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Please Mr. Postman
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<h2 id="original-version">Original version</h2> <h3>Background</h3> <p>In April 1961, <a href="/facts/The_Marvelettes/3spLK00I">the Marvelettes</a> (then known as the Marvels) arranged an audition for <a href="/facts/Berry_Gordy/Rsx6PEVT">Berry Gordy</a>'s Tamla label. Marvels' original lead singer Georgia Dobbins needed an original song for their audition and got a blues song from her friend William Garrett, which she then reworked for the group. Dobbins left the group after the audition and was replaced.<a class="footnote-ref" id="fnref:5" href="#fn:5"><sup>5</sup></a> Gordy renamed the group and hired "Brianbert" – <a href="/facts/Brian_Holland/bY0Lpv6A">Brian Holland</a> and Robert Bateman's songwriting partnership – to rework the song yet again. Freddie Gorman, himself a Detroit postman and another songwriting partner of Holland (before Holland became part of the <a href="/facts/Holland%E2%80%93Dozier%E2%80%93Holland/zxVVyJun">Holland–Dozier–Holland</a> team) was also involved in the final reworking. </p> <h3>Composition and recording</h3> <p>Songwriting credits for "Please Mr. Postman" have been inconsistent.<a class="footnote-ref" id="fnref:6" href="#fn:6"><sup>6</sup></a> Journalist <a href="/facts/Ben_Fong-Torres/DBM7HeJ4">Ben Fong-Torres</a> credits the song to Holland, Bateman, Gorman, Dobbins and Garrett.<a class="footnote-ref" id="fnref:7" href="#fn:7"><sup>7</sup></a> The original Tamla 45 single for the Marvelettes' version credits "Dobbins/Garrett/Brianbert" as the songwriters, and credits "Brianbert" as producer. The original <i><a href="/facts/With_the_Beatles/KD2ao7SD">With the Beatles</a></i> album cover credited it to just Brian Holland (the 1987 CD release credits it to "Dobbin-Garrett-Garman-Brianbert"). The 1976 Beatles discography book <i>All Together Now</i> credits the songwriting to Holland, Bateman, and Berry Gordy. The 1992 Motown <a href="/facts/Boxed_set/3UF4l4gx">boxed set</a> <i>Hitsville USA: The Motown Singles Collection</i> credits Dobbins, Garrett, Holland, Bateman, and Gorman as the composers. The <a href="/facts/Songwriters_Hall_of_Fame/6uv4LrM0">Songwriters Hall of Fame</a> credits "Please Mr. Postman" to just Holland, Bateman, and Gorman.<a class="footnote-ref" id="fnref:8" href="#fn:8"><sup>8</sup></a> EMI Music Publishing, the current music publisher of the song, list all five writers in their catalog. </p><p>Played in 4/4 time, the song features the common <a href="/facts/%2750s_progression/KupAffIF">I–vi–IV–V</a> chord progression.<a class="footnote-ref" id="fnref:9" href="#fn:9"><sup>9</sup></a> The <a href="/facts/Melody/5TR3IE3Y">melody</a> is <a href="/facts/Hexatonic_scale/cK5k9Nbs">hexatonic</a>, avoiding "blue" notes.<a class="footnote-ref" id="fnref:10" href="#fn:10"><sup>10</sup></a> </p><p>The Marvelettes recording features lead singer <a href="/facts/Gladys_Horton/ecjEQmKo">Gladys Horton</a> hoping that the <a href="/facts/Mail_carrier/dTYuMg8f">postman</a> has brought her a letter from her boyfriend. Holland and Bateman – dubbing themselves "Brianbert" – produced the session.<a class="footnote-ref" id="fnref:11" href="#fn:11"><sup>11</sup></a> The song's rhythm section is made up of piano, electric bass and drums.<a class="footnote-ref" id="fnref:12" href="#fn:12"><sup>12</sup></a> The commercial failure of <a href="/facts/Marvin_Gaye/NLquREXY">Marvin Gaye</a>'s 1961 debut album, <i><a href="/facts/The_Soulful_Moods_of_Marvin_Gaye/SmtrrHtg">The Soulful Moods of Marvin Gaye</a></i>, led him to spend time as a studio musician for the remainder of the year.<a class="footnote-ref" id="fnref:13" href="#fn:13"><sup>13</sup></a> Among these efforts was "Please Mr. Postman", on which he plays the drums.<a class="footnote-ref" id="fnref:14" href="#fn:14"><sup>14</sup></a> Gaye's <a href="/facts/Backbeat/xJrxPJfS">backbeat</a> is busy throughout the song, playing his snare on the two and four beats while tapping the ride cymbal each half beat.<a class="footnote-ref" id="fnref:15" href="#fn:15"><sup>15</sup></a> He uses <a href="/facts/Fill_(music)/QB41HajE">fills</a> to transition the song through sections. The bass mostly alternates between <a href="/facts/Root_(chord)/BzI7uzCG">root</a> and <a href="/facts/Fifth_(chord)/NmPCvUuM">fifth</a> chords. An electric rhythm guitar is buried in the mix, only occasionally audible, while handclaps are prominent.<a class="footnote-ref" id="fnref:16" href="#fn:16"><sup>16</sup></a> <a href="/facts/Musicology/jaapApYh">Musicologist</a> <a href="/facts/Walter_Everett_(musicologist)/QN6IlPUK">Walter Everett</a> suggests that the appearance of <a href="/facts/Reverberation/188vPg1A">reverb</a> on the lead vocal at 2:10 is possibly the result of a vocal <a href="/facts/Overdubbing/9BmXfGuK">overdub</a> being "punched into a mismatched circuit".<a class="footnote-ref" id="fnref:17" href="#fn:17"><sup>17</sup></a> </p> <h3>Release</h3> <p>Motown's <a href="/facts/Tamla/c3uuwLK9">Tamla</a> label released the song as a single in the US in August 1961, then on the <a href="/facts/Please_Mr._Postman_(album)/MQuGPBBa">album of the same name</a> in November 1961.