[{"_1":2,"_472":-5,"_473":-5},"loaderData",{"_3":4,"_15":16},"root",{"_5":6},"env",{"_7":8,"_9":10,"_11":12,"_13":14},"SUPABASE_URL","https://lgczyfvrisdlknvfuemk.supabase.co","SUPABASE_ANON_KEY","eyJhbGciOiJIUzI1NiIsInR5cCI6IkpXVCJ9.eyJpc3MiOiJzdXBhYmFzZSIsInJlZiI6ImxnY3p5ZnZyaXNkbGtudmZ1ZW1rIiwicm9sZSI6ImFub24iLCJpYXQiOjE3NDAzMjk1MTgsImV4cCI6MjA1NTkwNTUxOH0.Dw5AAkoPtmOObmlAgw8gXJzUDXqH39yJogIReGkK27U","SUPABASE_STORAGE_URL","https://lgczyfvrisdlknvfuemk.supabase.co/storage/v1","BASE_URL","https://discobiscuits.net","routes/shows/$slug",{"_17":18,"_467":468,"_469":470,"_471":-5},"setlist",{"_19":20,"_416":445,"_448":449,"_192":466},"show",{"_21":22,"_23":24,"_25":26,"_27":28,"_29":30,"_31":32,"_33":34,"_35":36,"_37":38,"_39":40,"_41":42,"_43":36,"_44":36,"_45":36,"_46":-5,"_47":48,"_416":417,"_442":418,"_443":444},"id","e21ffa71-89e2-4a20-aff0-12f27d3f653d","slug","1999-03-12-fox-theatre-boulder-co","date","1999-03-12","notes","Opening for moe.","legacyId",355,"createdAt",["D",1582388392200],"updatedAt",["D",1755874645066],"likesCount",0,"relistenUrl","https://relisten.net/disco-biscuits/1999/03/12","averageRating",3,"ratingsCount",2,"showPhotosCount","showYoutubesCount","reviewsCount","searchText","tracks",[49,194,270,351],{"_21":50,"_51":22,"_52":53,"_54":55,"_56":57,"_58":-5,"_31":59,"_33":60,"_35":36,"_23":61,"_62":-5,"_63":64,"_65":-5,"_66":67,"_39":36,"_41":36,"_46":-5,"_68":69,"_192":193},"2f7751d8-3b3c-4b23-a5e7-51825ef5a603","showId","songId","e678065d-e9e8-47c7-960e-a9f2679bc210","set","S1","position",1,"segue",["D",1582388924656],["D",1582388924656],"1999-03-12-magellan","note","allTimer",false,"previousTrackId","nextTrackId","53b34ee7-0648-442f-a788-30f67004bde1","song",{"_21":53,"_70":71,"_23":72,"_31":73,"_33":74,"_75":76,"_77":78,"_27":79,"_80":72,"_29":81,"_82":64,"_83":84,"_85":86,"_87":-5,"_88":89,"_90":91,"_92":93,"_94":95,"_96":97,"_135":136,"_186":187,"_188":189,"_190":191,"_46":71},"title","Magellan","magellan",["D",1582386623989],["D",1756174192113],"lyrics","

The waves make mountains, I've sailed with ease,
As wind gathers firmly in my canopy.
We dive through the mist to the autumn sun,
My vessel and its crew of twenty one, and we fly.

Through burgundy smoke and a fear of home,
Alas, my final mission to the great unknown.
As my thoughts betray me in flashes so bold,
I'm reminded of home where the coast shines like gold.

darkness, thunderstorm, a ship going down,
the crashing of rain and its deafening sound.
as the crew ties the sails blown aside by the wind,
crashing from the waves come tumbling in and we fly.

Rolling like a cobra, one life to spend,
drifting through the heavens where the oceans they end.
and there's no longer the sea no longer the sun,
my ship and the waves have all swirled into one.

And i'm off past the vision, the line of the light,
Where oceans turn waterfalls, daytime turns night.
And no people return, no stories to tell,
And i watched through the door for the toll of the bell.

And we fly...

One with the raging wind,
Alive on the highest tides,
My ship at sail can climb a mountain,
Ride it to the sky.

Whoa...oh, he'll navigate!

Earlier up this morning, as I sit upon the bow,
In the distance, my homeland, but I just don't know how.
Years along the sea, and I thought I'd find the sun.
Once around the world, and now I think I'm done.

