When Patrick took his dive
No time to stay alive
He rolled on Dexter's back
His shell seemed not to crack crack

Now he's headed for the door
Right past my little sycamore
He's stuck on my linai
Why did Dexter have to die

Patrick's trippin on the shelf
Lookin up past on himself
What is Dexter thinkin about
And Patrick can't find no way out

Now Patrick's still alive
He sold his soul to save his hide
and when the time rolled back
He wished his shell went crack crack

Now he's headed for the door
Right past my little sycamore
He's stuck on askin why
Why did Dexter have to die

Patrick's trippin on the shelf
Lookin on past on himself
What is Dexter thinkin about
And Patrick can't find no way out

Sherr wants her lolly lolly
Sherr wants her lollypop

","Pat And Dex is made up of three parts: Pat And Dex, Onery Funk, and Liquid Lazer. Pat And Dex on a setlist usually imply all three parts played, unless Liquid Lazer is played soon after (i.e. in the same show or the next night, completing the song).","pandd",135,"7c60ef7a-27aa-4632-a6f5-a27d5f23db77","Brownstein, Gutwillig, Hayflick",107,"2024-04-11T00:00:00.000Z","1995-11-09T00:00:00.000Z",{"_252":114,"_96":253,"_98":254,"_100":255,"_102":256,"_104":109,"_106":111,"_108":40,"_110":114,"_112":114,"_113":42,"_115":42,"_257":114,"_258":42,"_119":42,"_259":42,"_122":42,"_123":114,"_260":42},"1995",17,22,26,13,"2010","2011","2015","2024",{"_262":263,"_267":268,"_272":273,"_277":278,"_282":283,"_286":287,"_290":291,"_294":295,"_298":299,"_302":303},"80",{"_25":264,"_129":265,"_131":266},"2000-10-06","1999-10-28",344,"92",{"_25":269,"_129":270,"_131":271},"2003-08-12","2002-10-18",298,"94",{"_25":274,"_129":275,"_131":276},"2004-09-03","2003-10-25",314,"97",{"_25":279,"_129":280,"_131":281},"2007-02-15","2005-03-24",693,"98",{"_25":284,"_129":279,"_131":285},"2010-07-17",1248,"101",{"_25":288,"_129":289,"_131":285},"2014-06-14","2011-01-13","102",{"_25":292,"_129":288,"_131":293},"2015-12-04",538,"103",{"_25":296,"_129":292,"_131":297},"2018-05-26",904,"104",{"_25":300,"_129":296,"_131":301},"2021-06-05",1106,"106",{"_25":304,"_129":305,"_131":306},"2024-04-11","2021-11-26",867,1998,2005,"http://sickbarberlicks.weebly.com/pat--dex.html",[],{"_21":236,"_51":22,"_52":312,"_54":55,"_56":109,"_57":-5,"_31":313,"_33":313,"_35":36,"_23":314,"_61":-5,"_62":63,"_64":190,"_65":315,"_39":36,"_41":36,"_46":-5,"_67":316,"_178":395},"1b2cdf23-a0c7-4663-8890-d804000441ea","2020-02-22T16:26:55.358Z","1998-02-13-bernstein-and-chasnoff","5a95399e-312f-4bb2-9e2a-dadfbca2f40a",{"_21":312,"_69":317,"_23":318,"_31":319,"_33":320,"_74":321,"_76":322,"_27":78,"_79":323,"_29":324,"_81":63,"_82":325,"_84":326,"_86":327,"_87":328,"_88":329,"_90":330,"_92":331,"_94":332,"_124":345,"_172":173,"_174":308,"_176":394,"_46":317},"Bernstein and Chasnoff","bernstein-and-chasnoff","2020-02-22T15:50:22.697Z","2025-08-26T02:09:36.096Z","

Oh Bernstein and Chasnoff,
Where do you get off,
Thinking you're only two of twenty.

Oh Andy and Larry,
You're so damn hairy,
Why don't you go and take a bath?

(Because..)
You're getting sued.
Bummer, dude.
But you just don't know when it'll happen.

You're getting sued.
Bummer, dude.
But the time's just not right for that action.

Klopstein and Cabot,
We just won't have it,
We know exactly who you are.

Tariq and Shep Williams,
The pages they will fill 'em
Well, phony names will only go so far.

You're getting sued.
Bummer, dude.
But you just don't know when it'll happen.

You're getting sued.
Bummer, dude.
But the time's just not right for that action.

You're getting sued.
Bummer, dude.
But you just don't know when it'll happen.

You're getting sued.
Bummer, dude.
But the time's just not right for that action.

","transcribed by Rich Steele

(main riff)

C > A > D > G

(chords over the chorus)

C > Bb > G > C > F
C > Bb > G > C > Bb > F > G

(ending riff)

E 15 12 12 12(h)13 12 12 17 17 14 14 14(h)15 14 14
B 13 13 15 15
G 12 14
D
A
E","bandc",14,"e2397ce3-857e-425f-925e-1cb30de780d7","Marc Brownstein","

Larry Chasnoff, Marc, and a mutual friend of ours, Keith Koslov, all spent their summers growing up together in upstate NY at a place called Schroon Lake. \r

I went to high school with Keith and knew Marc as his annoying prep school friend, way too soft for us public school Brooklyn thugs. Then a bunch of us went to see Phish in Sugarbush in 95, and Marc started telling about this band he was in, and I started telling him about this idea I had for a book. \r

Walking around the lots a kid from Penn recognized Marc from his band and got all excited. I thought to myself, "hmmm, if the book thing doesn't work out, maybe I can ride Brownstein's coattails a little." \r

A few months later, as the Biscuits toiled in relative obscurity, we came out with the first Pharmer's Almanac. Only about 6 people worked on it, but we wanted to make it look more like a community project, so we put a lot of fake names in the staff box. It was a mix of names of people from Schoon Lake (Nick Weiss) and completely absurd names like Harvey Klopstein, Tariq Ali and Shep Williams. \r

When Marc and Keith saw the book a few months later, they thought the fake names were hysterical. While I wasn't there, I assume they spent the next few hours making fun of Chasnoff and I on every possible level. And at some point Keith pulled out a guitar. The rest was history. \r

So that's where the song came from. ("Klopstein and Cabot/ we just won't have it/we know exactly who you are/Tariq and Shep Williams/ pages we'll fill'em/ but phony names will only go so far.) \r

