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Above the waves, Going under

Corrinado swam like hell on fire
With jelly arms and beaten bones
He rode the crests, he broke the waves
Trying to get a breath of air for all that he had left to save

Mulberry let the engines burn
The airship lifting off the ground
He watched the sea, could not believe
That he thought Corrinado could be free, his life was now in vain

All was left one chance to fly away
He spun, he heard a gasping sound
But he did not see his friend

After the sun and light were gone
Before he found himself at home
Corrinado swam, fought the waves
Remembering when, a myriad of falls, behind another day

All was left one chance to fly away
just beyond his reach the plan
To reunite them once again

Caught in the waves as the wind whipped on
and the sand sat calmly miles below
He had to swim, to take the day
Hoping to see Mulberry when he crawled to reach his getaway

All was left one chance to fly away
Just beyond his reach the plan
To reunite them once again

","tabs","

transcribed by Rich Steele

~~Above The Waves

Intro (in 4/4)
E
B 3 0 0 3 3 3 3 3
G 2 (sl) 4 4 2 2 2 0 2 2
D 0 0 0
A (let these notes
E sustain)
(repeat)

(next part after intro goes to 3/4)
(this part is played one through over the 3 chords, then stays on the B after that)

(A)
E 5(h)7 5
B 8(p)7 5 5(h)7 5 5(h)7 5
G 7(p)6 4 4(h)6 4 4(h)6 4
D 7(p)6 4 4(h)6 4 4(h)6 4
A 7 5 4
E 5

(Bb)
E 6(h)8 6
B 9(p)8 6 6(h)8 6 6(h)8 6
G 8(p)7 5 5(h)7 5 5(h)7 5
D 8(p)7 5 5(h)7 5 5(h)7 5
A 8 6 5
E 6

(B)
E 7(h)9 7
B 10(p)9 7 7(h)9 7 7(h)9 7
G 9(p)8 6 6(h)8 6 6(h)8 6
D 9(p)8 6 6(h)8 6 6(h)8 6
A 9 7 6
E 7

then the rest is over the B chord I believe.

here's the next little riff he does.

E
B 7(h)9(p)7
G 9(h)11(p)9
D 7(h)9(p)7 9(p)7
A
E

E
B 9(h)11(p)9
G 9(p)7
D
A
E
(repeat once, then play the part before that again)

Then, on the first (above the waves....) play a
B major on the 7th fret on every 3rd beat. and a C# major > B major at the
last (above the waves....).
On the next time around, instead of playing the B on every 3rd beat, it
goes B > E, B > E alternating every other 3rd beat, until the last (above
the waves...) where its a G#m > F# major.
(If all this details just confuses you, just listen to a tape and listen
for the chord changes.:)

then the song drops into F#m, where Jon comes in with this riff.

E
B 15 15 15 15 14
G 11~~ 14(p)11 14(p)11 14(p)11 14
D
A
E

E
B 15 15 15 15(sl)17 17 17 15 14
G 11~~ 14(p)11 14(p)11 14(p)11 14(p)11
D
A
E

E 14 14 14(sl)13 13 12 11 12(p)11
B 14 15 17 14 14 14 12 12 14 15~ 16~~~
G 16 11 12
D 12(sl)14
A
E
(Bb) (E) (C#m)
E 14 14 14(sl)13 13
B 14 14 14 14 13 11 12 9
G 10 10 13 13 9
D sl>12 12 14 14 11
A
E

(now, after the jam, when it comes back into this section, you're
basically playing the same thing as above, until right before the D-A-G-A
part, where you play over these chords: F#m F Bb E A. After the last A, it
goes into the D-A-G-A.)

This is a simple D, A, G progression. Play the D on the 5th fret, the A
also on the 5th, and the G on the 3rd. Figure out the rhythm and all that
for yourself, cause its pretty simple. :)

Ok, the next part comes right after that last A chord. (..and he could not
see his friend..)

