At the time of this review, it’s coming up on four years now since Chris Cornell left us, and it still is one of the hardest celebrity deaths I’ve had to deal with in my 30 years on Earth. Chris had an undeniable powerful and soulful voice. He had an eye for working with talented musicians, as seen by his time with Soundgarden, Audioslave, and Temple of the Dog. But he also had a deep appreciation for the music that came before him. This was something more explored with his solo albums and acoustic tours towards the end of his life.
As such, his legacy continues to grace us with the release of a 10 song cover album called No One Sings Like You Anymore Vol 1, released digitally in 2020 and physically in 2021. This leads to the hope that there will be more volumes to follow, but if this were to be the last thing we are left with in terms of new music from Chris, it would be a fine closing statement to his diversity, as well as his musical ability. For people who associate him as just a rocker, he was so much more.
Right off the top we are treated to a rendition of a song made famous by Janis Joplin, “Get it While You Can”. And while hers was a gospel inspired ballad, Chris found a way to bridge the gap of old and new. The r+b is still there, but it also has a tinge of the indie pop style that is currently dominating the airways. The keyboards could have been straight from a Twenty One Pilots song, but is pushed aside for the Joe Cocker like backing vocals of the chorus.
Next is a Harry Nilsson tune that aside from its uses in films and tv (such as Goodfellas) doesn’t get as much recognition as it should. Chris’s cover is pretty faithful to the original. The biggest difference is the use of distortion, especially fuzz on the bass which gives an almost NIN meets U2 contrast, and the lack of the extended drum solo from the original (Chris basically stops right before this in his version, making his about 3 and a half minutes shorter). Otherwise it is still a great upbeat rock tune sure to bring out some nostalgia for people who haven’t heard it in a while.
The next song is “Sad Sad City”, originally by Ghostland Observatory. The duo from Austin, Texas was known for their blend of electronic dance music, funk, pop, and rock. Chris uses this, like he did with the Janis Joplin cover, to update it, and combines the electronic elements with the indie-folk style that is currently popular (think bands like The Lumineers). While the originals of the previous two songs have their merits, Chris absolutely destroys this one. I can only hear it his way, even when I listen to the original.
The next few songs I feel are the major draws to the album. The bread and butter if you will. It all starts with his version of “Patience” by Guns N’ Roses. This is one of my favorite songs of all time, and his version is absolutely beautiful, but I am biased. I miss the length of the original. I miss the solos, the break, the buildup. His is a little more even and consistent throughout, which is why fans of pop music would prefer his. More straightforward with less risk so to speak. But I have to give it credit, I love the ambient sounds in the background of the chorus, and his vocals are spot on as always.
We had already heard him cover “Nothing Compares 2 U” before in live version, but it’s always appreciated to have a definitive studio recording of it, especially alongside such a wonderful track list. Originally a Prince song, and made famous by Sinead O’ Conner, it sounds exactly as you would expect it to, and you wouldn’t trade it for anything. All 3 version are essential listening. It’s not fair to choose. Chris completes the holy trinity with one equally as emotive, bringing out the brilliant lyrics.
John Lennon’s “Watching the Wheels” was originally a piano led ballad, as we often saw from him. Chris transfers it to acoustic guitar, which gives it more of a country feel as well as a perceived faster tempo. But while the guitars are double timed, the vocals are never rushed, and it’s all worth it just to hear his voice soar on the lyrics “I just had to let it go”. Doesn’t bring much else, but like the last two, they didn’t really need to.
Some songs on here are more for their imaginative interpretations, some to introduce younger generations to older artists, and some just to hear what Chris’s voice sounds like on famous tunes.
An example of Chris illustrating a relatively unknown artist is on “You Don’t Know Nothing About Love” by Carl Hall. A singer who found work as a session vocalist and on stage in musicals, he unfortunately was never able to break through, and few of his recordings exist. But his gospel inspired and soulful range of 4 octaves is nothing short of breathtaking, and Chris courageously attempts it, while implementing his own vocal style to the song. if his change in the Janis Joplin tune was to let this one shine a little better, it was a brilliant decision.
Electric Light Orchestra (ELO) was a unique band, bringing together elements of classical music, Prog rock, and 70s/80s electronic. “Showdown” was almost disco, like the Eagles had done with “One of These Nights”. Chris forgoes the orchestra elements instead for a traditional rock band configuration. The modern electronic elements replace the distinct sound of electronic music from about 50 years ago. But he does retain the brilliant harmonies on the chorus and he also brings in the attitude of modern rock/blues outfits such as The Black Keys.
“To Be Treated Rite”, originally by Terry Reed, is famous for its inclusion on The Devil’s Reject. Reed was a British folk artist with elements of country and rock. Chris speeds his version up a bit, but it still feels relaxed and comfortable. He takes out the harmonica solos, and in doing so, shortens his version to half the length of the original. The orchestra elements in the background are extremely beautiful in each version, and they fill up the empty space left by the voice and guitar. This is a gorgeous tune, and gives off vibes of traveling through the desert.
And finally, “Stay With Me Baby” was originally sang by Lorraine Ellison, famously last minute after Frank Sinatra cancelled studio time and Warner Brothers had already booked the 46 piece orchestra. Another gospel inspired soul/r+b tune, It is the perfect closer. Chris reminds me of Jeff Buckley’s brilliant work on “Lover, You Should Have Come Over”. The powerful musicianship and church organ compensate well for the lack of a full orchestra, and I prefer his version because of its pacing. I feel like things are too drawn out in the original, but that is just personal preference.
In retrospective, fans of Chris’s hard rock/heavy metal elements might be disappointed. Hearing about a Chris Cornell cover album may give the impression of all classic rock covers. But this showcases his love for all kinds of genres, old and new alike. We know he has covered many songs that did not even appear on this, such as his live cover of “Thank You” by Zeppelin and “Billie Jean” by Michael Jackson, so we can only imagine what a volume 2 could give us.
His vocals are so adaptable throughout, and his interpretations are also unique. For a man who has given us so much in his life, he continues to leave us wonderful gifts even after his unfortunate passing. For people unfamiliar with some of these songs, it will surly provide some great discoveries to new artists. And for people unfamiliar with Chris himself, it will provide insight into what made him so great. It’s also a fast listen. 10 songs, 36 minutes, and not a bad moment.
Can’t recommend it enough.
View of the Sunrise 