Watch Chris Cornell’s Bandmate Cover One Of His 90’s Classics


Alain Johannes, who was Chris Cornell’s guitarist and creative collaborator during the Euphoria Morning era, has covered “Disappearing One.” You can watch the video at the bottom of the article.

Johannes discussed working on Euphoria Morning in a 2013 Alternative Nation interview.

“[Chris Cornell] had a bunch of songs, originally we just helped him flesh them out in demo form or arrangement wise, tweaked them a little bit here and there. Then we wrote some, the first initial stages of them, like ‘Pillow of Your Bones’ Natasha started, I started ‘Mission’ and ‘Follow My Way.’ That became more of a collaboration, those kinds of songs because it was coming up from the other direction.

He would write melodies and lyrics and tweak stuff from the other side, so that was much more like a full collaboration. Some of the other stuff he already had fleshed out was just basic, as a unit working through the possibilities of textures and arrangements and sounds, all those kinds of choices, which is quite collaborative too but less of a full co-writing thing. It was just really magical, we just did it here at the house no pressure.

Nobody knew it was going down, it was like 7 months, which were not 100% 7 months active, it was like 2 weeks off here and there, he’d go back to Seattle he’d come back down we’d do another 2 weeks. It was like that, it was pretty chill. Then when it was done with, we just kind of went ‘ta-da’ [laughs]. People were like ‘what, when did you do it, how?’ It was an amazing time, Mike Cameron came down, Josh Freese, Greg Upchurch, Bill Rieflin, our friend Ric toured in the band and played bass, and Jason Falkner came in and played bass. I played a lot of bass and guitar, and so did Chris. We’d sit around, we’d just set up a bunch of different amps and find the most perfect tone for the part.

Which was great, it was like a home studio but a pretty advanced home studio, even more stuff then you would have in a commercial studio because all of the hundreds of instruments. It was just a really cool chill process, I don’t think I’ve ever been a part of something like that. Because usually 7 months seems like it’s an overly thought about or labored thing, but it wasn’t at all, it was just flow flow flow, then turn them off and kick back a little, then keep going, and then it was done.”