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Episode 41! In this episode, we wrap up our hashtag series with part two of #NickeyNotes! We read fan’s emails and messages about Nickey’s many talents and songs. We play the rare “No Deposit, No Return” tune from the CD version of “Fanny Hill” and then “Beside Myself” from Mothers Pride. Plus we might sneak in one or two more songs! Listen to find out! Also, stay tuned at the end for some cool announcements from the Posco Posse!

Episode 40! In this episode, it’s a very special beginning to our hashtag of #NickeyNotes! So special that you will just have to listen to see what we’re talking about! Hint: It’s all about Nickey Barclay!

Episode 39! In this episode, it’s Part 2 of our hashtag #AskAlice! Fanny’s drummer answers fan’s questions as she talks about her drumming on a variety of Fanny tunes. We play the original vocal version of “Rock Bottom Blues” which is a bonus track on the “Fanny Hill” CD, and then we play Fanny’s only blues song “Lonesome Pine” which is a bonus track on the “Mothers Pride” CD.  We also play some shorter clips from other Fanny tunes!

Episode 38! In this episode, it’s Part 1 of our hashtag #AskAlice! Fanny’s drummer answers fan’s questions as she talks about her drumming on a variety of Fanny tunes. We play “Seven Roads” from Fanny’s first album, and “A Little While Later” from the “Charity Ball” album in full, as well as clips from other songs.  “Seven Roads” Okay, just re-listened! Must say, I like the first version better (I think, the only difference was the intro organ cut, and vocals either added to or re-done ~ I noticed a few crossing parts) because it feels so much better and vital! And, quite frankly, I can feel all our hours of jamming and playing and just jamming and jamming! I think Jean and I started the groove and Alice came down and we were off! And now, to Alice’s parts: From the intro, Alice has got her part “blocked out,” exquisitely. She starts out with a few hh hits, then launches. She is incrdible, and all of it is exciting! You know, Alice’s style (and maybe, everyone’s drum parts back then, but in particular Alice has it down) is “busy” compared to now, but it totally works! And try to do it without her perfectly placed fills, no baby ~ no no, won’t work. I also noticed that on ‘Hey Bulldog,’ you gotta do her parts – when we first played with Lee [Jean’s son], he of course was playing the modern way, and I was like ‘what’s wrong?’ It was, like, chubby, clunky, no life, even though what he was playing was in essence, perfectly fine. So, we listened, and I said, ‘You gotta absolutely do what Alice did.’ Click! As I was listening to version #2, I noted just a little lick at 2:15 that Alice repeated a few times, it just talks to you. (well, if you know how to listen ~ but even if not, you can feel it). And how about that last long press roll Alice does at the end?? Godalmighty, how dare she?? Who does that?? Alice, that’s who – she went right to the line, and crossed it. Total success! You know, when Jean and I did a Honolulu gig back in the late ’90s, fans came out of the woodwork. And a few told us that they’d seen Fanny in the Midwest back in the day. They were like, “how did she do that???!” They said her parts were impossible, but she did ’em anyway. Their mouths were still wide open. Now, that’ drumming Art and, moreover, sleight of hand 🙂 )” – June Millington “It was an exercise in writing a rock song…when we wrote it. We wanted to have the song represent ourselves and to show that we had the ability to pound away at rock…but because we’re Fanny – we were melody conscious and lyrics conscious – not just straight-ahead R&R. And so what we came up with was a much more polished rock song. It was our sound and that’s how we did rock.” – Jean Millington on Fanny’s approach to “Seven Roads” “A Little While Later” Alice gives it a lot of space at the top (we all do, I think it was just Jean with the piano) and when Alice comes in she’s just loping, nice and easy. Perfect. And on the choruses, the cymbal part must’ve been overdubbed because it’s in double-time and there’s no way she could’ve played that along with the underlying drum track. (and I must say, I didn’t stick around – or maybe, pay attention to – every bit that was laid down, I knew it was going on but also knew everyone was taking care of business. Essentially, I’d just get in the way. Much better to hang out with Harry Nilsson or whoever else was around!). We must’ve done this track with a click, but at the end of chorus two there’s,

Episode 37! In this episode, we continue hashtag #JuneJams with part two of our discussion of June Millington’s songs and guitar playing. We chat about the songs “Bitter Wine” from Fanny’s first album, and “Hey Bulldog” & “Ain’t That Peculiar” from Fanny Hill. Plus some other delicious things along the way! She gave women permission to play electric guitar. I mean, I didn’t take up the electric guitar ’til…the mid-’70s, so I was, like, 24, and I just wanted to play like June. But I was never, never the kind of electric guitar player that June was, but I remember playing with Cris [Williamson], doing solos with June…that was like something [that] I never thought would happen – that we’d play electric guitars together. She‘s taught so many women – gave so many women permission, and the strength to be balls out guitar players! And what she’s doing now with young women is phenomenal. I rave about IMA [IMA.org] all the time. When people want to know, “Well, how can we learn,” and I tell them to go to IMA. Go study under June Millington, because she is the master. To me, she’s the one. I talk about her all the time in interviews.” -Tret Fure in a 2021 Zoom interview with Dr. K