","tabs","transcribed by Rich Steele

intro--
E 0
B 1 0 1 1
G 2 2 2
D 2 2 0 0
A 0 (sweep 3 2 0
E down)

(after about 4 of the above, do this)

F Am
E 0 0 0 0 1 1 5
B 1 1 1 1 1 1 5 (strum 4
G 2 2 2 2 2 2 5 times)
D 2 3 3 2
A 0 3 3 0
E 1 1

(main verse riff, which just repeats throughout the verses)

Am Am G Am
Well the waves makes mountains, life sails with
E
B 1 10 8 10
G 2 9 7 9
D 2 10 9 10
A 0
E

C Fmaj7
ease. as the wind gathers firmly in my canopy.
E 5
B 8 5
G 9 5 (gently
D 10 3 strum)
A
E

The Magellan \\\"and we fly...\\\" chord.

E 0
B 4
G 2
D 3
A 3
E

(at the end of each verse, hit a open E major. after the end of the 2nd
verse, hit the E and go into this next part)

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

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

E
B 7 7 5 5 5 5 3 3 3 3 3 3~ 3 3
G 6 6 6 6 6 6 5 5 5 5 5 4~ 4 4
D 7 7 6 6 6 6 5 5 5 5 5 5~ 5 5
A
E

(repeat)

(Then, go back and play the beginning intro riff 3 times, then go into
this next part)

Am F#m Am
E 0 2 0
B 1 0 1 3 2 2 2 2 1
G 2 2 2 2 2 2 2 2
D 2 4 4 2
A 0 0
E
F#m G
E 2 3 3
B 0 1 3 2 2 2 2 3 3 3 3 3
G 2 2 2 2 4 4 4 4 4
D 4 4 5 5
A
E

F#m G
E 2 2 3 3
B 2 2 2 2 2 3 3 3 3 3
G 2 2 2 2 2 4 4 4 4 4
D 4 4 5 5
A
E

F#m F
E 2 1
B 2 1
G 2 2
D 4 3
A
E

(then you do these like vamp/arpeggio sort of things on a open E and a F
on the 1st fret in this order: E > F > E > F)

(then comes the last part of this section)

C Bm Bb Asus2
E 0 2 3
B 1 1 1 0 1 3 3 0
G 0 0 0 0 0 0 4 3 2
D 2 2 2 2 2 4 1 2
A 3 0
E

(then, gently strum that Asus2 chord a few times, then do this)
F Am
E 1 1 1 1 5 5 5 5
B 1 1 1 1 5 5 5 5
G 2 2 2 2 5 5 5 5
D 3 3 3 3 2 2 2 2
A 3 3 3 3 0 0 0 0
E 1 1 1 1

(then play that same chord progression that goes with the verses, but
faster and with more authority)

(after that part os finished, hit a open E major and the main E riff
below is played 4 times. There is no set amount of beats for when you
play the riff. Its freetime I suppose...)

main E riff--
E 4 7 4
B 5 5 5 4 5 7 9 (play some sort
G 4 4 9 of E chord or note)
D 9
A
E

Then, after the above riff was played 4 times, go right in this next
part, which is the riff from above, but with more notes added to it.

(sec. 1)
E 4 7 4
B 5 5 5 4 5 7 7 7(p)5 7 7(sl)8 10(p)8
G 4 4
D
A
E

E
B 10(p)8 8 7 8(p)7 4~~
G
D
A
E

(sec. 2)
E 7~ 9 9 9(p)7 7 9(sl)10 10(p)8(p)7
B 7 9 9
G
D
A
E

E 7(8)-(trills) 8~~ 10(p)8 10(p)8 8~~ 7 8(p)7
B 9~
G
D
A
E

(Sec. 3)
E 16 19 16
B 17 17 17 16 17 19
G 16 16
D
A
E

E
B 19(p)17 17 17 19 19(s)20 22(p)20 22(p)20 20
G
D
A
E

E
B 19 20(p)19 16~~
G
D
A
E

(final chorus)
play a D > E > G and then go into......

One with the raging winds, alive on the highest tide

A Ao
E
B 5 5
G 6 4
D 7 7
A 7 7
E

My ship at sail, could climb a mountain.

D
E
B 7
G 7
D 7
A 5
E

Ride it to the sky..

