1. Head On was a post-grunge/hard rock band from Chicago, Illinois, compose… Read Full Bio ↴1. Head On was a post-grunge/hard rock band from Chicago, Illinois, composed of Lawrence Renault (vocals), Tony McQuaid (guitar), Sean Barnes (bass), and Anthony Mysliwiec (drums).
As a kid growing up on the south side of Chicago, Lawrence Renault was always less interested in building forts and reading comic books than in spending afternoons with Elvis Presley, Robert Plant and Ozzy Osbourne. "My father was a musician," he recalls. "So we always had music playing around the house. By age seven, I was singing along to Hank Williams, Elvis, Led Zeppelin and Kiss. My favorite album was Black Sabbath's We Sold Our Souls for Rock and Roll. I would play 'Sabbath Bloody Sabbath' over and over, trying to harmonize with Ozzy. I drove my poor mother crazy. But," he laughs, "I taught myself how to sing in the process."
Twenty years later, Renault's home schooling has paid off: he's now the lead vocalist of Head On, a Chicago quartet channeling the spirit of rock's glory days, and bringing miles of style to a chilly digital scene starved for a little raw old school flavor.
Inside, the foursome's Columbia Records debut, recalls the days when rock bands walked with a certain swagger, played with passion, and had frontmen who could actually sing. No wonder the group was signed after only two gigs.
Here's how it went down: a little over a year and a half ago, Windy City scenesters Renault and drummer Anthony "Tadpole" Mysliwiec recruited (read: stole) guitarist Tony McQuaid (a childhood buddy of Renault's) and bassist Sean Barnes from a rival group. They hunkered down in a local studio and spent the next several months juicing their high voltage sound. They collaborated on a few dozen songs and emerged with a self-produced demo. The tape made its way to Columbia Records and a contract was inked two showcases later. Within a few weeks, the members of Head On were doing pre-production work on Inside.
"I'll put this band up against anybody," says Renault. "But even I was amazed at how fast things happened for us."
Produced by Johnny K (Disturbed) and mixed by Jay Baumgardner (Papa Roach, Hoobastank, Godsmack), the perfectly paced Inside hits the ground running with hard-driving rock tracks like "Nice To Meet You," "Better Day," "Four Letter Word," and "Just Like You." This is an album that rocks the blues with hard-to-shake choruses and air-guitar-worthy hooks.
McQuaid, whether pushing riffs to speaker-shredding extremes or using amp noise and guitar wizardry to craft subtle sound effects, fuels the album's blast furnace edge.
According to McQuaid, "The goal was to create layers of texture, so that you hear something new each time you listen to the album. On some songs, I have as many as 16 or 17 tracks of guitar going. It's very cool."
How does he plan to recreate that sound live? "I'm not worried about it," he laughs. "Look at bands like Alice In Chains and Soundgarden. They textured the shit out of their records and had tons of stuff going on. But live it was just four guys on stage and they pulled it off. So do we."
The album's monster groove is anchored by the rock-solid rhythm section of Barnes and Mysliwiec, who lock in with the force of a drill press. "They're incredible," says McQuaid. "It's an amazing feeling to walk onto a stage or into a studio knowing that you've got a tight, solid rhythm section that can play just about anything and play it extremely well."
At the center of it all is the soulful Renault, lending atmosphere and tone to songs of reflection, observation and solitude. On Inside, he sings of unresolved relationships ("Just Like You"), broken hearts ("Whatever Happened") and unsettled emotions ("Sometimes").
On the blistering "Nice To Meet You," he remembers a crumbled friendship. "I used to live with a guitar player who was a heroin addict," says Renault, recalling the song's inspiration. "It got so bad I couldn't trust him. One night we were flying to New York to do a major showcase, and on the plane he told me he had pawned my guitar. We did the show, came home and the minute we stepped off the plane I told him, 'Either get my guitar back by tomorrow morning, or you're going to jail and getting your ass kicked.' I got my guitar back, but it was sad to see this guy lose himself to drugs. Such a waste of talent."
He pauses and adds, "That's the great thing about this band--everyone's on the same page and hungry for the same goals. When we were recording the album, I'd take the rough mixes home with me and pull up to the studio the next day cranking the songs. Everyone would be looking at me and I was like, 'This band kicks ass--and it's mine! Sometimes I have to pinch myself; I'm playing music for a living and signed to an incredible label. I'm living every musician's dream."
