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Joan jett images6/7/2023 ![]() Quatro emerged in the early 70s out of a male-dominated glam-rock scene, with the likes of Slade and Mud, among others. Image: Ian Dickson/Redferns/Getty Images Embracing the feminist It’s something to keep on top of the unrelenting work out that is the bass guitar, but to also prove so much energy and tenacity in the vocals is admirable.Ī similar determination is proven in second single, Devil Gate Drive, which provides a chugging from the guitars that is synonymous with similar singles of the same time, like Status Quo’s Rockin’ All Over The World, and Gilbert O’ Sullivan’s Get Down, while still offering the charismatic and enthusiastic flare made famous by the young bassist. This is then cut through with Quatro’s powerful voice declaring “all my life I wanted to be someone and here I am!”. The Wild One offers the glam-rock fantasy that is so adored by many, with heavy guitar riffs accompanied with intricate and relentless bass sequences before settling into a syncopated rhythm. Certainly a big claim to make, but with ground-shaking singles The Wild One, and Devil Gate Drive emerging from this record, it’s not a comparison that is out of reach. In an interview with the Newcastle Journal In 2003, she claimed that “according to the Elektra president, I could become the new Janis Joplin”. Image: Tom Hill/WireImage/Getty Images The Singles Offering a chugging basslines and guitar riffs teeming with influences from rock, to soul, and gospel, this song presents the sheer capabilities of Quatro, as well as what has inspired her to be the musician she is. This is not the only time she takes the power of reclamation into her own hands, with the likes of Ray Charles’ 1961 Hit The Road Jack appearing later in the record. “You know, when all those boys come round asking for a date, you just gotta sit back and be cool, and tell em one thing…you keep on knocking but you can’t come in.” “This is dedicated to all you 16-year-old girls out there,” she says. In a further twist, she decides to flip the meaning of the song on its head in a nod to the young girls listening to her take the mic, making this the ultimate anthem of female empowerment. Quatro’s rendition features the same 12-bar blues structure of the original song, offering a 50s swing, but with the notorious fast paced grumble of Quatro’s 1957 Fender Precision bass and her “grizzly and raw” voice, as described by journalist Lisa Torem. One song that does this is second track on the album, Keep a Knockin’ – a reclamation of Little Richard’s 1958 song of the same name. Quatro resembles much of the music of her past, as well as carving a name for herself in the future. She first found her music roots in the late 50s at eight years old as a percussionist for her father’s jazz band, the Art Quatro Trio. Quatro first emerged in the Glam-Rock scene in 1973 with the release of her self-titled album Suzi Quatro, but this was not the start of her music career. The album acted as the foundation for many household names to take flight, such as Joan Jett and the Runaways, who often credit Quatro as an influence both musically and personally, while she is explicitly mentioned as an inspiration several times in 2010 documentary The Runaways Some might argue that this sophomore album is not representative of Quatro’s talents as it did not reach the commercial success that was hoped, but with hits like The Wild One and Devil Gate Drive, its impact on other like-minded musicians cannot be understated. READ MORE: Dream Wife on Social Lubrication and why “Rock ‘n’ Roll is an extreme sport”. ![]() As such, Quatro represents the pinnacle of her international fame, reaching number 1 in the Australian Charts, and 5th in the Norwegian charts. Throughout her career, Quatro has always been open about her struggle to find fame in the United States as she did in other countries. Released in 1974, by Detroit-born bassist and vocalist Suzi Quatro, Quatro was and still is a quintessential album for rock and punk musicians alike.
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