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

Slow ending riff

E 0
B 2 2 0 0 0
G 2 2 2 0 0 0 2 2
D 2 2 2 2 2 2
A 0 0 2 4 4
E 5 5
","","legacyAbbr",375,"cover","authorId","4338604b-38e0-432c-855b-bcd9091d4409","legacyAuthor","Jon Gutwillig","history","featuredLyric","Once around the world and now I think I’m done","timesPlayed",222,"dateLastPlayed",["D",1751068800000],"dateFirstPlayed",["D",893203200000],"yearlyPlayData",{"_98":99,"_100":101,"_102":103,"_104":105,"_106":107,"_108":109,"_110":111,"_112":42,"_113":114,"_115":114,"_116":111,"_117":118,"_119":57,"_120":57,"_121":40,"_122":40,"_123":40,"_124":40,"_125":42,"_126":111,"_127":42,"_128":40,"_129":42,"_130":40,"_131":57,"_132":42,"_133":40,"_134":57},"1998",51,"1999",46,"2000",11,"2001",18,"2002",14,"2003",10,"2004",5,"2005","2006",8,"2007","2008","2009",6,"2010","2011","2012","2013","2014","2015","2016","2017","2018","2019","2020","2021","2022","2023","2024","2025","longestGapsData",{"_137":138,"_144":145,"_149":150,"_153":154,"_157":158,"_162":163,"_167":168,"_172":173,"_177":178,"_182":183},"155",{"_25":139,"_140":141,"_142":143},"2005-07-23","previous","2004-12-31","delta_days",204,"184",{"_25":146,"_140":147,"_142":148},"2010-05-29","2009-09-25",246,"185",{"_25":151,"_140":146,"_142":152},"2011-04-15",321,"186",{"_25":155,"_140":151,"_142":156},"2012-01-27",287,"197",{"_25":159,"_140":160,"_142":161},"2015-12-05","2015-04-17",232,"199",{"_25":164,"_140":165,"_142":166},"2016-09-10","2016-02-05",218,"211",{"_25":169,"_140":170,"_142":171},"2020-10-29","2020-01-02",301,"215",{"_25":174,"_140":175,"_142":176},"2022-12-31","2021-11-27",399,"218",{"_25":179,"_140":180,"_142":181},"2024-03-14","2023-07-18",240,"221",{"_25":184,"_140":185,"_142":166},"2025-06-28","2024-11-22","mostCommonYear",1998,"leastCommonYear",2010,"guitarTabsUrl","http://sickbarberlicks.weebly.com/magellan.html","annotations",[],{"_21":67,"_51":22,"_52":195,"_54":55,"_56":42,"_58":196,"_31":197,"_33":198,"_35":36,"_23":199,"_62":-5,"_63":64,"_65":50,"_66":200,"_39":36,"_41":36,"_46":-5,"_68":201,"_192":269},"3f67b2bf-aa2b-4eb5-9c2b-608717bdd851",">",["D",1582388924713],["D",1582388924713],"1999-03-12-the-very-moon","675e12e4-34b0-437c-bf86-43b1f5b38925",{"_21":195,"_70":202,"_23":203,"_31":204,"_33":205,"_75":206,"_77":207,"_27":79,"_80":208,"_29":209,"_82":64,"_83":84,"_85":86,"_87":-5,"_88":210,"_90":211,"_92":212,"_94":213,"_96":214,"_135":221,"_186":266,"_188":267,"_190":268,"_46":202},"The Very Moon","the-very-moon",["D",1582386623009],["D",1756174208731],"

Manilla was a crude machine who'd taken his fair share
He gobbled up the world he owned as petals paved his stairs
Manilla thanked the very moon for money and his life
He triffled nothing miniscule including one, his wife

Leora, his arranged wife, did not need his greed
She asked that stars, the very moon, to one day cross the sea
Manilla gazed an empty stare nothing there could grow
She cherished dreams of flying high and leaving him below

Leora stands on her head
Doin' the two step on her hands
As her eyes move round the room
To catch somone watching

Leora stands on her head
Doin' the two step on her hands
Underneath the very moon each one was watching

Manilla wanted worldly things and everything he'd have
He built castles, moats, battleships and troops in iron clad
Manilla heard Mulberry's name under the very moon
His troops went running the next day to find the air balloon.