<a class="footnote-ref" id="fnref:18" href="#fn:18"><sup>18</sup></a> The single was a commercial success, becoming Motown's second million-selling record and its first number-one hit.<a class="footnote-ref" id="fnref:19" href="#fn:19"><sup>19</sup></a> The song was on the <a href="/facts/Billboard_Hot_100/gwKl8VL9"><i>Billboard</i> Hot 100</a> chart for 23 weeks, and peaked at number 1 the week of December 11, 1961.<a class="footnote-ref" id="fnref:20" href="#fn:20"><sup>20</sup></a> <a href="/facts/Record_producer/RcLFfQKL">Producer</a> <a href="/facts/Berry_Gordy/Rsx6PEVT">Berry Gordy</a> credited <a href="/facts/Barney_Ales/8wcKMhxH">Barney Ales</a>' PR effort with the commercial success of the song.<a class="footnote-ref" id="fnref:21" href="#fn:21"><sup>21</sup></a> The song's hit status left many at Motown expecting the Marvelettes to be the label's biggest act, though they failed to ever match their first effort.<a class="footnote-ref" id="fnref:22" href="#fn:22"><sup>22</sup></a> </p> <p>Journalist <a href="/facts/Ben_Fong-Torres/DBM7HeJ4">Ben Fong-Torres</a> described the Marvelettes' next song, "<a href="/facts/Twistin%27_Postman/Ry5BWHGb">Twistin' Postman</a>", as a "calculated follow-up".<a class="footnote-ref" id="fnref:23" href="#fn:23"><sup>23</sup></a> The song's success led to an expansion in Motown's efforts, with songs like <a href="/facts/The_Miracles/rXyM465v">the Miracles</a> "<a href="/facts/I%27ll_Try_Something_New_(song)/EpWWIyqU">I'll Try Something New</a>" and "<a href="/facts/You%27ve_Really_Got_a_Hold_on_Me/8IScr4jw">You've Really Got a Hold on Me</a>" following in 1962.<a class="footnote-ref" id="fnref:24" href="#fn:24"><sup>24</sup></a> </p><p><a href="/facts/Fontana_Records/44z7m99k">Fontana Records</a> released the song as a single in the UK in November 1961.<a class="footnote-ref" id="fnref:25" href="#fn:25"><sup>25</sup></a> </p><p><i><a href="/facts/Billboard_(magazine)/CVruQGq5">Billboard</a></i> listed the song as #22 on their 2017 list of 100 Greatest Girl Group Songs of All Time.<a class="footnote-ref" id="fnref:26" href="#fn:26"><sup>26</sup></a> </p><p><i>Rolling Stone</i> ranked it at No. 331 on their list of "Top 500 Greatest Songs of All Time".<a class="footnote-ref" id="fnref:27" href="#fn:27"><sup>27</sup></a> </p><p>In 2011, <a href="/facts/The_Marvelettes/3spLK00I">The Marvelettes</a> version of the song was inducted into the <a href="/facts/Grammy_Hall_of_Fame/lbXLYTLJ">Grammy Hall of Fame</a>.<a class="footnote-ref" id="fnref:28" href="#fn:28"><sup>28</sup></a> </p> <h3>Personnel</h3> <p>According to <i>The Complete Motown Singles – Vol. 1: 1959–1961</i> <a href="/facts/Liner_notes/o2TJaRQT">liner notes</a>,<a class="footnote-ref" id="fnref:29" href="#fn:29"><sup>29</sup></a> except where noted: </p><p>The Marvelettes </p> <ul><li><a href="/facts/Gladys_Horton/ecjEQmKo">Gladys Horton</a> – lead vocals</li> <li><a href="/facts/Katherine_Anderson/Ca6V1KC9">Katherine Anderson</a> – backing vocals, handclaps</li> <li>Wyanetta ("Juanita") Cowart – backing vocals, handclaps</li> <li><a href="/facts/Georgeanna_Tillman/p0V4Nxwc">Georgeanna Tillman</a> – backing vocals, handclaps</li> <li><a href="/facts/Wanda_Young/8jPMWuIM">Wanda Young</a> – backing vocals, handclaps</li></ul> <p>Additional musicians </p> <ul><li><a href="/facts/The_Funk_Brothers/A6k5414E">The Funk Brothers</a>: <ul><li><a href="/facts/Eddie_Willis/B2AbN06Y">Eddie Willis</a> – guitar<a class="footnote-ref" id="fnref:30" href="#fn:30"><sup>30</sup></a></li> <li><a href="/facts/Richard_%22Popcorn%22_Wylie/0zx7sl1H">Richard "Popcorn" Wylie</a> – piano</li> <li><a href="/facts/James_Jamerson/uVgXXWoo">James Jamerson</a> – bass<a class="footnote-ref" id="fnref:31" href="#fn:31"><sup>31</sup></a></li> <li><a href="/facts/Marvin_Gaye/NLquREXY">Marvin Gaye</a> – drums<a class="footnote-ref" id="fnref:32" href="#fn:32"><sup>32</sup></a></li></ul></li></ul> <h3>Charts and certifications</h3> <table><tbody><tr><td><h4>Weekly charts</h4>Weekly chart performance for "Please Mr. Postman"<table><tbody><tr><th scope="col">Chart (1961–1962)</th><th scope="col">Peakposition</th></tr><tr><th scope="row">New Zealand (<i>Lever Hit Parade</i>)<a class="footnote-ref" id="fnref:33" href="#fn:33"><sup>33</sup></a></th><td>4</td></tr><tr><th scope="row">US <a href="/facts/Billboard_Hot_100/gwKl8VL9"><i>Billboard</i> Hot 100</a><a class="footnote-ref" id="fnref:34" href="#fn:34"><sup>34</sup></a></th><td>1</td></tr><tr><th scope="row">US <i><a href="/facts/Billboard_(magazine)/CVruQGq5">Billboard</a></i> <a href="/facts/Hot_R%26B/Hip-Hop_Songs/830VoC96">Hot R&B Sides</a><a class="footnote-ref" id="fnref:35" href="#fn:35"><sup>35</sup></a></th><td>1</td></tr></tbody></table></td><td><h4>Certifications</h4>Certifications for "Please Mr. Postman"<table><tbody><tr><th scope="col">Region</th><th scope="col">Certification</th><th scope="col"><a href="/facts/List_of_music_recording_certifications/6CPQFNNn">Certified units</a>/sales</th></tr><tr><th scope="row">New Zealand (<a href="/facts/Recorded_Music_NZ/KlQ6jDS4">RMNZ</a>)<a class="footnote-ref" id="fnref:36" href="#fn:36"><sup>36</sup></a></th><td>Gold</td><td>15,000‡</td></tr><tr><th scope="row">United Kingdom (<a href="/facts/British_Phonographic_Industry/G1QjcwBq">BPI</a>)<a class="footnote-ref" id="fnref:37" href="#fn:37"><sup>37</sup></a><i> sales since 2004 </i></th><td>Silver</td><td>200,000‡</td></tr><tr><th scope="row">United States (<a href="/facts/Recording_Industry_Association_of_America/8a7K0Ubf">RIAA</a>)<a class="footnote-ref" id="fnref:38" href="#fn:38"><sup>38</sup></a></th><td>Gold</td><td>500,000^</td></tr><tr><td colspan="3"><p>^ Shipments figures based on certification alone.