Fools rush in

Fools rush in
Where angels fear to tread
And so I come to you my love
My heart above my head

Though I see the danger there
If there's a chance for me
Then I don't care
Oh, oh, oh, oh

Fools rush in
Where wise men never go
But wise men never fall in love
So how are they to know

When we met
I felt my life begin
So open up your heart and let
This fool rush in

And I don't care
Oh, oh, oh, oh

Fools rush in
Where wise men never go
But wise men never fall in love
So how are they to know

When we met
I felt my life begin
So open up your heart and let
This fool rush in

So open up your heart and let
This fool rush in

So open up your heart and let
This fool rush in

So open up your heart and let
This fool rush in

Everything I know about breaking hearts I learned from you

There's No "I" In Team

Well I can't regret,

can't you just forget it?

I started something I couldn't finish

And if we go down,

we go down together

best friends means,

well best friends means

And I've got a twenty-dollar bill

that says you're up late night starting

fist fights versus fences in your backyard

Wearing your black eye like a badge of honor

Soaking in sympathy

from friends who never loved you

nearly half as much as me

Broken down in bars and bathrooms

All I did was what I had to

Don't believe me when I tell you

it's just what anyone would do

Take the time to talk about it

Think a lot and live without it

Don't believe me when I tell you

it's something unforgivable...ohoh

Well I can't regret,

can't you just forget it?

I started something I couldn't finish

If we go down,

we go down together

best friends means,

well best friends means

You never knew

well i never told you...

Everything I know about breaking hearts

I learned from you, it's true

I've never done it with the style and grace you have

But I've made long term plans

based on these mistakes

Broken down in bars and bathrooms

All I did was what I had to

Don't believe me when I tell you

it's just what anyone would do

Take the time to talk about it

Think a lot and live without it

Don't believe me when I tell you

it's something unforgivable

Is this what you call tact?

I swear you're as subtle as a brick in the small of my back

so let's end this call,

and end this conversation

there's nothing worse...

(that's right he said, that's right he said it)

I swear, you have no idea

The jealousy that became me thinking

(that's right he said)

that you always had it way too easy

Broken down in bars and bathrooms

All I did was what I had to

Don't believe me when I tell you

it's just what anyone would do

Take the time to talk about it

Think a lot and live without it

Don't believe me when I tell you

it's something unforgivable

Best friends means I pulled the trigger

Best friends means you get what you deserve

Best friends means I pulled the trigger

Best friends means you get what you deserve

Best friends means I pulled the trigger

Best friends means you get what you deserve

Best friends means I pulled the trigger

Best friends means you get what you deserve

Best friends means I pulled the trigger

Best friends means you get what you deserve

Best friends means I pulled the trigger!!!

Best friends means you get what you deserve!!!

D:

Being a fan of Pearl Jam has incalculably enriched my life

I heard about your trip

Best Deceptions

I heard about your trip.
I heard about your souvenirs.
I heard about the cool breeze, in the cool nights,
And the cool guys that you spent them with.
Well I guess I should have heard of them from you.
I guess I should have heard of them from you.

Don't you see, don't you see, that the charade is over?
And all the "Best Deceptions" and "Clever Cover Story" awards go to you.
So kiss me hard 'cause this will be the last time that I let you.
You will be back someday and this awkward kiss that tells of other people's lips will be of service to keeping you away.

I heard about your regrets.
I heard that you were feeling sorry.
I heard from someone that you wish you could set things right between us.
Well I guess I should have heard of that from you.
I guess I should have heard of that from you.

I'm waiting for blood to flow to my fingers,
I'll be all right when my hands get warm.Ignoring the phone,
I'd rather say nothing. I'd rather you'd never heard my voice.
You're calling too late too late to be gracious you do not warrant long goodbyes.

He was bigger than LSD

Hoy me puse a navegar por internet (jajajaja) y la marea me llevó hasta la lista de los 100 mejores guitarristas de la historia, con la que no quedé muy conforme al no estar mi favorito pero bueno este mundo no es perfecto, total que el número uno (digamos que no podía haber sorpresa) es Jimi Hendrix y la reseña la escribe Pete Townshend si no la han leído aquí se las dejo.

I feel sad for people who have to judge Jimi Hendrix on the basis of recordings and film alone; because in the flesh he was so extraordinary. He had a kind of alchemist's ability; when he was on the stage, he changed. He physically changed. He became incredibly graceful and beautiful. It wasn't just people taking LSD, though that was going on, there's no question. But he had a power that almost sobered you up if you were on an acid trip. He was bigger than LSD.