2. Head On was started by James Ray, a guitar player transplanted from New Mexico to the San Francisco Bay Area. He soon recruited Mark Berglund, a Bay Area native, as lead vocalist and song writer. Together with Ray, Mark wrote a majority of Head On's material. Rick Tweed and Howard Teman (bass guitar and drums respectively) were soon added as was lead guitarist Frank Wilsey.
Working their way through and eventually dominating the San Francisco club scene, Head On went on to support such bands as Ted Nugent, Cheap Trick, Joe Perry, Y&T, Motörhead, Aldo Nova, Kix, Shooting Star and others. Noted for their lively and outrageous shows, Head On was likened to such bands as the New York Dolls and Aerosmith.
During its brief career (1980–1984) Head On released several independent collections that were sold at local retailers in the San Francisco Bay Area. They were featured and landed covers on local underground publications as well as being reviewed in the well known British rock magazine Kerrang! Their music was played on local radio stations and the band made guest appearances on local TV.
As San Francisco became a hot bed for underground metal, Head On often found themselves mismatched and headlining metal shows with openers like Anvil Chorus, Lääz Rockit and Trauma (which featured future Metalica bass player, Cliff Burton). As a result of the rise in metal popularity, bookings began to slow and Los Angeles soon emerged as the mecca for the glam revival music Head On had championed in the Bay Area. Head On soon discovered however that Los Angeles at the time had little appreciation for San Francisco bands to the point that club owners refused to book them. On one notable occasion while attempting to secure a show at LA's Madame Wong's West they were told, “I don’t care if you are the Beatles, if you are from San Francisco, no one in LA will come to your show.”
[edit] Career
Throughout their short but illustrious career, Head On had both incredible luck and almost comical misfortune.
* During their peak, Head On regularly headlined San Francisco's premier nightclubs including; Bill Graham's Old Waldorf, Mabuhay Gardens, The On Broadway and The Stone.
* Although releases were independent and mostly available only in the San Francisco area, copies of their various compilations circulated and were available as far away as the UK.
* After a fiery performance opening for the Joe Perry project in San Francisco, Paul Stanley of Kiss was spotted meeting with the band. Rumors spread that either Head On was being considered for an opening spot on the Creatures of the Night tour or Kiss was shopping for a new guitar player, neither was ever confirmed.
* While opening for Ted Nugent, Carmine Appice (drummer extraordinaire for everyone from Vanilla Fudge and Rod Stewart to Jeff Beck) recognized the band after hearing about them through his friend Sheila Rene' (80's syndicated radio interviewer) who called Head On her 'Baby Band'.
* During a video shoot for Viacom, one of Head On's 50 gallon fog machines exploded causing a complete 'white out' of dry ice fog and the flooding of the Viacom studio.
* While attempting to cross the border into Canada for a small Canadian tour, the band was denied entry and sent home (they were actually too young to obtain work visas and attempted to forge their birthdates to obtain the required visas). Unfortunately, the band planned on returning home using the money they would make in Canada and could only come back as far as Portland Oregon.
* Head On played with Y&T so many times that when Y&T's studio was robbed, the culprits, unable to fence the equipment, contacted Head On to arrange its return (Y&T reciprocated by introducing Head On at a special performance well documented on the 'Live at The Old Waldorf' bootleg video.)
* Rick Tweed's final show with Head On was in June 1983 for a sold out San Francisco crowd; Randy Hansen opened. After Rick's departure, DJ Nicholson was added to the lineup on bass and remained with Head On until its demise in March 1984.
* Comedian Rob Schneider actually got his start opening for Head On in San Francisco while still in high school (his older brother John was Head On's manager).
* Most of the band's promotional photos were taken by San Francisco photographer Dennis Callahan, who's 30+ year working relationship with Tom Petty and the Heartbreakers has resulted in countless classic album covers and magazine shots.