‡ Sales+streaming figures based on certification alone.</p></td></tr></tbody></table></td></tr></tbody></table> <h2 id="the-beatles-version">The Beatles version</h2> <h3>Background and recording</h3> <p>The English <a href="/facts/Rock_music/zBM2guyQ">rock</a> band <a href="/facts/The_Beatles/2syHWLcM">the Beatles</a> displayed an early interest in the music of <a href="/facts/Girl_group/vtW3HEoH">girl groups</a>, covering songs by groups like <a href="/facts/The_Shirelles/c0tpyMSB">the Shirelles</a>, <a href="/facts/The_Cookies/cnhKmzT7">the Cookies</a> and <a href="/facts/The_Donays/ByK1AlsY">the Donays</a>.<a class="footnote-ref" id="fnref:39" href="#fn:39"><sup>39</sup></a> They added "Please Mr. Postman" to their live repertoire in December 1961, their third Tamla song after <a href="/facts/The_Miracles/rXyM465v">the Miracles</a>' "<a href="/facts/Who%27s_Lovin%27_You/0qodcDGW">Who's Lovin' You</a>" and <a href="/facts/Barrett_Strong/HyTcU2fb">Barrett Strong</a>'s "<a href="/facts/Money_(That%27s_What_I_Want)/wrAtraVt">Money (That's What I Want)</a>".<a class="footnote-ref" id="fnref:40" href="#fn:40"><sup>40</sup></a> </p><p>Having not made it into the British top fifty, few in the UK knew the song "Please Mr. Postman", allowing the Beatles to make it their own among all <a href="/facts/Liverpool/kTqATlxg">Liverpool</a> groups.<a class="footnote-ref" id="fnref:41" href="#fn:41"><sup>41</sup></a> <a href="/facts/John_Lennon/voXHuusf">John Lennon</a> sang lead vocal, <a href="/facts/Paul_McCartney/TfhC0oaF">Paul McCartney</a> and <a href="/facts/George_Harrison/akznD2lX">George Harrison</a> providing backing vocals, while all three added handclaps at their head level.<a class="footnote-ref" id="fnref:42" href="#fn:42"><sup>42</sup></a> In 2004, Billy Hatton of <a href="/facts/The_Fourmost/bcr18Yz4">the Four Jays</a> recalled seeing one of the Beatles' first live performances of the song, saying it was "a <i>Wow moment</i>. I was struck by how tight they were. As a semi-pro group, the Four Jays would take a month to start playing a new song really well."<a class="footnote-ref" id="fnref:43" href="#fn:43"><sup>43</sup></a> Without their knowing it at the time, the Beatles' 7 March 1962 performance of the song on <a href="/facts/BBC_Radio/xGSYXsyQ">BBC Radio</a>'s <i>Here We Go</i> was the first time any Tamla song was played over BBC radio.<a class="footnote-ref" id="fnref:44" href="#fn:44"><sup>44</sup></a> Beatles author <a href="/facts/Mark_Lewisohn/XAukEPaI">Mark Lewisohn</a> reflects: "Without even realising it (and they'd have been thrilled to know), the Beatles broke the Detroit 'Motown sound' to the British listening public."<a class="footnote-ref" id="fnref:45" href="#fn:45"><sup>45</sup></a> </p><p>In 1963, Beatles <a href="/facts/Talent_manager/uUrTukeE">manager</a> <a href="/facts/Brian_Epstein/1ahwqfw0">Brian Epstein</a> approached Gordy for the rights to record several Motown songs, including "Please Mr. Postman", "You've Really Got a Hold on Me" and "Money (That's What I Want)". Rather than the industry standard of two cents, Epstein only offered one and a half cents per record sold.<a class="footnote-ref" id="fnref:46" href="#fn:46"><sup>46</sup></a> Gordy initially refused, only relenting two minutes before the offer was set to expire.<a class="footnote-ref" id="fnref:47" href="#fn:47"><sup>47</sup></a> </p><p>On 30 July 1963, the band recorded the song for their second UK album, <i><a href="/facts/With_the_Beatles/KD2ao7SD">With the Beatles</a></i>. Recorded in Studio Two of <a href="/facts/Abbey_Road_Studios/mVvMxcHP">EMI Recording Studios</a>, <a href="/facts/George_Martin/lLx2W3Cp">George Martin</a> <a href="/facts/Record_producer/RcLFfQKL">produced</a> the session, supported by <a href="/facts/Mixing_engineer/yfo8GxrF">balance engineer</a> <a href="/facts/Norman_Smith_(record_producer)/s60tQcRn">Norman Smith</a>.<a class="footnote-ref" id="fnref:48" href="#fn:48"><sup>48</sup></a> The band recorded three takes in a similar style to their BBC performance, but found the results unsatisfactory. They altered the arrangement to sound closer to the Marvelettes' version, recording four more takes with a <a href="/facts/Stop-time/H4WTWRcv">stop-time</a> intro, drum <a href="/facts/Break_(music)/A1QPvFpl">breaks</a> and a <a href="/facts/Coda_(music)/D49KTaAQ">coda</a>, the final take seven deemed "best".<a class="footnote-ref" id="fnref:49" href="#fn:49"><sup>49</sup></a> Due to their different vocal range from the Marvelettes, the Beatles <a href="/facts/Modulation/aAXPjINv">modulate</a> their version into <a href="/facts/A_major/30sVcrBo">A major</a>.