I first heard of Suzi Quatro from the 1970s sitcom Happy Days. She played hip-slapping, leather-wearing bass-playing singer Leather Tuscadero on the show, but Quatro has been making music professionally since the 1960s. At 14, she was playing bass in her sister’s band, the Pleasure Seekers, then moved quickly to lead singer and front person. She stayed with them through 1969 when they changed their name to Cradle. A couple of years later, producer Mickie Most came to a Cradle concert and offered Quatro a solo deal. She flew to England in 1971 to begin her journey to fame. The four-CD The Girl From Detroit City celebrates her amazing 50-year career.
The set’s 82 tracks span Quatro’s time with the Pleasure Seekers, all the way to her 2011 album, In The Spotlight. Early tunes include the piano-tickling, very shoddy recording of the Pleasure Seekers’ first single from 1965, “What A Way To Die.” Quatro takes the vocal on “Rolling Stone,” and there’s her single “Can Can,” where her singing is higher than usual. “I Maybe Be Too Young” comes together with a catchy chorus and a good groove, featuring what will be her signature vocal style pretty much from here onward. “Your Momma Won’t Like Me” is all Steve Wonder-like synth bass/horn funk and “Michael” is a sweeping lament of strings and acoustic guitar.
On the second CD, there’s “I’ve Never Been In Love,” which lifts from that semi-50s style territory Quatro became known for (her voice really come into its own here). “She’s In Love With You” has an Abba-like feel, while the big production on the cover of “Wild Thing” sees Quatro carrying most of the weight with a slightly overdone synth drum track. “I Got The Sun In The Morning” and “Moonshine Lullaby” are true gems from Annie Get Your Gun (Quatro appeared in a London production of the Irving Berlin musical) on which Quatro’s voice is well suited. They sound spectacular actually, as if she was born for musical theatre or at the role she played. “Back To The Drive,” the title track of Quatro’s 2006 comeback album is noisy, ballsy guitar fun. If you were ever to make Joan Jett comparisons, a song like this is good evidence. “Fifteen Minutes Of Fame,” another from Back To The Drive, is a big jumpy snare-fiddle-organ warning with an affected Suzi Quatro vocal. We’re mining Slade territory here for sure. “Breaking Dishes” is a plucking loud strut with an electric piano and a lot of attitude – unlike most of everything else. There’s lots of good space and Quatro’s vocal aligns with just a big drum beat in the verses and an explosive chorus. There are three new songs on the set, including a collaboration with Sweet guitarist Andy Scott on a version of ABBA’s “Does Your Mama Know.” Ending the third disc is another new song that bears the title of the set. “The Girl From Detroit City” is as mid-tempo narrative, an autobiographical tome to Quatro’s colorful life.
“Curly Hair For Sale,” with a low bass and organ, is a slinky number about urban trials. A cover of the Normal’s “Warm Leatherette” is a spooky, bleeping and heavy drum mover. One thing about Suzi Quatro is that she is not afraid to trip close to parody to make a point – one step further into goofiness and this one wouldn’t have ended up as wildly sexy as it is. She manages her slight growl around “Don’t Let Me Misunderstood,” and gives the ballad “Intimate Strangers” her all, even if the musical backing here sounds slightly overproduced cheesy. Hearing Jeff Beck pull off and flip his little electric touches around the lady managing a competent cover of the Eagles’ “Desperado” is kind of thrilling. Besides all this wonderful music, The Girl From Detroit City comes complete with fascinating liner notes that track Quatro’s career from the outset to the present day. There’s also a wealth of album and poster artwork and photographs, including a shot of Suzi’s incredible vintage Ray-Ban collect. If you remember her from Happy Days, that may be reason enough to snap up this box. But when you consider the breadth of Quatro’s work, and her influence on countless female rockers, including the aforementioned Joan Jett, it may be required listening for any student of Vintage Rock.
~ Ralph Greco, Jr.
