Which makes this single the end of one era and the beginning of another. As an addendum to my above post @73, I just did a quick run on the software for the ratings I have here. "[12] Swedish newspaper Expressen called it a "sticky yummy pop pastry". Similarly Vikki Watson had one of the best scores of the 80s in 1985 and ratings jump up for that year. I realise that this is not the exact issue at hand – but the show itself is undeniably popular in the UK. …and as the Floral Dance never made the top spot, Eurovision seems to be the best place to mark the passing of Sir Michael Terence Wogan. This should have won in 1996. Hi NRG performance of course, but it also reminds me of the other meaning of the initials NRG – No Ruddy Good. As a result, two Apple Mac personal computers were on the stage - one beside each synthesizer. It was rumored to be about a drug dealer, but Black Francis says it's just a story about some hobos who travel by train and die in an earthquake. It's easy to predict this single scoring similarly high marks here, thanks in large part to her kewpiedoll vocals and the song's tasty, sugarcoated melody. Note the early noughties slump only to recover a little when Jessica Garlick represented us in 2002, the abysmal 2010 rating (Josh Dubovie+glorious heatwave of a day) followed by the huge 2011 rating (Blue+Jedward) and not doing too badly in recent times. Popular Lucky Dip (a random post), Tom invented Freaky Trigger on a bus journey in the mid-90s. [24] Two female dancers dressed in pink and yellow backed up Gina G, dressed in a short thigh-skimming glittery metal dress. Conductor Ernie Dunstall orchestrated and conducted "Ooh Aah... Just a Little Bit" on stage with a minimal orchestral accompaniment. It’s brisk, good-quality bubblegum: a springy keyboard part, a chugging rhythm, and a few fine lines – “Every night makes me hate the days” – laid down with enough conviction to cross the line between corny and effective. ", following as the 3rd entry of Eurovision 1996. Sigh… the last Eurovision #1. “Ooh Aah” is the work of Motiv8, producer and remixer Steve Rodway, who’d become known for colourful, energised, wonderfully unsubtle mixes that smooshed up pop songwriting with handbag house euphoria. Freed from any hope that it might reflect or divert the currents of modern pop, Eurovision could settle fully into the role in British pop it had half-played for years. Also, for possible curiosity, here are the UK ratings for every contest since as far as I’ve been able to go back in 1998. "[14], Göteborgs-Tidningen described it as a "danceable naughty pop song". A Fact or Fiction all about yacht rock and those who made it. 2011: 9.68 million Wander around in the archives, or join in with the marvellous bunch of commenters we've managed to attract - new voices always very welcome! Never mind, it’s February tomorrow. 1971: 18.7m AllMusic editor Stephen Thomas Erlewine described the song a "great guilty pleasure". Joni Mitchell's "Big Yellow Taxi" is about the commercialization of Hawaii. [17] People Magazine stated that Gina G's adding "a dusky undercurrent and a teasing touch of sultriness" to the song. Year of the Goat ends in less than a week. And in Belgium, Czech Republic, Finland, Ireland, Scotland and Sweden the song peaked within the top 10. Europe doesn’t hate us (many of our music acts are very successful in mainland Europe, but try tell that to the xenophobes churning out that excuse every year), they just hate our crappy and badly-performed entries. The song was the United Kingdom's entry in the 1996 Eurovision Song Contest. #66 From the figures given, the yearly average across the decade would round to 8 million. [8] J.D. 1969: 17.6m Given the size of the audience and its relatively broad profile, you’d think the UK/BBC might be more invested in ensuring a good song/performance is chosen for the night. But then the ratings system as we know it today didn’t properly begin until August ’81, so that’s probably where the confusion lies. It’s a shame that whoever is in charge of choosing the entrants simply doesn’t care. Seems like seven million is the average Eurovision audience in the last decade. On the night of the Eurovision 1996 final – held on 18 May 1996 in Oslo Spektrum, Norway – "Ooh Aah... Just a Little Bit" was performed 2nd in a field of 23 songs being preceded by the Turkish entry: "Beşinci Mevsim", with the Spanish entry: "¡Ay, qué deseo! 1965: 12.32m Christopher Cross with Deep Purple? 