(Back in 2008 during the earliest months of this blog, I uploaded some blog entries about lesser known Eurovision Song Contest entries to coincide with the appearance of the contest's semi-finals on television. Hardly anyone read them. This might partly be because hardly anyone knew about the blog at that point, or it may have had something to do with the fact that "Left and to the Back" doesn't have a very Eurovision-friendly audience. But I'll be repeating both the entries here this week because… well… why not? The times have moved on a bit, and there's every chance they will actually be read this time around.
Coincidentally, this year's British entry - which has so far received what can only be politely called a "mixed" reception - is written by David Mindel whose flop popsike single we talked about a mere few entries ago.)
It's Eurovision Song Contest week, ladies and gentleman, and I'm afraid it's beyond my ability to ignore that very significant fact. Whilst the songfest is often mocked by people who haven't watched it in over a decade and therefore seldom know what they're talking about, lovers of backwater pop oddments (which must be you - what are you doing reading this blog otherwise?) will find at least a few ditties to treasure every single year. They normally crash and burn on the final scoreboard, of course, as the majority of international voters favour middle of the road efforts rather than the more peculiar aural trinkets out there.
The trouble is, whilst the contest might seem like easy meat for a blog like this one, it's difficult to find entries that haven't already had maximum publicity elsewhere in the media. If they're unfathomably bad, chances are the BBC showed them in one of their slightly condescending "Crikey, look at these funny foreigners who think they're talented! Who'd have thunk it, eh?" historical summaries they seem to show every year. Any artist who finished with nul points at the bottom of the board enters an unenviable hall of fame, and becomes known in a manner they almost certainly wouldn't be if they'd just released their song on a small record label and let it sell the twenty copies it was probably destined to.
There are exceptions, however. The rather marvellous Telex from Belgium - bottom rung finishers in 1980 - deliberately entered the ridiculous Kraftwerk styled "Eurovision" to scattered applause. Their concessions to choreography on the night revolved around the gentle movements of their scarves, a piece of sly subversion which would have earned them a vote from me at the very least.
If you're in any doubt that the above isn't especially representative of the band's fare, here's the video to "Moskow Discow", which proves they were utterly ace when they wanted to be.
If you think such electronic diversions are a rarity in Eurovision, you wouldn't be entirely wrong... but the times they are a-changing, as Georgia's Bjorkish entry for 2007's contest proves. Sopho's "Visionary Dream" is still on my iPod playlist now, and shows that when you combine throttling diva-ish vocals with squelching, honking keyboards, you get something which... doesn't perform that well on the final scoreboard, really. Nonetheless, this is genuinely one of my favourite Eurovision songs of the past decade:
And finally, for this entry, let's finish on one of the few Ska entries there's ever been on Eurovision (to the best of my knowledge), Athena's "For Real" in 2004. If the lead singer hasn't considered growing himself some hair and becoming the Turkish Kevin Rowland on the tribute band circuit, he certainly should do - there would be a pretty penny in it for him, and that's for sure. This finished in a quite creditable sixth place at the time, though it deserved to romp home given the feeble competition that year.
I will be back with some more Eurovision material later in the week, before the main contest on Saturday night.