B-side of After The Showers Come Flowers
(Written by Rickie Page and George Motola)
There’s more of the Murmaids in this flip than on the A-side, After The Showers Come Flowers; there’s also more of a performance, moving abruptly from candyfloss doo-wop in the intro to British Invasion inflected guitar pop in the body of the song.
Don’t get me wrong, it’s still quite staggeringly twee, and sung by the Page family in high, sugary voices that do the song few favours in terms of impact (the deliveries sound short of breath, and the scansion is pretty ropey too), but there’s a tougher R&B edge beneath all the decorative lacework and frosting. There’s also a definite Merseybeat vibe led by the twanging, white-sounding West Coast guitar riffs that underpin the track.
Supposedly this was inspired by the Caravelles’ You Don’t Have To Be A Baby To Cry, but the similarities don’t extend past the title and the high voices; thematically and rhythmically, the two songs are actually very different. Which isn’t to say they’re supposed to be, of course, but this is essentially an engaging enough bit of guitar-driven girl group pop.
Better than the A-side, even if it’s not the sort of thing I’d play all that often.
MOTOWN JUNKIES VERDICT
(I’ve had MY say, now it’s your turn. Agree? Disagree? Leave a comment, or click the thumbs at the bottom there. Dissent is encouraged!)
You’re reading Motown Junkies, an attempt to review every Motown A- and B-side ever released. Click on the “previous” and “next” buttons below to go back and forth through the catalogue, or visit the Master Index for a full list of reviews so far.
(Or maybe you’re only interested in Joanne and the Triangles? Click for more.)
|Joanne & the Triangles
“After The Showers Come Flowers”
“(You Can’t Let The Boy Overpower) The Man In You”
|Motown Junkies presents the finest Motown cuts, big hits and hard to find classics.
Listen to all past episodes here.