Head On show regulars
Prior to becoming successful themselves, the following people could be spotted at Head On shows in San Francisco:
* Juan Alderete - Mars Volta, Racer X
* Michael Raphael- Neve, Jailhouse, independent producer
* Fernie Rod - Jetboy
* Billy Rowe - Jetboy
* Greg Steele - Faster Pussycat
* Mike Varney - Founder Shrapnel Records, record producer, music publisher
* Rob Schneider - Actor, comedian
* Ginger Coyote - Publisher Punk Globe Magazine
* Sheila Rene' - Radio interviewer, host of 'Live Wire' on KSJO (San Jose CA) and the syndicated interview show 'Backstage'
Break-up
Record contract negotiations stalled when attempts to change the band's sound and lineup were met with opposition. After several ill-fated record contract negotiations, Head On disbanded in March 1984.
[edit] Post Head On
Post Head On, Mark Berglund worked on a modern rock project with future Mars Volta and Racer X bassist Juan Alderete then changed his name to Miro Berglund and joined a short lived San Francisco band lead by Randy Jackson of American Idol fame and Italian producer Corrado Rustici called Holiday of Hands. Through his relationship with Rustici, Mark (Miro) contributed songs to various recording artists in Italy during the 80's and 90's including Loredana Berte, Gianluigi De Franco, Enzo Avitabile and Corrado Rustici's own solo effort. Mark can also be heard singing background vocals on the Narada Michael Walden album Divine Emotion.
James Ray continued performing and writing in several bands following Head On including Sybil and Mother Jones completing independent album releases for both. Joining forces with comedian Rob Schneider and Rob's brother John, James managed the successful South of Market nightclub DNA in San Francisco.
After moving to Los Angeles, Howard Teman worked with Guns 'N Roses on the Lies and Use Your Illusion albums as well as becoming a prominent graphic artist focusing on celebrity and music related works. While continuing his graphic art work, he now has become one of the most sought after tattoo artists in Los Angeles and owns and operates T-Man Tattoo.
Frank Wilsey (aka Frankie Wilsex) went on to perform with the Sea Hags in San Francisco before moving to Los Angeles and joining Arcade followed by a long musical relationship with Stephen Pearcy and various incarnations of Ratt.
Collaborations
In 2002 an effort was made by Rob Schneider's manager (and brother) John to reunite the writing team of James Ray and Mark Berglund. Mark and James were asked to write some original music for the then up-coming Rob Schneider film, 'The Hot Chick'. The re-connection proved to be successful and not only resulted in a collection of new material but re-established Mark and James' collaborative musical relationship.
2010 reunion
On August 28, 2010, the five original members of Head On regrouped and played their first show together in 25 years. The sell out San Francisco crowd greeted the band with open arms and sang along while Head On charged through a powerful and sometimes emotional set. From the first note, the audience seemed to gel into a single mass hanging on the band's every move. The band did not disappoint, displaying their notorious ability to capture and entertain an audience. The shear fact that the audience knew the words to songs they had only heard played in clubs a quarter of a century before was a testament to this band's impact on the 1980's San Francisco music scene. Given the crowd's response and the quality of the band’s music and performance, it seems a shame that Head On was never given the opportunity to share itself with the rest of the world.
[edit] Members
* Mark Berglund – vocals, keyboards, guitar
* James Ray – guitar, vocals
* Howard Teman – drums
* Rick Tweed – bass (1980–1983)
* Frank Wilsey – guitar, vocals
Head-On were formed by four friends who share a passion for heavy metal, wrestling and stupidity in general. Since forming in 2003, they have earned themselves the reputation as being one of the UKs most energetic and devastating live acts. With their demo 03 they got demo of the month in Metal Hammer magazine. and were hand picked to appear in the movie Colour me Kubrick. as well as lending two songs to the soundtrack which will sit next to songs by Bryan Adams. The movie will be out in cinemas 2007 and it stars John Malkovich. The band went on to tour the UK with Fozzy (WWE Superstar Chris Jericho on vocals), Stuck Mojo & Skid Row throughout 2005 as well as receiving rave reviews for the self released album XXL. This led to the band being signed by A&R legends, Derek Oliver and Dante Bonutto, to their label, Grind That Axe Records.
