If Suzanne Lynch's name is only vaguely familiar then think of her as simply 'Suzanne', the glamorous blonde singer from the early 1970s. Or as Suzanne Donaldson, half of the enormously popular Chicks with her older sister Judy during the go-go dancing 1960s.

After a chance discovery singing for Peter Posa in a neighbour's backyard, the teenage Donaldsons were swept into the bright world of pop and television shows, most notably C'mon (1966) and Happen Inn (1969-73). Even before they became household names (and fashion icons for their distinctive mini-skirts and boots) they'd had a hit with The Hucklebuck and toured with Britain's rebellious Pretty Things, pop idol Eden Kane and Sandie Shaw.

It was a whirlwind life for two girls just 14 and 16 whose mother was their chaperone as the Pretty Things made headlines for outrageous antics and a raucous stage act. But she tells of nationwide package pop tours, the relentless work schedule of rehearsals and performance for television and recording, as all innocent fun.

In this conversational memoir Lynch pulls a veil of discretion over some things and even resorts to 'what goes on tour, stays on tour' at one point. Of the 1960s not much is revealed beyond fond and funny memories of hi-jinks
and hard work, and a roll-call of names readers will recall with a smile.

'They were very different times back in the 60s and 70s,' she says. 'There was a warm, friendly camaraderie amongst all the entertainers.'

That was doubtless true in the decades before entertainers became artist, divas and demanding.

But her story, which is quite remarkable in the years before she turned 20, becomes even more so when – after the Chicks go their separate ways – she becomes an award-winning solo artist then lands in London in 1973. The improbable go-between from Happen Inn to a party in David Bowie's London flat is Val Doonican, the Irish crooner who wore comfortable sweaters and sang from a rocking chair.

The benign Doonican, who met Lynch when she was his opening act on a tour here, seems unusual in this vibrant pop context but he invited her onto his television show in Britain and with her husband Bruce Lynch – a well-known local guitarist and bassist – doors opened.

She met Mary Hopkins and they became friends, met her husband Tony Visconti who'd produced for Marc Bolan (T Rex) and Bowie . . . Work and opportunities piled up: singing with the great Scott Walker on the Walker Brothers' dramatic No Regrets; recording the theme song for The Goodies; adding vocals to Carl Davis' Kung Fu Fighting (a B-side no one expected would be a hit); touring as a backing singer for Neil Sedaka; with husband Bruce on bass joining Cat Stevens on a nine month world tour.

Lynch was also there for Stevens' 1974 Buddha and the Chocolate Box album (the hit was Oh Very Young) and here her memoir really takes off with anecdotes of the logistics of touring with a huge crew and a modest, personable superstar, recording in Carmel in Northern California, and singing Springtime for Hitler for the soundtrack of Mel Brooks' The Producers.

The tours with French legend Charles Aznavour sound demanding, when on a whim or when the location inspired him he'd change languages (German, English, French) for some songs.

The marvellous life comes full circle and back home where she became one of The Ladykillers, works on a cruise ship, tours, reconnects with old and loyal friends and celebrates life as she had always done. This is an easy read, but don't come here for private gossip about those Swinging Sixties.

However those years where various international stars amble across every short chapter confirm Suzanne's has been a unique and joyous life, from singing for Peter Posa in Te Atatu to Nashville, Abbey Road and all points beyond.