I was all excited that I had a song with my name in it until people started coming up to me and asking "Hey, why did you get sued by Phish?" \r

I want to state, for the record, that we never were sued by Phish, never threatened to be sued by Phish, and never had any legal issues with Phish regarding the Almanac. Every interaction we've had with management has been positive. \r

We caught a lot of grief in the early years from about a dozen people on rec.music.Phish (I know, what a shocker, someone getting grief on an Internet discussion group) but we never got the same from management. \r

I'm not actually sure where the "You're getting sued/bummer dude" line came from, but I think it had to do with the fake names or maybe some of the flack we were getting on the Internet. \r

The Almanac ended up selling about 70,000 copies, but at some point I got tired of going to Phish shows and decided it was a lot more fun to see the Disco Biscuits. \r

~Andy Bernstein\r

Although its lyrics were never cerebral, Bernstein & Chasnoff connects the band to greater jamband lore. Musically the song is not much more complicated: There are two verses, each followed by a chorus, a bridge and chorus, a jam section, and a triumphant ending. At various points in its history, the ending has contained a bonus section (referred to as “Smell The Funk” only after it had been shelved).\r

For its first year, B&C did not contain any jamming of note (refer to 1/30/97 for some truly bizarre sound effects in the pre-Trancefusion era). Trancefusion era versions of 97 (of which 11/17 and 11/18 are extant) do little to suggest the song’s eventual heavy hitter potential. Beginning early in 1998, the song became a vehicle for some of the band’s most interesting early experimentations. 2/26/98 is of particular note, a 25-minute version that contains elements of what would make the song great. Even more significant is 3/21/98, the “Techno B&C,” and what is considered to be the first “Perfume version” of any song. The song remained strong, if slightly less noteworthy, for the remainder of 1998. Already its M.O. was becoming pretty clearly established—the song would regularly depart from blissful type one territory for spacey, sinister territory, and was the earliest example of this style of exploratory jamming.\r

One of the first jams of 1999 was a B&C jam, in the early morning hours of January 1. This B&C > Nughuffer was likely the greatest example of pure Trancefusion yet played at the time. The song stayed strong through 1999 (a high water mark for both the band and the song), with standout versions played on 4/24, 4/30, 5/5, and 9/11 of that year. In particular, the latter two are frequently cited as the strongest versions of the song.\r

The band took a hiatus from B&C during its author’s departure from the band, but it returned with a vengeance at Camp Bisco, split-up dyslexically over 8/25/00 and 8/26/00. Despite the fewer shows played in 2000, there is no shortage of strong B&Cs from the fall tour. Of these 10/27 is thoroughly unique, and a sleeper choice for best ever, while 12/28/00 is more reminiscent of the classic 1999 style B&C.\r

After 2000, B&C faded a bit into the background, although some standout versions do exist from this era. 4/24/01 received some attention for its inclusion in Steele’s Picks, 9/6/01 contains some fantastic fall 2001 jamming and one of the early Sound 1s, and 10/5/02 is remarkably strong (of course, as is everything from that show). 11/29/03 is a lesser-known but very interesting version, which may be the first to be jammed out of the bridge rather than the main jam section.\r

B&C was played just thrice in 04 and once in 05 before Allen joined the band. After a few versions in the winter and spring shows, it was absent for nearly the whole of 06, from 4/26 until 12/29. The 12/29 version is a much-loved mashup with Joy to the World, and features the return of the Smell the Funk section, shelved in January 1999 and busted out only once on 5/5/01. It would be played on every 07 version and then shelved again indefinitely.\r

2007 would be B&C’s second golden era, as nearly every version from that year is excellent and highly regarded. After the fairly standard Jam Cruise version, it was split three ways for the first time at the legendary Starland Ballroom run on 2/17, which featured numerous debuts, Allen first-timers, and bustouts. While it didn’t surface over the spring tour, the standalone version that opened Camp Bisco VI is probably the strongest standalone with Allen. In the fall tour, 10/16 is a particularly strong version (flying slightly under the radar due to a lack of available soundboard) and 11/1 contains the first jam into the beginning of the song with Allen, and since 4/4/02.\r

B&C was only played twice in 08, although 4/19/08’s monster inverted version (first inversion with Allen and first since 7/23/03) is a must-hear. After a single performance each in the winter tour and spring tour of 09, B&C was played six times in the four months from 10/3/09 to 1/28/10. Each of those 6 versions is inverted. In the post-wristgate era, B&C rarely produces a memorable jam, with two glaring exceptions: the stellar and spacey 2/3/17 B&C > Voices > B&C, and the monster dyslexic beginning that opened the second set of 10/19/20.\r

","You’re getting sued. Bummer Dude",240,"2025-06-22T00:00:00.000Z","1996-07-04T00:00:00.000Z",{"_96":333,"_98":334,"_100":335,"_102":336,"_104":117,"_106":97,"_108":97,"_110":105,"_112":40,"_113":42,"_337":109,"_115":117,"_338":114,"_116":107,"_257":105,"_258":114,"_118":40,"_339":114,"_119":111,"_259":42,"_120":40,"_121":40,"_122":40,"_340":114,"_341":42,"_123":114,"_342":42,"_343":105,"_260":114,"_344":40},9,47,32,36,"2006","2008","2013","2019","2020","2022","2023","2025",{"_346":347,"_351":352,"_355":356,"_360":361,"_365":366,"_370":371,"_375":376,"_380":381,"_384":385,"_389":390},"124",{"_25":348,"_129":349,"_131":350},"2000-08-25","1999-10-29",301,"174",{"_25":353,"_129":280,"_131":354},"2006-02-25",338,"177",{"_25":357,"_129":358,"_131":359},"2006-12-29","2006-04-26",247,"187",{"_25":362,"_129":363,"_131":364},"2008-12-27","2008-04-19",252,"203",{"_25":367,"_129":368,"_131":369},"2012-07-14","2011-04-15",456,"214",{"_25":372,"_129":373,"_131":374},"2016-03-26","2015-02-21",399,"224",{"_25":377,"_129":378,"_131":379},"2019-11-14","2019-01-31",287,"225",{"_25":382,"_129":377,"_131":383},"2020-10-19",340,"228",{"_25":386,"_129":387,"_131":388},"2022-11-11","2021-10-28",379,"237",{"_25":391,"_129":392,"_131":393},"2025-01-25","2024-02-09",351,"http://sickbarberlicks.weebly.com/bernstein-and-chasnoff.html",[],{"_21":397,"_51":22,"_52":398,"_54":55,"_56":105,"_57":-5,"_31":399,"_33":399,"_35":36,"_23":400,"_61":-5,"_62":63,"_64":315,"_65":401,"_39":36,"_41":36,"_46":-5,"_67":402,"_178":472},"29293e25-b170-4fe7-90d4-28aa30f263c5","1aa804c3-7dc1-4007-aa9d-a5e8ac93f34a","2020-02-22T16:26:55.480Z","1998-02-13-basis-for-a-day","290bc8d0-c6c3-41f0-88d6-75e29ba973d4",{"_21":398,"_69":403,"_23":404,"_31":319,"_33":405,"_74":78,"_76":406,"_27":78,"_79":407,"_29":97,"_81":63,"_82":408,"_84":409,"_86":410,"_87":411,"_88":412,"_90":413,"_92":250,"_94":414,"_124":421,"_172":469,"_174":470,"_176":471,"_46":403},"Basis For A Day","basis-for-a-day","2025-08-26T02:09:35.717Z","Basis For A Day
(transcribed by Rich Steele)

