Frankie and Johnny (soundtrack)

To coincide with the 19th century setting of the film, some traditional song material was used for the soundtrack. "When the Saints Go Marching In" is an old gospel hymn that has become a jazz standard associated with the traditional hot jazz of New Orleans. It is paired in a medley with "Down by the Riverside", another traditional gospel song dating back to the relevant time period. Both are in the public domain, and the team of Giant, Baum, and Kaye captured the publishing for Freddy Bienstock and Presley's manager, Colonel Tom Parker.[9] The title song, "Frankie and Johnny," is a variant on the American popular song first published in 1904 and credited to Hughie Cannon. With changed lyrics, another publishing royalty was secured for Gladys Music.[10]

Stephen Thomas Erlewine wrote that, due to the film's period setting, the album is dominated by retro Dixieland music,[11] while biographer Mike Eder wrote that the period setting allows the album to "[get] away with a bit more than usual", with a deliberately "outdated" sound.[12] Peter Jones and Jopling Norman described the record as "very rag-time", with vibrant, brassy backings that add variety to Presley's catalogue.[13] The authors of Elvis (2001) wrote that the album de-emphasised Presley's "rocking beat" in favour of "old-timey Dixie and ragtime beat".[2] Adam Litovitz noted the mix of traditional songs "with an ersatz Dixieland flavor" alongside "blues, gospel, and gypsy music at their cheesiest."[3] Regarding the title track, Eder noted that "touches of jazz" are rare on a Presley album. He also noted the "mock-gypsy melody" on "Chesay" and added that "Everybody Come Around", "Shout It Out" and "Come Along" have vaudeville arrangements with "old-time Dixie horns", ukulele and banjo.[12]

Twelve songs were recorded at the sessions for Frankie and Johnny, and all were used and issued on the soundtrack. The title song was issued as a single, with "Please Don't Stop Loving Me" on the B-side. Released either just before or simultaneously with the album, depending if the disputed release dates are correct, "Frankie and Johnny" peaked at number 25 on the Billboard Hot 100, with the b-side also charting at number 45.[14]

Professional ratings

Review scores
Source	Rating
AllMusic	[11]
Encyclopedia of Popular Music	[15]
Record Mirror	[13]

In a contemporary review of Frankie and Johnny for Record Mirror, Peter Jones and Jopling Norman wrote that Presley fans would enjoy the album's songs, while "trad fans" would enjoy the backings, noting that some listeners "might even think that Elvis has gone more versatile but it's only the backings." Overall he deemed the record to be "very pleasing and enjoyable".[13]

In his retrospective review for AllMusic, Stephen Thomas Erlewine wrote that the album's Dixieland style kept Presley "far, far away from the swinging Mod explosion in pop music in 1966", further commenting that although the double-time breakdowns on "Shout It Out" features hints of "high-booted go-go-music", its impact is lessened by the late appearance of the song on the record, after "the clamor of the brass bands, tambourines, and bass drums". He added that "What Every Woman Lives For" and "Beginner's Luck" were minor highlights but that overall, "Frankie and Johnny is one relentless, noisy, ugly record, its decibel level cranked to the breaking point and Presley appearing singularly mirthless throughout."[11]

In his 2016 ranking of Presley's 57 albums, Adam Litovitz of Variety placed Frankie and Johnny last. He noted that Presley had become tired with recording soundtracks and "threw a tantrum in the studio" and began recording his vocals away from the musicians, with the album being "the painful result". He criticised "What Every Woman Lives For" for being "ultra-sexist".[3]

Mike Eder deemed the album a "miniscule improvement on the albums it followed and preceded", but still criticised the record and noted that it contains similarly "atrocious vocal mixes" to Presley's 1965 works. However, he noted some highlights, such as "Chesay" and the "second-rate vaudeville" songs, as well as some ballads "pretty enough to rise above the prevailing mood of languor".[12] The authors of Elvis (2001) believed that Presley handled the ragtime and Dixieland material "very well", and highlighted the title song.[2]

• Elvis Presley – vocals
• The Jordanaires – backing vocals
• Eileen Wilson – vocals
• George Worth – trumpet
• Richard Noel – trombone
• John Johnson – tuba
• Gus Bivona – saxophone
• Scotty Moore – electric guitar
• Tiny Timbrell – acoustic guitar
• Charlie McCoy – guitar, harmonica on "Hard Luck”
• Larry Muhoberac – piano
• Bob Moore – double bass
• D. J. Fontana – drums
• Buddy Harman – drums

• Frankie and Johnny at Discogs (list of releases)