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25 or 6 to 4 Meaning: Time of Day or Drugs?

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We’ve all had those nights where the brain is fried, the coffee has worn off, and you’re staring at the floor just trying to find one more rhyme to finish the session. That is the exact ‘Forensic’ setting for Chicago’s ’25 or 6 to 4.’ While urban legends insist the song is a cryptic code for a drug trip, the reality is much more relatable.

Although the song was sung by Peter Cetera, it was written by keyboardist and songwriter (and also vocalist) Robert Lamm, who is perfectly capable of singing it himself and often has, by the way (Peter Cetera left for a solo career). Lamm wrote the song in Los Angeles during a an all-night writing session.

25 or 6 to 4, appeared on the album Chicago II. It went to number 4 on the U.S. charts, and number 7 on the British charts.

25 or 6 to 4 Theories

But, few people know what the numbers mean. At least we know Tommy Tutone’s big hit was a phone number. What in the world is 25 or 6 to 4 supposed to mean? Was it just random? There are two theories as to its real meaning. One comes from the actual songwriter, so it’s not really a theory at all, but that doesn’t stop other people from theorizing.

The LSD Story

A favorite fan theory is that maybe Lamm was on an acid trip. The number 25, according to the acid theorists, could be referring to LSD-25 (lysergic acid diethylamide 25), a strain of acid used on the streets (don’t ask me). The 6 to 4, well that is a bit tougher. But, it must refer to another strain of LSD, the mysterious, LSD-624. You get it, six-TWO-four. So, according to this theory, the guy doesn’t know exactly which number LSD he has, maybe. This seems to be highly disorganized for a drug addict, know for their meticulous attention to detail.

You couldn’t be in a rock band in the ’70s without being blitzed out of your mind on drugs. Therefore, the song couldn’t possibly be about what the writer says it is about. Every rock song is about drugs. The problem is that although LSD-25 was definitely a thing, and LSD goes much higher than 11, there is doubt as to whether this LSD-624 ever existed.

One commenter on a song site brought up a movie with Gregory Peck called Captain Newman, saying that Peck injects another character with a drug and a close-up of the bottle reveals that it is labeled “25 or 6 to 4.”

The debate will probably never end, although I don’t know why. One point that I think should put an end to the speculation is that Lamm has never been evasive about his and the band’s history with drugs. If the song had been about LSD, it simply does not make sense that he would lie about it.

But as pervasive as the drug theories are, they fail to account for the physical environment described in the lyrics. To find the real answer, you have to look at the room, not the chemicals.

Much like the technical shorthand used in Abacab by Genesis, Lamm’s title was a literal description of the moment, not a riddle

The 3:35 AM Reality

All songwriters have had those nights where the brain is fried, the coffee has worn off, and you’re staring at the floor just trying to find one more rhyme to finish the session. That is the setting for Robert Lamm’s ’25 or 6 to 4.’

According to Lamm, and if you listen to the song carefully you will get it, the song is about just such an all-night writing session. The “narrator” is telling about the struggle to come up with an idea, any idea, for lyrics, while he is losing it from lack of sleep. Should he stick it out and hope something comes, or should he just give up and go to bed. If you are a creative type, you’ve been there, and you can relate to what the song is saying, and understand why it’s saying it. But what of the numbers?

Well, its a reference to the time of day, so Lamm maintains. The groggy half-delirious guy is asked what time it is and he replies that it is 25 or 6 to 4, meaning 25 or 26 minutes to 4 a.m. That seems like an odd bit of syntax, but, when you’re in that kind of sleep-deprived state, you say the darndest things.

The Matchbook Inspiration

While the title refers to the time, the spark for the lyrics came from a matchbook on the floor. As Lamm sat on the floor, struggling for words, his eyes landed on a book of matches from a local club. It had a phone number printed on it. That random set of digits acted as the catalyst, prompting him to look at his watch and realize it was roughly 25 or 26 minutes until 4:00 AM.

Instead of continuing to rack his brain to find a lyric, Lamm just sang those numbers, and a song was born. Regardless, even the time explanation is a question and some claim that it was a reference to the time that the band could get into the studio.

I can imagine him sitting on the floor surrounded by his stuff, and he saw a matchbook sitting there with a phone number on it. How do I know he’s sitting on the floor? Its in the song:

Sitting cross-legged on the floor,
25 or 6 to 4

It’s a strange story, to start with a phone number and end up with the time, but then again, it’s way past the witching hour and does anybody really know what time it is? But, then again, “should I try to do some more, 25 or 624?” really does sound like its about acid, and this guy has like, two kinds.

Regardless if it is about the time or about acid, it is an awesome song. If you don’t sing along you must be on a trip. I’ll bet you even hum the horn parts. I know I do. If it’s good enough for the high-school marching band…(insert drug reference hoping to sound clever).

Tone Tip: The Terry Kath ‘Wah’ Sound

If you’re looking to play the song, to capture that iconic, aggressive lead tone, you need a high-sweep Wah Pedal. Kath was a master of using the wah, not just as a filter, but as a percussive tool.

The Kath Rig: Kath famously used a Fender Dual Showman amp. If you’re using a digital modeler like the Line 6 HX Stomp, try the ‘Fassel’ or ‘Vetta Wah’, models paired with a clean, high-headroom American amp block. It’s that “glassy” clean foundation that allowed his fuzz and wah to sound so massive without becoming a muddy mess.

Quick Facts

  • Release Date: January 1970 (Chicago II)
  • Songwriter: Robert Lamm
  • Lead Vocalist: Peter Cetera
  • Chart Peak: No. 4 (US Billboard Hot 100), No. 7 (UK Singles Chart)
  • The Riff: Features one of the most famous descending minor-key riffs in rock history, driven by Terry Kath’s percussive guitar work.

Further Reading