As a kid growing up on the south side of Chicago, Lawrence Renault was always less interested in building forts and reading comic books than in spending afternoons with Elvis Presley, Robert Plant and Ozzy Osbourne. "My father was a musician," he recalls. "So we always had music playing around the house. By age seven, I was singing along to Hank Williams, Elvis, Led Zeppelin and Kiss. My favorite album was Black Sabbath's We Sold Our Souls for Rock and Roll. I would play 'Sabbath Bloody Sabbath' over and over, trying to harmonize with Ozzy. I drove my poor mother crazy. But," he laughs, "I taught myself how to sing in the process."
Twenty years later, Renault's home schooling has paid off: he's now the lead vocalist of Head On, a Chicago quartet channeling the spirit of rock's glory days, and bringing miles of style to a chilly digital scene starved for a little raw old school flavor.
Inside, the foursome's Columbia Records debut, recalls the days when rock bands walked with a certain swagger, played with passion, and had frontmen who could actually sing. No wonder the group was signed after only two gigs.
Here's how it went down: a little over a year and a half ago, Windy City scenesters Renault and drummer Anthony "Tadpole" Mysliwiec recruited (read: stole) guitarist Tony McQuaid (a childhood buddy of Renault's) and bassist Sean Barnes from a rival group. They hunkered down in a local studio and spent the next several months juicing their high voltage sound. They collaborated on a few dozen songs and emerged with a self-produced demo. The tape made its way to Columbia Records and a contract was inked two showcases later. Within a few weeks, the members of Head On were doing pre-production work on Inside.
"I'll put this band up against anybody," says Renault. "But even I was amazed at how fast things happened for us."
Produced by Johnny K (Disturbed) and mixed by Jay Baumgardner (Papa Roach, Hoobastank, Godsmack), the perfectly paced Inside hits the ground running with hard-driving rock tracks like "Nice To Meet You," "Better Day," "Four Letter Word," and "Just Like You." This is an album that rocks the blues with hard-to-shake choruses and air-guitar-worthy hooks.
McQuaid, whether pushing riffs to speaker-shredding extremes or using amp noise and guitar wizardry to craft subtle sound effects, fuels the album's blast furnace edge.
According to McQuaid, "The goal was to create layers of texture, so that you hear something new each time you listen to the album. On some songs, I have as many as 16 or 17 tracks of guitar going. It's very cool."
How does he plan to recreate that sound live? "I'm not worried about it," he laughs. "Look at bands like Alice In Chains and Soundgarden. They textured the shit out of their records and had tons of stuff going on. But live it was just four guys on stage and they pulled it off. So do we."
The album's monster groove is anchored by the rock-solid rhythm section of Barnes and Mysliwiec, who lock in with the force of a drill press. "They're incredible," says McQuaid. "It's an amazing feeling to walk onto a stage or into a studio knowing that you've got a tight, solid rhythm section that can play just about anything and play it extremely well."
At the center of it all is the soulful Renault, lending atmosphere and tone to songs of reflection, observation and solitude. On Inside, he sings of unresolved relationships ("Just Like You"), broken hearts ("Whatever Happened") and unsettled emotions ("Sometimes").
On the blistering "Nice To Meet You," he remembers a crumbled friendship. "I used to live with a guitar player who was a heroin addict," says Renault, recalling the song's inspiration. "It got so bad I couldn't trust him. One night we were flying to New York to do a major showcase, and on the plane he told me he had pawned my guitar. We did the show, came home and the minute we stepped off the plane I told him, 'Either get my guitar back by tomorrow morning, or you're going to jail and getting your ass kicked.' I got my guitar back, but it was sad to see this guy lose himself to drugs. Such a waste of talent."
He pauses and adds, "That's the great thing about this band--everyone's on the same page and hungry for the same goals. When we were recording the album, I'd take the rough mixes home with me and pull up to the studio the next day cranking the songs. Everyone would be looking at me and I was like, 'This band kicks ass--and it's mine! Sometimes I have to pinch myself; I'm playing music for a living and signed to an incredible label. I'm living every musician's dream."
2. Head On was started by James Ray, a guitar player transplanted from New Mexico to the San Francisco Bay Area. He soon recruited Mark Berglund, a Bay Area native, as lead vocalist and song writer. Together with Ray, Mark wrote a majority of Head On's material. Rick Tweed and Howard Teman (bass guitar and drums respectively) were soon added as was lead guitarist Frank Wilsey.
