They were so good it’s almost criminal they fell under the radar.įanny’s core was guitarist June Millington and her bass-playing sister Jean. They used open tunings, displayed deft slide skills, and used overdriven amps and Leslie cabinets to get a huge sound. They played guitar-centric, blues-based boogie with hints of Motown. Musically, the L.A.-based quartet drank from the same waters as other rockers of the day, like Humble Pie, the Faces, and Grand Funk Railroad.
They’re as important as anybody else who’s ever been, ever it just wasn’t their time.” “They were extraordinary: They wrote everything, they played like motherfuckers, they were just colossal and wonderful, and nobody’s ever mentioned them. “They were one of the finest fucking rock bands of their time,” Bowie told Rolling Stone in 1999. Consider none other than David Bowie’s unequivocal sentiments on the matter. Though, until recently, their story was long lost to time, one of the most notable exceptions to the previously stated observation about the golden age of rock and roll is the all-female band Fanny. We could spend hours detailing how these sexist societal norms unfolded the way they did, but suffice it to say that women didplay instruments-and played them well. They were accepted as vocalists, and sometimes as guitar-strumming folkies, but otherwise often weren’t considered “serious” players. Aside from a few notable exceptions-like prolific and highly influential “Wrecking Crew” session bassist Carol Kaye-female musicians weren’t given a whole lot of mainstream recognition. In the late 1960s, prominent rock musicians were primarily men.
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