Introduction
Today, we have something extra special to share! We’re diving into the debut album of Frank Meyer, “Living Between The Lines.” This marks his first solo venture after a wealth of experience with various bands. Notable among them are “The Streetwalkin’ Cheetahs” and “Trading Aces”. Along with his role as lead vocalist for James Williamson (Iggy & The Stooges). As well as appearances in projects like “FEAR,” “Wayne Kramer,” and “Cheetah Chrome.”
It’s safe to say that Frank has spent many years perfecting his craft. Especially on the LA Punk scene where he is incredibly well known. The album showcases a vibrant mix of various genres, such as punk, rock ‘n’ roll, metal, blues, and country! It’s an unforgettable experience!
The album is made greater by the contributions from guest artists. These being Cherie Currie (The Runaways), Eddie Spaghetti (The Supersuckers), and Lisa Kekaula (The Bellrays). Relax and dive into the review! Be sure to follow Frank on social media and check out the entire album now on all streaming services!
Review
Baby Dynamite
This track was given the exact right name, delivering an energetic start that ignites the album with a bang! The drumming from the very beginning creates a strong sense of driving momentum, paired with fantastic guitar riffs that leaves me salivating for more.
“Red raspberries taste so devine”
This line not only serves as a fantastic opening for a song but a great first impression for the entire album. I particularly love the raspiness texture added to the vocals at the end of the first verse, and the backing vocals are impressive as well. They fulfil their role perfectly, remaining in the background instead of trying to steal the show like you see so many artists doing these days.
The guitar section in the chorus could very well outshine the lyrics, which are also impressive, but that guitar is simply amazing!
I would mention that there are a couple of moments where words linger a bit too long, but we’re only talking about half a second, so I can overlook that. Especially when we get to enjoy that guitar and piano interlude leading into a solo that blows my mind! Overall, this is a fantastic opening to the album.
Family Tree
What a warm opening riff! I really enjoy the chugging sound that wraps up its progression. Isn’t it incredible how much impact “Ow! Yeah! Woo!” can have? The vocals are packed with attitude, and the solo gives me chills. This song’s beginning is filled with so much potential!
The chorus has a really catchy edge to it, and I really love the backing vocals that come in at the end of lines 1 and 3. The kick drum at the end of the chorus is executed brilliantly. The following line is just wild in all the best ways!
“My sister she shoots heroin and calls it dry white wine.”
The third line of the verse, however, suffers from an overload of words that feel forced . Additionally, I think the final verse is a bit lengthy and complex as well. On a positive note, I really enjoy the guitar shredding that accompanies the vocals; it’s a rare touch that creates a fantastic effect.
Blue Radio
I hope this doesn’t come across as offensive, but is this a Train song I’m listening to right now? The combination of the vocals and the ukulele is definitely giving me that impression. Before I pressed play, I noticed in the press notes that the song aimed to capture a vibe similar to Taylor Swift’s work. As someone who isn’t particularly fond of her music, I have to admit that this was a bit of a turn-off for me.
Hearing the song only reinforced my concerns, as the carnival-like sounds were quite painful, and the phrase “steady yo” stood out as the low point of the entire album. I’m certain that radio stations will embrace this track wholeheartedly, and one could argue it’s a success, fulfilling its role as the pop hit it aimed to be. However, I just cant connect to it in any way. I find myself longing for a face-melting guitar solo and a greater depth in the drumming.
Piece Of Me (Feat. Cherie Currie)
Wait so you’re telling me that is the same voice that gave the world Cherry Bomb? Right here it’s like a adding honey to whiskey. Already fantastic, but just a touch better! When Frank’s vocals kicked in, I genuinely thought it was Bon Jovi. The blend of the two vocals is not only flawless, but I truly get absorbed in what they are singing about, that should be taken as a massive compliment!
This song feels like a heartfelt ballad for the inner feelings of musicians everywhere, highlighting the challenges of being in the limelight. Usually, I find a specific lyric that stands out to me, but in this case, I can’t choose just one. The entire piece is a work of art. This time, I’m not focused on the guitar solos; instead, I’m captivated by the lively essence of the vocals. It’s a meaningful ode to the spotlight!
Dreaming In Stereo
I really enjoy the laid-back drumming, particularly the powerful crash at the end; not every track has to be a high-speed thrill ride. The bass notes are incredibly satisfying, and this is the first time I’ve truly appreciated them on this album. I would even describe the song as having a psychedelic rock vibe, especially in the guitar and vocals.
