My beloved 60s take another cut too #soon! Goodbye Mr. Postman! Although I am sad to see The Marvelettes
go, I must say when I was writing up the elimination for Tell Him, I had wished The Exciters
outlasted them… Then I turn on Please Mr. Postman
, get my life and completely understand why we all voted for it to go further. The doo wop quality take you over from the very first second and is unrelenting for the duration of the sweet song!
Please Mr. Postman
was one of the best performing songs of the older eras at the beginning of voting, a fixture of the top 10 (the lower ends however) and was shocking me by beating many songs I thought would be sure-fire hits with voters, while I had written The Marvelettes
off (my mistake!). This may be due to that very nostalgic quality the record has. All these songs (since they are at least around 10 years old) remind us of the past, which leads to nostalgia and melancholy – so what taps into that feeling more than longing for a message from a loved one? Mind, this process was a little more involved in the 60s, as per the narration!
Please Mr. Postman
is also a song tied in controversy in regards to songwriting credits. It is credited to Georgia Dobbins
(an original member of The Marvelettes
when they were known as The Marvels
), William Garrett
, Freddie Gorman
, Brian Holland
and Robert Bateman
for the original we are rating today but subsequent releases by The Carpenters
and The Beatles
cite altered credits. The song came to be as an original song was needed for an audition for Berry Gordy
’s Tamla Records
), and this is where Georgia’s good work came in. She left the band shortly before the audition led to the band signing with the label.
The members we know today (or knew then, I should say) are glee club schoolmates Gladys Horton
, Katherine Anderson
, Georgeanna Tillman
and Juanita Cowart
; Georgia Dobbins
was replaced after she left by Wanda Young
. Please Mr. Postman
was a huge hit and debut for The Marvelettes
, reaching the top spot of the US chart, also giving Motown Records
their first #1 record, symmetry to go with their last (Back At One
by Brian McKnight
), which was eliminated just days ago in @Ironheade
’s 90s rate. The band was the darling of their record label until The Supremes
came around and more focus was given to the latter, creating a bit of rivalry between the two acts. The group did manage a successful comeback in 1966 with Don’t Mess With Bill
but struggles with illnesses, mental breakdowns and poor promotion from Motown
saw them call it quits by the end of the decade, with a spin off led by Wanda Young (Rogers)
fizzling out very quickly after its inception.
Please Mr. Postman
has a strong hold on popular culture, featuring in classic Sister Act 2 & covered by decorated acts like the aforementioned Carpenters
, it also led The Marvelettes
to be inducted in the Vocal Group Hall Of Fame
. Please Mr. Postman
also earned a million-selling Gold Single from the RIAA, and is ranked #22 in Billboard’s Greatest Girl Group Songs Of All Time.
What did PopJustice think of the song about the predecessor to emails?
(7) thought he would love this more than he did (give it another listen, it certainly grew on me!)
- I was prepared to say how I've detested the covers I've had to score in other rates and it was because the original was so incredible but honestly I'm finding that this isn't quite as mesmerizing as I remember. Still better than whenever one of their contemporaries try it though. Unnameable
(10) gives a perfect score for his perfect self
(8) gives us light and shade in equal measure
- Such an iconic song and Gladys sounds wonderful, but some of those other girls sound … well… quite frankly, horrible. But again, the song is iconic and I’ll throw them a couple of extra points because they made it and the Sister Act 2 scene is all sorts of amazing. Iheartpoptarts
(7.5) relays this to the modern age and finds this much better!
- It’s a better concept than ‘E-mail My Heart’, isn’t it?
(9) has a lot to say (not all good despite what the score tells you)
- One of the most memorable girl group songs over. That said, going against the rate theme, The Beatles actually did a very good cover, which benefits from a slightly more punchy arrangement (and a little less screechy background vocals, ahem). LondonRain
(7.5) could do with some autotune
- The song itself is so solid, but the lead vocal lets it down a bit (particularly how she never quite hits the top note of “postman” in the chorus).
(2) leaves some commentary for you, how is that for a villain?
- You do realise that it took five people to write this song? How? What complex metaphors or chord progressions or layering of instrumentation is there? I'm probably being a bit harsh because it's more doo-wop-y than pop, but still. I think it's very basic and I don't even like The Carpenters version. Trouble In Paradise
(8) likes it for what it is - This song has such a fun swing to it and the vocals are superb even if the lyrics verge on comical nowadays. Filippa
(6) prefers another version - I know the version of the Carpenters. I have to admit I like it much better. But the song is really good, and I like the voices.
(8) left us a letter before pulling that disappearing act
- (basic but a classic, everyone knows this). Saviodxl
(7.3) did not realise the bountifulness (my Jade Cole word of the day, making @Mina proud!) of the 60s for inspiration
- I'm a bit shocked to learn The Carpenters version is a cover. And I love The Saturdays version of this! ComeOnGloria
(7) has one connection and one alone!
- Ever-associated with the beginning of Sister Act 2! Kermit_The_frog
(10) is loving, in all ways
- I’m kind of embarrassed that this song always reminds me of the Delores Van Cartier Vegas Medley… that aside, a true classic - super sexy. Further Listening: Beechwood 5-5789. Zar-Unity
(7) gives this his favourite score
- I like the quirky singing! Tech: 4 Taste: 3 = 7 points