Mackenzie Roark and the Hotpants: a name to remember and the architect of an album full of songs set to lodge in your brain. Connotations of a grassroots band playing endless nights in bars and dives reflects the origin but the endpoint may well be halls, auditoriums and expansive festival fields. GHOST OF ROCK AND ROLL is an exciting hopeful release powered by breezy tunes and likeable melodies fusing smooth rock ‘n’ roll with jangly Americana. Violin and lap steel flavour the latter without dominating and the album would be among friends in any of the resurgent communities of post-punk and new wave. Through a thread of nine relatable tracks, Roark reaches out from a Richmond Virginia hinterland to keen ears in distant lands.
The album kicks off with jaunty guitars peddling the punchy 'Take My Money' along with Roark's writing leaving room for thought. 'Late Bloomer' displays earthy qualities springing into life with a delightfully catchy chorus propelling the song. Subtle chorus deviations highlight the sharp writing on 'Rich Man', a track featuring the first slither of violin and repeating its predecessor by possessing an ear worm melody throughout. Three songs in and the Hotpants have made their mark with the best still to come.
'Hot American Red Blood' kicks off the second third of a forty minute album with Roark's grounded vocals echoing those of female-led indie bands of the 90s. Once again the pace rarely relents though always in a controlled manner. 'Last Call' sees a slight tempo change with violin more prominent. Not as instantly appealing tune-wise but the instrumentation piques interest in where the album is sonically heading. The writing pairs defiance with pity in 'Cigarettes and TV Dinners' as a more acoustic roots sound takes over the early stages. This track sees a return to killer choruses making the record an accessible listen.
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By design or not, the best of Mackenzie Roark and the Hotpants explodes in the final third. 'Killin' Time' differs to the other tracks by having more appeal in the verses rather than the chorus, although an emerging country sound starts to steer away from the embedded rock 'n' roll. The theme calls on loyalty, love and frustration, eloquently expressed by Roark's clear vocals. The title track acquires something of an anthem status as 'Ghost of Rock and Roll' candidly makes statements culminating in the escalating 'who's it gonna be? God or the Man or the Ghost of Rock and Roll?' Plenty of the latter in the vibes. The calling card of Mackenzie Roark and the Hotpants is left well and truly with an Americana mark. 'Broken Jukebox Blues' closes things in a timeless haze of traditional heaven. Another stellar chorus part spoils the listener and leaves a worthy trait of a sound seamlessly swaying between footholds.
GHOST OF ROCK AND ROLL shines a lavish spotlight on Mackenzie Roark - the writer and bandleader of the Hotpants. What evolves is a memorable set of tunes capable of engaging anyone who's smitten by Americana spiced with a touch of indie magic. All in the style of eminent rock 'n' roll leaving you to 'chase your own ghost.'
