Hold onto your guitars and strip away the sensitivity because Taylor Hawkins and the Coattail Riders' album "Red Light Fever" is a primal scream that laughs in the face of politically-correct fragility. Released on April 20, 2010, this album is a rebellious rock and roll statement that unapologetically stomps through the sensitive, snowflake-infested fields of modern music. Written and performed by Taylor Hawkins, drummer of Foo Fighters fame, and recorded primarily in his Southern California studio, this second album continues to challenge musical norms with its captivating rhythms and raw energy.
"Red Light Fever," a clear nod to those recording anxieties that every musician secretly battles, ironically does not shy away from putting those anxieties right in the front line. The collection reveals Hawkins' unapologetic homage to classic rock while sidestepping the mainstream expectations of diluted creativity. What makes this record even juicier is the remarkable list of collaborators, including the rock deity Brian May of Queen, and guitarist Elliot Easton of the Cars, both of whom add their own distinct flair to the project. Can you think of a better crew to rebel with?
Let's kick off with "Way Down," the album's swagger-filled opener. It's an explosive anthem that beckons you to turn the volume knob all the way right and let the bold riffs remind you of a time when musicians weren't afraid to push back against societal norms. Hawkins' role as the lead vocalist here is more than just a change in instrument. His raspy and genuine tone embodies the rebellious spirit of rock.
Moving through "Not Bad Luck," and "Hell to Pay," Hawkins maintains a frenetic pace that's not just powerful, but necessary for voicing his frustrations with the status quo. It's refreshing to see an artist utilize his platform to reflect his passion, tinged with politically incorrect raw truth. As each track progresses, you're reminded that music, like any honest art, should shake you out of your apathy, not lull you into it.
Hawkins lyrically channels a sense of self-awareness and sentimentality, but never in a clichéd or predictable fashion. Tracks like "I Can See It Now" aren’t afraid to offer emotional depth beneath the layers of hard rock glory. In this current age of watered-down issues and soft-core sound complaints, his style turns up the gain on authenticity.
There's no contesting that "Red Light Fever" embraces a defiantly old-school vibe, grooving heavily on the musical landmarks laid down by rock legends. "Red Light Fever" refuses to apologize for not bending to the sanitized demands of today's industry. The musicianship across the album is perhaps its most convincing attribute, combining skill, synergy, and spontaneity.
True to its form, the album ends with "Your Shoes," a perfect closing that doesn't so much bathe in nostalgia as it does cannonball into it. It's a fitting conclusion for an album that goes all out in rejecting the superficial, paving the way for a raw auditory euphoria. This song, much like the album, is a declaration against the complacency crippling artistic integrity.
Hawkins' work on "Red Light Fever" is a testament that genuine artistry can't be muffled by commercial mediocrity. In a world where art often conforms to cater every unfounded offense, here comes an album full of unrestrained, rebellious creativity. For anyone who feels their passions being diluted in a sea of control-freak musical demands, this album is a liberating breath of fresh air.
The essence of "Red Light Fever" cradles the chaos that pushes upon us the need to question authority, to express freely, and to remember why rock music once stood as the lifeblood for those who dared to challenge the status quo. Hawkins and his Coattail Riders have created a body of work that might give some people a little too much reality, but that's exactly what makes it magnificent.