‘The top three is the place to be’ – Jaz, 2016. That’s a quote that that must hold truth because it rhymes. And because it just does. I mean, if you entered a contest and neither first nor second was on the cards, third wouldn’t be a bad consolation prize (and there’d probably be an actual consolation prize involved too. Bonus!).
What I’m trying to say is that the upper echelons of the Eurovision scoreboard are the spaces every act wants to be occupying by the end of final night. Making the top 10 is awesome; the top 5, even better. But it’s the bronze, silver and gold positions that everyone aims for, and that have been secured by countless douze-attracting songs since the ESC’s early days.
As such, I thought it was about time to shine the spotlight on the best of the best in that department – at least as far as I’m concerned (as always, you’ll get your chance to disagree with me afterwards). So, with that in mind, here’s a countdown of my favourite top three trios from the entirety of Eurovision history *insert trumpet fanfare feat. dubstep breakdown here*.
By the way, this post was inspired by the Rio Olympics (gold, silver and bronze medals, reaching the “podium”…you get the idea), and yes, it was supposed to be published in August. Oops. Well, if orange is the new black and forty is the new thirty, then I guess October can be the new September. So it’s not even that late, really.
Let’s get into it!
#10 | Harrogate 1982
Ein Bißchen Frieden by Nicole (Germany), Hora by Avi Toledano (Israel), Amour On T’Aime by Arlette Zola (Switzerland)
A little peace, a little dance and a little love kick off my countdown based on their collective strength. Sometimes less is more (yes, even at Eurovision), and that was extra evident in 1982 when the Bucks Fizz Skirt-Ripping Schtick™ was succeeded by Nicole’s sentimental ballad. That’s not to say that an in-your-face, high energy piece of pop didn’t have its place – it snapped up second, as a matter of fact. Hurray for Hora! Subtlety sandwiched Israel, however, with Germany on top and Switzerland’s Arlette in third. The ranking was right, I reckon.
My personal top pick Ein Bißchen Frieden
#9 | Brighton 1974
Waterloo by ABBA (Sweden), Si by Gigliola Cinquetti (Italy), I See A Star by Mouth & MacNeal (The Netherlands)
I don’t doubt that the right song and act won Eurovision in Brighton. Anyone who does deserves to be decapitated with a vinyl copy of Arrival, to be honest. But ABBA had some stiff competition snapping at their platform heels back then, in the form of some great songs that have stood the test of time. Gigliola’s comeback Si nearly secured her a second contest win, with its grandiose sophistication proving she wasn’t ‘too young’ anymore. I See A Star is serious fun that didn’t have quite the same earworming ability as Waterloo, but made a wonderful impression nonetheless. All three songs are Seventies gold (ABBA pun possibly intended).
My personal top pick Waterloo
#8 | Dublin 1995
Nocturne by Secret Garden (Norway), Vuelve Conmigo by Anabel Conde (Spain), Se På Mig by Jan Johansen (Sweden)
Mystery and drama were the buzz words of the ’95 top three, with Sweden and Spain having one apiece up their respective sleeves and Norway boasting both (massive sleeves were clearly the go back then). I must admit that Vuelve Conmigo, the fan favourite, pales in comparison to the songs that surrounded it on the scoreboard, in my opinion. But that’s not an indication of how inferior I think it is. It’s actually an indication of how deep my love is for Nocturne, and in particular, Se På Mig. Ja, my Swedish bias is still alive and kicking.
My personal top pick Se På Mig
#7 | Copenhagen 2014
Rise Like A Phoenix by Conchita Wurst (Austria), Calm After The Storm by The Common Linnets (The Netherlands), Undo by Sanna Nielsen (Sweden)
Once again, two broadly similar songs were divided by something totally different with Copenhagen’s highest-scoring trio. Austria = a big, Bond-type ballad performed to perfection by a hot woman in a stunning dress. Sweden = a big, electro-tinged ballad performed to perfection by a hot woman in a stunning dress. The Netherlands = the sleeper hit that few of us saw coming until we saw it on the Hallerne stage. To sum up, that’s three awesome songs with charismatic artists and impressive staging elevating them even higher.
My personal top pick Undo
#6 | Rome 1991
Fångad Av En Stormvind by Carola (Sweden), C’est le Dernier Qui a Parlé Qui a Raison by Amina (France), Kan by Duo Datz (Israel)
If I must momentarily hop off the top-three train at Justification Station for this one, then I’ll do so in numbers. 1 – Carola. 2 – Dreamy, ethnic pop from France with an exotically long title. 3 – Carola. 4 – Duo Datz upping the fun and the size of their shoulder pads. And 5 – CAROLA! Let’s face it (if you’re reading this as a fellow Carola enthusiast, you’ll agree): the entries below hers could be utter crap and she’d still drag up the quality because she’s so fabulous. However, they weren’t. In fact, France’s was so magnifique, it lost to Sweden’s entry on countback rather than by points.
