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The archetype for the '60s-era girl group was etched indelibly into stone, like a commandment: three pretty girls with matching outfits and bouffant hairdos would sing, with musical backing supplied by a bunch of guys standing in the shadows. The Quatro girls had been brought up in a musically-minded family, nurtured with classical piano and vocal lessons. As Patti recalls, "ByI had been taking guitar lessons, hanging with musicians in the local music scene. We had seen a Beatles concert, and I was quite dazed and focused at the event, watching the audience cry and scream out of control.

It was my epiphany moment, and I was determined to start an all-girl band. Shortly thereafter, the first lineup of the Pleasure Seekers fell into place with Patti Quatro lead guitarMarylou Ball rhythm guitarSuzi Quatro bassDiane Baker keyboardsNan Ball drums and vocal duties shared by all. Around the fall of the girls dared local teen club manager Dave Leone to give them a slot at his popular Hideout Club, claiming they were better than most of the other live bands there.

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Three songs! The boys crowded the stage, the girlfriends pulled them away with laughter, as if 'Girls playing?! Yeah, right! We grew used to seeing slack jaws open in surprise. The Pleasure Seekers were soon in demand in the region, playing teen clubs, parties, colleges and local TV shows. After a series of lineup changes, the band brought in older Quatro sister Arlene keyboards and Darline Arnone drumsthe first female drummer sponsored by Slingerland Drums. A short time later, Pami Benford ed-up on guitar and bass that lineup lasting through most of ing up with Associated Booking Corporation, the group began making the transition from local to national act.

To keep rein on their finances in NYC, Patti recalls, "We booked Arthur's nightclub for a month, staying at the infamous rock Gorham Hotel, recording by day--playing by night. The group then headed out to the Northwest for a lengthy tour. The Mercury single was out, momentum was surging. Ultimately Mercury's vision for the Pleasure Seekers clashed rather sharply with the band's vision. We had to kick down many doors.

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We were serious musicians, and in it for the right reasons. In the end, we were not happy with a forced direction that Mercury Records had in mind, and ended up leaving the label to rock our music in our own fashion.

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After a memorable Far East tour, playing for wounded returning American soldiers from Vietnam, the Pleasure Seekers with new drummer Nancy Rogers returned to a Detroit that was now, in Patti's words, "exploding with heavier sounds.

That sparked us to change direction with new ideas we had been exploring.

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Arlene left the band and we brought in our youngest sister Nancy vocals. With Suzi's Joplinesque vocals combined with Nancy's wailing 'female Robert Plant' style, we enjoyed a harder edged, 'double-punch' effect. With this change in musical direction and the departure of Arlene and Pami, the band forged on as Cradle. Suzi Quatro departed for England inlaunching a successful solo career.

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Patti and Nancy continued with Cradle until when Patti ed another pioneering female rock group, Fanny. The Pleasure Seekers reunited recently in April minus Suzi for a well-received show in their hometown, where they were inducted into Detroit's Hall of Fame. There were key times in our lives of making decisions that may have turned us towards larger fame, but less happiness--depending on your philosophy of such things.

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The Pleasure Seekers could have been a Las Vegas show act bringing in buckets of money or on Motown, turned very formulaic girlie-soul. But we stayed true to our goals, and I don't think any of us have any regrets of staying our course and playing the music that moved us. It's all been a thrilling ride with great memories. Their combination of musicianship and showmanship makes them one of the best acts I have ever seen in my entire life!

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