ok, when they actually do start the song, barber does this fanning type of
thing that goes like this:
E D C#
E
B 17 17 17 17 17 15 14
G x x x x x x x
D 14 14 14 14 17 12 11
A
E

which goes into the simple G > A thing.
(G- on the 3rd fret. A- on the 5th)
Listen to a tape to hear how many beats you play the A before going down
to the G.

Then, after you slow it down at the end with the slow G, slowly strum
these series of bar chords:

E F Ab B D E
E 0 1 4 7
B 0 1 4 7 7 9
G 1 2 5 8 7 9
D 2 3 6 9 7 9 (strum this last E fast)
A 2 3 6 9 5 7
E 0 1 4 7

Then it goes into the (ooooooohhhh) part, where you just play the A > G
part again.
Which then goes into the bass solo, which marc plays over a Ebm > Bbm7.

Then after the bass solo they play over this progression:

Eb > F# > A > C# > Em > B > F
(play twice, then they jumps into these next 2 riffs, which are played
over a Bm7 > Em.)

E 7(h)8(p)7 (trills)
B 7 7(h)8(p)7 (trills) 8
G 7 7
D 7 9 9
A 7 9 9 7
E

F#m7 F7 Em Bm
E 7
B 7 7(h)8(p)7 10 10 8 7
G 7 9(p)7 9 8 9 7
D 9 9 11 10 9 9
A 7 9 8 7 9
E 7

then...

E
B 5 5 5 5 8 8 8 8
G 5 5 5 5 (-->> slide) 9 9 9 9
D 7 7 7 7 10 10 10 10
A 7 7 7 7 10 10 10 10
E

E
B 5 5 5 5 10 8 8 8 7 7 7 5 5 5
G 6 6 6 6 11 9 9 9 7 7 7 6 6 6
D 7 7 7 7 12 10 10 10 9 9 9 7 7 7
A 7 7 7 7 12 10 10 10 9 9 9 7 7 7
E

(play that section twice)
(then drops back down into this chromatic riff)

E 12 11(h)12 11 10(h)11 10 9(h)10 9 8(h)9
B
G
D
A
E

E 8 7 5 7 8 9 10 10 10 10 10 11 10 9 8 7 8 9
B
G
D
A
E

E 10
B 10 8
G
D
A
E

This then repeats for a bit, then eventually goes into the (OOooooohhhh)
part again over the G > A.

then they play this riff which leads into the outro jam.

E
B
G
D
A 5 5 7
E 5 7 7(p)5 5(sl)3 3(h)5 5 7 7(p)5 5 5

play this 4 times

-- Basis ending --
(listen for the key change to A major, where they all typically land on a
E to start the outro jam.)
Is done over a A > D > G progression.

This is the ending riff. (play 4 times)

E 21 21 21 22 21 19 19 21 22 22 21 21
B 18 20(sl)22
G
D
A
E

then....
E
B 19 17 15 13
G 14 12 9
D
A
E

Then they just jam a bit more over that same
A > D > G progression, until barber hits that ending riff again. then it
goes into the final part, which is this.

E
B
G
D
A 5 5 7
E 5 7 7(p)5 5(sl)3 3(h)5 5 7 7(p)5 5 5

play this 4 times

\\r","basis","4338604b-38e0-432c-855b-bcd9091d4409","Abrams, Gutwillig","

“This song is called Basis for a Day, it’s a song you should listen to every day” - Barber, 10/1/98

Stunning and majestic, Basis for a Day is the likeliest candidate for consensus greatest song in the Disco Biscuits catalog. The catalog is replete with 30 and 40 minute versions, three part versions, and numerous versions that are considered among the best jams ever played. The song itself is rather simple: a modern standalone version usually consists of a drawn out intro jam, a composed middle (which features a triumphant two chord riff, a chorus of “whoa”s from the band, a bass slap section (sometimes jammed out, as in a three part version), a (relatively) complex instrumental section, a reprise of the triumphant “whoa” section, and an ending riff), an even more drawn out main jam, and a triumphant peak. After the peak, the band stops, and then plays a quick high-energy jam back into the same peak, after which the ending riff from the composed middle is repeated (this is sometimes known as the tag, or Gimme All Your Fucking Money (GAYFM) section, after a line Brownstein sometimes yells to the crowd).

Because 1995 and 1996 are not represented in the Biscuits archives, it is hard to know exactly how much Basis grew in those early years and how different the modern version is from the early version. Luckily, one Basis from before 1997 is still readily available in circulation: 8/7/96 at the band’s first show at the Wetlands Preserve, immortalized on the earliest edition of Encephalous Crime. This early version is vastly different from the modern version. The intro jam is less than two minutes long, and features a bizarre stream of consciousness narration from Barber. The iconic whoas are absent from the composition, as is the bass slap section, but otherwise the composed middle is fairly similar to modern versions. The main jam is under ten minutes and sees the narration from Barber continue. Rather than building to the distinctive peak, the main jam breaks down, at which point the band plays the ending riffs, and build up to a crescendo before dropping back into that riff.