Working their way through and eventually dominating the San Francisco club scene, Head On went on to support such bands as Ted Nugent, Cheap Trick, Joe Perry, Y&T, Motörhead, Aldo Nova, Kix, Shooting Star and others. Noted for their lively and outrageous shows, Head On was likened to such bands as the New York Dolls and Aerosmith.
During its brief career (1980–1984) Head On released several independent collections that were sold at local retailers in the San Francisco Bay Area. They were featured and landed covers on local underground publications as well as being reviewed in the well known British rock magazine Kerrang! Their music was played on local radio stations and the band made guest appearances on local TV.
As San Francisco became a hot bed for underground metal, Head On often found themselves mismatched and headlining metal shows with openers like Anvil Chorus, Lääz Rockit and Trauma (which featured future Metalica bass player, Cliff Burton). As a result of the rise in metal popularity, bookings began to slow and Los Angeles soon emerged as the mecca for the glam revival music Head On had championed in the Bay Area. Head On soon discovered however that Los Angeles at the time had little appreciation for San Francisco bands to the point that club owners refused to book them. On one notable occasion while attempting to secure a show at LA's Madame Wong's West they were told, “I don’t care if you are the Beatles, if you are from San Francisco, no one in LA will come to your show.”
[edit] Career
Throughout their short but illustrious career, Head On had both incredible luck and almost comical misfortune.
* During their peak, Head On regularly headlined San Francisco's premier nightclubs including; Bill Graham's Old Waldorf, Mabuhay Gardens, The On Broadway and The Stone.
* Although releases were independent and mostly available only in the San Francisco area, copies of their various compilations circulated and were available as far away as the UK.
* After a fiery performance opening for the Joe Perry project in San Francisco, Paul Stanley of Kiss was spotted meeting with the band. Rumors spread that either Head On was being considered for an opening spot on the Creatures of the Night tour or Kiss was shopping for a new guitar player, neither was ever confirmed.
* While opening for Ted Nugent, Carmine Appice (drummer extraordinaire for everyone from Vanilla Fudge and Rod Stewart to Jeff Beck) recognized the band after hearing about them through his friend Sheila Rene' (80's syndicated radio interviewer) who called Head On her 'Baby Band'.
* During a video shoot for Viacom, one of Head On's 50 gallon fog machines exploded causing a complete 'white out' of dry ice fog and the flooding of the Viacom studio.
* While attempting to cross the border into Canada for a small Canadian tour, the band was denied entry and sent home (they were actually too young to obtain work visas and attempted to forge their birthdates to obtain the required visas). Unfortunately, the band planned on returning home using the money they would make in Canada and could only come back as far as Portland Oregon.
* Head On played with Y&T so many times that when Y&T's studio was robbed, the culprits, unable to fence the equipment, contacted Head On to arrange its return (Y&T reciprocated by introducing Head On at a special performance well documented on the 'Live at The Old Waldorf' bootleg video.)
* Rick Tweed's final show with Head On was in June 1983 for a sold out San Francisco crowd; Randy Hansen opened. After Rick's departure, DJ Nicholson was added to the lineup on bass and remained with Head On until its demise in March 1984.
* Comedian Rob Schneider actually got his start opening for Head On in San Francisco while still in high school (his older brother John was Head On's manager).
* Most of the band's promotional photos were taken by San Francisco photographer Dennis Callahan, who's 30+ year working relationship with Tom Petty and the Heartbreakers has resulted in countless classic album covers and magazine shots.
Head On show regulars
Prior to becoming successful themselves, the following people could be spotted at Head On shows in San Francisco:
* Juan Alderete - Mars Volta, Racer X
* Michael Raphael- Neve, Jailhouse, independent producer
* Fernie Rod - Jetboy
* Billy Rowe - Jetboy
* Greg Steele - Faster Pussycat
* Mike Varney - Founder Shrapnel Records, record producer, music publisher
* Rob Schneider - Actor, comedian
* Ginger Coyote - Publisher Punk Globe Magazine
* Sheila Rene' - Radio interviewer, host of 'Live Wire' on KSJO (San Jose CA) and the syndicated interview show 'Backstage'
Break-up
Record contract negotiations stalled when attempts to change the band's sound and lineup were met with opposition. After several ill-fated record contract negotiations, Head On disbanded in March 1984.
