The excellent band name accurately signposts an album of swaggering metallic rock and roll from this Detroit trio who have enjoyed the patronage of nu-metal’s favourite pantomime villain, Fred Durst - a man who is nevertheless no slouch when it comes to an eye for a commercial rock talent.
The album opens with a tape of singer Rachel (then aged 10) announcing “I wanna be a singer when I grow up” – a hint of the lifelong drive involved in bringing this record to fruition. First track "Ecstasy" then blazes along on a riff not entirely unrelated to AC/DC’s "Let There Be Rock", and signs off with a cheeky blast of Slayer. Stall thus set out, matters proceed in a similar vein; rock becomes rawk, and dues are paid to esteemed Detroit predecessors.
Picking at all the same bones that the Datsuns et al have feasted on so heartily these past few months, there’s no doubting the passion of the playing, all foot-to-the-monitor poses and songs like "Diamond Sex Goddess" and "Burn Baby Burn" which sound exactly like you’d expect.
It’s no riot grrl racket, though, with Rachel possessing a voice like a polite Joan Jett – all the better for commercial prospects one imagines.
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The album runs out on a somewhat curious fifteen minute techno remix of "Liquor Snatch", but overall there’s not much that lifts "Lady Luck" too far above the current slew of similar garage rock ‘n’ rollers. While they’ve worked up quite a name in their native US, here they’re still relative unknowns. Certainly they have the fickle vicissitudes of UK fashion on their side for the time being - for as long as it takes for a new trend to come along, at least. As much as their press manifesto makes it clear that the trio exist, at least in part, as a feminist stab against an ever male-dominated establishment, the Russ Meyer fantasy photo on the CD interior points unambiguously to the fact that their looks could be the thing which raises them that vital notch above the competition.
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