. How do you ever come up with such a bad idea, when it is so clearly a song about heartbreak?

Number one:



Anne-Marie David - Tu te reconnaîtras (Luxembourg 1973)

What can I say? Every time I hear it, I am surprised at just how good it is. The powerful intro, the fantastic verse, the explosive chorus... And then the marvel of the piano bridge between the chorus back to the verse. I am totally blown away. Both by the song and by Anne-Marie. The best winner ever in my book, and very likely to stay at that number one spot for a long time to come.

Out of these six, all but one is produced in France ("Après toi" is a German production), and all of them won before I became an active follower of Eurovision.

Maybe I am a bit hard on the newer songs - there are many brilliant winners after 1983 as well - but they don't have the same magic and shine about them.

What are your favourite winners? Let me know by leaving a comment!

Preview clip: Luxembourg 1984

After winning the ESC for a fifth time in 1983, Luxembourg decided to have Sophie Carle represent them on home ground in Theâtre Municipal.

Sophie was, unlike most singers representing the Grand Duchy, actually born in Luxembourg, and was more experienced as a model at the time of the contest.

RTL had provided pretty basic eurovision previews until this moment, but by 1984 a hit song needed a professional video clip in order to sell itself. Sophie was given a stylish, modern clip, showcasing quite a lot of the same technology later used in the postcards during the ESC final.



Sophie Carle - 100 % d'amour (Luxembourg 1984 preview)

RTL probably thought they had a potential hit on their hands, and it could have been one. The sound was very contemporary and the song had a catchy chorus, but unfortunately Sophie Carle's nerves got the better of her.

Apparently she could really sing, but on the night of the final not quite every note hit home. The host nation ended in 10th place and the song was never the hit it would have deserved to be.



Sophie Carle - 100 % d'amour (Luxembourg 1984)

The end of French domination

For the first thirty years of the Eurovision Song Contest, the French music industry was the biggest force in the game. Especially in the 60's and 70's, when the French labels had their heyday and represented not only France but also Luxembourg, Monaco and, at times, Switzerland.

The German music industry, the biggest market in Europe, was never even close. Germany's own placings were often dismal and disappointing, and they seldom exported anything successful to other countries. (The 1972 winner for Luxembourg being one of the notable exceptions.)

The British music market never had as much impact as they could or should either, partially because the BBC always played it safe and never sent any really provocative or ground-breaking entries.

French products won the contest in 1958, 1960, 1961, 1962, 1965, 1969, 1971, 1973, 1977 and 1983. On top of that, another four winners have been performed in French (without being Made in France): 1956, 1972, 1986 and 1988.

But then the French empire crumbled, largely due to the French record labels losing their interest. The ESC didn't lead to large sales anymore and the French touch didn't hit home with the juries anymore.

In 1986, the French speaking entries had their last glory days, as all top three entries were performed in French.



Sandra Kim - J'aime la vie - (Belgium 1986 - 1st place)



Daniela Simons - Pas pour moi (Switzerland 1986 - 2nd place)



Sherisse Laurence - L'amour de ma vie (Luxembourg 1986 - 3rd place)

What about the fourth entry performed in French that year? Almost as a symbol of the French decline, France scored a total of 13 points and and ended way behind the other three.



Cocktail Chic - Européennes (France 1986 - 17th place)

These days, French music does not export itself the way it used to do, and the success of most French singers is limited to the French-speaking world.

This goes for Eurovision as well where no song in French has won since 1988. No song in French has made top three since 1993. When will they get back to the top? Will they ever?