The latter comparison is made all the more pertinent by Foxy Shazam's piano-playing secret weapon, one Sky Vaughn White (the post-emo Elton John, perhaps?), without whose deft-fingered melodies and dramatic flourishes their music would - in the words of Spinal Tap - "understate the hugeness of the object," and provide far less separation from the emo generation they are trying to outpace and outlast. Rather, Foxy Shazam are simply doing their very best to escape the dying clutches of the emo/screamo scene all around them, and - within such more realistic parameters - they actually put their money where their haircuts are and, well, succeed! As shown by euphoric highlights such as "The Rocketeer," the organ-fueled "The Science of Love," and the especially bombastic "Red Cape Diver," theirs is an audacious, courageous, and outrageous brand of Baroque hardcore pop music that sees all five members attacking each song's performance with stirring élan and conviction, effectively exposing Panic! At the Disco for the posers they are, while challenging the Dresden Dolls where truly unhinged, freaky-deaky glam gothic intensity is concerned. So to say that Foxy Shazam are suggesting that a similarly revolutionary event is nigh with the release of this album is certainly a tempting, but not entirely fair proposition - no matter how carefully contrived their self-mythologizing imagery may be. ![]() ![]() Introducing Foxy Shazam, which is actually the second album by this Cincinnati quintet (the first having apparently failed to "introduce" them as hoped), opens with striped-on crowd noises and a parody of Ed Sullivan's famous "he's a good boy" speech, which preceded Elvis Presley's national television debut and rock & roll's launch towards world domination.
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