<a class="footnote-ref" id="fnref:50" href="#fn:50"><sup>50</sup></a> Between recording two takes of <a href="/facts/Overdubbing/9BmXfGuK">overdubs</a>, the band added handclaps while Lennon <a href="/facts/Double_tracking/IBhLF1TW">double tracked</a> his original vocal,<a class="footnote-ref" id="fnref:51" href="#fn:51"><sup>51</sup></a> take nine marked "best".<a class="footnote-ref" id="fnref:52" href="#fn:52"><sup>52</sup></a> Martin and Smith mixed the song for <a href="/facts/Monaural/1lKJ5jAW">mono</a> and <a href="/facts/Stereophonic_sound/z0vmJcGT">stereo</a> on 21 August and 29 October, respectively.<a class="footnote-ref" id="fnref:53" href="#fn:53"><sup>53</sup></a> </p> <h3>Release and reception</h3> <p>EMI's <a href="/facts/Parlophone/NVn0PyMw">Parlophone</a> label released <i>With the Beatles</i> in the UK on 22 November 1963, with "Please Mr. Postman" sequenced as the final track on the first side, coming after <a href="/facts/Till_There_Was_You/XSdpkada">Till There Was You</a>".<a class="footnote-ref" id="fnref:54" href="#fn:54"><sup>54</sup></a> In the US, <a href="/facts/Capitol_Records/5parUIfs">Capitol</a> released <i><a href="/facts/The_Beatles%27_Second_Album/UkywADky">The Beatles' Second Album</a></i> on 10 April 1964, with "Please Mr. Postman" sequenced as the ninth track, between "<a href="/facts/I_Call_Your_Name/YCoQvsQR">I Call Your Name</a>" and "<a href="/facts/I%27ll_Get_You/8JL24jSQ">I'll Get You</a>".<a class="footnote-ref" id="fnref:55" href="#fn:55"><sup>55</sup></a> Both releases credit the song only to Holland.<a class="footnote-ref" id="fnref:56" href="#fn:56"><sup>56</sup></a><a class="footnote-ref" id="fnref:57" href="#fn:57"><sup>57</sup></a> Capitol also included the cover as the final track on the US-only four-song EP, <i><a href="/facts/Four_by_the_Beatles/dk1pVMXc">Four by the Beatles</a></i>, released 11 May 1964.<a class="footnote-ref" id="fnref:58" href="#fn:58"><sup>58</sup></a> </p><p>Writing about <i>The Beatles' Second Album</i>, music critic <a href="/facts/Robert_Christgau/0U1Du9U9">Robert Christgau</a> considers the covers of "Please Mr. Postman" and "Money (That's What I Want)" as two of the Beatles' best ever recordings, "both surpassing the superb Motown originals".<a class="footnote-ref" id="fnref:59" href="#fn:59"><sup>59</sup></a> Music critic <a href="/facts/Tim_Riley_(music_critic)/jwnWvQSv">Tim Riley</a> calls the song's beat "tremendous", and that "like all great rock 'n' roll, it sounds perilously close to falling apart at any minute".<a class="footnote-ref" id="fnref:60" href="#fn:60"><sup>60</sup></a> He writes it is the "most reckless and completely irresistible playing" on the first side of <i>With the Beatles</i>, and "the most flammable rock 'n' roll they've given us since "<a href="/facts/She_Loves_You/8PUhu6R9">She Loves You</a>".<a class="footnote-ref" id="fnref:61" href="#fn:61"><sup>61</sup></a> </p><p>Musicologist <a href="/facts/Alan_W._Pollack/2Ys6uXaV">Alan W. Pollack</a> sees the opening shout of "Wait!" as anticipating as the opening shout of "Help!" in the Beatles' 1965 <a href="/facts/Help!_(song)/Kwyj5DIG">song of the same name</a>.<a class="footnote-ref" id="fnref:62" href="#fn:62"><sup>62</sup></a> Writer Chris Ingham calls the song "a dense curtain of guitars and harmonies" supported by "a delicious, elastic groove".<a class="footnote-ref" id="fnref:63" href="#fn:63"><sup>63</sup></a> Writer Jonathan Gould writes that Lennon's strong vocal overpowers the weak lyric, while the band's backing "[explodes] off the record", ultimately "[epitomizing] all that is best about the Beatles' second album."<a class="footnote-ref" id="fnref:64" href="#fn:64"><sup>64</sup></a> He further writes that, among the covers on <i>With the Beatles</i>, it is the only one that approaches the quality of "<a href="/facts/Twist_and_Shout/RbIwswYE">Twist and Shout</a>" from <i><a href="/facts/Please_Please_Me/WnS4J3eH">Please Please Me</a></i>.<a class="footnote-ref" id="fnref:65" href="#fn:65"><sup>65</sup></a> Writer <a href="/facts/Ian_MacDonald/NozCMuVf">Ian MacDonald</a> dismisses the cover as "[l]acking the loose-limbed playfulness of the original", with a "<a href="/facts/Wall_of_sound/rj5vRY8T">wall of sound</a> that quickly weights on the ear".<a class="footnote-ref" id="fnref:66" href="#fn:66"><sup>66</sup></a> </p> <h3>Personnel</h3> <p>According to MacDonald,<a class="footnote-ref" id="fnref:67" href="#fn:67"><sup>67</sup></a> except where noted: </p> <ul><li><a href="/facts/John_Lennon/voXHuusf">John Lennon</a> – <a href="/facts/Double-tracking/IBhLF1TW">double-tracked</a> vocal, rhythm guitar</li> <li><a href="/facts/Paul_McCartney/TfhC0oaF">Paul McCartney</a> – backing vocal, bass</li> <li><a href="/facts/George_Harrison/akznD2lX">George Harrison</a> – backing vocal, lead guitar</li> <li><a href="/facts/Ringo_Starr/qNWrpcTc">Ringo Starr</a> – drums</li> <li>uncredited (played by the Beatles) – handclaps<a class="footnote-ref" id="fnref:68" href="#fn:68"><sup>68</sup></a></li></ul> <h2 id="the-carpenters-version">The Carpenters