Until May 2020, the earliest extant Basis on Archive was 1/30/97, but that changed with the release of 1/17/97 from the vaults. The Basis on this version has some notable differences from the EC Basis: the first whoas are sang, and the ending is different: rather than building straight to the ending riffs, the jam builds up to the distinctive Basis peak that we know today, after which there is a tag section which builds up to the ending riffs (the peak is not played a second time). At some point after 8/7/96, but no later than 1/17/97, this iconic peak riff was added. 1/30/97, the first three-part Basis and for years the earliest extant Archive Basis, saw further developments to the song structure, namely the addition of the distinctive bass slap section to the composed middle. This section developed organically out of an intro jam, led by Brownie, into the middle of Basis.

After 1/30/97, there are another eleven versions of Basis from 1997 available on Archive. 2/22/97 is the first version in which the band plays the peak a second time in the tag section, although this didn’t become standard right away (3/25 and 4/12 are not played this way, for example). 3/25/97 and 5/13/97 feature more of the bizarre stream of consciousness narration present on the EC version. 3/29/97 is a somewhat odd version in which the band almost inverts the song, playing the peak before dropping (somewhat clumsily) into an intro. After 5/31/97 there are no Bases on Archive until 11/17/97; despite this gap, the song doesn’t seem to have grown much, although the band is playing tighter. The band played a Basis ending on 12/27/97 and followed up the next two nights with full versions of Basis, illustrating how important the song had become to the catalog by then. 12/28/97 is the longer and stronger version, and features an interesting type two breakdown (shades of Aceetobee and perhaps Peter Gunn from Barber?) towards the end of the main jam that showcases Magner’s new electronic synth capabilities.

The first golden era for Basis began in 1998. Basis was played 34 times in 1998, and of this number 25 have survived into circulation on Archive. The first Basis of the year is short and unassuming, not at all portentous of the song’s future role as the band’s heaviest hitter of the year, but the second version is a massive two song pairing, an over 50 minute Run Like Hell > Basis for a Day combo that skyrocketed both of these songs into the stratosphere. Other important early 98 versions include 3/21/98 Law and Order Theme > Basis, the 4/2/98 medley (which features an impressive DJ segue out of the bass slaps to a Shem-Rah intro), 4/18/98 Vassillios > Basis (featuring, of all things, a didgeridoo, but more importantly the first Basis to feature a trance jam), and 5/2/98 Basis > Dribble > Run Like Hell > Basis (another important show for Run Like Hell, as well as Dribble). Basis turned another corner on 7/3/98, which featured a nearly 40 minute version of the song, by far the longest yet. This version is emblematic of all the developments in the song over the course of 1998: the intro jam is ten minutes long, thematic and interesting in a way the earlier versions were not. The main jam is over 23 minutes even if you don’t include the tag, a relentless breakneck 98 style trance jam that had become the norm for the song. It holds up to modern versions as one of the best Bases ever. Basis was particularly strong for the remainder of the year, with important versions including 8/15/98, 9/9/98, and 12/29/98 (the last of which was included on the reissue of Encephalous Crime).

“The song’s called Basis for a Day… and it changes over time as the band changes over time. And so we took a really hot version from a couple weeks ago, digitally mastered it, and put it on the end of the album, so the album’s a little more up-to-date than it used to be.” - Barber, 2/05/99

The meteoric rise of Basis continued into 1999. Two very solid versions, 1/21/99 and 1/26/99, preceded a monumental version, 1/29/99, which at the time was probably the best version ever played. The band followed this with a nearly 40 minute version on 2/5/99 that is a little bloated at times and overall not as strong as the 40 minute version from 7/3/98. After this version it was nothing but smooth sailing for Basis in winter 1999. The next version, 2/10/99 (also an important date for M.E.M.P.H.I.S.) featured the first jamming on the middle of Basis, or out of the bass slap section, a trend that continued sporadically throughout the year and beyond. 2/19/99, which opens with the powerful Pygmy > Basis ending combo, is the first dyslexic Basis and arguably the first dyslexic Biscuits song (there is a Harry Hood from 1996 that is notated as dyslexic). Other standouts from the rest of the tour include 2/25/99, 3/6/99, and 3/18/99. A short anecdote from 3/27/99 stands out as evidence that Basis had become the most important song in the catalog. The band had left the stage after the encore, but were determined to play the end of Basis one more time before tour ended. They got back on stage for a second encore, a less than ten minute Waves > Basis. Although it is perfunctory, it demonstrates just how important it was to the band that they tied up their loose ends.

Since Basis was a microcosm of the band’s state, it continued to grow in spring and fall 1999. The first Basis of the spring tour was played at the legendary Trocadero show on 4/9/99. The classical cover The Thieving Magpie was debuted out of the main jam, and the ending was once again played in a Waves > Basis combination, this one considerably more fleshed out and considered by some to be the greatest Biscuits jam of all time. Another contender for that same accolade can be found on 4/17/99 in the legendary Shimmy > Basis pairing, the second Basis of the tour. After a solid standalone version on 4/23/99, another legendary Basis was performed at the storied Wetlands Preserve on 5/1/99, with a Basis > Vassillios > Basis anchoring the first ever palindrome set. After three out of the first four Bases of tour being legendary versions, the song remained a consistent heavy hitter for the remainder of the tour, with a particularly solid standalone version performed on 5/27/99, and with an excellent split version sandwiching the second inverted Boop on 6/13/99. Another important development for the song occurred on 5/14/99. Jamming on the middle section had become more common in the winter, but was taken to a new level when Basis was jammed out of and split at the middle section, with a particularly intense and primally psychedelic jam from Bernstein back into the Basis bass slaps.

There weren’t many significant developments to Basis in fall 1999, although just about every version from this tour is worth hearing. The most worthwhile of these are 10/6/99 (a 40 minute version widely considered the greatest standalone) and 10/28/99 (in addition to one of the best endings ever, Basis is teased and faked out throughout the show and as part of the “Spagopera”). The final Basis of the year was ending only, used as the final destination for the 100+ minute Akira jam, one of the Biscuits’ crowning achievements.

With the departure of Marc Brownstein from the band at the beginning of 2000, Basis entered its first lull in years. The first show of the year, 3/11/00, featured a Basis with Sammy on bass and Mauricio on percussive synths (the format that all the original Munchkin Invasions and Crickets were played in). The same lineup played a Basis > Helicopters > Basis sandwich on 4/22/00. These versions have their merits but overall are particularly ineffective, especially in the composition. The song was played twice more before the core four properly reunited, in full on 6/27/00 with Jordan Crisman on bass, and ending only on 8/19/00 with Pauly Herron (of Electron et al.) on percussion. The 6/27 version is particularly worthwhile, with a triumphant and unconventional intro jam and a powerful ending.

