ALL-TIME SUPERSTAR
get up get out get over yourself
get up get out get over yourself
get up get out get over yourself
get up get out get over yourself
hey there all-time superstar
i'm so beautiful just like you
hey there all-time wannabe
you missed your cue
hey there all-time superstar
nothing much appears to stand in your way
hey there all-time wannabe
i thought i read you felt you almost had something to say
get up get out get over yourself
get up get out get over yourself
get up get out get over yourself
get up get out get over yourself
hey there all-time superstar
hey there all-time wannabe
you're one and the same
get up get out get over yourself
get up get out get over yourself
get up get out get over yourself
get up get out get over yourself
get up get out get over yourself
get up get out get over yourself
get up get out get over yourself
get up get out get over yourself
hey there all-time superstar
the folks have gathered now this is your day
hey there all-time wannabe
this is the cost
this is how you pay
get up get out get over yourself
get up get out get over yourself
get up get out get over yourself
get up get out get over yourself
hey there all-time superstar
get over yourself
hey there all-time wannabe
get over yourself
hey there all-time superstar
get over yourself
hey there all-time wannabe
get up get out get over yourself
get up get out get over yourself
get up get out get over yourself
get up get out get over yourself
(Long) Copyright FAB 2006
THE FACE IN MY SONG
this is my song
these are my notes
these are my words
that offer up hope
free from the pain and the time-stained tears
free to refrain from being scared of my fears
the face in my song is yours as a child
you're holding my hand
i'm holding your smile
the face in my song has made me aware
of all that i am and all that i share
the habit of trust is rusted and broke
yet somehow assuaged by the feeling of hope
hope to believe
hope to pursue
with no-one to persuade and no-one to answer to
the face in my song is yours as a child
you're holding my hand
we're moving in style
the face in my song puts me out on the stage
caught in the spotlight
a welcome awaits
with you - an anchor in the changes and dreams
here with you - angel now we're part of the scene
shattered and bruised
the next time revealed
open and fragile
the next time concealed
out on the stage with the world in my hands
mine to revere
mine to command
the face in my song is yours as a child
you're holding my hand
i'm holding your smile
the face in my song has made me aware
of all that i am and all that i share
with you - angel, do you know what it means?
here with you - angel, can you feel what it means?
the face in my song is yours as a child
you're holding my hand
i'm holding your smile
the face in my song has made me aware
of all that I am and all that I share
the face in my song is yours as a child
you're holding my hand
we're moving in style
the face in my song puts me out on the stage
caught in the spotlight
a welcome awaits
(Long) Copyright FAB 2006
FALLING AGAIN
i'm so nervous around you
though it's been twenty years
wherever trouble circles
your blessing's always near
and the hardest thing to do is explain
how it feels to see you again
and though words can be considered
the moment that i'm in it
i'm tongue-tied and feeling the strain
i'm falling again
i'm falling again
settled in for the long haul
take your shots
vowing to resolve old mysteries
as the new one's mark their spot
and the hardest thing to do is explain
how it feels to see you again
and though words can be considered
the moment that i'm in it
i'm tongue-tied and feeling the strain
i'm falling again
i'm falling again
fight the feeling that i'm not an easy man
as i'm falling
still believing that there's nothing to withstand
as i'm falling
with a brutal lack of sentiment or weakness
you cut to the quick
well open up the knife drawer baby
take your pick
here's the silence returning
as if never gone
and the tension shatters every calm i could feel
well it's been so long
and the hardest thing to do is explain
how it feels to see you again
and though words can be considered
the moment that i'm in it
i'm tongue-tied and feeling the strain
and the hardest thing to do is explain
how it feels to see you again
and though words can be considered
the moment that i'm in it
i'm tongue-tied and feeling the strain
i'm falling again
(Long) Copyright FAB 2006
CALIFORNIA
New York City, 1849
say goodbye and leave those i love as my own life behind
then she says something beautiful to me
"California's a long, long way from home"
Some call it risk to leave
some leave without no doubt
some say prosperity is what the hardest part is all about
and her words sound so beautiful to me
"California's a long, long way from home"
i am frail, not broken
Home
i am strong of will
Home
i can almost touch it
"California's a long, long way from home"
from the long, green hills of 'frisco bay
to the rising waters of where we lay
the wagon trains and the whiskey priests
and the cold reminders of the Hang-town three
well suddenly there it is laid out in front of me
and suddenly the hardest part is at the back of me
and suddenly the dirt, the pain, the gold is all i see
and suddenly the urge to take a life comes over me
and through the heart of the darkness it calls to me
"California's a long, long way from home"
with no hometown eyes to watch over me
"California's a long, long way from home"
and there's pain, and there's hurt and there's fear in me
"California's a long, long way from home"
and her words sound so beautiful to me
"California's a long, long way from home"
how long before we reach New York City, my home?
