Burning The Ground Exclusive 1986
“25 or 6 to 4” is a song written by American musician Robert Lamm, one of the founding members of the Rock band Chicago. It was originally recorded in 1969 for their second album, Chicago, with Peter Cetera on lead vocals.
An updated version of “25 or 6 to 4” was recorded for the 1986 album Chicago 18 with James Pankow listed as co-writer, and new band member Jason Scheff on lead vocals. It featured two verses instead of three. The single reached number 48 on the US Billboard Hot 100 Single’s Chart. This version was also used as the B-side for the band’s next single in 1986, “Will You Still Love Me?”
The music video for the 1986 remake won an American Video Award, in the Best Cinematography category, for Bobby Byrne.
SIDE A:
25 Or 6 To 4 (86 Remix) 4:12
Written-By – James Pankow, Robert Lamm
SIDE B:
One More Day 4:14
Written-By – Carmen Grillo, James Pankow
Hard Habit To Break 4:08
Written-By – J. Parker, S. Kipner
VINYL GRADE:
Vinyl: Near Mint
Sleeve: Near Mint
U.S. CHART HISTORY:
| Year | Single | Chart | Position |
|---|---|---|---|
| 1986 | 25 Or 6 To 4 (86 Remix) | U.S. Billboard Hot 100 | #48 |
RELEASE INFORMATION:
Label: Warner Bros. Records – 920 565-0, Full Moon – 920 565-0
Format: Vinyl, 12″, 45 RPM
Country: Europe
Released: 1986
Genre: Rock, Pop
Style: Pop Rock
CREDITS:
- Engineer, Mixed By – Humberto Gatica
- Photography By – Hugh Brown (3)
- Producer – David Foster
NOTES:
Manufactured in Germany by Record Service GmbH, Alsdorf
From the Chicago 18 Album on Warner Bros. Records
Buy the 12″ at DISCOGS
VINYL TRANSFER & AUDIO RESTORATION:
-DjPaulT
burningtheground.net
THE GEAR:
Turntable: Technics SL-1200MK7
Cartridge/Stylus: Ortofon 2M Black PnP MkII
Turntable Isolation Platform: ISO-Tone™ Turntable Isolation Platform
Platter: Pro Spin Acrylic Mat
Stabilizer: Pro-Ject Record Puck
Phono Pre-amp: Pro-Jec Tube Box DS2
Tubes: Genalex Gold Lion 12AX7 ECC83/B759 Gold Pins Vacuum Tube – Matched Pair
DAC: Alpha Design Labs GT40a USB DAC
Record Cleaning: VPI HW 16.5 Record Cleaning Machine
Artwork Scans: Epson Workforce WF-7610 Professional Printer/Scanner
SOFTWARE:
Recording/Editing: Adobe Audition 3.0 (Recording)
Down Sampling/Dither: iZotope RX Advanced 2
Artwork Editor: Adobe Photoshop CS5
Click Removal: Manual
FLAC/MP3 Conversion: dBpoweramp
M3U Playlist: Playlist Creator
RESTORATION NOTES:
All vinyl rips are recorded @ 32bit/float
FLAC (Level Eight)
Artwork scanned at 600dpi
**24bit FLAC Only Available For Seven Days!
Password: burningtheground
You can help show your support for this blog by making a donation using PayPal. Thank you for your help.
The Harlem drag ball scene — described by the social activist and writer Langston Hughes as “the strangest and gaudiest of all Harlem’s spectacles in the 1920s” — fragmented along racial lines in the early 1960s when Black queens became tired of having to “whiten up” if they wanted to have a chance of winning any in-house beauty contest. By the early 1970s, Black drag houses started to multiply and soon outstripped their white counterparts in terms of glamour, style and popularity. As contests expanded, categories multiplied and competition intensified, with prizes awarded to entrants whose drag was the most believable, the most real. Released in 1978, Cheryl Lynn’s feisty, upbeat disco track “Got to Be Real” became an instant ballroom classic.
