About the SongPlease Mr Postman

Absolutely! Get ready for a blast from the Motown past with “Please Mr. Postman” by The Marvelettes. This iconic song, released in 1961, not only became a chart-topping sensation but also marked a monumental moment in music history as the very first number one hit for the legendary Motown Records.

“Please Mr. Postman” is a delightful blend of youthful innocence and soulful yearning. The Marvelettes, a girl group known for their powerful vocals, deliver a captivating performance. The song tells the story of a young woman anxiously awaiting a letter from her sweetheart, presumably a soldier stationed far away.

The lyrics are full of charming pleas directed at the postman, the only connection she has to her love. Lines like “Please Mr. Postman, look and see if there’s a letter, a letter for me” and “Delivery day comes and goes, why don’t you bring me some good news” perfectly capture the anticipation and longing in her heart.

The song’s catchy melody and driving beat, powered by the legendary Motown session band The Funk Brothers, create an irresistible energy. The call-and-response vocals between the lead singer and the backing harmonies add a touch of playful urgency, mirroring the young woman’s impatience.

“Please Mr. Postman” transcends its simple premise of waiting for a letter. It’s a universal anthem about the power of communication and the yearning for connection, especially in times of separation. It became a relatable song for teenagers of the era, capturing the anxieties and hopes of young love.

The song’s influence on popular music is undeniable. It paved the way for countless girl groups and established Motown as a powerhouse in the music industry. Even today, “Please Mr. Postman” remains a timeless classic, a reminder of the enduring power of youthful love and the magic of Motown music.Picture background

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Lyrics: “Please Mr. Postman”

 

(Wait) Oh yes, wait a minute, Mr. Postman
(Wait) Wai-hey-hey-hey-it, Mr. Postman(Please, Mr. Postman, look and see) Whoa yeah
(Is there a letter in your bag for me?) Please, please, Mr. Po-oh-ostman
(‘Cause it’s been a mighty long time) Whoa yeah
(Since I heard from this boyfriend of mine)

There must be some word today
From my boyfriend so far away
Please, Mr. Postman, look and see
Is there a letter, a letter for me?
I’ve been standin’ here waitin’, Mr. Postman
So so patiently
For just a card or just a letter
Sayin’ he’s returnin’ home to me

Please, Mr. Postman
(Please, Mr. Postman, look and see) Whoa yeah
(Is there a letter in your bag for me?) Please, please, Mr. Po-oh-oh-ostman
(‘Cause it’s been a mighty long time) Whoa yeah
(Since I heard from this boyfriend of mine)

So many days, you’ve passed me by
You saw the tears standin’ in my eye
You wouldn’t stop to make me feel better
By leavin’ me a card or a letter

Please, Mr. Postman, look and see
Is there a letter, oh yeah, in your bag for me?
You know it’s been so long
Yeah, since I heard from this boyfriend of mine

You better wait a minute, wait a minute
(Wait a minute, Mr. Postman)
Whoa, you better wait a minute
Please, please, Mr. Postman (Wait a minute, Mr. Postman)
Please check and see
Just one more time for me

You gotta wait a minute (wait), wait a minute (Wait a minute, Mr. Postman)
Oh you better wait a minute, wait a minute
Please, Mr. Po-ostman (Wait a minute, Mr. Postman)
Don’t pass me by, you see the tears in my eyes

You better wait (Wait)
Wait a minute (Wait a minute, Mr. Postman)
Wait a minute, wait a minute, wait a minute
(Wait, wait a minute, Mr. Postman)
Please Mr. Postman

 

You Missed

BOB DYLAN AND JOHNNY CASH SHATTERED THE WALLS OF NASHVILLE WITHOUT FIRING A SINGLE SHOT. Columbia Studio A sat thick with the smell of stale coffee and cigarette smoke on a February morning in 1969. While the rock world was chasing ghosts in psychedelic haze, Bob Dylan stepped into the epicenter of American country music with a voice that sounded like it had been dragged across gravel. He wasn’t there to challenge the gatekeepers at the Opry; he was there to find the heartbeat of a sound he had loved from afar. Johnny Cash walked through the heavy studio doors, guitar in hand, and for two days, the rigid borders of genre simply dissolved into the air. They didn’t record some grand manifesto to change the industry. Instead, they sat on stools and tore through old folk standards and each other’s deep cuts, letting the microphones capture the loose, unvarnished truth of a collaboration that felt more like a porch gathering than a major label session. Carl Perkins added his own licks to the mix, blending the percussive snap of rock and roll with the lonesome ache of a country ballad. It was a deliberate, quiet rebellion that treated the traditions of both worlds as neighbors rather than strangers. When the tape stopped rolling, they walked away having proved that the lines drawn by radio programmers were mostly make-believe. The Ryman Auditorium stage eventually welcomed a new kind of guest, and the air in Nashville felt lighter, forever changed by two men who knew that music didn’t need permission to belong everywhere at once.