In September 2001 when Australian band Gerling released their second album, When Young Terrorists Chase the Sun, they would have had no way of knowing that their album's title would join that unhappy bunch of songs, albums and more that had to be tweaked somewhat by the censors as a result of the September 11th terrorist attacks on the World Trade Center.
In Britain and Japan, amongst others, Gerling's album became, simply, Headzcleaner, joining the ranks of The Strokes, Jimmy Eat World, Wilco, and loads more in the long list of altered titles as a result of the attacks.
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I'm not going to dwell too much on the whys and wherefores of this name-change; it is what it is. But it's a fantastic album and even after all these years I still find tiny details in this record that I hadn't spotted before. I personally discovered Gerling in the mid-2000s, giving me a number of albums and EPs to delve into, each with its own vibe.
But it's not just the layers and samples and snippets the band put to use all over this ambitious album, but the artwork, too. When I was first mining their back catalogue I stumbled across the fact that Headzcleaner and Terrorists were not different albums, despite having different titles and different front covers.
A quick glance at the almost-identical tracklisting confirmed they were basically the same album, but I still grabbed secondhand copies of both because by that point I'd become something of a Gerling collector. I seem to specialise in obsessing over niche bands with deep back catalogues. Gives me something to fill the shelves with.
I recently came back to these albums / this album, and wanted to try and unpick any other differences beyond the cover and the title. The tracklisting, as I say, is slightly different between the two: track 3, which on Terrorists is named High Jackers Manual becomes, on Headzcleaner, simply The Manual. Doubly unlucky for Gerling to put out an album in September 2001 with references not just to terrorists, but also to high jacking. Well played, lads.
(I gave the songs a brief listen before realising computers are much better at this than me. I used a program called DeltaWave to systematically compare the audio waveforms of the two songs and highlight any differences, but there were none.)
I suspect that where the budget for releasing this album extended to a hasty change of title and cover art, editing the audio would have been a step too far, and beyond what the powers-that-be would have required anyway. This was never going to be a chart-bothering record in the UK and elsewhere, so there wouldn't have been much point in such an amount of work.
Anyway, I recently pored over the CDs' inlay booklets for the first time in ages and noted more differences than I had remembered there being, and it is just interesting enough to me that I figure it might be worth posting on my blog about it, too. Plus, the artwork is just cool enough to take a quick look at anyway.
Herewith each element of the album's artwork, compared side-by-side. I was surprised that the internal pages of the inlay booklets were different in both releases aside from one spread, and that the very verbose credits had, if not been re-typed, had certainly been re-set when being pasted in.
So there you have it: the tale of the two versions of Gerling's When Young Terrorists Chase The Sun, which became Headzcleaner in some territories. That's what you come to this blog for, right? We don't really think about album artwork any more, do we? Not beyond a tiny 600x600 JPEG anyway. So it's nice to flip through a booklet as colourful and creative as the music on the album itself.
Another Bruce and Neil connection occurred at the Academy Awards on March 21, 1994. Coincidentally, both Springsteen and Young were both nominated for Best Song in a Movie -- and in the same film -- Jonathan Demme's "Philadelphia". Bruce's nominated song was the film opening "Streets of Philadelphia" and Neil's was the closing title track "Philadelphia".
Attending concerts you can see the difference Bruce is more corporate and his fans have stayed loyal as he's kept his quality control reined in for his songs whereas Neil doesn't really care if his fans don't like his music he does it for himself. Neil Young has retained a loyal fan base but smaller in number due to some of the stinkers he recorded in the last 20 years and I put Greendale in that. Having attended the Pill shows I'm afraid Bruce wins hands down and I don't think Bruce would cancel a tour because Nils Lofgren sprained his wrist!
first off, anon @ 2:36, poncho didn't "sprain" anything. he FRACTURED his playing hand.
Second off (and I really dig both Bruce & Nils) you are probably right.
Bruce wouldn't cancel if Nils sprained his wrist, BUT HE SHOULD. Nils' guitar work carries the Estreet, IMHO.
Now for my .02 on Bruce Vs. Neil:
a couple of years back the wife and I caught Neil Diamond during an almost 2wk run he had going @ MSG.
GREAT show! but what I remember coming away with was this; I now know where Bruce buys his cheese.
from the Neil Diamond cheese eaters r us store.
I have seen Neil play many different times in many different venues with many different band mates as well as solo and never once have I thought he's just like (insert ANY name here).
Neil Young is an original, one of a kind.
Bruce is a (talented) monkey see, monkey do act.
Every musical act has taken something from somewhere.
but Bruce s/b paying Neil Diamond a royalty every time he appears anywhere with anyone.
Neil Young. Sponsored by No One.
I think in terms of writing great songs over the whole span of their careers both Bruce and Neil are equals.
I love both, but for me Neil is the complete package because the style of his playing/recording mesh with my musical philosophy (less is more/live is more). I also relate this difference in their recordings to weed smoking. Neil's music has that ragged stoner quality, where Bruce is much more likely to appeal to the sober listener. (Personally though, I'm a major stoner and I'll go thru months at a time where I'll listen only to Bruce, or only to Neil.)
This drug thing(or maybe just personal philosophies) could also be seen in the difference between their writing. Neil's songs are generally emotion based, straight from the subconscious, unedited. Bruce, I think, is more conscious in his writing, where he can take a preconceived idea and write it and rewrite, maybe change the melody or slip in a verse from some other song, and very much follow a line of thought thru his songs.
Like Bruce can write about anything thing, and he is better at whipping off a good pop tune.
