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Eurovision Insight Podcast: Juke Box Jury 2012 #8 Written by on May 13, 2012 | 2 Comments

Just a day or two late, thanks to the flights and schedules of the team, but just as the first rehearsals get under way, we reach the tend of this year’s Juke Box Jury shows.

Taking our hosts Azerbaijan, and the Big Five, Ewan welcomes back Keith Mills and Dermot Manning to the judges bench. Do we have a hit, a miss, or a maybe, for some of the biggest names in the Contest?

Eurovision Insight Podcast: Juke Box Jury 2012 #8
With Keith Mills and Dermot Manning

Germany: Standing Still, by Roman Lobb.
Azerbaijan: When The Music Dies, by Sabina Babayeva.
The United Kingdom: Love Will Set You Free, by Engelbert Humperdinck.
Spain: Quedate Conmigo, by Pastora Soler.
France: Echo (You and I), by Anggun.
Italy: ‘Amore E Femmina, by Nina Zilli.

Don’t miss an episode of this year’s Juke Box Jury (or any of The Unofficial Eurovision Podcast episodes) by subscribing to the RSS feed dedicated to the podcasts. iTunes users can find us in the iTunes Store and get the show automatically downloaded to your computer.

Looking for the 2012 Eurovision MP3′s? and help the ESC Insight team buy a coffee in Baku!


About The Author: Ewan Spence

British Academy (BAFTA) nominated broadcaster and writer Ewan Spence is the voice behind The Unofficial Eurovision Song Contest Podcast and one of the driving forces behind ESC Insight. Having had an online presence since 1994, he is a noted commentator around the intersection of the media, internet, technology, mobility and how it affects us all. Based in Edinburgh, Scotland, his work has appeared on the BBC, The Stage, STV, and The Times. You can follow Ewan on Twitter (@ewan) and Facebook (

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2 responses to “Eurovision Insight Podcast: Juke Box Jury 2012 #8”

  1. Miss Purple says:

    Germany’s song isn’t bad, it’s perfectly pleasant with a nice looking guy (dunno where Keith get the idea that he looks threatening, maybe it’s the tattoos…), can’t see it winning but it’s late enough in the draw to not completely rule it out. I think this could be a dark horse for top 10.

    To me, Azerbaijan’s song is just a generic collage of Western ballad clichés with a bit of traditional flute thrown in to jazz it up a bit. I did watch her in Amsterdam and she is a good singer, but I’m really not feeling it.

    When The Hump was first announced as our act I was horrified, then I calmed down and waited until the song before completely being ashamed of our entry. Then the song came along and it’s actually pretty good. The crappy draw does worry me, but if we get on the left side of the scoreboard I’ll be happy. 🙂

    Spain’s song is growing on me, she’s a really good performer as well. It does have slight “fanwank” vibes about it though and I don’t think it’ll do as well as people think it will, but it certainly won’t be rock bottom by any stretch.

    I quite like France’s song, however that really abrupt keychange in the intro is really disorientating, and I’ll admit that this is the only Big 5 country that I can’t see being top 10.

    I really like Italy’s song, I think this will be the highest scoring Big 5 country, however I can’t see it winning because I don’t think they’ll get enough televotes to do it, to me you need to be top 5 with both juries and televotes to be a real contender to win. I want it to do well though.

  2. Zolan says:

    Well, having somehow convinced myself that I should comment on every song or none at all, I’d better finish what I started between following rehearsals.

    Germany: A good song with great subject matter and well performed, but too bland for my liking.

    Azerbaijan: There are several highlights and interesting details here, but as good as her delivery is I find it too heavy and overbearing. However, the right stage performance could win me over.

    UK: 3/4 time will invariably feel awkward if you don’t get comfortable with it. The key changes are a destructive mistake, and also a poor substitute for more interesting possibilities. A good song, but not one that I enjoy very much.

    Spain: I’m not generally a fan of this genre, but it ramps up quickly enough to keep me interested. And it gets me every time. It’s simple and completely transparent, but it feels so good. It’s not a bad thing for Pastora to have more in reserve.

    France: This was instant for me in the same way as Iceland in that I already knew how to listen to it. Run-on verses, funky bassline, electronic accents etc. Oh yeah.

    Italy: What’s Italian for “bebop”? This is a song with Angles. Although I prefer France myself, this clearly has the edge competitively.

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