version</h2> <p>A hit cover of "Please Mr. Postman" was recorded by <a href="/facts/The_Carpenters/2EXyxUb2">The Carpenters</a>, whose version took the song again to number one on the <i>Billboard</i> Hot 100 chart in early 1975. The Carpenters' version resembles an old 1950s rock & roll song. The single was released in late 1974, reached number one on both the <a href="/facts/Billboard_Hot_100/gwKl8VL9"><i>Billboard</i> Hot 100</a> and <a href="/facts/Adult_Contemporary_(chart)/JmBSByRU">Easy Listening</a> charts in January 1975,<a class="footnote-ref" id="fnref:69" href="#fn:69"><sup>69</sup></a> and was the duo's 10th and final million-selling single. The corresponding <i><a href="/facts/Horizon_(The_Carpenters_album)/fWk4MLBU">Horizon</a></i> album was belatedly released in June 1975 and went Platinum. It also became Carpenters' third and final number one and eleventh top-ten single in the <i>Billboard</i> Hot 100. </p><p>The Carpenters' cover version was also <a href="/facts/Sampling_(music)/QLXy5WbA">sampled</a> by <a href="/facts/Rapper/I61JCune">rapper</a> <a href="/facts/Juelz_Santana/kxCHEQs6">Juelz Santana</a> for his single "<a href="/facts/Oh_Yes_(Juelz_Santana_song)/v2ecHKUT">Oh Yes</a>". It is used by the <i><a href="/facts/Rob,_Arnie_and_Dawn_Show/LT6snqSK">Rob, Arnie and Dawn Show</a></i> to introduce their Listener Mail segment, and was the song by the presenters of the British Saturday morning show <i><a href="/facts/SMTV_Live/ou1EfKaK">SMTV Live</a></i> to introduce the mailbag section. Reaching number two in the <a href="/facts/UK_Singles_Chart/s2yyGUlD">UK Singles Chart</a> in 1975, in a UK television special on <a href="/facts/ITV_(TV_network)/pIlD3oza">ITV</a> in 2016 it was voted number one in <i><a href="/facts/The_Nation%27s_Favourite/PuvfPXoA">The Nation's Favourite Carpenters Song</a></i>.<a class="footnote-ref" id="fnref:70" href="#fn:70"><sup>70</sup></a><a class="footnote-ref" id="fnref:71" href="#fn:71"><sup>71</sup></a> </p><p>A <a href="/facts/Music_video/FccodeNC">music video</a> of the song, filmed in <a href="/facts/Disneyland/Sur3NUsJ">Disneyland</a>, can be found on the DVD <i><a href="/facts/Gold:_Greatest_Hits_(video)/BXMrWHwU">Gold: Greatest Hits</a></i> (released in 2002), originally packaged as <i>Yesterday Once More</i> (released on VHS and LaserDisc in 1985). </p> <h3>Personnel</h3> <ul><li><a href="/facts/Karen_Carpenter/MoftNKz7">Karen Carpenter</a> – lead and backing vocals, drums</li> <li><a href="/facts/Richard_Carpenter_(musician)/576dEt1z">Richard Carpenter</a> – backing vocals, piano, <a href="/facts/Orchestration/ukXlqIkX">orchestration</a></li> <li><a href="/facts/Tony_Peluso/ySXQkt3A">Tony Peluso</a> – guitar</li> <li><a href="/facts/Joe_Osborn/ny3680oR">Joe Osborn</a> – bass guitar</li> <li>Bob Messenger – tenor saxophone</li> <li>Doug Strawn – baritone saxophone</li> <li>Uncredited – <a href="/facts/Castanets/c43oXpjM">castanets</a>, <a href="/facts/Tubular_bells/ASYvcGwT">tubular bells</a></li></ul> <h3>Chart performance</h3> <table><tbody><tr><td><h4>Weekly charts</h4><table><tbody><tr><th>Chart (1974–1975)</th><th>Peakposition</th></tr><tr><td>Australian (<a href="/facts/Kent_Music_Report/HdgVXfSz">Kent Music Report</a>)<a class="footnote-ref" id="fnref:72" href="#fn:72"><sup>72</sup></a></td><td>1</td></tr><tr><td>Canada Adult Contemporary (<i><a href="/facts/RPM_(magazine)/FqFN5o4x">RPM</a></i>)<a class="footnote-ref" id="fnref:73" href="#fn:73"><sup>73</sup></a></td><td>1</td></tr><tr><td>Canada Top Singles (<i><a href="/facts/RPM_(magazine)/FqFN5o4x">RPM</a></i>)<a class="footnote-ref" id="fnref:74" href="#fn:74"><sup>74</sup></a></td><td>1</td></tr><tr><td>Ireland (<a href="/facts/Irish_Singles_Chart/CcEaTjyS">IRMA</a>)<a class="footnote-ref" id="fnref:75" href="#fn:75"><sup>75</sup></a></td><td>2</td></tr><tr><td>Oricon International Singles Chart</td><td>1</td></tr><tr><td>Oricon (Japanese) Singles Chart</td><td>11</td></tr><tr><td>Netherlands (<a href="/facts/Dutch_Single_Top_100/wFjNkofC">Single Top 100</a>)<a class="footnote-ref" id="fnref:76" href="#fn:76"><sup>76</sup></a></td><td>29</td></tr><tr><td>New Zealand (<a href="/facts/Recorded_Music_NZ/KlQ6jDS4">Recorded Music NZ</a>)<a class="footnote-ref" id="fnref:77" href="#fn:77"><sup>77</sup></a></td><td>4</td></tr><tr><td>South Africa (<a href="/facts/Springbok_Radio/UIYLLLug">Springbok</a>) <a class="footnote-ref" id="fnref:78" href="#fn:78"><sup>78</sup></a></td><td>1</td></tr><tr><td>Switzerland (<a href="/facts/Swiss_Hitparade/GsbuC0fn">Schweizer Hitparade</a>)<a class="footnote-ref" id="fnref:79" href="#fn:79"><sup>79</sup></a></td><td>5</td></tr><tr><td><a href="/facts/UK_Singles_Chart/s2yyGUlD">UK Singles</a> (<a href="/facts/Official_Charts_Company/42Rz2PXj">OCC</a>)<a class="footnote-ref" id="fnref:80" href="#fn:80"><sup>80</sup></a></td><td>2</td></tr><tr><td>US <a href="/facts/Billboard_Hot_100/gwKl8VL9"><i>Billboard</i> Hot 100</a><a class="footnote-ref" id="fnref:81" href="#fn:81"><sup>81</sup></a></td><td>1</td></tr><tr><td>US <a href="/facts/Adult_Contemporary_(chart)/JmBSByRU">Adult Contemporary</a> (<i><a href="/facts/Billboard_(magazine)/CVruQGq5">Billboard</a></i>)<a