Really 2 of the greatest songwriters we'll ever see. In my opinion only Bob Dylan and Ray Davies can be placed alongside Bruce and Neil.
Syscrusher
I still go back and forth on this. I think 90s Neil beats 90s Bruce hands down. But I also think Springsteen's post 2000 work has for the most part been a lot stronger than Neil's (although I liked Psychedelic Pill more than I did Wrecking Ball).
Live, I have to give Bruce a slight edge. I saw both artists 2012 shows weeks apart from each other, and both of them killed it. NY with Crazy Horse is about as good as it gets, but could be even better if they mixed up the setlists the way that ESB does. Knowing the exact order of a setlist before a single note is played is something that just doesn't happen at Springsteen shows, at least not outside of the open and close (and on the last tour, even that got mixed up quite a bit, especially in Europe).
That said, the NY/CH show I saw in Seattle was just crazy intense - probably the best Horse show I've seen (and that includes Ragged Glory/Weld).
It's kind of a tomato/tomatoe thing really. Bottom line is I love both of them.
I guess what it really comes to is that with a Springsteen show, I know there is at least a chance of getting some really off the wall personal favorite like "The Price You Pay," "The Promise" or "NYC Serenade." For me, it was "Drive All Night" in Portland on the last tour.
With NY, I knew - KNEW - going in, there was zero chance I'd hear some equally cool rarity like "Southern Pacific" (ReAcTor style) or "Danger Bird." On the other hand, it was sure cool hearing "Ambulance Blues" on the Chrome Dreams II tour. But even there, by the time that tour played Seattle twice, I knew I'd be hearing it again a second time. What would've been cool would be if he'd swapped out that slot for "On The Beach".
But yeah I know, tomato, tomatoe...
Thanx for the shout, Thrasher!
-Glen
I know I'm seriously biased ("take my advice don't listen to me) and would vote for Neil (vs. Bruce) on virtually any metric I have to concede that switching up set lists is better than not and not expecting Neil to change that but if he did it would be incredible ... that said I respect the desire to basically choreograph a show and then let it roll ... perhaps allows the variation to come within the songs themselves ... also would point out Neil did show some set list flexibility before the Horse had to go to pasture (w/ Dangerbird, ect, ect..) but like the old days of the Greatful Dead, you could see three or four shows in a week and each was totally different ... I think if Neil were like that you'd have the hard core fans seeing every single show on tour ....
I grew up with both Neil and Bruce, but Neil has always been in my favor. I am a firm believer in the Greendale album, but I was always opposed to call it an "actual" Crazy Horse LP. It has a simple sound to it and there is nothing complicated about Neil's message. People don't like it because it is different, but not so radically different than the Time Fades Away tour. Greendale will become a classic someday, in the same way I feel Americana will as well.
For Bruce, I think The Rising is a remarkably better album than Devils and Dust (although I do enjoy the acoustic element when Bruce brings it present), and I hold Nebraska up there as Springsteen's version of On The Beach because it is stripped down enough where his characteristics are present but not entirely lost. Overall, just a remarkably different, yet powerful album.
Wrecking Ball is the first Springsteen album that I have listened to where I instantly fell in love with the songs the first time I heard it entirely (the last time this happened was with Darkness On The Edge Of Town). I think it's because the E Street band wasn't so much in my face like in The River or even Born In The USA. I know that the horn section and the strings present in the E Street band give Springsteen his "sound" (and an element that Dave Matthews would also adapt), but overall Springsteen still has a strong vibe considering the loss of Springsteen's own Longgrain, Clarence Clemons.
And Neil, without Ben Keith and some of his other close counterparts, can still produce some great rock and roll. Le Noise is an album that grows on you (Because it is much more abstract than albums like Trans), and I love Americana because everyone else didn't and because it is the first real Crazy Horse LP since Broken Arrow (And with the way things seem now, these folk songs could go much further, but only the Carnegie Hall appearances will spell out whether another folk album is in the mix).
Psychedelic Pill blew me away after I was first exposed to the majority of the songs after seeing the Horse at Red Rocks last August. It was my first Neil show and, hell, it was a great one, only if I had waited for Alchemy to see the other deep cuts. But Pill has a powerhouse within it and proved that Neil could capture those extended live jams onto a 3 LP/2 CD set. Psychedelic Pill is the perfect soundtrack to Waging Heavy Peace and without reading it or listening to it, Neil's overall sound quality rant would not make sense (Which could be why people didn't like the book or the album).
It is nice to see these two powerhouses create remarkable LP's after both of their greatest counterparts had passed away, and it shows a longevity that is everlasting. Although I feel that Springsteen's decisions are based off the greater good idea (like replacing Clemons with Clemons' son) and Young's are based off of personal, end-of-an-era-like ideals (retiring all songs that featured Keith when it comes to band performances, his cancelation of the remainder Crazy Horse dates) where he feels that the music can't go on without the people that make the music stand out.
As far as the rest of the debates goes, I feel that Live At The Cellar Door will be much more rawer, new and overall more successful than Live At Massey Hall (Although it is a stellar LP) and this whole Archives debacle is one that will blow over. Almost everyone could wait 20 or more years for the first set, but cannot wait more than 3 or 4 for the second one. I am still waiting for the early Crazy Horse recordings Neil was talking about in Waging Heavy Peace. But it due time, they will come.
I will always like Neil better than Bruce, but I respect them both equally.
But Hell what do I know, I am only 19. Probably the youngest Neilphyte I know.
Cheers!
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