An historic band in many ways, Fanny were the first authentic female rock band when they emerged in the early seventies. It was a time when misogyny ruled not just the music business but society as a whole and Fanny were perceived almost as a novelty as they blazed a trail for their gender. This 4 cd set chronicles their rise and fall charting what might have been given a fair shake.
Signed sight unseen by Warner Brothers thanks to the influence of hot shot producer Richard Perry the band recorded 4 albums between 1971 and 1973. Their self-titled debut was perhaps – under Perry’s tutelage – a surprisingly accomplished effort when you consider the giant steps taken from their recent bar band days.
Before they entered the studio original members June and Jean Millington (on guitar and bass respectively) along with drummer Alice de Buhr were joined by a musician who expanded their horizons. The addition of Nicky Barclay on keyboards was more than a finishing touch. Not only did she add a rock’n’roll edginess with her powerful vocals and playing but she proved to be an adept songwriter as well. Their inexperience was palpable in places but with Perry in the producer’s chair fashioning the material and softening the rough edges they came across more Badfinger than Grand Funk Railroad. An electrifying cover of Cream’s ‘Badge’ showed they had their chops down and it received extensive FM radio play – the band was on their way.
Released the following year ‘Charity Ball’ was a quantum leap in terms of performance and song writing and a jet heeled take of the title track propelled the band into the Top 40 for the first time. Extensive touring with Jethro Tull and Humble Pie during this period gained the band new disciples as the band shrugged off the novelty tag and forged their own identity. A confident band stepped right up on this album. A terrific version of Buffalo Springfield’s ‘Special Care’ knocked spots off the original, with a sassy vocal from Jean Millington augmented by Nicky Barclay’s belligerent organ fills’.
Their third record ‘Fanny Hill’ recorded in 1972 at Abbey Road studios in London was their last with Producer Richard Perry and it’s here that the pieces all fit together. There’s a palpable confidence emanating from these performances that permeates every track. Opening with the near hit single – a cover of Marvin Gaye’s ‘Ain’t That Perculiar’ – their ass shaking take on this r’n’b classic will have you grinning from ear to ear and showcases the bands chops from rollicking keyboards, a rhythm section as tight as a ducks backside and simply scintillating slide guitar breaks. And there’s more where that came from via. Checkout the snarling, breathless spitrock of ‘Blind Alley’ or the sassy ‘Borrowed Time’ and tell me girls can’t rock.
And the hits just keep on coming! Well they didn’t actually but they should of. With the recruitment of Todd Rundgren in the Producers chair for ‘Mothers Pride’ all seemed set fair for THE breakthrough, but despite a more sophisticated approach and a definite maturity all round somehow success was eluded. The last album for Reprise as it turned out, its reflective mood was in stark contrast to their previous album and perhaps was an indication of tensions within the group coupled with the pressure from their label.
Many people have revisited Fanny’s records recently and with good reason. Their trailblazing career didn’t reap any commercial riches perhaps but unlike many of their contemporaries their music has more than stood the test of time. In addition to the four albums they recorded offered in this excellent box set are copious bonus tracks encompassing single mixes, demos and live takes. Fanny were the first credible all female rock group and inspirational to many. They were no flash in the pan and this legacy proves they were and still are the best of the bunch.
Lyndon Noon
cherryred.co.uk