1967: 19.58m 1999: 8.91 million Amazing, thanks! Anyone saying that didn’t see the other 20 odd songs. [15] NME called it a "frenzy of techno-friendly tunefulness"[16] and noted its "unshakeable" chorus. I YouTubed this alongside Love City Groove and had my recollection confirmed that the latter was of much greater interest – featuring, as Punctum noted at #19, Q-Tee, who also features on one of my St Etts favourites “Calico”. "Ooh Aah... Just a Little Bit" is the Grammy Award-nominated debut solo single by Australian singer Gina G. The song was written by British songwriters Simon Caldwell and Steve Rodway, and was released as a single on 25 March 1996. A page about what he's up to can be found, Required (Your email address will not be published), Start As You Mean To Go On... Eurovision nation intros, So on Saturday we ran a fun little club night called Europoptimism, which was partially to celebrate the fact that Eurovision is coming up. More songs from Gina G. More songs that got a recording contract for an artist; More songs on the Eurovision Song Contest; 2013: 7.83 million, @65: ‘The BBC are the main obstacle to Eurovision being taken seriously in this country. A fair few discrepancies with what Offthetelly wrote in 2000, it agrees with the late 60s/early 70s being its peak but quotes a rather astonishing 23.2 million for Bucks Fizz’s win in 1981. That chorus could have been the follow-up to “Making Your Mind Up” and it makes “Ooh Aah” a smidgen too cosy. 1984: 9.8m I wonder whether the UK’s bye to the final might work against them. "Here Comes Your Man" is the closest the Pixies came to a hit in America. BuzzFeed listed the song at number 25 in their list of The 101 Greatest Dance Songs of the '90s in 2017. She completely transformed it into a dance anthem, retaining only the first line of the chorus, the phrase "Ooh aah just a little bit. It presented a comfortable image of what European pop was: gaudy, kitschy, ironic and out-of-date. The same joy carried over to lesser known acts – girlband Crush and their superb “Jellyhead”, for instance. At the same time, though, the definition of Europe itself was expanding. If only we could look at Sweden for example, their national selection is the biggest show in the country and most of the songs taking part reach the Swedish charts. Austin American-Statesman called it "perky". This applies whether the definition of “last decade” is 2000-9, or 2004-13, and whether “average” is calculated as the mean or median. 1982: 14.5m means no contest. 1986: 9.8m "Just a Little Bit' singer sees pop as therapeutic". 1977: 20.02m February will be fine. Popular is funded by the generosity of my Patreon patrons. It is also somewhat more balanced than these shows – something like 56% of the adult audience is female (more gender balanced than you might expect – X Factor’s main show and live results current gender balance is 62% female and Strictly’s main and live results shows are also 62% female) and 48% of the audience is ABC1 Adults (X Factor is 46%, Strictly is 58%). I am only a fair-weather Eurovision fan, but the impression I get is that the shows are more entertaining than ever, because of the wider range of ideas and tastes that get an airing. She discusses some of her songs and explains what inspired John Lennon's return to music in 1980. . There are not many programmes that pull in that amount of viewing. But unlike most British Eurovision attempts from this point, at least it doesn’t feel cynical. I don’t think anyone could point to a Golden Age of Eurovision when the winners were so much better than they are today, because the UK and a few other NW Euopean countries dominated. But REAL POP! Q-Tee wrote Love City Groove as well, which was a Eurovision entry when she was still a teenager. Especially considering that the UK isn’t guaranteed a top ten place any more. And all the Eurovision songs are…, Making Your Mind Up: How Eurovision Caused Brexit, FAKE NEWS! 1974: 18.04m As of 2020, the song is still the last Eurovision entry of the United Kingdom to peak at the top of the country's chart. We just need to send a good song. If Germany can win it, we can too. A bit like France complaining that they were at a disadvantage in the 2002 World Cup because they hadn’t had to qualify. "[9] Larry Flick from Billboard wrote that "adorable Australian ingénue has already enjoyed massive pop success throughout Europe with this instantly infectious hi-NRG dance ditty. 1998: 9.68 million It’s like a Pop European Cup, on TV. This is where I come in to Eurovision, the earliest contest I remember thanks to this song getting huge play on various Children’s BBC programmes and Newsround coverage. In Israel the single reached #1. 2002: 7.81 million The passing of an era – this is the last (to date) directly Eurovision-related Number One, 29 years after the first. [citation needed], Note: Entries scored out are when the United Kingdom did not compete, Israel Top-30: 1 week at No. I run a Eurovision-related site and you don’t know how much it frustrates me that my own country has such a shitty attitude to Eurovision. When "When I Think of You" hit #1, Janet and Michael Jackson became the first siblings with chart topping solo hits in the United States. Countries that have been through the semi are being heard by the voters for a second time and thus more familiar, whereas our entry is going in cold. 1980: 14.1m Seeing this again, the intro is sprightly enough – the old SAW trick of getting the hook in early – but nothing of any great merit builds from it.

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