Episode 36! In this episode, we continue to shake things up by continuing our hashtag series. This episode is #JuneJams as we cover Fanny’s guitarist June Millington! We asked June what three songs she wanted to feature and she picked “Place In The Country,” “Badge,” and “It Takes a Lotta Good Lovin'”. We’ll continue with more of #JuneJams in episode 37 so ask any questions for June using the hashtag #JuneJams! To rock out to the clip Byron made highlighting June’s guitar from the live version of “It Takes a Lot of Good Lovin'” just click right here to listen to that clip! And don’t forget to look below for Fanny roadie Segrave’s email about June’s amp set-up back in the day. From Segrave, Fanny’s Roadie: I don’t remember June ever using anything but a Wah-wah pedal. She also had a Fender Twin reverb amp with JBL speakers. For the guitar through the Leslie [speaker], I built an adapter with a pedal having two buttons. One disconnected the speakers in the amp (actually it substituted a very high power resistor for the speakers, as simply disconnecting them would have damaged the amp). At the same time, it disconnected one of Nickey’s two Leslies from the B3 [Hammond organ] and substituted a tapped off signal from the resistor to feed the Leslie (Leslies have their own amplifiers built in, a B3 doesn’t actually have any power output at all). The other button changed the rotation rate of the Leslie when it was switched to June’s amp instead of the B3. So in effect, the B3 had one cable going directly to the Leslie just behind Nickey (we put it on a flight case to bring the sound closer to ear level). The other Leslie cable from the B3 went to my adapter. June’s speakers were not plugged into her amp; the speakers and the amp were both plugged into my adapter. Then there was a third Leslie cable from the adapter to the Leslie on June’s side of the stage.

Episode 35! In this episode, we’re smokin’ as we return to the hashtag #JeanJeanie to finish up, for now, our look at Jean Millington’s vocals and bass playing on Fanny’s songs.  The songs we chat about this time are “You’re the One” (Charity Ball), “What Kind of Lover” (Charity Ball) and “Shade Me” (Fanny). Alice, Kristen, and Byron are joined by Jean and June Millington via pre-recorded interviews. 

Episode 34! In this episode, we take a small break from our #JeanJeannie episodes and bring you a special podcast covering the most recent showing of the “Fanny: The Right To Rock” documentary at the Los Angeles Orpheum theater. Alice and Kristen went to the event where a reunited Fanny (minus Nickey) performed and was introduced by the Linda Lindas all-girl band! Even though Alice and Kristen were worn out from their long road trip, they pulled together an awesome podcast with insights to the events of that great evening. 

Episode 33! In this episode, we take a different approach as we focus on bass player Jean Millington’s songs and vocals. Jean picked out “Cat Fever”, “Place In The Country”, and “Changing Horses” as the songs she’d like to talk about. We’re going to do another episode dedicated to Jean so use the hashtag #JeanJeanie to send in any questions via our social media pages, the comment section below, or the Fanny-Rocks website contact page. We’ll be highlighting all four original members of Fanny in this fashion, so get your questions and song picks ready!  Alice, Kristen, and Byron are joined by bassist Jean Millington and road manager Jim Segrave via prerecorded interviews. 

Episode 32! In this episode, we explore June Millington’s “Thinking of You” and Nickey Barclay’s “A Little While Later” both are from Fanny’s second album “Charity Ball”. Alice also shares a bit more from her journal! Alice, Kristen, and Byron are joined by guitarist June Millington and road manager Jim Segrave via prerecorded interviews. 

Episode 31! In this episode, we explore the two songs Fanny recorded with Barbra Streisand for her “Barbra Joan Streisand” album in 1971. We listen to two tracks that Fanny recorded live with Streisand in the studio, “Where You Lead” and “Space Captain”.  Alice, Kristen, and Byron are joined by Jean and June Millington via prerecorded interviews.  From Fanny fan Applescruff: “It’s hard to think of a better backing band for Barbra Streisand than Fanny and Billy Preston. And Richard Perry did no harm with his tambourine. Much more understated than a mariachi band, after all. 😁 Perry’s production is mostly pretty slick on this track, at least in my headphones. Jean’s effortlessly breezy bass, June’s bright and bendy guitar, Nickey’s ferocious attack on the piano keys, Alice’s dynamic drums (which should have been mixed higher), and the band’s soulful backing vocals really provide incredible support for Streisand, whose voice works surprisingly well for rock and roll. I only learned recently that Billy Preston was playing organ; I thought it sounded like Nickey playing! That’s high praise for both of them, if they sound like one another. I hold both in high esteem. All in all, the song slaps! Carole King’s original is terrific, but the Babs/Fanny collaboration kicks it into a higher gear, which it deserves. The sentiment behind it may be a little cornball, but it’s catchy as hell and all involved should be proud.”

Episode 29! In this episode Alice and Kristen are on the road to the premiere of the Fanny documentary “Fanny: The Right To Rock” so we are doing something a little different for this podcast! Have a listen to see what surprises we have in store for you all!