On 10/13/00, the core four performed a full Basis for the first time since 10/28/99. The roughly 38 minute version featured drawn out intro and main jams and a perfunctory middle jam, and signalled the beginning of the second golden age of Basis. Although the 10/13 version has moments of staleness, particularly in the main jam, it is a very solid version overall, and just about every version from the rest of the year is worthwhile. In particular are 10/21/00, 10/27/00 and 11/11/00: 10/21/00 is split up and sandwiched between Jigsaw Earth, in a brilliant Jigsaw > Basis > Jigsaw > Basis > Jigsaw segment that is one of the best of the year, and standalone Bases open the second set of 10/27/00 and the first set of 11/11/00, and these are often regarded as the year’s strongest. A unique dyslexic Basis can be found on 11/3/00; the show opens with the tag section, and an otherwise full Basis is played in the second set, with a full Barfly replacing the tag.

The golden age of Basis continued into 2001, although there aren’t many important versions from the spring tour. Some major exceptions include 4/1/01 Basis > Waves (><) > Basis and the excellent 33 minute standalone on 4/6/01. Basis made an important comeback on 7/5/01, with a majestically interwoven pairing of Crickets and Basis anchoring the second set. In the fall tour Basis was a regular powerhouse once again. The second show of the tour, and final show at the Wetlands Preserve, 9/2/01, featured a powerful 35 minute standalone Basis in the third set. 9/15/01 Basis > Ape (><) > Basis is a fan favorite segment and considered by many to be among the best versions of both songs. And 11/1/01 features a spectacular Basis that cracks the 40 minute mark, the first to do so. But perhaps the strongest version of the year can be found on 9/12/01, in which the band delivered a powerful and emotionally resonant Basis the day after the national tragedy.

Spring 2002 suffered an even greater dearth of meaningful Bases than did spring 2001. The tour in general was extremely song-heavy and lighter on stretched out jams, so it isn’t altogether surprising that a powerhouse like Basis suffered. Those interested in the era should check out the 3/6/02 version (generally considered to precede the overly song-y stretch of spring 02) and maybe 4/29/02 (from a Meatcamp set that is overflowing with heavy hitters), but the rest of the tour can largely be written off. Basis began to get interesting again in the summer (worth checking out are 8/17/02 Judy’s > Basis and 8/24/02 Frog Legs > Basis) and by the fall it had once again attained heavy hitter status. The polarizing “almost palindrome” of 10/2/02 is bookended by an excellent Basis, and 10/26/02 features another strong version of the song, but the two titans of 02 are undoubtedly 10/18/02 (Rock Candy > King of the World > Aquatic Ape (><) > Basis is some of the best music of the year) and 11/9/02 (the entire thing is excellent, but the intro is transcendent). 11/9/02 was the last Basis of the year, making 2002 the only year in which Basis was not played over the New Year’s run.

Although in previous years Basis seemed to dip in quality during the spring tours, spring 2003 is actually a particularly strong era for Basis. The first Basis of the year was played on 4/6/03, a 46 minute standalone (the longest standalone at the time and for over a decade afterward) that is highly regarded as one of the best. The next version of the year, 4/17/03, is another highly regarded version, particularly for the intro and middle jams. The other versions from the tour (split versions on 4/25/03 and 5/4/03, and an ending only version on 5/26/03) are solid as well. In the summer, Basis was played on 7/2/03, and then sat on the shelf for a then-unprecedented 17 shows, until it was dusted off for a monster final-set-centerpiece at the mythical Trancemission festival on 8/16/03. It then sat on the shelf for a whopping 27 shows (still its longest gap ever) until it was played again on 12/31/03. This Basis was central to the New Year’s Eve gimmick: It closed out the first set, but was left unfinished as the band jammed with the New Deal into their setbreak set. At the end of the New Deal’s set, the Biscuits gradually came out for another New Deal/Biscuits jam that segued into the end of Basis, complete with New Year’s countdown.

In the twilight years of 1.0, Basis stayed in the rotation but seemed to have lost some of its luster. It was played six times total with Sammy in 2004-2005. Of these, the only one really worth hearing is the standalone version played 12/29/04 as the second part of the encore. Fans who left to beat the traffic as the band started up Eulogy were no doubt dismayed to learn that, not only had the band treated the remaining faithful to an excellent Basis, they had reprised the jam that would eventually become Gangster in the intro jam.

With Allen joining the band, Basis regained its status as a once-every-five-shows song (from 2003-2005 it was more a once-every-eight-or-nine-shows song). Allen’s first Basis was on New Year’s Eve 2005, and he tackled the song on sixteen occasions in 2006. As he grew more and more comfortable with his place in the band, so too did the Bases he played become gradually more confident. There aren’t many must-hear versions from 2006, but they can be found towards the end of the year: 9/23/06, 11/4/06, and especially 11/25/06 all have moments of greatness.

Like the song’s golden age in 1.0, the golden age for Basis in 2.0 coincides with the golden age of Biscuits 2.0, beginning sometime in 2007 and ending sometime in 2009. The first extant version of 2007, 5/20/07, was the first best Basis of the year, and strong versions from the summer and fall include 6/28/07, 8/17/07, 10/12/07 and 11/4/07. In early 2008 monster versions of Basis were incorporated into jam-heavy three and four song sets, such as 1/19/08’s I-Man > Nughuffer (><) > Basis or 3/1/08’s Triumph > Shelby (><) > Basis (both excellent versions). In the summer, strong versions of Basis were played at major festival appearances, including 6/7/08 at Starscape and 6/13/08 at Bonnaroo.

2009 was arguably the strongest year for Basis in 2.0, with 6/5/09 and 9/19/09 being some of the best versions of the song for any era. In 2009 the three-part Basis became ubiquitous. 1/24/09 saw Basis split into beginning/middle, end and tag, but the first proper three-part Basis since 1/30/97 was played on 2/27/09 (beginning) and 2/28/09 (middle and end). This is, in fact, the first four-part Basis (in practice, the most number of pieces Basis can be split into), since the tag is played separately as well. Another three-part Basis was played over the New Year’s run, and the trend continued into later years.

