The fact that Corey Taylor fronts two of the most ridiculously gargantuan metal and rock bands of the 21st century is a feat in itself, and whilst elements of Stone Sour and Slipknot lend their influence here and there on Taylor’s first solo record, the sounds on ‘CMFT’ couldn’t be further from the profundity of his previous outfits. As an acronym for ‘Corey Mother Fucking Taylor,’ the record screams with pride and self-awareness regarding the success Taylor has earned for himself, despite his rough start in life and the troubled past that plagues the trail behind him. This is not a record that was created for it’s audience, but with guitarists Christian Martucci and Zach Throne, bassist Jason Christopher and drummer Dustin Robert, it’s purely a soundtrack that values childlike fun over tedious solemnity.
As a record that displays multi-genre tributes, the opening track ‘HWY 666’ dances with the Charlie Daniel’s Band’s ‘The Devil Went Down to Georgia’, as Taylor steps in as the protagonist in this cautionary tale of introspection. ‘Black Eyes Blue’ is bright and hopeful, and as one of the album’s lead singles, is a typical soft-rock ballad that could’ve been plucked from the Stone Sour catalogue.
As a standard classic rock track, ‘Samantha’s Gone’ offers up foot-stomping riffs and, whilst I’m not quite sure who Samantha is, we’re clearly glad she’s gone because it’s left Corey and co. in their celebratory relieved element. The classic rock flavour sticks around with ‘Halfway Down’ and ‘Meine Lux,’ the fast and rapid rockabilly rhythm providing an easy beat with which to dance to.
The desolate lyrics of “What do you have to lose besides your mind?” coupled with the flange guitars on ‘Silverfish’ are eerie and akin to Soundgarden’s ‘Black Hole Sun,’ and the combination of sombre piano notes and Taylor’s unfeigned vocals on ‘Home’ initiates impending tears.
‘Kansas’ implements country and pop punk with summertime feel-good vibes, world’s away from the habitual angst and aggression he’s associated with, whilst swing rhythms on ‘The Maria Fire’ is another puzzle piece that complexes the vocalists track-record even further.
Taylor’s signature rage and fury is evident on ‘Everybody Dies on my Birthday’ and ‘Culturehead,’ the beefy opening riff is more along the lines of Stone Sour accentuated by the deep breakdown that whispers sweet nothings of doom metal.
With it’s initial release, lead single and title track ‘CMFT (Must Be Stopped)’ was offered up on a platter of confusion and skepticism, the first glimpse into Taylor’s solo record flaunting guest appearances from eminent rap artists Tech N9ne and Kid Bookie busting rhymes and inflating the (albeit well-deserved) ego of the multi-successful nu-metal king. This wrestling-entrance worthy anthem thankfully doesn’t suffocate the remainder of the record. As the finale, ‘European Tour Bus Bathroom Song’ ignites and channels the ferocity of Motorhead
with so much indecipherable choral shouting that we’re instantly reminded once again that this isn’t an album that was recorded to serve a purpose, but instead is a snippet of amusement and respite for Corey Mother Fucking Taylor. It offers a dose of a little something for everyone, and if you don’t like it, then “fuck you, and anyone else that looks like you.”
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