20 Years Later and Stone Sour’s ‘Come What(ever) May’ is More Relevant than Ever

By Kayla Harper

Stone Sour’s sophomore record Come What(ever) May remains one of their strongest and one of the most iconic hard rock records of it’s time, with hits like “Through Glass” going platinum in multiple countries. Defined by punchy guitars and riveting solos and heavy drums, Come What(ever) May, differentiates Stone Sour from similar bands of the time with Corey Taylor’s distinctive voice and brilliant lyricism.  Taylor has a way of blending clever wit and wordplay with tangible imagery to create empowering anthems overcoming hardship. Politically charged, industrially critical and determined, Come What(ever) May appears to be more relevant than ever 20 years after it’s initial release in August 2006.

 

1. “30/30-150” 

The title “30/30-150” refers specifically to lead singer Taylor’s weight and jean size during high school, a time when most believed he wouldn’t achieve his aspirations. “30/30-150” is a reclamation of one’s identity, taking back control over your emotions from those who have been able to manipulate it and proving them wrong, “Now I will never give up I don’t wanna have it all…I just wanna have enough.” The powerful track is amplified by perfectly-placed double-kicks paired with Jim Root’s definitive riffs. “30/30-150” gained the band their first Grammy nomination for Best Metal Performance at the 49th award ceremony.

 

2. “Come What(ever) May”

While performing in Moscow in 2006, Taylor dedicated this track to George Bush, however, it seems to be even more relevant now as society’s political instability has grown to exponentially frightening extents. Lyrically “Come What(ever) May” is built upon frustration with the abuse of power from our political leaders and the people who support them, “Can you take away every single day that we have given to another false prophet?…Show your pretty face, hide the bitter taste / You’re still the rapist of an entire nation.”  

 

3. “Hell & Consequences”

Similarly to “30/30-150”, “Hell & Consequences” feels like an assertion of one’s authority over themselves and boundaries. A blossoming of self-respect in the aftermath of someone who’s been taken advantage of one too many times. The fast paced drums and energetic guitar solos seem to play into the idea of picking yourself up.

 

4. “Sillyworld”

“Sillyworld” is one of the most interesting songs ever written, the way it lyrically dissects the evolution of human nature in our increasingly capitalistic and digital world, “Peace is just two fingers now, peace was just a phase / When someone put it on a shirt you knew to count the days.” Even more so 20 years later, “Sillyworld” speaks to the insignificance of revolutionary symbols once they’ve been adopted by the corporate world and how easily the meaning behind them fades when they become a trend.  It always makes me think of “slacktivism”: “All we ever do is talk / We like to ride but we never walk / We make it so damn easy we get bored.” 

 

5. “Made Of Scars”

While “Made Of Scars” can be taken from a literal standpoint, a more complex analysis suggests that we are everything that happens to us.  Both the good and bad experiences make us who we are and hopefully make us stronger better people, “Everything you are’s inside me…cut right into me yeah, because I am made of scars.”

6. “Reborn”

“Reborn” feels like the thesis of Come What(ever) May, like the onset of a new version of you – written in a way where it sound slike the new, stronger more confident version of you is coming back to haunt anyone who’s ever wronged you, “I am all there is to know / I am all that you’ve forgotten / I am enigmatic now / You never even knew my name /I am dressed in tragedy.”

 

7. “Your God”

Along with the themes of rebirth and change demanded throughout this record are also themes of letting go of what no longer serves you. “Your God” is the reluctant, but necessary realization that something (or someone) is not adding to your life, but only taking advantage and this thing (or person) is never going to change, “Reveal to me this ugly thing / I’m rusted metal by your head…So many reasons to hold on
conflicting interest isn’t it.” 

8. “Through Glass”

Taylor wrote “Through Glass” while on tour with Slipknot about his frustrations with the music industry. Specifically about how real artistry was being replaced by people who had lots of money, but didn’t even write their own songs. In a way, this track becomes a metaphor of oneself relevant to life and how our souls become caught up in trends, contaminated by the media’s influence and in the process forget who we really are at our core.

9. “Socio”

“Socio” is a brilliant song that describes what it’s like to live with underlying mental health conditions, “Freedom in a cage, no sun and too much rage, I don’t know how much I can take / Push it down inside, but it knows just where I hide.”  It explores the tension of trying to be someone you’re not by ignoring these issues and the frustration of trying to live in spite of them.

 

10. “1st Person”

“1st Person” is another track that is hard to believe was released 20 years ago because it feels so true to the modern state of society.  One that’s become increasingly infiltrated with AI, politically polarized, and completely dependent on technology, it’s frustrating to never know what’s real anymore and to watch the majority either turn a blind eye to the problems that are leading us to our own demise, “When did everything succumb, did everything go numb? Did everything lobotomize what it’s become?”

 

11. “Cardiff”

“Cardiff” reflects on being so stuck on one’s past that they can’t properly move forward which isn’t always in one’s control, but sometimes impacted by environments and circumstance resulting in a mental spiral and unhealthy coping mechanisms such as substance abuse, “This fluid feels like pain / This ruin feels like rain / I reach into the past / My future’s fading fast / How many years ago / How many I let go / My flesh is all I have /My face is happenstance / This smoke is in my blood / This life is not enough.”

 

12. “Zzyzx Rd.”

Taylor explains that “Zzyzx Rd.” was written as a love song to his wife at the time, who helped him to get sober. On a more broad scale, “Zzyzx Rd.” feels like exhaustion while at crossroads in you’re life – stuck in between the mindset of wanted to get better, but in a place physically where it’s hard not to fall back into old patterns, “I’m over existing in limbo / I’m over the myths and placebos / I don’t really mind if I just fade away / I’m ready to live with my family / I’m ready to die in obscurity.” “Zzyzx Rd.” recognizes how we can lean on the people we care about to help us get there.