Watch: The Rasmus qualify for Eurovision Contest Final with 'Jezebel'
They performed the track in Turin last night
Finnish ‘In the Shadows’ rockers The Rasmus have qualified for the Eurovision Song Context final on Saturday night (14th May).
Representing their home nation of Finland, The Rasmus, consisting of singer Lauri Ylönen, bassist Eero Heinonen, drummer Aki Hakala and new guitarist Emilia "Emppu" Suhonen, opened up the second semi-final in Turin, Italy last night with a rip-roaring rendition of their song ‘Jezebel.’
Penned by Lauri Ylönen alongside serial hitmaker Desmond Child (KISS, Bon Jovi, Aerosmith, Alice Cooper), ‘Jezebel’ won the 2022 edition of Finland's annual Eurovision song selection competition, Uuden Musiikin Kilpailu, back in February.
Last night’s performance opened with a shirtless Ylönen singing while wearing a yellow raincoat and clutching a balloon, before the band launched into their energetic performance while flanked by giant balloons.
18 countries contested the first semi-final with only 10 qualifying slots available for the grand final, and, following a viewer vote, The Rasmus made it through.
Watch The Rasmus perform ‘Jezebel’ at Eurovision semi-final:
The Rasmus will be hoping to become the second consecutive rock act to win Eurovision following Måneskin’s triumph in 2021.
On Tuesday, Bulgarian rock collective Intelligent Music Project, fronted by Rainbow and Michael Schenker Group vocalist Ronnie Romero, failed to make it through to the Eurovision final.
As part of the so-called ‘Big Five’ alongside France, Germany, Italy, Spain, the United Kingdom gets a free pass to the Eurovision final and doesn’t have to compete in the semis.
The five countries are the highest-paying European Broadcasting Union members, so they get an automatic right to compete.
Sam Ryder is representing the UK this year with ‘Space Man’ (not a Babylon Zoo cover) and he’ll be hoping to better the NUL POINTS James Newman scored with ‘Embers’ in 2021.
The rejected working titles of 20 famous rock albums:
Metallica – ‘Metal Up Your Ass’ (final title: ‘Kill ‘Em All’)
Metallica's seminal debut album 'Kill 'Em All' from 1983 was originally set to be called 'Metal Up Your Ass' and featured artwork of a hand clutching a dagger emerging from a toilet bowl. The band changed it to 'Kill 'Em All' upon the advice of late Megaforce Records founder Jon Zazula who was rightfully worried that distributors may refuse to stock the album. Metallica did later release a 'Metal Up Your Ass' T-shirt containing the proposed artwork, and a 1982 bootleg recording of Metallica's show at the Old Waldorf also featured the sleeve.
Metallica – ‘Metal Up Your Ass’ (final title: ‘Kill ‘Em All’)
Metallica's rejected 'Metal Up Your Ass' artwork and album title. Fan sites claims that late-great bassist Cliff Burton renamed the album when out of anger, he said, "I hate the managers. Let's just Kill 'Em All".
Iron Maiden – ‘Food for Thought’ (final title: ‘Piece of Mind’)
Iron Maiden initially called their fourth studio album 'Food for Thought' after the heavy metal legends opted to include a lobotomised Eddie on the sleeve. However, when Maiden decamped to Jersey to write songs for the 1983 record, they changed the title to 'Piece of Mind' during a boozy session in the pub.
Red Hot Chili Peppers – ‘Dr Johnny Skinz's Disproportionately Rambunctious Polar Express Machine-head’ (final title: ‘I’m With You’)
Easily the most jaw-dropping working title on our list, Red Hot Chili Peppers took inspiration for the 'Dr Johnny Skinz's Disproportionately Rambunctious Polar Express Machine-head' album moniker from an acid trip one of Anthony Kiedis' friends had. Kiedis told Spin: "(My friend) was reminiscing about one of his legendary acid trips and told us that he had been playing a sold-out show to the planets and moons, and his Number One hit was, well, that title." Red Hot Chili Peppers sadly ditched the title and called their 2011 album 'I'm With You.' Boo!