After 2009 there were considerably fewer meaningful versions of Basis, although the song remained a catalog staple and guaranteed crowd pleaser. 1/31/10 and 3/15/10 are solid pre-wristgate fare, although nothing groundbreaking, and 7/8/11 is a strong portion of a strong show. Basis was played almost exclusively as a three-part or four-part song in 2012 and 2013, and remained stagnant until an earth-shattering standalone performed at the Mann Center on 9/27/13 as part of City Bisco. Breaking the 47 minute mark, it is the longest standalone Basis played, breaking the record previously held by 4/6/03 by over a minute. In addition to its length, it is widely considered the strongest Basis of the setbreak era (and one of the strongest of any era).

Basis continued to recover ground as the band did, and was mostly solid in 2014 and 2015. In 2016, Basis entered what might be called a silver age, with mostly solid versions appearing over the next four years. Basis also became more common, played a whopping seven times each year in 2016 and 2017, the most since 2010. After a few strong performances in 2016, most notably 2/6/16 at the Fillmore Philadelphia, Basis was inverted for the first and only time on 7/16/16 at Camp Bisco in one of the most memorable sets of the setbreak era. 2017 is similarly solid, with strong versions on 2/4/17 at the Fillmore, and 12/31/17 at the Playstation Theater, in what was also the most recent three-part Basis.

After two strong years, Basis was not played for over six months and 18 shows (its second-longest show gap and longest since 2003). It made its reappearance as the encore of the final night of Camp Bisco, 7/14/18, and was played twice more that year. The latter, played 12/28/18, is a particularly unique and interesting version with a wide variety in synth choices. After another strong performance on 1/31/19, Basis disappeared for another 18 shows until reappearing in November, its longest calendar gap. The Basis delivered on 12/31/19 is excellent, one of the strongest versions of the past decade.

Basis has been a staple of the band’s catalog for decades, nearly since it was written. It has been played more times than any other song except for two: Morph and I-Man. Disappearances of more than ten shows are very infrequent.

","Whoa.",334,"2025-08-22T00:00:00.000Z",{"_252":40,"_96":324,"_98":335,"_100":415,"_102":336,"_104":205,"_106":416,"_108":417,"_110":117,"_112":109,"_113":40,"_337":97,"_115":418,"_338":419,"_116":420,"_257":103,"_258":111,"_118":111,"_339":109,"_119":111,"_259":111,"_120":107,"_121":107,"_122":40,"_340":40,"_341":42,"_123":111,"_342":105,"_343":117,"_260":117,"_344":105},34,21,18,12,10,19,{"_422":423,"_427":428,"_432":433,"_437":438,"_442":443,"_447":448,"_452":453,"_457":458,"_461":462,"_466":467},"180",{"_25":424,"_129":425,"_131":426},"2004-12-29","2004-07-10",172,"221",{"_25":429,"_129":430,"_131":431},"2008-12-30","2008-07-19",164,"257",{"_25":434,"_129":435,"_131":436},"2011-07-08","2011-01-14",175,"262",{"_25":439,"_129":440,"_131":441},"2012-07-12","2012-01-28",166,"267",{"_25":444,"_129":445,"_131":446},"2013-08-31","2013-01-26",217,"271",{"_25":449,"_129":450,"_131":451},"2014-08-15","2014-01-26",201,"294",{"_25":454,"_129":455,"_131":456},"2018-07-14","2017-12-31",195,"298",{"_25":459,"_129":378,"_131":460},"2019-11-20",293,"300",{"_25":463,"_129":464,"_131":465},"2020-10-25","2019-12-31",299,"301",{"_25":468,"_129":463,"_131":89},"2021-04-03",1999,2020,"https://sick-barber-licks.weebly.com/basis.html",[],{"_21":401,"_51":22,"_52":474,"_54":55,"_56":107,"_57":-5,"_31":475,"_33":475,"_35":36,"_23":476,"_61":-5,"_62":63,"_64":397,"_65":477,"_39":36,"_41":36,"_46":-5,"_67":478,"_178":533},"7a2d2d69-bb29-4b89-b881-f8791207c8f8","2020-02-22T16:26:55.542Z","1998-02-13-south-of-the-border-pussy","06119340-a278-4a09-bb80-2a7107d5470e",{"_21":474,"_69":479,"_23":480,"_31":240,"_33":481,"_74":78,"_76":78,"_27":78,"_79":482,"_29":426,"_81":63,"_82":483,"_84":484,"_86":-5,"_87":-5,"_88":485,"_90":486,"_92":93,"_94":487,"_124":488,"_172":173,"_174":307,"_176":-5,"_46":479},"South Of The Border Pussy","south-of-the-border-pussy","2025-08-26T02:10:04.026Z","sobp","9ff6cb71-06e9-4fb2-81bf-8a313752e718","Sam Altman",35,"1998-06-08T00:00:00.000Z",{"_96":418,"_98":417,"_100":111},{"_489":490,"_494":495,"_498":499,"_502":503,"_507":508,"_511":512,"_515":516,"_520":521,"_524":525,"_528":529},"10",{"_25":491,"_129":492,"_131":493},"1996-08-07","1996-06-05",63,"11",{"_25":496,"_129":491,"_131":497},"1996-12-14",129,"12",{"_25":500,"_129":496,"_131":501},"1997-02-06",54,"17",{"_25":504,"_129":505,"_131":506},"1997-05-10","1997-03-29",42,"20",{"_25":509,"_129":510,"_131":336},"1997-07-13","1997-06-07","21",{"_25":513,"_129":509,"_131":514},"1997-09-07",56,"25",{"_25":517,"_129":518,"_131":519},"1997-10-11","1997-09-11",30,"26",{"_25":522,"_129":517,"_131":523},"1997-11-17",37,"30",{"_25":526,"_129":527,"_131":204},"1998-01-15","1997-12-08","34",{"_25":530,"_129":531,"_131":532},"1998-06-08","1998-02-26",102,[],{"_21":477,"_51":22,"_52":535,"_54":55,"_56":117,"_57":-5,"_31":536,"_33":536,"_35":36,"_23":537,"_61":-5,"_62":63,"_64":401,"_65":538,"_39":36,"_41":36,"_46":-5,"_67":539,"_178":598},"8b4845a1-0761-4343-84e1-b32dc919c4e9","2020-02-22T16:26:55.576Z","1998-02-13-mary-had-a-little-lamb","02e43168-f017-47bd-96a6-12d535181d43",{"_21":535,"_69":540,"_23":541,"_31":542,"_33":543,"_74":78,"_76":78,"_27":78,"_79":544,"_29":545,"_81":546,"_82":547,"_84":548,"_86":-5,"_87":-5,"_88":101,"_90":549,"_92":550,"_94":551,"_124":552,"_172":307,"_174":597,"_176":-5,"_46":540},"Mary Had A Little Lamb","mary-had-a-little-lamb","2020-02-22T15:50:23.009Z","2025-08-26T02:09:52.490Z","marylamb",116,true,"337b1646-6f56-4c72-a5d6-68708d1e71b5","Buddy Guy","2014-02-20T00:00:00.000Z","1995-04-01T00:00:00.000Z",{"_252":40,"_96":40,"_98":40,"_100":97,"_102":107,"_104":42,"_106":42,"_108":40,"_110":42,"_338":42,"_119":42},{"_553":554,"_558":559,"_563":564,"_568":569,"_572":573,"_577":578,"_528":581,"_584":585,"_589":590,"_593":594},"1",{"_25":555,"_129":556,"_131":557},"1995-12-02","1995-04-01",245,"4",{"_25":560,"_129":561,"_131":562},"1996-07-06","1996-02-13",144,"6",{"_25":565,"_129":566,"_131":567},"1997-05-13","1996-09-06",249,"9",{"_25":570,"_129":571,"_131":532},"1998-01-30","1997-10-20","32",{"_25":574,"_129":575,"_131":576},"2000-11-09","1999-05-14",545,"33",{"_25":579,"_129":574,"_131":580},"2001-03-31",142,{"_25":582,"_129":579,"_131":583},"2002-03-30",364,"37",{"_25":586,"_129":587,"_131":588},"2003-10-01","2002-04-14",535,"38",{"_25":591,"_129":586,"_131":592},"2008-03-15",1627,"39",{"_25":595,"_129":591,"_131":596},"2014-02-20",2168,2000,[],{"_21":600,"_51":22,"_52":601,"_54":55,"_56":419,"_57":-5,"_31":602,"_33":602,"_35":36,"_23":603,"_61":-5,"_62":63,"_64":538,"_65":-5,"_39":36,"_41":36,"_46":-5,"_67":604,"_178":654},"6ec44be3-c2d4-4769-b3d0-26d2e0c60da2","029eca49-12a1-4e93-be0b-7e0bc9422e44","2020-02-22T16:26:55.669Z","1998-02-13-jamillia",{"_21":601,"_69":605,"_23":606,"_31":542,"_33":607,"_74":608,"_76":609,"_27":78,"_79":606,"_29":610,"_81":63,"_82":325,"_84":326,"_86":-5,"_87":-5,"_88":200,"_90":611,"_92":612,"_94":613,"_124":615,"_172":173,"_174":597,"_176":653,"_46":605},"Jamillia","jamillia","2025-08-26T02:09:48.467Z","Jamillia knew that from the start it wasn't going to work
the call you're waiting for but never comes drives me berserk
and little Jam slips around to shuffle near to Kirk
he smiles when he sees her and she returns the smirk