class="footnote-ref" id="fnref:82" href="#fn:82"><sup>82</sup></a></td><td>1</td></tr><tr><td>US <a href="/facts/Cash_Box_(magazine)/8L7IspkS"><i>Cash Box</i></a> Top 100 <a class="footnote-ref" id="fnref:83" href="#fn:83"><sup>83</sup></a></td><td>1</td></tr><tr><td>US <i>Cashbox</i> Radio Active Airplay Singles</td><td>1</td></tr><tr><td>West Germany (<a href="/facts/GfK_Entertainment_charts/bGrgjxKn">GfK</a>)<a class="footnote-ref" id="fnref:84" href="#fn:84"><sup>84</sup></a></td><td>10</td></tr></tbody></table></td><td><h4>Year-end charts</h4><table><tbody><tr><th>Chart (1975)</th><th>Rank</th></tr><tr><td>Australia (Kent Music Report)<a class="footnote-ref" id="fnref:85" href="#fn:85"><sup>85</sup></a></td><td>7</td></tr><tr><td>Canada <a class="footnote-ref" id="fnref:86" href="#fn:86"><sup>86</sup></a></td><td>11</td></tr><tr><td>New Zealand <a class="footnote-ref" id="fnref:87" href="#fn:87"><sup>87</sup></a></td><td>34</td></tr><tr><td>South Africa <a class="footnote-ref" id="fnref:88" href="#fn:88"><sup>88</sup></a></td><td>10</td></tr><tr><td>UK <a class="footnote-ref" id="fnref:89" href="#fn:89"><sup>89</sup></a></td><td>28</td></tr><tr><td>US <i>Billboard</i> Hot 100 <a class="footnote-ref" id="fnref:90" href="#fn:90"><sup>90</sup></a></td><td>33</td></tr><tr><td>US <i>Cash Box</i> <a class="footnote-ref" id="fnref:91" href="#fn:91"><sup>91</sup></a></td><td>21</td></tr></tbody></table><h4>Certifications</h4><table><tbody><tr><th scope="col">Region</th><th scope="col">Certification</th><th scope="col"><a href="/facts/List_of_music_recording_certifications/6CPQFNNn">Certified units</a>/sales</th></tr><tr><th scope="row">Canada (<a href="/facts/Music_Canada/aLB7HHJo">Music Canada</a>)<a class="footnote-ref" id="fnref:92" href="#fn:92"><sup>92</sup></a></th><td>Gold</td><td>75,000^</td></tr><tr><th scope="row">United Kingdom (<a href="/facts/British_Phonographic_Industry/G1QjcwBq">BPI</a>)<a class="footnote-ref" id="fnref:93" href="#fn:93"><sup>93</sup></a></th><td>Silver</td><td>250,000^</td></tr><tr><th scope="row">United States (<a href="/facts/Recording_Industry_Association_of_America/8a7K0Ubf">RIAA</a>)<a class="footnote-ref" id="fnref:94" href="#fn:94"><sup>94</sup></a></th><td>Gold</td><td>1,000,000^</td></tr><tr><td colspan="3"><p>^ Shipments figures based on certification alone.</p></td></tr></tbody></table></td></tr></tbody></table> <h2 id="see-also">See also</h2> <ul><li><a href="/facts/List_of_Billboard_Hot_100_number-one_singles_of_1961/42SKbNSF">List of <i>Billboard</i> Hot 100 number-one singles of 1961</a></li> <li><a href="/facts/List_of_number-one_R%26B_singles_of_1961_(U.S.)/kz5kgKbj">List of number-one R&B singles of 1961 (U.S.)</a></li> <li><a href="/facts/List_of_number-one_singles_in_Australia_during_the_1970s/zQ7rTorG">List of number-one singles in Australia during the 1970s</a></li> <li><a href="/facts/List_of_RPM_number-one_singles_of_1975/D0ISfG4a">List of RPM number-one singles of 1975</a></li> <li><a href="/facts/List_of_Billboard_Hot_100_number-one_singles_of_1975/2BMV4pvL">List of <i>Billboard</i> Hot 100 number-one singles of 1975</a></li> <li><a href="/facts/List_of_number-one_adult_contemporary_singles_of_1975_(U.S.)/NAzLEXht">List of number-one adult contemporary singles of 1975 (U.S.)</a></li></ul> <h3>Citations</h3> <h3>Sources</h3> <ul><li>Anon. (2005). <i>The Complete Motown Singles – Vol. 1: 1959–1961</i> (Liner notes). Various artists. <a href="/facts/Hip-O_Records/vBgo2hXK">Hip-O Select</a>. B0003631-02.</li> <li>Davis, Sharon (1988). <i>Motown: The History</i>. Enfield: Guinness. <a href="/facts/ISBN_(identifier)/15AdSPa9">ISBN</a> 0-85112-894-7.</li> <li><a href="/facts/Walter_Everett_(musicologist)/QN6IlPUK">Everett, Walter</a> (2001). <i>The Beatles as Musicians: The Quarry Men through Rubber Soul</i>. Oxford: Oxford University Press. <a href="/facts/ISBN_(identifier)/15AdSPa9">ISBN</a> 978-0-19-514105-4.</li> <li>Everett, Walter (2009). <i>The Foundations of Rock: From "Blue Suede Shoes" to "Suite: Judy Blue Eyes"</i>. Oxford: Oxford University Press. <a href="/facts/ISBN_(identifier)/15AdSPa9">ISBN</a> 978-0-19-531024-5.</li> <li>Gould, Jonathan (2007). <a href="/facts/Can%27t_Buy_Me_Love_(book)/V5ueVtEQ"><i>Can't Buy Me Love: The Beatles, Britain, and America</i></a>. New York: Harmony Books. <a href="/facts/ISBN_(identifier)/15AdSPa9">ISBN</a> 978-0-307-35337-5.</li> <li>Ingham, Chris (2009). <i>The Rough Guide to the Beatles</i> (3rd ed.). London: Rough Guides. <a href="/facts/ISBN_(identifier)/15AdSPa9">ISBN</a> 978-1-84836-525-4.</li> <li><a href="/facts/James_Jamerson/uVgXXWoo">Jamerson, James</a> (1989). <a href="https://books.google.com/books?id=WV5HlgC6HU4C"><i>Standing in the Shadows of Motown: The Life and Music of Legendary Bassist James Jamerson</i></a>. Winona: Hal Leonard Corporation. <a href="/facts/ISBN_(identifier)/15AdSPa9">ISBN</a> 978-0-88188-882-9.</li> <li><a href="/facts/David_Kent_(historian)/dxAywSrv">Kent, David</a> (1993). <a href="/facts/Kent_Music_Report/HdgVXfSz"><i>Australian Chart Book 1970–1992</i></a>. Australian Chart Book, St Ives, N.S.W. <a href="/facts/ISBN_(identifier)/15AdSPa9">ISBN</a> 0-646-11917-6.