how long before we reach New York City, my home?
how long before we reach New York City, my home?
how long before we reach New York City, my home?
(Long) Copyright FAB 2006
STAY
sadness is a room of familiar faces
the ghosts of my old passions and all that they know
lost within this room, the warm embraces
and all the strengths i never chose to know
tumbling through the years like a face in a sepia photograph
when the worst of all the fears is you're never alone
more or less at times we've all of us desired
the passing away of those we love
the bringing of moments when it's never enough to just
stay
i've never felt more like running away
but never felt more like i want to say will you
stay
'cos how do we live and how do we love
when never knowing how to say it's never enough to just stay?
question - does it show courage, fear or a sense of naivete
to kill a man in war or when down and alone?
and when the murderers have murdered every song
and the poets and the playwrights have left for the day
and the familiar flow of reminiscence begins to fade
stay
i've never felt more like running away
but never felt more like i want to say will you
stay
'cos how do we live and how do we love
when never knowing how to say it's never enough to just stay?
stay
i've never felt more like running away
but never felt more like i want to say will you
stay
'cos how do we live and how do we love
when never knowing how to say it's never enough to just stay?
(Long) Copyright FAB 2006
WRITE ON
when the pin hit the shell i nearly laughed for fear of lying
in the arms of someone else's angel
and all that she might see
all porcelain and paranoia strands of sanity
stretched to breaking point
the tipping point of all i want to be
write on, write on
and watch your whole world disappear
write on, write on
until your whole world disappears
disengaged from those i love
as hard as that might be
can never be more than the fear
of being disengaged from me
so when the voodoo gods and sex machines
riding chariots of fear
saddle up the demons intent on taking me away from here
write on, write on
and watch your whole world disappear
write on, write on
until your whole world disappears
and when the house of consequence becomes a lonely place to be
and a move towards the future means i have to visit me
when sometimes it gets hard
and i'm fraught with insecurity, fragility and family
are all she ever sees
write on, write on
and watch your whole world disappear
write on, write on
until your whole world disappears
write on, write on
and watch your whole world disappear
write on, write on
until your whole world disappears
(Long) Copyright FAB 2006
FALL INTO YOUR ARMS
this greatness so casually carried with me in this rambling,
bundle of songs
holster the nerves and check on the cravings so deep
as they move me along
if i should fall into your arms, i'd be the lucky one
if i should fall into your arms, i'd be the lucky one
elegant, intense, dancing on pinheads
seduced by a conscience to turn
though trouble abounds
as i reach for the words and pen you a note in return
if i should fall into your arms, i'd be the lucky one
if i should fall into your arms, i'd be the lucky one
surrender
so take me down
you're teasing me
so eager
if i should fall into your arms, i'd be the lucky one
if i should fall into your arms, i'd be the lucky one
if i should fall into your arms, i'd be the lucky one
if i should fall into your arms, i'd be the lucky one
if i should fall into your arms, i'd be the lucky one
watch me fall into your arms, you know I'm the lucky one
i'm the lucky one
(Long) Copyright FAB 2006
Marvin Gaye - Let's Get It On
This is the album in which the handyman of Motown, who started as a drummer and ended up being one of the company's biggest stars, gives a master class in the art of the sensuous love song.