My personal top pick Fångad Av En Stormvind
#5 | Istanbul 2004
Wild Dances by Ruslana (Ukraine), Lane Moje by Željko Joksimović & Ad-Hoc Orchestra (Serbia & Montenegro), Shake It by Sakis Rouvas (Greece)
There’s a clear weak link in this top three for me, and I can’t just Shake It off (#seewhatIdidthere). But the mind-blowing brilliance of the other two entries more or less cancels that out. Ukraine’s first winner (I’m so happy we can say that now) is iconic on Planet ESC for being whip-cracking ethno-pop perfection that stood head, shoulders and skimpy leather outfits above the rest. Apart, of course, from a little thing I like to call MY ALL-TIME FAVOURITE EUROVISION SONG WITHOUT QUESTION. Sometimes, I even call it Lane Moje. It’s the pinnacle of Balkan ballads, and I refuse to hear otherwise.
My personal top pick Lane Moje
#4 | Riga 2003
Every Way That I Can by Sertab Erener (Turkey), Sanomi by Urban Trad (Belgium), Ne Ver, Ne Bojsia by tATu (Russia)
One of the most tense voting sequences ever – possibly the most nail-biting in the era of random point-giving orders – took place in 2003, if you can remember that far back in time (I know it seems like five years ago, but it was actually THIRTEEN). Favourites Russia had the least impressive entry of the three fighting for first place, but even when they’re not brilliant, they’re far from bad. In a turn of events echoed in 2016, Russia finished third. Ahead of Ne Ver were the epic Sanomi and the oh-so-Eurovision ethnopop of Every Way That I Can, both of which helped make this a tremendous top three.
My personal top pick Every Way That I Can
#3 | Brussels 1987
Hold Me Now by Johnny Logan (Ireland), Lass Die Sonne in Dein Herz by Wind (Germany), Gente Di Mare by Umberto Tozzi & Raf (Italy)
I’m not about to dispute a win by Mr. Eurovision himself (not to be confused with Mr. Lordi, who prefers distressed leather and hard rock to white suits and power ballads). Hold Me Now is my number one – the only treasure I’ll ever haaaaave – of Johnny Logan’s three ESC winners, no doubt. Still, there was some great stuff mere points behind it. German reggae totally works when Wind are responsible for it, and LDSIDH always has me searching for sunshine and craving piña coladas. Gente Di Mare just makes me admire the effortless class of Italian music.
My personal top pick Hold Me Now
#2 | Vienna 2015
Heroes by Måns Zelmerlöw (Sweden), A Million Voices by Polina Gagarina (Russia), Grande Amore by Il Volo (Italy)
Last year’s gold, silver and bronze-winning musical masterpieces were another example of vastly different songs fighting for first place. It was dance-pop with an Avicii-esque country twang (SHRN…or at least SHAYA, meaning so hot a year ago) that topped the table, followed by a peace ballad feat. the traditional Eurovision key change, which in turn was followed by the sexiest Italian opera I ever did see. That’s variety, my friends, and I for one LOVED it.
My personal top pick Heroes
#1 | Athens 2006
Hard Rock Hallelujah by Lordi (Finland), Never Let You Go by Dima Bilan (Russia), Lejla by Hari Mata Hari (Bosnia & Herzegovina)
None of these three entries are my favourite of all time, but their overall awesomeness sent them shimmying straight to the top of my list (Lejla is up there with my most beloved Balkan ballads, anyway). Hard Rock Hallelujah was a winner that opened the minds of non-rock lovers and surprised those who didn’t think something so heavy could succeed in the contest. Dima Bilan’s first ESC trip displayed Russia’s talent for fusing R&B with pop (and their talent for stuffing people into pianos). And Lejla…well, let’s just say that Željko Joksimović is capable of working his magic (in a way that would have impressed Koldun) for countries other than just Serbia and/or Montenegro.
My personal top pick Lejla
That brings me to the conclusion of this countdown – and let me tell you, it’s reminded me in a big way of what it takes to enter top three territory at Eurovision (I was asking for a friend). In case you didn’t get the memo, ‘it’ = stuff like lots of white, whips, horns (the musical and monster kind)…basically, anything lifted from the lyrics of Love Love, Peace Peace. Who would have thought?
Now, since I’ve showed you mine, it’s time for you to show me yours. Which top three entries from ESC history have impressed you the most – a collection of classic chansons, or a more modern first, second and third? Let me know in the comments so I can judge your poor taste as much as you’ve judged mine. It’s more fun if we all get to bring out our inner bitches so they can party together!
Until next time,
PS – If you suspected that Stockholm 2016 might make it on to my list, then you should know that I purposefully omitted it. That’s because I didn’t think enough time had passed since Ukraine, Australia (!) and Russia topped the table to determine whether they make up a classic top three; one that holds its own against the rest and will do for years to come. For the record though, it would have made my personal top 5.