Cadillac Records: Music From the Motion Picture is the Grammy-nominated soundtrack album to the Golden Globe nominated film Cadillac Records. The soundtrack features covers of classic songs from Chess Records' singers as performed by the film's stars including Golden Globe nominated actress and 16-time Grammy Award winning singer Beyoncé Knowles (as Etta James), Eamonn Walker (as Howlin' Wolf) and Jeffrey Wright (as Muddy Waters). It also features original songs from contemporary artists such as Knowles' sister, R&B singer Solange and Rapper Nas. The soundtrack was nominated for a 2010 Grammy Award for Best Compilation Soundtrack Album for a Motion Picture, Television or Other Visual Media.
In this tale of sex, violence, race, and rock and roll in 1950s Chicago, "Cadillac Records" follows the exciting but turbulent lives of some of America's musical legends, including Muddy Waters, Leonard Chess, Little Walter, Howlin' Wolf, Etta James and Chuck Berry.
Born and raised in Philadelphia, Grammy Award winner BILLY PAUL began singing at the age of 12 and sometimes performed on local radio shows. Drawing inspiration from his family's collection of 78's, Paul would incorporate Jazz, R&B and Pop into his style, resulting in a unique sound that became synonymous with Philadelphia International Records throughout the 1970's. Billy became well known on his local circuit, singing in clubs and later around college campuses all over the country, which later led to him performing live with some of the biggest names in black music of the 60's and 70's including Dinah Washington, Miles Davis, Nina Simone and Roberta Flack to name a few.
This collection on the U.K.'s Soul Brother imprint is a very compelling look at a big slice of Freddie Hubbard's long career as a leader, and one that gets ignored for the most part. Hubbard recorded over 20 records between Backlash, his Atlantic debut in 1966, and Ride Like the Wind for Elektra in 1982, with lengthy stops at Columbia and CTI (as well some straight hard bop and post-bop outings for labels Fantasy and Pablo). In many cases, some of these original recordings were not only disregarded by more traditional jazzheads, they were regarded with outright hostility. It didn't matter to Hubbard, however, because at the time, these were among his best-selling albums and connected with the public deeply.
In retrospect, it is not hard to find hints of a coming change in the final album Cat Stevens made before a near-death experience and a religious conversion.