Lyrically, this album is a stark contrast to the more politically and socially aware earlier release What's Going On, though musically it's a superb continuation of the complex rhythms and multi-tracked vocals. The sexiest of all albums to date.
Julian (guitar)
The Clash - London Calling
I bought this album the day it was released, and I love it now as I loved it then. It's absolutely bursting with creative energy from a band reaching full stride.
The debut album showcased the Clash at their raw best, depicting perfectly the disenfranchised feeling of us teenagers in Britain during the late seventies. The follow up Give 'Em Enough Rope was somewhat sanitised and over-produced, and didn't fair well commercially. London Calling, the 'difficult' third album brought all the subtleties and influences, experiences and desires together in as cool and sophisticated an album from a bunch of one-time three chord punks as you could ever wish to hear.
From its iconic cover, a homage to Elvis Presley; the defiance of a double vinyl release; the seamless moves across the genres of Rockabilly, Pop, Ska, Reggae, Rock 'n Roll et al, this is the album that shaped my thinking. The best album, from the best band.
Julian (guitar)
The Jam - All Mod Cons / The Police - Outlandos D'Amour
These were the first two albums that drew me in. I identified with them. They were mine.
Bryan (vocals)
Pink Floyd - The Final Cut
Every true Floyd fan's best album.
Brian (drums)
U2 - The Joshua Tree
A true rock 'n roll album
Brian (drums)
Marcus Miller - The Ozell Tapes
This album has done wonders for my playing. It introduced me to a whole new way of playing the bass, and many other all time greats such as Herbie Hancock and Miles Davis, not to mention the man himself who is simply a genius.
Joe (bass)
Paul Simon - Gracelands
I love the African style of the album. Some of the ideas are great , together with some great tunes. Back to back there isn't a bad song on the album.
Joe (bass)
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--STEP 2--
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--STEP 3--
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COMING SOON!
DEAD HEAD STICKERS
plus special guestsThe SUPERSTAR 2006/2007 tour
UK & Ireland
Full details to followDEAD HEAD STICKERS were born, not so much kicking and screaming with bare-naked butts on show to the world (though many a drunken night has since challenged that), but with the belief that inside every block of marble is a David awaiting careful and considered crafting.
Hailing from North Shields and Chester respectively, friends - of almost twenty years - Bryan Carlson (vocals) and Julian Long (guitar) formed DEAD HEAD STICKERS - in January 2006 - for no other reason than an unbridled love and desire to write and play good music, laden with melody and harmony.
With the circle of friends completed in June 2006, when the guys were joined by Brian Wilde (drums) and Joe Hedley (bass), DEAD HEAD STICKERS were honed and ready to be unveiled.
Frequently associated with the likes of Bruce Springsteen, Ryan Adams, Counting Crows, Magic Numbers, Josh Rouse... and with strong allegiances that trawl the spectrum of old school classics from the Motor City to the late 70s Clash, Pistols and Jam et al, DEAD HEAD STICKERS are quickly establishing themselves as master exponents of slick, catchy pop-rock with energy and vitality.
We want to show that we, as both players and listeners of music, have options; that we can react against the vacuous, formulaic music we're being force fed by a lot of record companies.
We write songs that are catchy, poppy and uplifting without being devoid of soul and substance.
It's live where we excel. As fun and rewarding as recording and rehearsals can be, they are often necessary stepping stones on the way to the excitement of our very engaging live performances.
With an evolving and already very loyal fan base, we are acutely aware that at the heart of every success story in music is a huge amount of hard work and a reciprocal level of interaction between us, the band, and you, our fans; our audience.
After all, we are nothing without your support, respect and fantastically insightful and very generous feedback.
Drop us a line, check out the sounds and spend some time getting to know our friends.
We have hooked up with some fantastic bands; why not check them out while you're here?
We look forward to playing for you, and getting to meet you, at a live show soon.
In the meantime, please enjoy your stay, and stay in touch.
Love and respect
DEAD HEAD STICKERS