Posted on 12/15/2008
A label as diverse as Chess Records, arguably the home of everything from electric blues to rock ‘n’ roll, would understandably inspire a variety of musicians with a mixed bag of sounds. Chess’ diversified roster of stars, Etta James with her lover’s lament torch songs, Muddy Waters with his Chicago via Mississippi down home blues and Chuck Berry, the original rocker, bringing his high-powered guitar to audiences of all races, embodied the assortment of talent the label welcomed. But updating that same diversity is a little trickier. Combining blues, R&B, gospel, soul and hip-hop on one release does not achieve the same cohesion as a group of peers transforming music for their time. The films’ stars provide versions of their alter egos’ hits alongside music from artists whose own sounds pay tribute to these predecessors. But despite the inclusion of Nas and Olu Dara’s “Bridging the Gap,” there is way too much space between this loose collection of covers and previously released singles and the iconic blues tradition it’s trying to recapture.

The original songs related to the spirit of Cadillac Recordsare at times just as tepid as the pointless covers. Though it seems to attempt a timeline from blues and R&B of old to its contemporary offspring, most of the songs, which all stab in the general direction of the blues, are too scattered to faithfully honor any one period. Mary Mary’s rip-roaring “The Sound” from their album of the same name, is just as much inspirational pop as it is blues. Nas’ four year old, jumbled collaboration with his father makes the line-up with its shout outs to blues legends and sampling of Waters’ “Mannish Boy,” but is still flimsy in the blues department. Yet again proving herself Mary-Kate to Beyonce’s Ashley, Solange’s “6 O’Clock Blues” is dragged along for a nice Motown feel, but still pales next to Raphael Saadiq’s “Let’s Take a Walk.” Not only does this haphazard diversity make for an unmoving mélange of blues, soul and doo-wop, but using songs that have seen recent releases on other projects further bury a new movie about old music under more old music.

Not to say there aren’t any enjoyable moments. Hearing Beyonce smooth out James’ raspy contralto into the first light, airy notes of “At Last” showcases the rarely heard tenderness in her voice. The real treat was Columbus Short’s take on Little Walter’s “My Babe,” which finds Short adding a more soulful lilt to the vocals, adding some bite to Walter’s ode to his no-nonsense woman. This one track captures what could have been great about the entire soundtrack’s concept, a personalized twist of a classic, not a tired replica by an able enough singer. But by and large, the soundtrack only reminds you how great the originals were, making a handful of covers and R&B followers only sound weaker in its wake.

- Candace L.