Recording Artist: Glass Tiger
Writers: Jim Vallance
Alan Frew
Al Connelly
Date Written: May 1985 / Vancouver Canada
Albums: Thin Red Line (Capitol Records, 1985)
Best Of Glass Tiger: Air Time (Capitol Records, 1993)
Charts: #7 - Billboard Hot 100 Singles Chart / January 1987 (21 weeks on the chart)
#11 - The Record (Canada) / November 24, 1986 (20 weeks on the chart)
Awards: 1986 - Gold Single Award for 50,000 sales of the 45 RPM single in Canada
1987 - Procan Award (Performing Rights Organization of Canada) for Canadian radio airplay
1987 - Juno Award for "Single of the Year" (Canada)
1996 - Socan Classics Award for more than 100,000 Canadian radio performances
Audio 1:
Released version
Alan Frew: vocals
Al Connelly: rhythm and arpeggio guitars
Sam Reid: keyboards
Jim Vallance: keyboards and drum programming
Keith Scott: lead guitar (end of song)
Dave Pickell: DX7 "harmonica" solo
Backing vocals: Lisa Dal Bello and Sharon Lee Williams
Produced by Jim Vallance.  Recorded by: (1). Lorne Feld at ESP Studios, Buttonville; (2). Paul Northfield at Le Studio, Morin Heights; (3). Jim Vallance at Distorto Studios, Vancouver; (4). Hayward Parrott at McClear Place, Toronto.   Mixed by Ed Thacker at Phase One Studios, Toronto.
Audio 2:
Demo recording
Alan Frew: vocals
Al Connelly: guitar
Sam Reid: keyboards
Jim Vallance: keyboards, drum programming
Recorded at Distorto Studios, Vancouver.  This is our May 1985 home-studio demo for "Someday".  Like the master recording that followed a few months later, the demo was programmed on a Yamaha QX-1 sequencer, primarily using DX-7 keyboard sounds (electric piano, marimba and slap bass), supported by a rather unadventurous Linn drum loop.
Cover Versions:
Also recorded by M-Appeal
Vinyl 45 sleeve for the single "Someday", 1985 >
Everything about "Someday" is dead simple. The verses are sparse and minimal  --  just four lines of lyric each -- but it seems to work.  Same for the choruses -- a mere three lines of lyric -- and again, the melody and chord structure is very simple.

Despite the simplicity however, the song proved extremely difficult to record, and there were a few moments when I didn't think we'd get it on tape.

We wrote the song in my home studio in Vancouver, the same week we completed "Don't Forget Me When I'm Gone"). I can't speak for Alan Frew and Al Connelly, but my contribution to the song was inspired by the 1985 Paul Young recording "Every Time You Go Away", brilliantly produced and engineered by Laurie Latham.  Latham's track is simple and solid, yet it's full of little surprises (high piano stabs, electric sitar lines, gospel backing vocals, etc). It's still one of my favourite records.
"Every Time You Go Away" >
The programming for the released version of "Someday" took place in Newmarket Ontario, at Sam Reid's home studio, located in his back garden, near the river. For the most part, the track consists of Yamaha DX-7 sounds (bass, marimba and electric piano) programmed on a Yamaha QX-1 sequencer. Sam handled all the technical aspects, essentially creating a studio-ready "midi" recording
The dreaded Yamaha
QX-1 Sequencer >
The QX-1 was one of the earliest midi sequencing devices, and it was excruciatingly slow to enter and quantize data. In addition, we used a Linn Drum machine, later replacing the Linn snare with a deep Syndrum sample. Several years later I used that very same sample on the Aerosmith recording of "Rag Doll").

We’d had the luxury of recording "Don't Forget Me When I'm Gone" at Sounds Interchange, a modern, state-of-the-art facility in Toronto. But for "Someday", Capitol Records sent us to tiny ESP Studios in the suburb of Buttonville, north of Toronto. The ESP building is over 100 years old and had once been an antique store, and before that a blacksmith's shop ... in fact, there were still horseshoes nailed to the wall.
At that time ESP was best known as the "home" of legendary musician Dee Long, from the group Klaatu. Dee was a pioneer in the use of Fairlight and midi technology, however ESP's analog recording equipment was out-dated and faulty, and initially we didn't have much faith in the young engineer, Lorne Feld, who seemed scattered, disorganized and completely flustered by the equipment failures. Things were not going well at all, and I thought we’d have to scrap the day’s work and start again elsewhere ... but suddenly everything started coming together, and by the end of the day we left ESP with one of the strongest tracks on the album!

Additional recording was done at Le Studio (near Montreal) with Paul Northfield, and most of Alan’s vocal was completed in my basement studio in Vancouver, but I credit ESP Studios and engineer Lorne Feld with delivering magic that might have eluded us elsewhere.

Singers Lisa Dal Bello and Sharon Lee Williams provided backing vocals at McClear Place studios in Toronto, with Hayward Parrott engineering. Dave Pickell added a superb DX-7 "harmonica" solo at my studio in Vancouver.

Ed Thacker mixed the track at Phase One in Toronto.
Lyrics: When I come home you telephone
To say you're waiting for me
I ask you why - I hear you cry,
But you're still waiting for me

Someday you'll be shedding your tears
To cry over me
Someday I'll be losing this fear

Now I'm alone, you telephone
To tell me you don't need me
I ask you why, you tell me lies
And say the truth would hurt me

Someday you'll be shedding your tears
To cry over me
Someday I'll be losing this fear

Oh, Oh . . . someday

Down in the street where lovers meet
That's where I'm waiting for you
In the streets where lovers meet
I'm still waiting for you

Someday you'll be shedding your tears
And then you'll cry over me [cry over me]
Someday I'll be losing this fear

Someday you'll be shedding your tears
And then you'll cry over me [cry over me]
Someday I'll be losing this fear