Pixies – ‘Whore’ (final title: ‘Doolittle’)
In keeping with many of the biblical themes embraced on Pixies' second studio album, Black Francis initially called it 'Whore' in reference to the Whore of Babylon. The song 'Hey' also features the lyrics "Must be a devil between us / Or whores in my head / Whores at the door / Whore in my bed." In the end, Pixies called their 1989 album 'Doolittle.'
Pink Floyd – ‘Eclipse’ (final title: ‘The Dark Side of the Moon’)
Pink Floyd had always wanted to call their 1973 magnum opus 'The Dark Side of the Moon', however they were forced into a rethink when they discovered that blues rock band Medicine Head had called their third album 'Dark Side of the Moon' a year earlier. The title was temporarily change to 'Eclipse'; however Pink Floyd ditched the title once they discovered that Medicine Head's album was a commercial flop. Pink Floyd's 'The Dark Side of the Moon' went on to become one of the best-selling albums of all time.
Green Day – ‘Liquid Dookie’ (final title: ‘Dookie’)
Inspired by their poor diets on tour that led them to get bouts of diarrhoea, pop punk stalwarts Green Day initially wanted to call their third studio album 'Liquid Dookie.' "We had a faecal fascination in those years," admitted drummer Tré Cool. The title was deemed "too gross" by their label Reprise and trio settled on a shortened 'Dookie' for their 1993 tour-de-force.
KISS – ‘Who Dares Wins’ (final title: ‘Crazy Nights’)
Late drummer Eric Carr came up with the idea to call KISS's 14th album 'Who Dares Wins' after seeing the slogan on a piece of clothing. "During a photo session, our wardrobe girl had this commando patch lying around with 'Who Dares Wins' on it, and I said, 'Hey, what a great idea for an album title!'," Carr said. "Then she brought it over to Paul (Stanley) who said the same thing. We ended up not using it because it didn't look good in print, and it sounded as if no one would understand it." Despite KISS ditching the title for 'Crazy Nights', 'Who Dares Wins' featured in some Japanese advertisements for the record.
Fleetwood Mac – ‘Yesterday’s Gone’ (final title: ‘Rumours’)
While recording their 11th studio album at the Record Plant in Sausalito, California back in 1976, Fleetwood Mac gave it the title 'Yesterday's Gone' from the lyrics to their future single 'Don't Stop.' John McVie came up with the final 'Rumours' title as he felt the respective Fleetwood Mac band members were writing "journals and diaries" about each other through the music.
U2 – ‘The Two Americas’ (final title: ‘The Joshua Tree’)
With many of the lyrics contrasting antipathy towards the politics of the United States with the band's deep fascination with the vast country, U2 frontman and lyricist Bono initially wanted to call the band's fifth album 'The Two Americas'. He said, "I started to see two Americas, the mythic America and the real America." Another working title was 'The Desert Songs', however it was changed to 'The Joshua Tree' when U2 decamped to the Mojave Desert with photographer Anton Corbijn to shoot some images for the sleeve. Corbijn suggested the title and Bono was suitably impressed when he read up about Joshua trees' (Yucca brevifolia) links to Mormon legend.
The Clash – ‘Last Testament’ (final title: ‘London Calling’)
According to Billboard, The Clash were going to call their third album 'Last Testament' in keeping with the notion that the double LP would close a chapter in music history that had begun with Elvis Presley's RCA debut in 1956. Although the working title was ditched in favour of 'London Calling', The Clash directly parodied the design for the 'Elvis Presley' sleeve on their album cover. Instead of Elvis it featured the iconic Pennie Smith photograph of bassist Paul Simonon smashing his Fender Precision Bass on stage in New York in September 1979.
David Bowie – ‘New Music: Night and Day’ (final title: ‘Low’)
David Bowie called his experimental 11th studio album 'New Music: Night And Day' and it still had the title when Bowie's schoolfriend George Underwood commenced work on the album artwork. Bowie changed the title to 'Low' at the eleventh hour and the album was already mentioned in various forthcoming release lists for January 1977 as 'New Music: Night And Day.' The labels on some international cassette editions of 'Low' also featured the 'New Music: Night and Day' title on the cassette sticker but the final title on the sleeve.