What he played was fucking loud but also incredibly lyrical and expert. He managed to build this bridge between true blues guitar — the kind that Eric Clapton had been battling with for years and years — and modern sounds, the kind of Syd Barrett-meets-Townshend sound, the wall of screaming guitar sound that U2 popularized. He brought the two together brilliantly. And it was supported by a visual magic that obviously you won't get if you just listen to the music. He did this thing where he would play a chord, and then he would sweep his left hand through the air in a curve, and it would almost take you away from the idea that there was a guitar player here and that the music was actually coming out of the end of his fingers. And then people say, "Well, you were obviously on drugs." But I wasn't, and I wasn't drunk, either. I can just remember being taken over by this, and the images he was producing or evoking were naturally psychedelic in tone because we were surrounded by psychedelic graphics. All of the images that were around us at the time had this kind of echoey, acidy quality to them. The lighting in all the clubs was psychedelic and drippy.

He was dusty — he had cobwebs and dust all over him. He was a very unremarkable-looking guy with an old military jacket on that was pretty dirty. It looked like he'd maybe slept in it a few nights running. When he would walk toward the stage, nobody would really take much notice of him. But when he walked off, I saw him walk up to some of the most covetable women in the world. Hendrix would snap his fingers, and they followed him. Onstage, he was very erotic as well. To a man watching, he was erotic like Mick Jagger is erotic. It wasn't "You know, I'd like to take that guy in the bathroom and fuck him." It was a high form of eroticism, almost spiritual in quality. There was a sense of wanting to possess him and wanting to be a part of him, to know how he did what he did because he was so powerfully affecting. Johnny Rotten did it, Kurt Cobain did it. As a man, you wanted to be a part of Johnny Rotten's gang, you wanted to be a part of Kurt Cobain's gang.

He was shy and kind and sweet, and he was fucked up and insecure. If you were as lucky as I was, you'd spend a few hours with him after a gig and watch him descend out of this incredibly colorful, energized face. There was also something quite sad about watching him. There was a hedonism about him. Toward the end of his life, he seemed to be having fun, but maybe a little bit too much. It was happening to a lot of people, but it was sad to see it happen to him.

With Jimi, I didn't have any envy. I never had any sense that I could ever come close. I remember feeling quite sorry for Eric, who thought that he might actually be able to emulate Jimi. I also felt sorry that he should think that he needed to. Because I thought Eric was wonderful anyway. Perhaps I make assumptions here that I shouldn't, but it's true. Once — I think it was at a gig Jimi played at the Scotch of St. James [in London] — Eric and I found ourselves holding each other's hands. You know, what we were watching was so profoundly powerful.

The third or fourth time that I saw him, he was supporting the Who at the Saville Theatre. That was the first time I saw him set his guitar on fire. It didn't do very much. He poured lighter fluid over the guitar and set fire to it, and then the next day he would be playing with a guitar that was a little bit charred. In fact, I remember teasing him, saying, "That's not good enough — you need a proper flamethrower, it needs to be completely destroyed." We started getting into an argument about destroying your guitar — if you're going to do it, you have to do it properly. You have to break every little piece of the guitar, and then you have to give it away so it can't be rebuilt. Only that is proper breaking your guitar. He was looking at me like I was fucking mad.

Trying to work out how he affected me at my ground zero, the fact is that I felt like I was robbed. I felt the Who were in some ways quite a silly little group, that they were indeed my art-school installation. They were constructed ideas and images and some cool little pop songs. Some of the music was good, but a lot of what the Who did was very tongue-in-cheek, or we reserved the right to pretend it was tongue-in-cheek if the audience laughed at it. The Who would always look like we didn't really mean it, like it didn't really matter. You know, you smash a guitar, you walk off and go, "Fuck it all. It's all a load of tripe anyway." That really was the beginning of that punk consciousness. And Jimi arrived with proper music.

He made the electric guitar beautiful. It had always been dangerous, it had always been able to evoke anger. If you go right back to the beginning of it, John Lee Hooker shoving a microphone into his guitar back in the 1940s, it made his guitar sound angry, impetuous, and dangerous. The guitar players who worked through the Fifties and with the early rock artists — James Burton, who worked with Ricky Nelson and the Everly Brothers, Steve Cropper with Booker T. — these Nashville-influenced players had a steely, flick-knife sound, really kind of spiky compared to the beautiful sound of the six-string acoustic being played in the background. In those great early Elvis songs, you hear Elvis himself playing guitar on songs like "Hound Dog," and then you hear an electric guitar come in, and it's not a pleasant sound. Early blues players, too — Muddy Waters, Buddy Guy, Albert King — they did it to hurt your ears. Jimi made it beautiful and made it OK to make it beautiful.

esto es ser fans!