</li> <li><a href="/facts/Mark_Lewisohn/XAukEPaI">Lewisohn, Mark</a> (1988). <a href="/facts/The_Complete_Beatles_Recording_Sessions/HNhCt7nj"><i>The Complete Beatles Recording Sessions</i></a>. London: Hamlyn. <a href="/facts/ISBN_(identifier)/15AdSPa9">ISBN</a> 978-0-600-63561-1.</li> <li>Lewisohn, Mark (2013). <a href="/facts/The_Beatles:_All_These_Years/PWSK7Toh"><i>The Beatles – All These Years, Volume One: Tune In</i></a> (Extended Special ed.). London: Little, Brown. <a href="/facts/ISBN_(identifier)/15AdSPa9">ISBN</a> 978-1-4087-0478-3.</li> <li><a href="/facts/Ian_MacDonald/NozCMuVf">MacDonald, Ian</a> (2007) [1994]. <a href="/facts/Revolution_in_the_Head:_The_Beatles%27_Records_and_the_Sixties/NTCd4xJQ"><i>Revolution in the Head: The Beatles' Records and the Sixties</i></a> (Third ed.). Chicago: Chicago Review Press. <a href="/facts/ISBN_(identifier)/15AdSPa9">ISBN</a> 978-1-55652-733-3.</li> <li><a href="/facts/Gerald_Posner/yKFeLx3K">Posner, Gerald L.</a> (2002). <i>Motown: Music, Money, Sex, and Power</i>. New York: Random House. <a href="/facts/ISBN_(identifier)/15AdSPa9">ISBN</a> 0-375-50062-6.</li> <li><a href="/facts/Tim_Riley_(music_critic)/jwnWvQSv">Riley, Tim</a> (2002) [1988]. <i>Tell Me Why: The Beatles: Album by Album, Song by Song, the Sixties and After</i> (Revised and Updated ed.). Cambridge: Da Capo Press. <a href="/facts/ISBN_(identifier)/15AdSPa9">ISBN</a> 978-0-306-81120-3.</li> <li>Taraborrelli, J. Randy (1986). <i>Motown: Hot Wax, City Cool & Solid Gold</i>. New York: Doubleday. <a href="/facts/ISBN_(identifier)/15AdSPa9">ISBN</a> 0-385-19799-3.</li> <li><a href="/facts/Ben_Fong-Torres/DBM7HeJ4">Fong-Torres, Ben</a> (1990). "History". In Partridge, Marianne (ed.). <i>The Motown Album: The Sound of Young America</i>. New York: St. Martin's Press. pp. 22–239. <a href="/facts/ISBN_(identifier)/15AdSPa9">ISBN</a> 0-312-04517-4.</li> <li><a href="/facts/Joel_Whitburn/93w8Djvw">Whitburn, Joel</a> (2002). <i>Top Adult Contemporary: 1961–2001</i>. Record Research.</li> <li>Whitburn, Joel (2004). <i>Top R&B/Hip-Hop Singles: 1942–2004</i>. Record Research.</li> <li><a href="/facts/Sheila_Whiteley/MGwKuJef">Whiteley, Sheila</a> (2006). ""Love, love, love": Representations of Gender and Sexuality in Selected Songs by the Beatles". In <a href="/facts/Kenneth_Womack/QokA9ogP">Womack, Kenneth</a>; <a href="/facts/Todd_F._Davis/d89xwpD6">Davis, Todd F.</a> (eds.). <i>Reading the Beatles: Cultural Studies, Literary Criticism, and the Fab Four</i>. Albany: State University of New York Press. pp. 55–69. <a href="/facts/ISBN_(identifier)/15AdSPa9">ISBN</a> 0-7914-6716-3.</li> <li>Winn, John C. (2008). <i>Way Beyond Compare: The Beatles' Recorded Legacy, Volume One, 1957–1965</i>. New York: Three Rivers Press. <a href="/facts/ISBN_(identifier)/15AdSPa9">ISBN</a> 978-0-307-45157-6.</li> <li><a href="/facts/Kenneth_Womack/QokA9ogP">Womack, Kenneth</a> (2009). "Beatles Discography, 1962–1970". In Womack, Kenneth (ed.). <i>The Cambridge Companion to the Beatles</i>. Cambridge: Cambridge University Press. pp. 286–293. <a href="/facts/ISBN_(identifier)/15AdSPa9">ISBN</a> 978-0-521-68976-2.</li></ul> <h2 id="external-links">External links</h2> <ul><li><a href="https://secondhandsongs.com/work/11300/versions">List of cover versions of ”Please Mr. Postman”</a> at SecondHandSongs.com</li></ul> <h2 id="references">References</h2> <ol> <li id="fn:1"><p>Gilliland, John (1969). "Show 25 – The Soul Reformation: Phase two, the Motown story. [Part 4]" (audio). Pop Chronicles. University of North Texas Libraries. <a href="/wiki/John_Gilliland" target="_blank">/wiki/John_Gilliland</a> <a href="#fnref:1" class="footnote-back-ref">↩</a></p></li> <li id="fn:2"><p>Whitburn 2004, p. 379. - Whitburn, Joel (2004). Top R&B/Hip-Hop Singles: 1942–2004. Record Research. <a href="#fnref:2" class="footnote-back-ref">↩</a></p></li> <li id="fn:3"><p>Schlanger, Talia (May 2, 2017). "Portugal. The Man On World Cafe". NPR.org. NPR. Archived from the original on June 18, 2017. Retrieved June 20, 2017. Then there's the song itself, which bears a certain resemblance to the old Marvelettes song "Please Mr. Postman." And while Portugal. The Man certainly didn't try to pull one over on anybody, and even warned its team about the similarities between the two songs, the band explains why it had to get lawyers involved. <a href="https://www.npr.org/sections/world-cafe/2017/05/02/526605157/portugal-the-man-on-world-cafe" target="_blank">https://www.npr.org/sections/world-cafe/2017/05/02/526605157/portugal-the-man-on-world-cafe</a> <a href="#fnref:3" class="footnote-back-ref">↩</a></p></li> <li id="fn:4"><p>Havens, Lyndsey (July 17, 2017). "Portugal. The Man Explain How Bernie Sanders Inspired Surprise Hit 'Feel It Still'". Billboard. Archived from the original on December 9, 2020. Retrieved August 26, 2017. <a href="http://www.billboard.com/articles/columns/rock/7866213/portugal-the-man-feel-it-still-hot-100-interview" target="_blank">http://www.billboard.com/articles/columns/rock/7866213/portugal-the-man-feel-it-still-hot-100-interview</a> <a href="#fnref:4" class="footnote-back-ref">↩</a></p></li> <li