Led Zeppelin – ‘Thanksgiving’ (final title: ‘Presence’)
Led Zeppelin completed work on their seventh album on 26th November 1975, the day before Thanksgiving, leading Robert Plant to suggest naming it after the American holiday. The idea was quickly abandoned. Designer Aubrey Powell suggest the title 'Obelisk' in reference to the mysterious black object on the record sleeve, however the band opted for 'Presence' instead. Jimmy Page explains: "The record-jacket designer said 'When I think of the group, I always think of power and force. There's a definite presence there.' That was it. He wanted to call it 'Obelisk'. To me, it was more important what was behind the obelisk."
The Who – ‘Deaf, Dumb and Blind Boy’ (final title ‘Tommy’)
In keeping with the story of Tommy Walker, The Who wanted to call their upcoming rock opera album 'Deaf, Dumb and Blind Boy'. Pete Townshend said in 1968: "The package I hope is going to be called 'Deaf, Dumb and Blind Boy' is a story about a kid that's born deaf, dumb and blind and what happens to him throughout his life ... But what it's really all about is the fact that ... he's seeing things basically as vibrations which we translate as music." When the album was released in 1969, they settled on Tommy Walker's first name 'Tommy' for its title.
Queen – ‘The Invisible Men’ (final title: ‘The Miracle’)
Queen's 13th studio album was all set to be called 'The Invisible Men' after the song 'The Invisible Man', however drummer Roger Taylor says that just three weeks prior to release they changed it to 'The Miracle.'
Bon Jovi - ‘Sons of Beaches’ (final title: ‘New Jersey’)
After achieving global success with their blockbuster third album 'Slippery When Wet', Bon Jovi commenced work on the follow-up in early 1988 under the working title of 'Sons of Beaches'. It's lifted from the lines "I can see those sons of beaches / With the surf and the sand and they're living it up" from penultimate album song '99 in the Shade.' It was eventually ditched in favour of 'New Jersey' in homage to Bon Jovi's home state.
Nirvana – ‘I Hate Myself And I Want To Die’ (final title: ‘In Utero’)
Now reluctant global rock icons thanks to the surprise success of 'Nevermind', Kurt Cobain wanted to call Nirvana's third album 'I Hate Myself And I Want To Die.' The title was based on Cobain's standard reply whenever someone asked him how he was doing and was intended as a joke. Bassist Krist Novoselic talked Cobain out of the idea and Nirvana adopted a new title 'Verse Chorus Verse' before settling on 'In Utero', which was lifted from a line in one of Courtney Love's poems.
Sex Pistols – ‘God Save the Sex Pistols’ (final title: ‘Never Mind the Bollocks, Here's the Sex Pistols’)
Sex Pistols were originally going to give their only studio album the relatively tame title of 'God Save the Sex Pistols'; a play on the title of their anti-monarchy anthem 'God Save the Queen.' At Steve Jones' suggestion, album name was changed to the more anarchic 'Never Mind the Bollocks…' after Jones heard two fans using the phrase. John Lydon said it was a working classic expression meaning to "stop talking rubbish."
The Rolling Stones - ‘Automatic Changer’ (final title: ‘Let It Bleed’)
The artwork to The Rolling Stones' eighth studio album, which depicts a surreal sculpture of a phonograph designed by Robert Brownjohn and a cake made my Delia Smith, was inspired by the working title 'Automatic Changer'. The 'Let It Bleed' title reportedly came from when Keith Richards' fingers were bleeding while recording the album. Refusing to stop playing his guitar, Keith apparently said "let it bleed."
David Bowie – ‘Shilling the Rubes’ (final title: ‘Young Americans’)
Seemingly unable to choose a suitable name for his ninth studio album, David Bowie gave it a number of working titles including 'Dancin', 'Somebody Up There Likes Me', 'One Damned Song', 'The Gouster', 'Fascination' and the somewhat bizarre 'Shilling the Rubes.' He eventually called it 'Young Americans' in keeping with his blue-eyed soul anthem of the same name, which opened the record.
Nirvana – ‘Sheep’ (final title: ‘Nevermind’)
Kurt Cobain initially called Nirvana's second album 'Sheep' in an apparent dig at the flocks of people who might buy the record. He even poked fun at the title in his journal, writing: "Because you want to not; because everyone else is." They eventually settle on the deliberately misspelt title 'Nevermind' as it was a metaphor for Cobain's attitude on life.