"Frankie and Alice" Soundtrack Lyrics

"Frankie & Alice (Music from and Inspired by the Motion Picture)" Soundtrack Description

Overview

Two musical engines drive Frankie & Alice: a period-accurate crate of 1960s–70s soul/glam singles that place us in Frankie's nightlife, and Andrew Lockington’s modern score that follows therapy, memory, and fracture. The licensed songs—Marvin Gaye, T. Rex, Etta James, Charles Mingus, Ann Peebles, and more—establish time, class, and mood; the score threads internal logic through dissociation and repair. (IMDb “Soundtracks”; Wikipedia film credits.)

The film opened in a qualifying run on December 10, 2010, with a wider U.S. release in April 2014; the music package remained consistent across releases. Song clearances and placements were handled by music supervisor Natasha Duprey. Lockington’s cues (e.g., “Strut for Shearing,” “Whisky Reflections”) are documented alongside the needle-drops in database listings and vendor pages. (Variety credits; IMDb full credits; Ringo/WhatSong aggregations.)

Questions & Answers

Who composed the original score?

Andrew Lockington is credited as the film’s composer.

Is there an official score album?

Yes—digital retailer listings identify an “Original Motion Picture Score” release tied to the 2010 cut.

Who supervised the song choices and clearances?

Music supervision is credited to Natasha Duprey.

What kind of licensed music is used?

Classic R&B, soul, and glam rock: Marvin Gaye (“Let’s Get It On”), Etta James (“I Just Want to Make Love to You”), T. Rex (“Telegram Sam”), Charles Mingus (“Better Git It in Your Soul”), among others.

Are the songs mostly diegetic?

Many appear in club/party/car-radio contexts (diegetic) to reflect Frankie’s work and social world; others are used as non-diegetic montage/background.

Any recurring score motifs worth noting?

Lockington contrasts warm, sustained textures (therapy and recall) with more percussive/ostinato writing around destabilizing episodes.

Notes & Trivia

• The film’s U.S. wide release in 2014 re-used the original music clearances from the 2010 qualifying run.
• Variety’s credits list Natasha Duprey as music supervisor; IMDb’s full credits include additional music department roles.
• Aggregators consistently list 20+ licensed tracks; several are vintage Chess/Motown cuts aligning with the diegetic club milieu.
• Marketing leaned on a dramatic score bed in trailers, with period songs foregrounded in the film itself.

Genres & Themes

Classic soul & R&B → body and place. Gaye, Etta, Peebles, and Van Dykes needle-drops map Frankie’s working life—dancefloors, jukeboxes, radios—onto 1970s Los Angeles/Vancouver stand-ins.

Glam/rock stomp → impulse and rupture. T. Rex cuts like “Telegram Sam” spike energy where identity flips; guitars become jump-cuts.

Modern score → memory architecture. Lockington’s cues glue therapy scenes and fragmented recalls, smoothing temporal jumps and giving the inner voices contour.

Tracks & Scenes

Below: verifiable songs and cues used in the film, with concise context. (Scene descriptions reflect how the film deploys them; exact timestamps are not publicly standardized.)

“Let’s Get It On” — Marvin Gaye
Where it plays: Period source in nightlife/romance context (diegetic).
Why it matters: Sets sensual tone while anchoring a specific early-’70s moment. Trusted source: IMDb “Soundtracks”.

“Telegram Sam” — T. Rex
Where it plays: Bar/party source; glam pulse under scene transitions (diegetic).
Why it matters: Injects swagger and period texture amid identity turbulence.

“I Just Want to Make Love to You” — Etta James
Where it plays: Club/source music; needle-drop heard over a social setting.
Why it matters: Classic Chess cut that frames Frankie’s world through a powerhouse vocal.

“Goin’ Man Huntin’” — Jo Ann Garrett
Where it plays: Source cue tied to nightlife beats.
Why it matters: Northern-soul edge heightens the dancefloor current.

“Better Git It in Your Soul” — Charles Mingus
Where it plays: Non-diegetic/bridge in several listings; used as period jazz grit.
Why it matters: Restless, ecstatic groove echoing the film’s fragmented drive.

“Gift of Love” — The Van Dykes
Where it plays: Source sequence; doo-wop color.
Why it matters: Nostalgic sweetness contrasts with the film’s harder revelations.

“I Pity the Fool” — Ann Peebles
Where it plays: Source/needle-drop.
Why it matters: Stax-inflected melancholy underscoring relationship fallout.

“Little Bit O’ Soul” — Iron Cross
Where it plays: Party/background source.
Why it matters: Garage-energy foil to the smoother soul selections.

Score cues — Andrew Lockington
“Strut for Shearing”; “Whisky Reflections”; “Oz on the Clock”
Where they play: Therapy and memory-work passages; non-diegetic.
Why they matter: Build interior continuity, tempering the sharp shifts driven by needle-drops. Trusted source: IMDb “Soundtracks”.

Trailer usage
Where it plays: Official domestic trailers lean on dramatic score beds and dialogue rhythm rather than high-profile songs.
Why it matters: Marketing foregrounds character and tone; the period cuts arrive in-film.

Music–Story Links

Nightlife scenes use era-defining soul to ground Frankie’s job and social circle, so when identities switch, the glam/rock entries feel like rupture. In the therapist’s office, the needle-drops fall away: Lockington’s score stabilizes point of view and helps the audience track who is “present.” The contrast—source music for the outer world, score for the inner—becomes the listening map through her treatment.

How It Was Made

Composer Andrew Lockington (later of San Andreas and The Space Between Us) handled the original score. Music supervision is credited to Natasha Duprey, who has discussed the project in industry profiles and was credited in trade coverage at the time. Public databases show a long list of licensed catalog tracks consistent with 1970s club and radio environments. (Wikipedia film page; Variety credits; IMDb full credits; music-listing sites.)

Reception & Quotes

Reviews focused on Halle Berry’s performance; music write-ups noted the effective use of era standards against a modern, restrained score.

“Music: Andrew Lockington; music supervisor: Natasha Duprey.” Variety credits

“Soundtrack includes ‘Let’s Get It On,’ ‘Telegram Sam,’ ‘I Just Want to Make Love to You.’” IMDb Soundtracks

Additional Info

• Score composer: Andrew Lockington; music supervision: Natasha Duprey.
• Licensed songs skew to 1960s–70s U.S. labels (Motown/Chess/Stax era), matching setting and character background.
• Multiple retailer pages list a digital “Original Motion Picture Score” for the 2010 cut.
• Aggregators tally 20+ songs used in the feature; not all appear on any single album.
• U.S. wide release: April 2014; original qualifying run: December 10, 2010.

Technical Info

• Title: Frankie & Alice — music overview (score + licensed songs)
• Year: Film 2010 (limited); U.S. wide 2014
• Type: Narrative feature; mixed source songs + original score
• Composer: Andrew Lockington
• Music Supervision: Natasha Duprey
• Selected notable placements: “Let’s Get It On” (Marvin Gaye); “Telegram Sam” (T. Rex); “I Just Want to Make Love to You” (Etta James); “Better Git It in Your Soul” (Charles Mingus)
• Album status: Digital score release circulated; no comprehensive commercial song-compilation confirmed
• Distributor (U.S.): Codeblack Films / Lionsgate

Canonical Entities & Relations

Sources: IMDb “Soundtracks” & full credits; Wikipedia (film entry); Variety credits; WhatSong / RingoStrack / MovieSost aggregations; Amazon retailer listing for score.

November, 09th 2025