E
B 10 10 10 10 9 7 7 10 9 7 7
G 9 11 11~ 7 9 9~
D
A (play this twice)
E

E
B 9 10 10(s)12 12 9 10 10 9
G 7 9 11 11 9 7 9 9

E 10 10 10 10 9
B 9 10 10(sl)12 9 10 12 7 9 9 10 10
G 7 9 11

E 9 10 12 12 9 10 9 10 12(sl)14 14 10 12 10 12 15 15 12 14
B 9 10 12 9 10 12 10 12 14
G

E 17 17 17 17 15 14 15 17 19 19 15 17 22 22 22 22 21 19
B 15 17 17 15 17 19
G

E 17 19 17 15 17 15 14 15 14
B 17 15 15 14 14 14 15 15 17
G 14

then he comes back in with that same intro riff for 2 measures (i think),
then he does something like this. (note: he first starts this a octave
higher, but its much easier to learn it this way first)

E
B 3 5 7
G 2(sl)4 4 4(sl)6 6 6(sl)9 7 9 9(h)11
D
A
E

E 7 10 9 7
B 7 8 8(sl)12 12 10 10 8 4
G 9
D
A
E

E 9 7 5
B 5 5 5 5 5(sl)10 10 8 8 7 7
G 4 4 4
D 5 5 5
A
E

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

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

(then, just repeat intro riff)

(Thanks to Bill Stites for helping me with those chord progressions)

","","legacyAbbr","atw",11,"cover","authorId","4338604b-38e0-432c-855b-bcd9091d4409","legacyAuthor","Jon Gutwillig","history","

Debuted at the tail end of 1998, Waves is one of the final songs of the Hot Air Balloon rock opera (third to last by debut order and second to last chronologically). Like most of the opera, it is a high water mark for the band both lyrically and compositionally. It is also the first Biscuits song to debut with a defined trance jam. Both versions from 1998 are remarkably strong.\r

Although it was one of the last Hot Air Balloon songs to debut, with the finished version first appearing 12/29/98, an instrumental passage that would later be incorporated into Waves was performed as Road Song four times in 1998, for the first time on 2/21/98 and as late as 6/4/98. All four versions were played before any song from the finalized opera had debuted. \r

Waves was the most played song in 1999, a year which saw the band continue to develop and use Waves in inventive ways. The song was split up for the first time the third time it was played, 1/18/99, in a spectacular Waves > Vassillios > Waves sandwich. It was performed dyslexic for the first time on 3/21/99 (Waves > Run Like Hell is particularly worth hearing) and inverted for the first time at the first Camp Bisco on 8/21/99 (the entire Shimmy > Waves (><) > Shimmy is worthwhile, but Waves > Shimmy is especially excellent).\r

The song was a massive vehicle for high speed trance jams in the winter and spring of 1999, with numerous standout versions including the 35 minute juggernaut from 2/3/99. Other excellent versions from this era include 3/13/99, 3/27/99, 4/9/99, 5/1/99, 5/6/99 and 6/5/99. In the summer and fall, the song regularly began to feature a dub jam. Waves had incorporated dub jams before, notably on 2/3/99 and 2/20/99, but after the inverted version from 8/21 it became a mainstay. Some excellent versions from this era include 8/21/99, 9/14/99, 10/9/99 and 10/22/99.\r

Waves remained a strong jam vehicle through the rest of 1.0. In 2000, a year with considerable dub influence, Waves reverted back to a trance vehicle. It soon became one of the most frequently inverted songs. 10/14/00 is one of the strongest inverted versions ever, and 11/2/01 notably opened with a “Koyanisqaatsi Jam” > inverted Waves, the first time a show opened with a jam into an inverted song. Important versions from post-1999 1.0 are multitudinous, including 10/14/00, 10/26/00, 11/2/00 12/27/00, 4/7/01, 4/28/01, 9/1/01, 11/2/01, 3/8/02, 10/2/02, 8/15/03, and 11/26/03. \r

