RIYL: Cheap Trick, Raspberries, the Knack

The Shazam have never been shy about baring their retro influences. After all, when you take your name from the title of one of Brit Rock’s great cult classic recordings – specifically, the seminal set by the Move – there’s no hiding that unbridled devotion. This is a band that’s effectively blended their penchant for power pop variety with a hint of psychedelic suggestion, holding firm to their ‘60s sensibilities at every interval.

This time around however, the Shazam alter their palette ever so slightly, veering away from the more lumbering aspects of their sound in favor of a more straight-ahead approach, displaying a clear unabashed exuberance that finds each track a veritable sonic extravaganza. That’s due in large part to producer Mack, whose aptitude for amplitude was nurtured behind the boards with Queen, Billy Squier, Black Sabbath and ELO. Indeed, this is the most opulent effort in the Shazam’s five-album history, but given it’s been six years since their last effort, Tomorrow the World, it also seems appropriate the group should reassert themselves with such singular bravado.

While ringleader Hans Rotenberry can be credited for steadfast stewardship, drummer Scott Bellew, the band’s other remaining mainstay, also deserves nods, specifically for anchoring the propulsive rhythms and non-stop momentum. Songs like the aptly titled “So Awesome,” the sprawling, Beatlesque “Don’t Look Down,” the searing “NFU” and the radiant rocker “Hey Mom, I Got the Bomb” maintain a feeling of giddy euphoria, turning Meteor into the Shazam’s most exhilarating album ever. (New Boss Sounds 2009)

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