In 1991, after almost a decade without being able to secure a deal to record an album, Suzi Quatro somehow emerged with this odd concoction which was over-produced by the Dutch Bolland Brothers who had worked with Samantha Fox and were behind the novelty track, `Rock Me Armadeus' by Falco.
If that makes this production team seem like an odd choice for her, you would be right. Their style is all over the place, cherry picking fads from the preceding few years and consequently making 'Oh, Suzi Q' sound a bit stale from the outset
Many of the 13 tracks on this collection are disappointingly pop MOR songs, characterized by the blandly fashionable wall of synthesizers that filled the mainstream at the time - particularly the half a dozen penned by the brothers. They even throw in the mystifyingly atrocious `Armadeus'-like, `The Great Midnight Rock'n'Roll House Party', which (at least now) comes across as a joke song. Who knows - maybe it seemed like a good way to keep up with the times for a 70s rocker back in 1991? But it didn't work, with `Oh Suzi Q' only getting released in a small number of European countries, including Germany and Holland.
Despite her evident commitment to her vocal performance on the record, most of `Oh, Suzi Q' has nothing to do with Quatro's trademark boisterous rock style. At times she sounds like Stevie Nicks, at others like ABBA! But there are a few gems for diehards. After the corny echoey synth cover of the title track, there is the high watermark promise of the sultry `Southern Comfort', which Quatro is credited as co-writing with the producers. Complete with bayou-styled harmonicas, it is reminiscent of `Black Velvet' by Alannah Myles, which had just been a big hit at the time. That alone should have made it easy for this song to be a huge hit for Quatro. But, alas...
She had also forged a songwriting and recording partnership with female British singer, Rhiannon Wolfe, the fruits of which deliver the only two rockers on the album - `Kiss Me Goodbye' and `Elusive Lover'. Both are strong and enhanced by Wolfe's powerful backing vocals. Other slow tracks penned by Quatro or this duo are superior to the Bolland slush, but fail to lift this collection above mediocre. The simple probelem is that they are not rock. Perhaps half a dozen more characteristic hard rock moments would have delivered this recording an audience and rescued it - and her - from being drowned in synths and sinking without a trace from the recording scene for another decade and a half.