In a period of just over two years all female rock band Fanny recorded four albums for Reprise Records. Cherry Red Records, UK, has gathered the albums, supplemented by extant single sides, live and demo recordings in a new eighty-two track, four disc box set.

The compilation presents the most complete collection of the original quartet available in more than two decades and contains single sides not previously available on CD. The set showcases the musical talents of guitarist/vocalist June Millington, her bassist/vocalist sister Jean Millington, pianist/organist/vocalist Nickey Barclay, and drummer/percussionist/vocalist Alice de Buhr, making it essential to both fans of the band and rock music afficianodos.

Disc one begins with the eleven tracks comprising the band’s December, 1970 self-titled debut album, produced as were Fanny’s first three long players by Richard Perry. The album consists of nine originals, the majority, six, written or co-written by Barclay, and two covers. ‘Fanny’ shows the group’s versatility, its material ranging from hot rockers to melodic mid-tempo tunes and balladish tracks, the long player displaying both the band’s instrumental and vocal talents. The LP opens with the restrained ‘Come And Hold Me’ before moving into heavier territory with ‘I Just Realised’ featuring fuzz guitar and a hot solo by June Millington, followed by the driving, keyboard driven rocker ‘Candlelighter Man’ with Barclay contributing a tasty piano interlude. The Barclay penned, social commentary based ballad ‘Conversation With A Cop’ is followed by an incredible cover of Cream’s ‘Badge’ led by June Millington’s lead line, with Millington and Barclay adding blistering guitar and organ solos respectively. Next up are three melodic Barclay penned tunes, ‘Changing Horses,’ ‘Bitter Wine,’ and ‘Take A Message To The Captain.’ A bluesy cover of Booker T. Jones’ ‘It Takes A Lot Of Good Lovin” brings de Buhr’s drums to the fore, while ‘Shade Me’ opens with a gorgeous Jean Millington bass intro. The album closes with the smoking hot ‘Seven Roads’ dominated by Barclay’s organ intro and June Millington’s roaring guitar solo. The disc’s bonus material begins with the two non-LP sides of Fanny’s first single, the chugging a-side rocker ‘Ladies Choice’ and its b-side ‘New Day’ which displays vocal harmonies and a Jean Millington bass solo. Fanny moves into R&B territory with the non-LP single ‘Nowhere To Run’ and its b-side, ‘One Step At A Time.’ The single version of ‘Changing Horses’ is followed by the German single take on ‘Seven Roads’ and the b-side edit of ‘Shade Me.’ A searing ‘Badge’ recorded live at the Bijou Cafe in Philadelphia in 1972 features an extended Barclay piano intro, and is more keyboard oriented than the studio version. The disc closes with alternate versions of ‘Candlelighter Man’ and ‘Seven Roads,’ the latter a hotter, more guitar oriented take than the released version.

Disc two is centered around July, 1971’s ‘Charity Ball.’ The album, which reached #150 on the Billboard charts, opens with the organ and harmony vocal dominated title track, followed by two piano driven R&B numbers, ‘What Kind Of Lover’ and ‘Cat Fever.’ ‘A Person Like You’ introduces the slide guitar work of June Millington. A funky cover of Stephen Stills’ ‘Special Care’ is spiced up by guitar and organ solos. The light, breezy Joni Mitchellesque ‘What’s Wrong With Me’ is followed by ‘Soul Child’ which spotlights the rhythm section of Jean Millington and Alice de Buhr. Fanny revs it up on ‘You’re The One’ with its heavy groove, Barclay and June Millington adding solos on organ and guitar respectively. The melodic, mid-tempo ‘Thinking Of You’ gives way to the rocking ‘A Place In The Country’ featuring a smoking guitar solo by June and a gorgeous Barclay piano interlude. Album closer ‘A Little While Later’ is an extended melodic track, with gorgeous vocals, beautiful piano and a rousing guitar solo. The bonus material begins with the single version of ‘Charity Ball,’ which reached #40 on the Billboard charts, their only charting single, followed by a rocked up take on the same tune, recorded live in Cleveland, featuring piano and guitar solos by Barclay and Millington and a hot performance of ‘A Place In The Country’ taken from the same gig. Fanny returns to R&B on the Holland, Dozier, Holland classic ‘Back In My Arms Again.’ Demos of ‘Lonesome Pride’ and ‘Old Milwaukee’ from Fanny’s fourth, Todd Rundgren produced ‘Mother’s Pride’ album follow, the latter featuring fine slide work by June. The first take of the then titled ‘Place In The Country’ leads to disc closer ‘Queen Aretha’ a demo by pre-Fanny band Wild Honey, which featured June Millington on rhythm guitar.