id="fn:5"><p>Flam, Laura; Liebowitz, Emily Sieu (October 9, 2023). "Black Girl Group Magic: The Marvelettes on How They Became Motown Music Legends". Literary Hub. Retrieved November 3, 2023. <a href="https://lithub.com/black-girl-group-magic-the-marvelettes-on-how-they-became-motown-music-legends" target="_blank">https://lithub.com/black-girl-group-magic-the-marvelettes-on-how-they-became-motown-music-legends</a> <a href="#fnref:5" class="footnote-back-ref">↩</a></p></li> <li id="fn:6"><p>Pollack, Alan W. (1996). "Notes on the cover songs on the 'With The Beatles' album". soundscapes.info. Archived from the original on August 13, 2020. Retrieved May 20, 2021. <a href="/wiki/Alan_W._Pollack" target="_blank">/wiki/Alan_W._Pollack</a> <a href="#fnref:6" class="footnote-back-ref">↩</a></p></li> <li id="fn:7"><p>Fong-Torres 1990, p. 79. - Fong-Torres, Ben (1990). "History". In Partridge, Marianne (ed.). The Motown Album: The Sound of Young America. New York: St. Martin's Press. pp. 22–239. ISBN 0-312-04517-4. <a href="#fnref:7" class="footnote-back-ref">↩</a></p></li> <li id="fn:8"><p>"Brian Holland". Songwriters Hall of Fame. Archived from the original on April 2, 2008. Retrieved January 8, 2013. <a href="https://web.archive.org/web/20080402040744/http://www.songwritershalloffame.org/exhibit_home_page.asp?exhibitId=291" target="_blank">https://web.archive.org/web/20080402040744/http://www.songwritershalloffame.org/exhibit_home_page.asp?exhibitId=291</a> <a href="#fnref:8" class="footnote-back-ref">↩</a></p></li> <li id="fn:9"><p>Pollack, Alan W. (1996). "Notes on the cover songs on the 'With The Beatles' album". soundscapes.info. Archived from the original on August 13, 2020. Retrieved May 20, 2021. <a href="/wiki/Alan_W._Pollack" target="_blank">/wiki/Alan_W._Pollack</a> <a href="#fnref:9" class="footnote-back-ref">↩</a></p></li> <li id="fn:10"><p>Everett 2009, p. 287. - Everett, Walter (2009). The Foundations of Rock: From "Blue Suede Shoes" to "Suite: Judy Blue Eyes". Oxford: Oxford University Press. ISBN 978-0-19-531024-5. <a href="#fnref:10" class="footnote-back-ref">↩</a></p></li> <li id="fn:11"><p>Posner 2002, p. 92. - Posner, Gerald L. (2002). Motown: Music, Money, Sex, and Power. New York: Random House. ISBN 0-375-50062-6. <a href="#fnref:11" class="footnote-back-ref">↩</a></p></li> <li id="fn:12"><p>Everett 2009, p. 83. - Everett, Walter (2009). The Foundations of Rock: From "Blue Suede Shoes" to "Suite: Judy Blue Eyes". Oxford: Oxford University Press. ISBN 978-0-19-531024-5. <a href="#fnref:12" class="footnote-back-ref">↩</a></p></li> <li id="fn:13"><p>Posner 2002, pp. 96–97. - Posner, Gerald L. (2002). Motown: Music, Money, Sex, and Power. New York: Random House. ISBN 0-375-50062-6. <a href="#fnref:13" class="footnote-back-ref">↩</a></p></li> <li id="fn:14"><p>Posner 2002, p. 97. - Posner, Gerald L. (2002). Motown: Music, Money, Sex, and Power. New York: Random House. ISBN 0-375-50062-6. <a href="#fnref:14" class="footnote-back-ref">↩</a></p></li> <li id="fn:15"><p>Everett 2009, p. 83. - Everett, Walter (2009). The Foundations of Rock: From "Blue Suede Shoes" to "Suite: Judy Blue Eyes". Oxford: Oxford University Press. ISBN 978-0-19-531024-5. <a href="#fnref:15" class="footnote-back-ref">↩</a></p></li> <li id="fn:16"><p>Everett 2009, p. 84. - Everett, Walter (2009). The Foundations of Rock: From "Blue Suede Shoes" to "Suite: Judy Blue Eyes". Oxford: Oxford University Press. ISBN 978-0-19-531024-5. <a href="#fnref:16" class="footnote-back-ref">↩</a></p></li> <li id="fn:17"><p>Everett 2009, p. 341. - Everett, Walter (2009). The Foundations of Rock: From "Blue Suede Shoes" to "Suite: Judy Blue Eyes". Oxford: Oxford University Press. ISBN 978-0-19-531024-5. <a href="#fnref:17" class="footnote-back-ref">↩</a></p></li> <li id="fn:18"><p>Davis 1988, pp. 272, 306. - Davis, Sharon (1988). Motown: The History. Enfield: Guinness. ISBN 0-85112-894-7. <a href="#fnref:18" class="footnote-back-ref">↩</a></p></li> <li id="fn:19"><p>Posner 2002, p. 92. - Posner, Gerald L. (2002). Motown: Music, Money, Sex, and Power. New York: Random House. ISBN 0-375-50062-6. <a href="#fnref:19" class="footnote-back-ref">↩</a></p></li> <li id="fn:20"><p>"The Marvelettes Chart History (Hot 100)". Billboard. Retrieved June 11, 2018. <a href="https://www.billboard.com/artist/The-Marvelettes/chart-history/HSI" target="_blank">https://www.billboard.com/artist/The-Marvelettes/chart-history/HSI</a> <a href="#fnref:20" class="footnote-back-ref">↩</a></p></li> <li id="fn:21"><p>Posner 2002, p. 93. - Posner, Gerald L. (2002). Motown: Music, Money, Sex, and Power. New York: Random House. ISBN 0-375-50062-6. <a href="#fnref:21" class="footnote-back-ref">↩</a></p></li> <li id="fn:22"><p>Posner 2002, p. 92. - Posner, Gerald L. (2002). Motown: Music, Money, Sex, and Power. New York: Random House. ISBN 0-375-50062-6. <a href="#fnref:22" class="footnote-back-ref">↩</a></p></li> <li id="fn:23"><p>Fong-Torres 1990, p. 79. - Fong-Torres, Ben (1990). "History". In Partridge, Marianne (ed.). The Motown Album: The Sound of Young America. New York: St. Martin's Press. pp. 22–239. 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