Certain artists throughout music history have been known to imitate their influences.

Some have been called out for it, and some have been sued for copyright infringement. But every once in long while a band comes along that exemplifies the perfect combination of influence and originality. One such band is Cincinnati based Foxy Shazam.

The band’s fourth full-length album “The Church of Rock and Roll” is a fresh look back as well as a generally refreshing sound considering the formula that popular music has become. Most of the songs include grand horn sections and a reverb drenched choir, which only adds to the diversity and amalgamation of old and new.

Like rock-n-roll MacGivers, the six-member band creates soulful charging medleys using a combination of well-worn antics and properly executed imagination. While all of the songs follow traditional verse-chorus-verse song pattern, it is the pure creative energy of the seemingly castrato lead singer Eric Nally and shared vision of his band-mates that light the fuse.

The album opens with the pounding “Welcome to the Church of Rock and Roll,” which seems like more of a commentary on popular music than having anything to do with religion.

“There’s nothing new to listen to, we’ve heard it through and through,” Nally sings over a pulsating cadence.

A definite highlight of the album is the third track “Holy Touch.”  The song’s piano work provides a festive Sunday service theme, but the powerful rhythm section keeps the arrangement well out of the reach of any hymnal. Although Nally’s lyrics express lament over losing the ability to “care” and to “walk the line”, the glee of his melody and high-pitched vocals in the chorus are saturated with bliss.

Another notable track is “(It’s) Too Late Baby,” which encapsulates the band’s versatility. The beauty of this song is in its build. It begins with a choir and very light instrumentation but as the choir fades, Nally and an emotional piano piece come into play. From there the elements just keep piling on until the final chorus, which roars with rich horn melodies and a harmonious engaging choir.

The guitarist, Loren Turner, shows off his vast abilities with a skilled guitar solo in the bridge and electrifying fills in the final chorus. “The Streets,” the next to last track on the record, once again showcases a mixture of downtrodden lyrics with joyous instrumentation.

The bass line thumps through the verse as Nally sings lyrics of self-pity, and just as the verse ends in silence, he begins the proud and anthemic chorus.

“The streets is where I’s born and the streets is where I’ll die. Until then the streets is where I’ll be.”

“The Church of Rock and Roll” proves to be a very eventful and eclectic listen. If there were such a church, it would be bands like Foxy Shazam that would keep the congregation coming back every Sunday.