Leora, his arranged wife, cooked the men a feast
And cleaned herself up solemnly before she faced the beast
That night she asked the very moon was this her fate to be
At lunch she met the flying man whose airships crossed the sea

Leora stands on her head
Doin' the two step on her hands
As her eyes move round the room
To catch somone watching

Leora stands on her head
Doin' the two step on her hands
Underneath the very moon each one was watching

","transcribed by Bill

Just figured this one out yesterday....too fun not to share. The only
parts I'm still a little shaky on are The Riff from the intro and the
chords under the chorus....but both are reasonable approximations.

FWIW, all the HAB tunes I've tabbed are from the 12/31/98 version, since
those performances are pretty grounded and manageable. Things evolve over
time, so YMMV.

Intro:

C jam

Brownstein defines the chord like so:
d-------2-5--
a----3-3-----

(repeat a lotta buncha times....jam.....)

Magner's playing arpeggios than can be approximated on guitar like so:
e----0----1--3--1-1------
b-----1-0--1--1----1-1---
g------0----0--0----0----

Or something...listen to it and you'll hear what I mean.

Intro melody 1 (I know Barber plays these in a different position, but
whatever):
C * F
e-------0--3--7--8--8s5---0--3--1-----
b----1--------------------------------
g----------0--4--5--5s2------0--------
d-------2-----------------2-----3-----
a----3--------------------------------

F piano arpeggio is like this:

e----1-----3----5----3-3------
b-----1-1---1----1------1-1--- (x 2)
g------2-----2----2------2----

Then repeat Melody 1, except from the * on play:

C Dm
e----8s5---0-----------
b--------------3-------
g----5s2---------------
d----------2---0-------

Dm arpeggio (again, all of these are just to give you an idea of what's
going on- listen to it, you'll hear what I mean):

e----------0----1----0-------
b----3------3----3----3-3---- (x 2)
g-----2-2----2----2----2-----
d------0---------------------

Melody 1 again, from the * on play
G
e----10--12--13-15--17--19-----
b------------------------------
g----7---9---10-12--14--15-----

G arpeggio:

e-------------------1s3-1---------
b----0----1----3---------3-1-3----
g-----0----0----0----------------- (x 2)
d------0----0----0----------------

Intro melody 2:
G C
e----19---15---17---17-15-17-15-13---13-13--10--8----
b----------------------------------------------------
g----15---12---14---14-12-14-12-10---10-10--7---5----

C arpeggio (Barber actually plays this one):
e-------------------3s5---------
b---------3----5-------6-3-5----
g----5-----5----5--------------- (x 4)
d-----5-----5----5--------------
a------3------------------------

The Riff (best I can figure it):
e-----------------------13------15s17----------12-12----------
b----13--13-15s17-13--13--13--13-------15-15--------13-13----- (x 4)
g------12-----------12------12--------------------------------

Intro melody 3:
e----19--17--15--13--12-13-12----12-13------------
b----------------------------14-------15------------
g-----------------------------------------14-14----

(and Brownstein adds:)
a----2-------
E-----3-3----

(x 4, and then the last time add this transition lick into the verse):
F D/F# G
e----------------------------------
b----12-12h13-12--12-13-13-14----15
g---------------14-----------------

C/G A5 Bb5 A5 C C (x 4)

(the 5's indicate power chords- no thirds)

A5 Bb5 A5 Bb5 A5 G G (x 3)

A5 Bb5 A5 Bb5 A5 G G7

C/G A5 Bb5 A5 C C

C F Em Dm
Manila was a cruel machine, he'd taken his fair share
C F Em Dm
He gobbled up the world he owned, petals paved his stairs
C F Em Dm
Manila thanked the very moon for money and his life
C F Em Dm
He trifled nothing miniscule, including one, his wife
F Em Dm G
Leora, his arranged wife, did not need his greed
F Em Dm G
She asked the stars and very moon to one day cross the sea
F Em Dm G
Manila's gaze a vacant stare, nothing there could grow
F Em Dm G
She cherished dreams of flying high and leaving him below

G7

C G Em F C
Leora stands on her head, doing the two-step on her hands
F Em G C G7
As her eyes go round the room to catch someone watching
C Dm Em F C
Leora stands on her head, doing the two-step on her hands
F Em G C G7
Underneath the very moon that each one was watching

C/G A5 Bb5 A5 C C

2d verse and chorus same as first

Then the melody referred to by some as the Don Cote lick:
*
e--------------------------------------------------------------------
b--------8-8-6-5---------5----------------5---5h6-5---5-8-8-----8----
g----5--5---------7-7-7-7-7-5-5--7--7-7--7---7-----7---------7-7-7---