Jamillia I wanna feel ya up
and lift your skirt right over your head
other guys they wanna steal ya
but in the end you'll sleep in my bed

Jamillia I wanna feel ya up
and lift your skirt right over your head
other guys they wanna steal ya

the time it __________ and with it subtle pain
and dripping as the tears seemed the same as falling rain
a storming silent passion but cerebral not to tame
her entertaining what the masses want for all it's just the same

Jamillia I wanna feel ya up
and lift your skirt right over your head
other guys they wanna steal ya
but in the end you'll sleep in my bed

Jamillia I wanna feel ya up
and lift your skirt right over your head
other guys they wanna steal ya

it fades away too soon and in just a couple days
my _________ freely lifts up in all its many ways
for years pass, now I know I made a big mistake
your eyes can illustrate in one look a simple craze

but though we can't reconcile what is past
you know my deepest thoughts but in the shallow end you cast
and though my thoughts are with you in an ordinary frame
my mind's a dirty thing and will forget just the same

Jamillia I wanna feel ya up
and lift your skirt right over your head
other guys they wanna steal ya
but in the end you'll sleep in my bed

Jamillia I wanna feel ya up
and lift your skirt right over your head
other guys they wanna steal ya","Transcribed by Eric Zeiler (moedat@aol.com)

Verse:C F (Bb Am G C)C F (Bb Eb D G)C F (Bb Am G C)C F (Bb Eb D C)

Chorus:F Bb Eb (G# G F#) (3x)F Bb Eb

Jam:C F G Em, Em Dm, Dm, C

You should be able to figure it out with this structure. ",91,"2016-07-15T00:00:00.000Z","1997-02-28T00:00:00.000Z",{"_98":614,"_100":99,"_102":333,"_104":42,"_106":107,"_108":333,"_110":42,"_115":114,"_116":114,"_257":40,"_118":42,"_339":42,"_259":42,"_120":42},49,{"_298":616,"_620":621,"_624":625,"_628":629,"_346":632,"_217":636,"_223":640,"_225":644,"_227":647,"_650":651},{"_25":617,"_129":618,"_131":619},"2000-11-11","1999-10-01",407,"105",{"_25":622,"_129":617,"_131":623},"2001-04-25",165,"121",{"_25":626,"_129":627,"_131":383},"2003-09-30","2002-10-25","122",{"_25":630,"_129":626,"_131":631},"2007-10-31",1492,{"_25":633,"_129":634,"_131":635},"2009-01-30","2007-12-27",400,{"_25":637,"_129":638,"_131":639},"2010-02-21","2009-03-04",354,{"_25":641,"_129":642,"_131":643},"2012-10-04","2010-09-10",755,{"_25":645,"_129":641,"_131":646},"2013-07-13",282,{"_25":648,"_129":645,"_131":649},"2015-09-05",784,"132",{"_25":652,"_129":648,"_131":276},"2016-07-15","http://sickbarberlicks.weebly.com/jamillia.html",[],{"_21":315,"_51":22,"_52":656,"_54":55,"_56":111,"_57":58,"_31":657,"_33":657,"_35":36,"_23":658,"_61":-5,"_62":63,"_64":236,"_65":397,"_39":36,"_41":36,"_46":-5,"_67":659,"_178":715},"36706496-2190-47fe-a002-ec0af441d70e","2020-02-22T16:26:55.385Z","1998-02-13-run-like-hell",{"_21":656,"_69":660,"_23":661,"_31":240,"_33":662,"_74":663,"_76":664,"_27":78,"_79":665,"_29":666,"_81":546,"_82":667,"_84":668,"_86":-5,"_87":-5,"_88":669,"_90":413,"_92":550,"_94":670,"_124":672,"_172":469,"_174":470,"_176":714,"_46":660},"Run Like Hell","run-like-hell","2025-08-26T02:10:00.841Z","You better make your face up,
In your favorite disguise,
With your button-down lips,
And your roller blind eyes.
With your empty smile,
And your hungry heart,
Feel the bile rising,
From your guilty past.
With your nerves in tatters,
As the cockleshell shatters,
And the hammers batter,
Down your door,
You better run.

