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[3] [4] Because of the unique phrasing of the song's title, "25 or 6 to 4" has been interpreted to mean everything from a quantity of illicit drugs to the name of a famous person in code. [5] The song's opening guitar riff has been compared to chord progressions and riffs in other songs. In the opinion of writer Melissa Locker:
The chord progression is also used in the form IV–I–V–vi, as in songs such as "Umbrella" by Rihanna [5] and "Down" by Jay Sean. [6] Numerous bro-country songs followed the chord progression, as demonstrated by Greg Todd's mash-up of several bro-country songs in an early 2015 video. [7]
Chicago was released in January 1970 on Columbia Records and was an instant hit, reaching number 4 on the Billboard 200 in the United States [3] and number 6 in the UK. [4] Columbia Records was very active in promoting its quadraphonic four-channel surround-sound format in the mid-1970s, and nine of Chicago's first ten albums were made ...
[1] [2] "Four Chords" does not directly focus on the chords from Pachelbel's Canon, instead focusing on the I–V–vi–IV progression. [3] Producer Pete Waterman of Stock Aitken Waterman, which used the Canon as the inspiration for Kylie Minogue's single "I Should Be So Lucky", referred to it as "almost the godfather of pop music". [6]
QUOTE (as of the date-and-time of this comment, the text below is in the article): In a 2013 interview, Robert Lamm said he composed "25 or 6 to 4" on a twelve-string guitar with only ten strings—it was missing the two low E strings—and that he wrote the lyrics in one day.
Sometimes, especially in blues music, musicians will take chords which are normally minor chords and make them major. The most popular example is the I–VI–ii–V–I progression; normally, the vi chord would be a minor chord (or m 7, m 6, m ♭ 6 etc.) but here the major third makes it a secondary dominant leading to ii, i.e. V/ii.
The vi chord before the IV chord in this progression (creating I–vi–IV–V–I) is used as a means to prolong the tonic chord, as the vi or submediant chord is commonly used as a substitute for the tonic chord, and to ease the voice leading of the bass line: in a I–vi–IV–V–I progression (without any chordal inversions) the bass ...
It was released as the B-side of the single "25 or 6 to 4", likewise taken from Chicago; that single went to number four on the Pop Singles chart in June 1970. The song was also the very first musical composition from bassist Peter Cetera, who was by this time contributing more than on the debut album released the year before.