Disc three is built around the February, 1972 album ‘Fanny Hill.’ The album, their best seller, topping at #135 on the Billboard charts, named for the group’s L.A. home, is heavier than previous albums, showcasing June Millington’s guitar and the incredibly tight rhythm section of Jean Millington and Alice de Buhr. The LP’s opening track could easily have been a hit. ‘Ain’t That Peculiar’ moves from a percussion intro into a gorgeous melody, the band hitting stride led by June’s slide guitar and Nickey’s electric piano. The tune is an absolute knockout, with June bringing visions of Lowell George, who taught her to play slide, to mind. ‘Knock On My Door’ has a gentle piano intro and lovely melody, as Fanny cools down for a moment. ‘Blind Alley’ finds Fanny in full rock mode, with Alice all over her drum kit, locked in tightly with Jean’s bass, while Nickey’s piano gives way to June’s lead line and another monster solo. June’s slide introduces ‘You’ve Got A Home’ whose introspective, no doubt biographical lyrics from Jean “you may not have a father, but you’ve got a home” are touching, her vocals gorgeous. ‘Wonderful Feeling’ features more introspective lyrics from Jean, the tune led by Barclay’s organ. ‘Borrowed Time’ features pounding piano and slide guitar with horns adding texture, June contributing another smoldering solo. A cover of The Beatles’ ‘Hey Bulldog’ has a Carole King vibe intro leading into the heavy groove of Jean and Alice, with June soloing over the top. No wonder George Harrison was so fond of this take. ‘Think About The Children’ has yet more introspective lyrics from Jean, wah wah laden lead line and solo from June aided by Nickey’s organ. ‘Rock Bottom Blues’ is a straight out rocker with June’s hot intro and lead line leading to yet another smoking solo. ‘Sound And The Fury’ and album closer ‘The First Time’ are mid-tempo, melodic numbers, the latter’s organ and piano led melody setting the stage for June’s smoldering slide solo outro. The bonus material begins with the single version of ‘Ain’t That Peculiar’ and its Ike Turner penned R&B tinged b-side ‘Young And Dumb’ with June’s restrained guitar complemented by Nickey’s organ. The b-side edit of ‘Knock On Your Door’ is followed by the gentle, acoustic single a-side ‘Tomorrow.’ ‘No Deposit, No Return’ is a country influenced ballad with June adding a country-esque solo. The live take of ‘Ain’t That Peculiar’ recorded in Philadelphia is a slide guitar showcase for June as Fanny puts the pedal to the metal. The disc is filled out by live takes of ‘Borrowed Time’ and ‘Knock On My Door’ from the Cleveland gigs, and ‘Hey Bulldog’ and ‘Young And Dumb’ from the Philadelphia show.

Disc four begins with the thirteen tracks comprising the Todd Rundgren produced February, 1973 LP ‘Mother’s Pride.’ A dramatic change from their first three albums, Fanny’s fourth album contains shorter, gentler tunes. Opener ‘Last Night I Had A Dream’ is a Randy Newman cover with June contributing a notable solo. ‘Long Road Home’ is light and breezy with synthesizer. ‘Old Hat’ is a pleasant mid-tempo cover. ‘Solid Gold’ is a light hearted tune with pleasant guitar from June. ‘Is It Really You?’ is another mid-tempo melodic take. ‘All Mine’ is a commercially accessible mid-tempo tune with gorgeous vocal harmonies. The uptempo ‘Summer Song’ features another tasty Millington solo aided by Barclay’s organ. ‘Polecat Blues’ is an acoustic number with Barclay adding a piano solo. ‘Beside Myself’ has a ‘Let It Be’ vibe with beautiful vocals and guitar accents. ‘Regular Guy’ is another commercially accessible gentle tune. ‘I Need You Need Me’ features a heavy bass intro and wonderful drum work by de Buhr as well as gorgeous vocals. ‘Feelings’ is a short, gentle folkish take with flute. The album closer ‘I’m Satisfied’ is a snarling rocker, as June cuts loose on guitar. The bonus material begins with the single versions of ‘Summer Song’ and ‘Wonderful Feeling,’ the latter a ‘Fanny Hill’ track. The original version of ‘Rock Bottom Blues’ features a heavy groove courtesy of Jean Millington and Alice de Buhr, Barclay’s piano carrying the tune leading up to a massive solo by June. Next up are the single edits of ‘I Need You Need Me’ and ‘Last Night I Had A Dream’ followed by the backing track of ‘Rock Bottom Blues.’ The demo of ‘All Mine’ is still mid-tempo but heavier than the released version thanks to June’s guitar. The disc and box set closes with a rocked up live take on ‘Last Night I Had A Dream’ from the Philadelphia gig, with incendiary guitar from June, much heavier than the version released on ‘Mother’s Pride.’

Each of the four discs of ‘The Reprise Years 1970-1973’ comes in its own cardboard mini-LP sleeve which fits tightly in a clamshell box. The set comes with a lavishly illustrated twenty eight page booklet, with full track annotations and liner notes by Alice de Buhr, Jean Millington and June Millington. Fanny sounds great thanks to the remastering job of Dave Turner @ 360 Mastering. The set also contains a complete UK discography. This set will appeal to fans of Fanny, 1970s rock, and classic rock. This is indeed the last word on the recorded legacy of Fanny’s original quartet.

Kevin Rathert

Fanny – ‘The Reprise Years 1970-1973’ (Cherry Red Records, 2024)