This track features a saxophone! Where did that come from; it definitely adds intrigue and enhances the track. However, the 20 seconds of drums at the end don’t quite sit right with me… I’d prefer if the song wrapped up a bit sooner!
Goodbye Arkansas
Goodbye Arkansas? More like Hello Arkansas! This track hits the listener with the force of a freight train, especially when compared to the previous song. The guitar showcases impressive finger acrobatics, paired with rapid-fire vocals. The chorus stands out as one of the most infectious elements on the whole album.
“Goodbye Arkansas
I’m leaving you behind
Too many memories
I can’t wait to get you off my mind.”
This track also features that signature raspy tone that I absolutely love. Plus, there’s that extended solo at 2:30 ; I actually wish he would incorporate more of that into his music. I know I might gripe about lengthy songs later, but I’d be a total hypocrite if I said a 10-minute track is unacceptable, especially if it includes a 2-minute solo. The song wraps up with some of the finest vocals on the album – truly fantastic!
Partners In Crime (Feat. Eddie Spaghetti)
I’m going to make a bold statement. Others will no doubt disagree but… This track feels like a fusion of Whiskey In The Jar and Jailbreak. I’m genuinely a big fan of Thin Lizzy, and this song has won me over! I’m adding it to my liked songs as quickly as I can. The harmony between the two vocalists, along with the drums and guitar, is remarkable. Everything blends seamlessly to create something special.
“Then 22 policemen started firing
Eddie took one in the neck but kept driving
Made it to Mexico I ain’t lying.”
This song is a blast lyrically, telling the story of two individuals evading the law. The chemistry between these two artists perfectly captures the essence of the narrative. This collaboration rocks, and I believe they should team up again because this track is just so damn enjoyable!
The Dirty Town
The beginning of this song carries a foreboding atmosphere, likely due to that deep, brooding riff! As the track progresses, I find myself wishing the drums would bring more excitement, as they feel somewhat underwhelming. However, the fantastic guitar solo certainly compensates for that.
While I wouldn’t choose to live in a place like this, I believe that’s part of the song’s intention. I would have preferred it to be about a minute shorter, as some sections feel a bit drawn out. Nevertheless, those vocals at the end are incredible—I truly appreciate the sense of anguish they evoke in the listener!
Living Between The Lines (Feat. Lisa Kekaula)
The saxophone introduction of the song instantly elevates the spirit, and the overall vibe is incredibly heartwarming. At certain moments, the guitar in this track reminds me of Santana style wise. I absolutely adore Lisa Kekaula’s voice; it feels like a cozy, velvety embrace! The blend of vocals is a great fit too! Meanwhile, the drums have me nodding my head in appreciation.
One of my all-time favourite artists is Maverick Sabre, and I can genuinely imagine him performing this track in my mind. This not only speaks to the quality of the songwriting but also highlights the impressive vocals of everyone involved.
Who Stole The Show
How about kicking things off with a wah pedal? I’m here for it! We’re diving into more brass instruments, a theme I’m not particularly well-acquainted with, but perhaps this will inspire me to explore it further.
This track is one of the faster ones on the album, and I find it hard to differentiate between the verses and the chorus. The only hint lies in the repeated lines that form the chorus.
When you shut your eyes and tune out the vocals, concentrating solely on the guitar, it reveals an astonishing performance. Although it can be challenging to hear amidst the surrounding chaos, the brilliance is undeniable! This track serves as a bold statement to anyone who dismisses rock music. Frankly, it deserves to be showcased in schools globally as proof that rock is very much alive! And that guitar solo? It’s absolutely mind-blowing!
Dead Winter
This track carries a distinct county blues feel, almost anthemic in nature. It’s quite a bold choice to place the album’s longest song at the end, particularly since it’s another slow piece. At certain moments, it feels as if I’m sitting in a church, listening to a preacher! While it may not resemble any church I’ve visited, it certainly sparks a desire to attend this one in particular! However, I do think the song could benefit from being about a minute shorter.
Final Thoughts
For a debut solo album, Frank Meyer has truly made an impressive mark. It feels more like a third or fourth release, likely a reflection of his extensive experience with various bands. I appreciated the diverse song structures and the playful exploration of different genres.
This record offers something for everyone, (even pop enthusiasts). I was particularly struck by how his voice varied dramatically from track to track! The standout moments include all three collaborations, each adding a unique dimension to the album. I’ll definitely be following his musical journey closely, especially that guitar work!
8/10
All rights to the songs used in this review are retained by Frank Meyer. This site claims no rights over them. All images were provided by Reybee. The photograph was taken by Joe Welkie. The album artwork was a photo by Joe Welkie and designed by Cherish Alexander.
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