[edit] Post Head On
Post Head On, Mark Berglund worked on a modern rock project with future Mars Volta and Racer X bassist Juan Alderete then changed his name to Miro Berglund and joined a short lived San Francisco band lead by Randy Jackson of American Idol fame and Italian producer Corrado Rustici called Holiday of Hands. Through his relationship with Rustici, Mark (Miro) contributed songs to various recording artists in Italy during the 80's and 90's including Loredana Berte, Gianluigi De Franco, Enzo Avitabile and Corrado Rustici's own solo effort. Mark can also be heard singing background vocals on the Narada Michael Walden album Divine Emotion.
James Ray continued performing and writing in several bands following Head On including Sybil and Mother Jones completing independent album releases for both. Joining forces with comedian Rob Schneider and Rob's brother John, James managed the successful South of Market nightclub DNA in San Francisco.
After moving to Los Angeles, Howard Teman worked with Guns 'N Roses on the Lies and Use Your Illusion albums as well as becoming a prominent graphic artist focusing on celebrity and music related works. While continuing his graphic art work, he now has become one of the most sought after tattoo artists in Los Angeles and owns and operates T-Man Tattoo.
Frank Wilsey (aka Frankie Wilsex) went on to perform with the Sea Hags in San Francisco before moving to Los Angeles and joining Arcade followed by a long musical relationship with Stephen Pearcy and various incarnations of Ratt.
Collaborations
In 2002 an effort was made by Rob Schneider's manager (and brother) John to reunite the writing team of James Ray and Mark Berglund. Mark and James were asked to write some original music for the then up-coming Rob Schneider film, 'The Hot Chick'. The re-connection proved to be successful and not only resulted in a collection of new material but re-established Mark and James' collaborative musical relationship.
2010 reunion
On August 28, 2010, the five original members of Head On regrouped and played their first show together in 25 years. The sell out San Francisco crowd greeted the band with open arms and sang along while Head On charged through a powerful and sometimes emotional set. From the first note, the audience seemed to gel into a single mass hanging on the band's every move. The band did not disappoint, displaying their notorious ability to capture and entertain an audience. The shear fact that the audience knew the words to songs they had only heard played in clubs a quarter of a century before was a testament to this band's impact on the 1980's San Francisco music scene. Given the crowd's response and the quality of the band’s music and performance, it seems a shame that Head On was never given the opportunity to share itself with the rest of the world.
[edit] Members
* Mark Berglund – vocals, keyboards, guitar
* James Ray – guitar, vocals
* Howard Teman – drums
* Rick Tweed – bass (1980–1983)
* Frank Wilsey – guitar, vocals
Head-On were formed by four friends who share a passion for heavy metal, wrestling and stupidity in general. Since forming in 2003, they have earned themselves the reputation as being one of the UKs most energetic and devastating live acts. With their demo 03 they got demo of the month in Metal Hammer magazine. and were hand picked to appear in the movie Colour me Kubrick. as well as lending two songs to the soundtrack which will sit next to songs by Bryan Adams. The movie will be out in cinemas 2007 and it stars John Malkovich. The band went on to tour the UK with Fozzy (WWE Superstar Chris Jericho on vocals), Stuck Mojo & Skid Row throughout 2005 as well as receiving rave reviews for the self released album XXL. This led to the band being signed by A&R legends, Derek Oliver and Dante Bonutto, to their label, Grind That Axe Records.