When Allen joined the band, Waves remained a rotation staple and an important jam vehicle. On 11/8/06, the audience voted for a Waves encore; this was the first time a standalone Waves was played in the encore slot. There aren’t many standout versions from the year, but 11/19/06 with Magellan teases, and the fantastic Waves/Crickets mashup from 12/30/06 (the first setlist written by Allen, and what a setlist it is), are both standout versions. Similarly, for being such a strong year for the band, 2007 has something of a dearth of excellent Waves. 5/20/07 stands above the rest, but the song was grossly underutilized in 07.\r

The lull continued into 08, with a few uninspired ending only versions at the beginning of the year, before a massive exploratory inverted version on 3/22/08 in Denmark. The April shows at the Nokia saw the first split inversion of Waves, with the middle played on 4/11/08 and the ending and beginning played on 4/12/08. After only one performance between April and December, Waves closed out the year strong, with two stellar performances at Holidaze (12/14/08) and the Nokia (12/28/08).\r

The momentum built at the end of 2008 continued into 2009, easily the strongest year for Waves in a decade. It was often played middle only, including such standout performances as 1/31/09, 2/13/09, 2/27/09, and, most significantly, 4/24/09, 6/4/09, and 12/31/09.\r

Waves remained a regular in the rotation through the rest of 2.0 and the setbreak era (appearing 2-6 times per year). In 2015, Waves was played as a split inversion again for the first time since 09, and was played that way off and on for the next couple of years. It hit another period of growth in 2016, with standout versions from 3/26/16 and 7/15/17.\r

In the post-setbreak years, Waves continued its upward trajectory, appearing 8 times in 2021 and 2022 and 10 times in 2023 (the most appearances in a single year since 2010). The 2021 versions are particularly strong, with the fall seeing a return to the looser, dubby style in which the song was played in fall 1999. The 9/19/21 version features a distinct Gamma Goblins jam (complete with Alan Watts samples) and 11/21/21 is perhaps the best standalone version played with Allen.\r

Waves has remained a staple of the band’s catalog since its debut. It was played on average every 2.6 shows in 1999, and never left the catalog for more than 23 shows, when Barber broke his wrist in 2010. The longest gap otherwise was 21 shows in 2013.\r

","featuredLyric","All was left one chance to fly away","timesPlayed",288,"dateLastPlayed",["D",1755907200000],"dateFirstPlayed",["D",914889600000],"yearlyPlayData",{"_102":103,"_104":105,"_106":107,"_108":109,"_110":111,"_112":113,"_114":115,"_116":117,"_118":119,"_120":121,"_122":123,"_124":125,"_126":84,"_127":44,"_128":44,"_129":103,"_130":117,"_131":115,"_132":117,"_133":117,"_134":44,"_135":136,"_137":103,"_138":123,"_139":123,"_140":121,"_141":121,"_142":117},"1998",2,"1999",53,"2000",15,"2001",24,"2002",25,"2003",13,"2004",4,"2005",5,"2006",12,"2007",10,"2008",8,"2009",21,"2010","2011","2012","2013","2014","2015","2016","2017","2018","2019",3,"2020","2021","2022","2023","2024","2025","longestGapsData",{"_145":146,"_151":152,"_156":157,"_161":162,"_166":167,"_171":172,"_176":177,"_181":182,"_186":187,"_191":192},"55",{"_25":147,"_148":26,"_149":150},"2000-04-21","previous","delta_days",173,"135",{"_25":153,"_148":154,"_149":155},"2004-12-30","2004-05-08",236,"169",{"_25":158,"_148":159,"_149":160},"2008-12-14","2008-06-11",186,"210",{"_25":163,"_148":164,"_149":165},"2012-07-06","2012-01-27",161,"216",{"_25":168,"_148":169,"_149":170},"2013-12-29","2013-01-25",338,"225",{"_25":173,"_148":174,"_149":175},"2016-01-01","2015-07-17",168,"231",{"_25":178,"_148":179,"_149":180},"2017-06-02","2016-12-29",155,"243",{"_25":183,"_148":184,"_149":185},"2019-11-15","2019-05-25",174,"246",{"_25":188,"_148":189,"_149":190},"2020-10-16","2020-01-04",286,"247",{"_25":193,"_148":188,"_149":194},"2021-04-03",169,"mostCommonYear",1999,"leastCommonYear",1998,"guitarTabsUrl","http://sickbarberlicks.weebly.com/above-the-waves.html","annotations",[],{"_21":69,"_52":22,"_53":204,"_55":56,"_57":103,"_59":60,"_31":205,"_33":206,"_35":36,"_23":207,"_64":-5,"_65":66,"_67":51,"_68":208,"_39":36,"_41":36,"_47":-5,"_70":209,"_201":271},"355043fc-f808-443b-b8b8-d20a473c1799",["D",1582388993964],["D",1582388993964],"1999-10-31-jigsaw-earth","b12dcc7e-2169-4d8a-b9ce-fc6ef9cbc33d",{"_21":204,"_72":210,"_23":211,"_31":212,"_33":213,"_77":214,"_79":215,"_27":81,"_82":216,"_29":217,"_85":66,"_86":87,"_88":89,"_90":-5,"_92":-5,"_94":218,"_96":219,"_98":220,"_100":221,"_143":223,"_195":268,"_197":269,"_199":270,"_47":210},"Jigsaw Earth","jigsaw-earth",["D",1582386623009],["D",1756174188688],"Once the patient breathes
You slide into the world
The womb you have to leave
To be a boy or girl