(x 4) The fourth time it stops at the * and they hit these chords:

C C G Am G D Am D

Jam riff:

d-----------------------------------------------2-2---------------
a-------2-4-5-4-2-----2-4-5-4-2h4p2------2-4-5-4------2-4-5-4-2---
E----3-----------5p3-----------------0-0--------------------------","moon",122,"Leora stands on her head\nDoin' the two step on her hands\nUnderneath the very moon each one was watching",201,["D",1750809600000],["D",913161600000],{"_98":40,"_100":215,"_102":103,"_104":216,"_106":217,"_108":218,"_110":111,"_112":40,"_113":114,"_115":219,"_116":111,"_117":216,"_119":111,"_120":111,"_121":57,"_122":57,"_123":220,"_124":220,"_125":42,"_126":220,"_127":40,"_128":42,"_129":57,"_130":40,"_131":57,"_132":40,"_133":220,"_134":42},50,15,20,12,9,4,{"_222":223,"_227":228,"_232":233,"_235":236,"_239":240,"_149":244,"_247":248,"_252":253,"_257":258,"_261":262},"139",{"_25":224,"_140":225,"_142":226},"2008-12-12","2008-04-22",234,"166",{"_25":229,"_140":230,"_142":231},"2012-07-07","2011-12-28",192,"167",{"_25":234,"_140":229,"_142":211},"2013-01-24","168",{"_25":237,"_140":234,"_142":238},"2014-01-24",365,"174",{"_25":241,"_140":242,"_142":243},"2015-10-30","2015-04-25",188,{"_25":245,"_140":246,"_142":211},"2019-07-20","2018-12-31","187",{"_25":249,"_140":250,"_142":251},"2020-10-25","2019-12-12",318,"191",{"_25":254,"_140":255,"_142":256},"2022-09-10","2021-11-26",288,"192",{"_25":259,"_140":254,"_142":260},"2023-06-08",271,"196",{"_25":263,"_140":264,"_142":265},"2024-08-28","2024-01-26",215,1999,2012,"http://sickbarberlicks.weebly.com/the-very-moon.html",[],{"_21":271,"_51":22,"_52":272,"_54":55,"_56":220,"_58":79,"_31":273,"_33":274,"_35":36,"_23":275,"_62":276,"_63":64,"_65":200,"_66":-5,"_39":36,"_41":36,"_46":-5,"_68":277,"_192":350},"b2408175-275a-4020-9b55-9fe6d2e2677e","1aa804c3-7dc1-4007-aa9d-a5e8ac93f34a",["D",1582388924820],["D",1593741082342],"1999-03-12-basis-for-a-day","The shortest Basis in over a year, but the main jam doesn't suffer too much for it. It's considerably more straightforward than most Basis jams of the era, but it has the energy to make up for it.",{"_21":272,"_70":278,"_23":279,"_31":280,"_33":281,"_75":79,"_77":282,"_27":79,"_80":283,"_29":284,"_82":64,"_83":84,"_85":285,"_87":286,"_88":287,"_90":288,"_92":289,"_94":290,"_96":291,"_135":301,"_186":266,"_188":348,"_190":349,"_46":278},"Basis For A Day","basis-for-a-day",["D",1582386622697],["D",1756174175717],"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",16,"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.

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I admit it, I was guilty
But don't you believe it, that I was wrong

I never accepted my relocation
And I'm looking out past them four hours till dawn

I've dreamed of this day since they locked away the key
A prisoner in chains will not make a madman of me
These voices insane are telling me tales from the stars
So I call on the reigns of forces drawn in from afar

The walls have deceived me
I imagined this all on my own
These spirits around me, clouds of dust looking for a new home

When they tap on my shoulder, tell me I got what I deserve
I throw my arms & destroy them
Cause on this day they will eat all their words

I've dreamed of this day since they locked away the key
A prisoner in chains will not make a madman of me
These voices insane are telling me tales from the stars
So I call on the reigns of forces drawn in from afar

I can stop all the voices
and bang on the walls with my fists
But my only choice left
is the one I'd never dismiss

I hear the world through the echos
A song of life through the noise in the crowd
In this cell I've known plainly
That what I want is what is not allowed.

I've dreamed of this day since they locked away the key
A prisoner in chains will not make a madman of me
These voices insane are telling me tales from the stars
So I call on the reigns of forces drawn in from afar

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March 12, 1999

Track Notes