Head On
Head On Lyrics
Jump to: Overall Meaning ↴ Line by Line Meaning ↴
Fall out…Call-out…Stall out…Break out
Be who I want to be
Its not what you agreed
Please spell it out for me
Can't wrap my head around it
Laid out in front of me
Too god damned tired to see
I try so hard to be
The man I used to be
Catastrophe, Fantasy, Mentality, and now I
I'm Out of my My Head
Can't make any sense of all these things
Hang by a thread and live like a puppet on a string
Shut Down…Rebound
Choke up the words to say
I Can't put my head on straight
More than my mind can comprehend
Glazed eyes and stare so I pretend
My brain is locked away
I may have reached the end
Insanity, Apathy, Blasphemy, and now I
I'm Out of my My Head
Can't make any sense of all these things
Hang by a thread and live like a puppet on a string
Please, help, me
Please, help, me
Please, help, me
Please, help, me
Confined, Purblind…No reckoning
Declined, Resigned….No
Please, help, me. I'm out of my head
Please, help, me. I'm out of my head
Please, help, me. I'm out of my head
Please, help, me
Be who I want to be
Its not what you agreed
Please spell it out for me
Can't wrap my head around it
Laid out in front of me
Too god damned tired to see
I try so hard to be
Catastrophe, Fantasy, Mentality, and now I
I'm Out of my My Head
Can't make any sense of all these things
Hang by a thread and live like a puppet on a string
Shut Down…Rebound
Choke up the words to say
I Can't put my head on straight
More than my mind can comprehend
Glazed eyes and stare so I pretend
My brain is locked away
I may have reached the end
Insanity, Apathy, Blasphemy, and now I
I'm Out of my My Head
Can't make any sense of all these things
Hang by a thread and live like a puppet on a string
Please, help, me
Please, help, me
Please, help, me
Please, help, me
Confined, Purblind…No reckoning
Declined, Resigned….No
Please, help, me. I'm out of my head
Please, help, me. I'm out of my head
Please, help, me. I'm out of my head
Please, help, me
The lyrics to "Head On" by Head On convey a sense of frustration, confusion, and desperation. The singer is feeling trapped and unable to fully understand or make sense of their own emotions and experiences. They want to be true to themselves, but they feel restrained by the expectations and agreements they have made with others. The repeated line "Please, help, me" highlights their plea for guidance and assistance in navigating their troubled state of mind.
The first verse reflects on the struggle to comprehend the situation at hand. The singer is overwhelmed and exhausted, unable to see clearly or make sense of their own thoughts and feelings. They long to return to how they used to be, but something has changed and they are now caught in a cycle of catastrophe and fantasy, their mental state in turmoil.
In the chorus, the singer expresses their inability to understand the world around them. They feel as though they are barely holding on, living like a puppet being controlled by external forces. The thread they cling to represents their fragile grip on sanity, as they desperately search for answers and clarity.
The bridge continues their plea for help, emphasizing their confinement and lack of understanding. They feel blind to the truth, resigned to their fate, and are in need of assistance.
Overall, "Head On" tackles themes of mental instability, confusion, and a yearning for guidance. The lyrics express the singer's desire to escape the internal chaos and find clarity in their thoughts and emotions.
Line by Line Meaning
Fall out…Call-out…Stall out…Break out
Collisions, confrontations, failures, escape
Be who I want to be
Striving for personal authenticity
Its not what you agreed
Deviation from others' expectations
Please spell it out for me
Requesting clear explanation
Can't wrap my head around it
Unable to comprehend or understand
Laid out in front of me
Presented clearly or openly
Too god damned tired to see
Exhausted and blind to the truth
I try so hard to be
Exerting effort to become
The man I used to be
Longing for the person one was before
Catastrophe, Fantasy, Mentality, and now I
Experiencing chaos, illusions, and mindset
I'm Out of my My Head
Mentally overwhelmed or disconnected
Can't make any sense of all these things
Unable to find meaning in the confusion
Hang by a thread and live like a puppet on a string
Feeling fragile and controlled by external forces
Shut Down…Rebound
Closing off emotions, then bouncing back
Choke up the words to say
Struggling to express oneself
I Can't put my head on straight
Unable to think or focus clearly
More than my mind can comprehend
Beyond the limits of understanding
Glazed eyes and stare so I pretend
Empty gaze while feigning normalcy
My brain is locked away
Emotional and mental imprisonment
I may have reached the end
Possibly reached a breaking point
Insanity, Apathy, Blasphemy, and now I
Encountering madness, indifference, sacrilege
Please, help, me
Seeking assistance and support
Confined, Purblind…No reckoning
Trapped, blinded, without understanding
Declined, Resigned….No
Rejected, surrendered, with no solution
Please, help, me. I'm out of my head
Requesting aid, feeling mentally unstable
Please, help, me. I'm out of my head
Requesting aid, feeling mentally unstable
Please, help, me. I'm out of my head
Requesting aid, feeling mentally unstable
Please, help, me. I'm out of my head
Requesting aid, feeling mentally unstable
Lyrics © DistroKid
Written by: Kirk Anderson
Lyrics Licensed & Provided by LyricFind
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