When the man steals your nature with his watch
All in time a bit of peace, in time the chaos stops
Yellin' but you just can't find the words
Gaia, still loves all the pieces, of her jigsaw earth

Gaia...

Jacob left in the dark of night, hopped into his car
Finding street-wise Sandibel , and a volunteer chauffeur
Didn't see no reason to take a third
Gaia still loves all the trees, home to all the birds

Gaia's jigsaw earth is free.
Early in the morning, rise and shine, and the world is callin'.
Gaia's actuality.
Sky, the ground, and a place to roam,
Circus in a bubble, a place called home.

Jacob sat on empty, Sandibel got tied up
The volunteer put on her clothes and pilfered her make-up
Guaranteed to be back for them soon
Gaia makes and takes the rain how ever opportune

Gaia's jigsaw earth is free.
Early in the morning, rise and shine, and the world is callin'.
Gaia's actuality.
Sky, the ground, and a place to roam,
Circus in a bubble, a place called home.

I gathered myself, and rubbed my eyes, and wondered, did she know?
That I put glass and concrete beams as tall as trees can grow.
That I tear down the oldest statues, faces who've grown long
She may have known, may not have cared, continued with her song...

Gaia's jigsaw earth is free.
Early in the morning, rise and shine, and the world is callin'.
Gaia's actuality.
Sky, the ground, and a place to roam,
Circus in a bubble, a place called home.","tabbed by Rich Steele

intro/verse riff

E 9 8 6(h)7 6 6
B 9 9 7 7(h)9 9
G 10 10
D
A
E

then the quick little riff after the lick above is played 8 times.

E 14
B 12
G 11
D 13
A
E

then...

E 14 12 11 12 10 9 10 8 7 7
B 12 12 14 10 10 8 8 10 7 7
G 11 13 9 7 9
D 13 15 11 9
A
E

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

then it's the upward dubby strum on Abm

E 4
B 4
G 4
D 6
A 6
E 4

then...

