King Ultramega, the Chris Cornell tribute project led by bassist and producer Mark Menghi, have released a powerful new interpretation of ‘Dead Wishes‘. The cover features Brann Dailor of Mastodon on lead vocals, with proceeds raising funds and awareness for MusiCares, the Recording Academy’s nonprofit supporting members of the music community through mental health services, addiction recovery and emergency assistance.
Originally written and performed by Chris Cornell, the introspective ‘Dead Wishes‘ first appeared on his 2015 solo album Higher Truth. King Ultramega’s version retains the song’s haunting simplicity while expanding it into something atmospheric and orchestral. Angel Vivaldi handles both acoustic and electric guitars, with strings and arrangements composed by Menghi. Frank Mitaritonna brings keyboards and Kenny Aronoff is on drums and percussion, with cover artwork by Costin Chioreanu.
For Dailor, stepping out from behind the kit was both a challenge and a release. He admits his initial reaction to being asked was to politely decline, fearing he’d embarrass himself attempting one of Cornell’s songs. Once on board, he found the experience freeing, knowing he could focus entirely on vocals without juggling drums.
Menghi describes returning to the song repeatedly in moments of reflection, drawn to its simplicity and the depth of its instrumentation. His approach was to honour the original whilst layering in violins, cellos, keyboards, percussion, Leslie effects, xylophone and sleigh bells, an atmospheric soundscape designed as homage rather than reinvention.
The wider King Ultramega project, which launches in conjunction with Soundgarden‘s long overdue induction into the Rock and Roll Hall of Fame, has drawn together a remarkable cast of collaborators including Kim Thayil, Charlie Benante, Joe Satriani, William DuVall, Bill Kelliher and Alissa White-Gluz. Each contributor was asked to apply their own musical stamp whilst staying in service to Cornell’s memory.
We’ve watched plenty of tribute projects come and go, and the ones that land are the ones built on genuine reverence rather than novelty. King Ultramega clearly sits in the former camp. With proceeds going to MusiCares and the calibre of musicians signing on, this feels like a meaningful chapter in keeping Cornell’s voice present for both longtime fans and a new generation discovering his work.
