Corey Taylor’s CMFT is music to ride motorbikes into swimming pools to

Corey Taylor brings the party on exhilarating debut solo album CMFT

Corey Taylor - CMFT
(Image: © Roadrunner)

You can trust Louder Our experienced team has worked for some of the biggest brands in music. From testing headphones to reviewing albums, our experts aim to create reviews you can trust. Find out more about how we review.

Metal used to be fun. Back before it became a gigantic pity party, battalions of magnificent bozos would exalt the joys of getting wasted at the weekend in between riding Harley-Davidsons into swimming pools and ODing in the back rooms of strip clubs. Happier times. Stupider times.

Corey Taylor remembers those days. He may have risen to fame as the singer with a band whose career was built on combustible self-loathing, but there was always the sense that he secretly knew where the party was at.

CMFT proves it. His debut solo album sits as far away from Slipknot and Stone Sour as those two bands do from each other, dialling the angst right down and ramping the unashamed tuneage right up. Corey has spent a lot of time recently trumpeting how much fun CMFT was to make, and that enthusiasm is infectious; this isn’t hair-metal redux, but it carries a sliver of its spirit in its sheer determination to have a good time all of the time.

The album was trailered by a pair of vastly different singles: the skyscraping arena-rock blockbuster Black Eyes Blue (one of the best songs here) and the laboured rap-metal throwdown CMFT Must Be Stopped (by far the weakest). The stylistic gulf between the two acts as a blueprint for the album; CMFT is all over the shop, in the best possible way. One minute he’s playing a freewheeling country-metal outlaw on HWY 666, the next he’s living out his backcombed Poison fantasies on the catchier-than-the-clap Samantha’s Gone. And yes, there’s a grandstanding piano ballad, Home, which is almost as good as Steel Panther’s Community Property.

If it’s cohesion – or self-flagellation – you’re after, stick with Slipknot. But if you want a record to ride a motorbike into a swimming pool, CMFT is the sound of a revving engine.

Dave Everley

Dave Everley has been writing about and occasionally humming along to music since the early 90s. During that time, he has been Deputy Editor on Kerrang! and Classic Rock, Associate Editor on Q magazine and staff writer/tea boy on Raw, not necessarily in that order. He has written for Metal Hammer, Louder, Prog, the Observer, Select, Mojo, the Evening Standard and the totally legendary Ultrakill. He is still waiting for Billy Gibbons to send him a bottle of hot sauce he was promised several years ago.