Ebm Db Abm
E 6 4
B 7 6 4
G 8 6 4
D 8 6 6
A 6 4 6
E 4

quick in between riff

E
B
G 8 10 11 10 6 8
D
A
E

chorus - Ebm > C# > B > Ebm

the \\\"chase\\\" section

E
B 11
G 11 10 11 10 13 11 13 11
D 11 11 11 (play this twice)
A
E

E 11 13 11 11
B 11 11 13 10 11 12 13 11 11
G 11 10 11 10 10 11 12 13 11
D 11 11 11
A
E

E
B 9 10 7 9
G 9
D 7 6 7 6 9 7 6 7 6 (twice) 7 6 7 6 9 10
A 7 7 7 7 10
E

(still not 100% sure on the rest of that lick. will work on it and get it up along with the rest of the song very soon)","jigsaw",92,162,["D",1751760000000],["D",939254400000],{"_104":123,"_106":113,"_108":111,"_110":109,"_112":107,"_114":115,"_116":115,"_118":222,"_120":42,"_122":115,"_124":222,"_126":136,"_127":136,"_128":103,"_129":58,"_130":117,"_131":58,"_132":103,"_133":136,"_134":136,"_135":115,"_137":58,"_138":115,"_139":103,"_140":117,"_141":58,"_142":103},7,{"_224":225,"_228":229,"_233":234,"_151":238,"_242":243,"_246":247,"_251":252,"_255":256,"_259":260,"_264":265},"113",{"_25":226,"_148":159,"_149":227},"2009-02-05",239,"125",{"_25":230,"_148":231,"_149":232},"2011-12-27","2011-05-28",213,"129",{"_25":235,"_148":236,"_149":237},"2014-02-20","2013-01-24",392,{"_25":239,"_148":240,"_149":241},"2016-02-04","2015-04-18",292,"136",{"_25":244,"_148":239,"_149":245},"2016-12-03",303,"140",{"_25":248,"_148":249,"_149":250},"2018-04-21","2017-09-23",210,"141",{"_25":253,"_148":248,"_149":254},"2018-11-02",195,"147",{"_25":257,"_148":258,"_149":241},"2020-10-18","2019-12-31","159",{"_25":261,"_148":262,"_149":263},"2024-08-29","2023-12-30",243,"160",{"_25":266,"_148":261,"_149":267},"2025-06-26",301,2001,2013,"http://sickbarberlicks.weebly.com/jigsaw-earth.html",[],{"_21":208,"_52":22,"_53":54,"_55":56,"_57":136,"_59":-5,"_31":273,"_33":274,"_35":36,"_23":275,"_64":-5,"_65":66,"_67":69,"_68":276,"_39":36,"_41":36,"_47":-5,"_70":277,"_201":294},["D",1582388994069],["D",1582388994069],"1999-10-31-above-the-waves-2","f117f7e3-a694-4aea-8254-3b34a06891a2",{"_21":54,"_72":73,"_23":74,"_31":278,"_33":279,"_77":78,"_79":80,"_27":81,"_82":83,"_29":84,"_85":66,"_86":87,"_88":89,"_90":91,"_92":93,"_94":95,"_96":280,"_98":281,"_100":282,"_143":283,"_195":196,"_197":198,"_199":200,"_47":73},["D",1582386622697],["D",1756174173119],["D",1755907200000],["D",914889600000],{"_102":103,"_104":105,"_106":107,"_108":109,"_110":111,"_112":113,"_114":115,"_116":117,"_118":119,"_120":121,"_122":123,"_124":125,"_126":84,"_127":44,"_128":44,"_129":103,"_130":117,"_131":115,"_132":117,"_133":117,"_134":44,"_135":136,"_137":103,"_138":123,"_139":123,"_140":121,"_141":121,"_142":117},{"_145":284,"_151":285,"_156":286,"_161":287,"_166":288,"_171":289,"_176":290,"_181":291,"_186":292,"_191":293},{"_25":147,"_148":26,"_149":150},{"_25":153,"_148":154,"_149":155},{"_25":158,"_148":159,"_149":160},{"_25":163,"_148":164,"_149":165},{"_25":168,"_148":169,"_149":170},{"_25":173,"_148":174,"_149":175},{"_25":178,"_148":179,"_149":180},{"_25":183,"_148":184,"_149":185},{"_25":188,"_148":189,"_149":190},{"_25":193,"_148":188,"_149":194},[],{"_21":296,"_52":22,"_53":297,"_55":56,"_57":117,"_59":60,"_31":298,"_33":299,"_35":36,"_23":300,"_64":-5,"_65":66,"_67":276,"_68":301,"_39