Suzi Quatro: Teh Trailblazer of Women in Rock
Long before the emergence of iconic bands like Heart and the Runaways, Suzi Quatro was already making waves as a pioneering force for women in rock music. After her stint with her sisters in the mid-1960s band, the Pleasure Seekers, the Detroit-born bassist made her way to England, where she caught the attention of renowned manager Mickie Most.
Quatro’s self-titled debut album, released in 1973, featured the hit single “Can the Can,” which helped her amass a dedicated fanbase throughout Europe and Australia.
A Unique Collaboration with Alice Cooper
Despite not yet achieving critically important success in the United States by the time she released her third album, 1975’s Your Mamma Won’t Like Me, Quatro was invited by alice Cooper to open for him on his theatrical Welcome to My Nightmare tour.
Their connection was deeply rooted in their shared Detroit heritage. Cooper, like Quatro, hailed from the Motor City, and his touring band included several musicians who were familiar faces to Quatro.
“I had friendships with many acts from Michigan,” Quatro shared in an interview with Classic Rock. “I knew Alice for years, and we always felt a bond.”
During the tour, Quatro and her band affectionately referred to Cooper as “Vinnie the Boss,” a playful nod to his real name, Vincent Furnier.
The Challenges of Touring
Though, the demanding tour schedule proved to be exhausting. ”We were flying on a turboprop, often making one or two flights a day,” Quatro recalled. “I was terrified of flying back then, so it was quite a stressful experience. But it was also fantastic to be surrounded by so many familiar faces from Detroit.”
When fun Turns into Chaos
On the rare occasions when the tour allowed for downtime, the musicians made the most of it. One particular night, the revelry escalated into unexpected chaos.
“Then I saw his rather large nose poking out from behind a television set, and I went ‘boink!’”
– Suzi Quatro
“On a big tour like this, things can get a little wild,” Quatro recounted. “In one hotel, we decided to have a rubber dart-gun battle before a show. We took cover behind mattresses in the hallway, and it got intense – who would emerge victorious?”
“Alice was hiding in a room,” she continued. “Then I spotted his nose peeking out from behind a TV, and I couldn’t resist!”
The dart hit him right on the nose. “I didn’t break it, but it was close. His frist reaction was, ‘Ouch!’ followed by, ‘Good shot!’ That night, he wore my tour T-shirt on stage as a sign of camaraderie.”
Quatro’s Impact on Rock Music
As a groundbreaking figure for women in rock, Quatro was unapologetically herself. “I created the rock chick because there was no one for me to emulate,” she explained to Guitar Player. “I was conscious of not conforming to what was expected of girls, and while that made me anxious, I had to remain true to myself.”
“It was a struggle throughout my life. I never felt like I belonged until I stepped on stage. I surprised many people by taking charge while performing with a band of men.”
Quatro’s commanding stage presence left a lasting impression on Cooper, who had previously shared stages with the Pleasure Seekers in detroit. he recognized how she set a precedent that would inspire future generations of female rock musicians.
“Many girls have tried to emulate Suzi Quatro,” he remarked in the documentary suzi Q. “But when it’s in your DNA, you can’t fake it.”
Cooper has also reflected on receiving Bob Dylan’s endorsement for one of his tracks and transforming a classic ’60s ballad into a glam-rock sensation.