You better run all day,
And run all night.
And keep your dirty feelings deep inside.
And if you're taking your girlfriend out tonight,
You better park the car well out of sight.
cause if they catch you in the back seat,
Trying to pick her locks,
They're gonna send you back to mother,
In a cardboard box.
You better run!","transcribed by Rich Steele

(intro)

E 10 10 9 9 7 7
B 10 10 10 10 8 8 7 7
G 11 11 9 9 7 7 7 7
D 0 0 0 0 0 0 0 0 7 7 0 0 0
A (play open D for
E 4 beats)

E 5 5 3 3
B 5 5 3 3 0 0 3 3
G 6 6 4 4 2 2 2 2
D 0 0 0 0 0 7 7 5 5 0 0 0 0 0 0 0 0 2 2 4 4
A 0 0
E

(chords over the Run....Run.. Run part are F > Em > C)

(verse)

Em
E 0
B 0
G 0
D 2
A 2
E 0

You better make your face up in your favorite disguise.

F
E 1
B 1
G 2
D 3
A 3
E 1

With your button down lips, and your roller blind eyes.

Em
E 0
B 0
G 0
D 2
A 2
E 0

With your empty smile, and your hungry heart.

C
E 8
B 8
G 9
D 10
A 10
E 8

Feel the bile rising from your guilty past.

E 7
B 7
G 8
D 9
A 9
E 7

With your nerves in tatters, as the cockle shell shatters.

Em
E 7
B 8
G 9
D 9
A
E

As the hammers batter down your door, you better run.

Everything above is the only part of the actual song they do the same
way everytime. Just the basic structure of the original Floyd song for
the most part. Everything before and after this is different everytime.
:)
","rlh",154,"0613f1fa-e69e-4913-8ca0-f7bb72e5d6ec","Pink Floyd",277,{"_252":109,"_96":111,"_98":97,"_100":671,"_102":671,"_104":418,"_106":97,"_108":97,"_110":117,"_112":111,"_113":40,"_337":418,"_115":419,"_338":419,"_116":97,"_257":117,"_258":105,"_118":111,"_339":105,"_119":111,"_259":40,"_120":111,"_121":111,"_122":111,"_340":111,"_341":114,"_123":117,"_342":105,"_343":117,"_260":107,"_344":109},28,{"_553":673,"_568":676,"_678":679,"_365":683,"_687":688,"_427":691,"_695":696,"_700":701,"_705":706,"_709":710},{"_25":674,"_129":556,"_131":675},"1995-09-16",168,{"_25":677,"_129":566,"_131":436},"1997-02-28","135",{"_25":680,"_129":681,"_131":682},"2004-12-27","2004-05-08",233,{"_25":684,"_129":685,"_131":686},"2012-07-06","2011-12-31",188,"209",{"_25":645,"_129":689,"_131":690},"2013-01-25",169,{"_25":692,"_129":693,"_131":694},"2015-10-30","2015-04-24",189,"232",{"_25":697,"_129":698,"_131":699},"2018-05-18","2017-11-18",181,"238",{"_25":702,"_129":703,"_131":704},"2019-11-22","2019-04-27",209,"242",{"_25":707,"_129":464,"_131":708},"2020-06-22",174,"244",{"_25":711,"_129":712,"_131":713},"2021-04-20","2020-10-24",178,"http://sickbarberlicks.weebly.com/run-like-hell.html",[716],{"_21":717,"_182":315,"_183":718,"_31":719,"_33":719},"98964a87-d6f3-44c8-864a-172252b5785e","With Barber on keys during intro as Magner ran to the bathtoom.","2020-02-22T16:26:55.422Z",{"_21":538,"_51":22,"_52":721,"_54":55,"_56":333,"_57":-5,"_31":722,"_33":722,"_35":36,"_23":723,"_61":-5,"_62":63,"_64":477,"_65":600,"_39":36,"_41":36,"_46":-5,"_67":724,"_178":781},"55d1a669-d60e-48de-80da-e6524976c0c9","2020-02-22T16:26:55.623Z","1998-02-13-little-betty-boop",{"_21":721,"_69":725,"_23":726,"_31":319,"_33":727,"_74":728,"_76":729,"_27":730,"_79":731,"_29":732,"_81":63,"_82":408,"_84":733,"_86":-5,"_87":734,"_88":682,"_90":735,"_92":736,"_94":737,"_124":738,"_172":307,"_174":308,"_176":780,"_46":725},"Little Betty Boop","little-betty-boop","2025-08-26T02:09:51.042Z","

Little betty boop's been thinking it over
Kicking it around the whole damn day
wants to view herself as a Casanova
Little betty boop has gone astray

The candlelight scene and still she's bored
cause her coochie can't stand her hand no more
and the rage the former lampshade queen
Finds her taste stuck in-between

Little betty boop's been thinking it over
Kicking it around the whole damn day
wants to view herself as a Casanova
Little betty boop has gone astray

She knew when she was little
Just what it signified
But now as she grows older
It seems to come alive
To stretch out all her wings
Why hold her self belittled
To close her eyes and dream
And drop her guard a little

Little betty boop's been thinking
Gone and straightened her messed up mind

Little betty boop's been thinking
She flipped herself to the other side

Little betty boop's been thinking
Gone and straightened her messed up mind

Little betty boop's been thinking
She flipped herself to the other side

Little betty boop's been thinking it over
Kicking it around the whole damn day
wants to view herself as a Casanova
Little betty boop has gone astray

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A
E

(part that comes after
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E
B
G 8 8
D 8 8 8 10 10 10 8 8 10 (then
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Little Betty boops been thinkin it over..
Cm D#
E 8
B 8 8
G 8 8
D 10 8
A 10 6
E 8
(play main riff in between lines)

Kickin it around the whole damn day..
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