":36,"_41":36,"_47":-5,"_70":302,"_201":363},"4092e87b-1f8a-443e-9bf6-2234bd5d5116","f3a84211-f735-4c02-bb0f-d0f545c94753",["D",1582388994216],["D",1582388994216],"1999-10-31-the-thieving-magpie","97616ce0-fc8c-4598-b670-75f638c06ef2",{"_21":297,"_72":303,"_23":304,"_31":305,"_33":306,"_77":81,"_79":81,"_27":81,"_82":307,"_29":308,"_85":309,"_86":310,"_88":311,"_90":-5,"_92":-5,"_94":312,"_96":313,"_98":314,"_100":315,"_143":316,"_195":196,"_197":362,"_199":-5,"_47":303},"The Thieving Magpie","the-thieving-magpie",["D",1582386623009],["D",1756174208482],"magpie",113,true,"9a7a4328-4639-4bea-88c0-d48548e78f37","Rossini",33,["D",1419984000000],["D",923616000000],{"_104":125,"_108":115,"_110":115,"_112":58,"_122":103,"_130":58},{"_317":318,"_322":323,"_327":328,"_331":332,"_335":336,"_340":341,"_344":345,"_349":350,"_353":354,"_357":358},"10",{"_25":319,"_148":320,"_149":321},"1999-06-26","1999-05-30",27,"12",{"_25":324,"_148":325,"_149":326},"1999-09-08","1999-07-03",67,"20",{"_25":329,"_148":26,"_149":330},"1999-12-30",60,"21",{"_25":333,"_148":329,"_149":334},"2001-06-27",545,"24",{"_25":337,"_148":338,"_149":339},"2001-09-09","2001-07-07",64,"25",{"_25":342,"_148":337,"_149":343},"2002-04-20",223,"28",{"_25":346,"_148":347,"_149":348},"2002-11-10","2002-05-05",189,"29",{"_25":351,"_148":346,"_149":352},"2003-08-16",279,"30",{"_25":355,"_148":351,"_149":356},"2008-07-18",1798,"32",{"_25":359,"_148":360,"_149":361},"2014-12-31","2008-07-25",2350,2003,[],{"_21":301,"_52":22,"_53":365,"_55":56,"_57":44,"_59":81,"_31":366,"_33":367,"_35":36,"_23":368,"_64":-5,"_65":66,"_67":296,"_68":-5,"_39":36,"_41":36,"_47":-5,"_70":369,"_201":442},"1aa804c3-7dc1-4007-aa9d-a5e8ac93f34a",["D",1582388994285],["D",1584625144675],"1999-10-31-basis-for-a-day",{"_21":365,"_72":370,"_23":371,"_31":372,"_33":373,"_77":81,"_79":374,"_27":81,"_82":375,"_29":376,"_85":66,"_86":87,"_88":377,"_90":378,"_92":379,"_94":380,"_96":381,"_98":382,"_100":383,"_143":393,"_195":196,"_197":440,"_199":441,"_47":370},"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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First you get a million, then you get another,
then you buy a car for your sister and your mother,
then you buy a house for the girlie next door,
and every single day you want more!

The age old saying is right.
It's not the pile, it's pilin' it high.
Hey, all, day or night
You're not done when there's another ride.

Salivating porkchop,
mister living poppa,
alley cat dreams will burn you like lava,
cavortment, assortment, a cadillac roar,
And every single day you want more!

First you get paid, then you get laid,
six or seven times by the end of the day,
you try to stop, but all you really want to do is score,
And every single day you want more!

","pilin",138,"

Pilin' It High comes in two different flavors: Original or Perfume.

The original version, debuted on 8/11/1999, is a straight up rock tune. The Perfume version, on the other hand, was debuted by The Perfume on 5/28/2003 and is reworked, more electronic version.

The Perfume version is also known as Pilin' it Higher.

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October 31, 1999