Skip to main content

Will We Be Together, Someday?: “When Will I See You Again” by The Three Degrees







The first of just two appearances by the Philly sound of Gamble and Huff, but this already sounds like an elegy for an age; barely two years into their run of success, Philly already sounded as though it were saying farewell here – the elegiac Cinemascope strings, the hymn-like enunciation of the song’s title. Essentially it’s “Will You Still Love Me Tomorrow?” grown up and saddled with a mortgage, but with tomorrow’s promise still distant and opaque, although the physical distress is more pronounced (“Will I have to suffer and cry the whole night through?”).


Listening to the record, it’s clear how its axis is Bobby Parker’s electric piano, which simmers, frames and provides the cooling waterbed undertow to offset lead singer Sheila Ferguson’s contained paranoia and suppressed rage. Nonetheless, it is remarkable that this is one of the very few major pop hits whose lyric, backing vocals and ad-libs notwithstanding, consists entirely of questions. As 1974 draws to a close, the unasked/unanswered question might be: will you still need us in 1975?




Date Record Made Number Two: 14 December 1974
Number Of Weeks At Number Two: 1
Record At Number One: “Kung Fu Fighting” by Carl Douglas
UK Chart Position: 1
Other Information: On British television in 2006, the song was used to soundtrack a Food Standards Agency advertisement warning of the dangers of not cooking your sausages for long enough on the barbecue. “When will I see you again?” they query. “Sooner than you think if you don’t cook them properly,” the caption retorts. Precious moments indeed)

Comments

Popular posts from this blog

“I Would Have Thought In The Middle Of The Atlantic In The Middle Of The Night That Rockets Must Mean Trouble”: “I’m Not In Love” by 10cc

"watching for night, with absinthe eye cocked on the lone, late, passer-by." (Sylvia Plath, "Prospect," 1956) This story begins in 1954, before most people had really recognised anything called rock, and a pop record which is half-perfect. That record, which stayed at number one in our charts for ten weeks, was “Cara Mia” by David Whitfield with Mantovani and his Orchestra and Chorus. Now, Whitfield was never the most subtle of singers and his in-your-face bellowing is somewhat distracting – it is significant that he was the first British reality media star (not from television, because at that time Opportunity Knocks was only broadcast on Radio Luxembourg) since his climactic high C at the end of “Cara Mia” is like a display of gymnastics, or an athletic field event; can he do that triple loop or throw that javelin beyond the stadium? It proves that technical prowess can often render itself unlistenable. But the magic here lies in the extraordinary ...

Hey Now, Hey Now Now, Burn This Corrosion To Me: “Fire” by The Crazy World Of Arthur Brown

More so than “Born To Be Wild,” “Fire” marks the dividing line, where pop turns into rock, where psychedelia mutates into progressive, between fun for all the family and parents keep the hell out. Number one in Britain when I was four years old, it scared the shit out of me at the time. Even in a year which could already have been classified as pop in extremis – Dave Dee’s whip on “Legend Of Xanadu,” Jagger’s sympathetic Devil make-up on “Jumping Jack Flash” – Arthur Brown’s flaming colander crown and a Top Of The Pops performance of the song which appeared to show the band burning in forests of flame gave me genuine nightmares; not to mention the moment in the long-gone Vale Café in Tollcross when I accidentally pressed the wrong button on the jukebox and “I AM THE GOD OF HELLFIRE!” roared out. Now I already had cause enough to have nightmares in 1968, for reasons with which I shan’t bore you here. It wasn’t that pleasant a year, even from my juvenile perspective. But the...

What About All The Dreams That You Said Were Yours And Mine?: “MacArthur Park” by Richard Harris

The story begins with Bones Howe, a producer who, along with Jimmy Webb, worked on the first two albums by The Fifth Dimension – Up, Up And Away and The Magic Garden . This work was a happy affair, and while putting these records together Webb regularly confided in Howe about how he would like to expand the vocabulary and structure of the popular song. Spellbound, as with so many others, by Pet Sounds and Pepper , he was looking to do something similarly (if amiably) disorientating. Upon completion of The Magic Garden , Howe urged Webb to be as good as his word and compose the epic song that was in his head. Webb responded with a twenty-minute, multi-movement cantata – i.e. one whole side of an album – which he called “MacArthur Park.” Howe instantly thought of another of his production clients, The Association, who in late 1967 were looking towards the experimental and adventurous. Webb and Howe duly approached the group with this great notion. Figuring that The Ass...