Millington was the founder of the music groups the Svelts and Wild Honey, before becoming co-founder and lead guitarist of the all-female rock band Fanny, which was active from 1970 to 1974. Millington has been called "a godmother of women's music",[1] and is the co-founder and artistic director of the Institute for the Musical Arts (IMA) in Goshen, Massachusetts.
Early life
June Elizabeth Millington was born in Manila, the Philippines, on April 14, 1948, the eldest of the seven children of Filipina socialite[2] "Yola" Yolanda Leonor Limjoco Millington (born February 10, 1922, in Lian, Batangas, the Philippines; died December 19, 2002, in California, U.S.),[3][4][5][6] and former United States NavyLt. Commander John "Jack" Howard Millington (born September 18, 1915, in Burlington, Vermont; died June 24, 1980, in Bristol, Vermont).[7][8][9] He had graduated from the United States Naval Academy in 1939,[10] and was a son of Professor Howard G. Millington, a noted folklorist.[11][12] June Millington's parents were married in Manila in May 1947,[6] and divorced in California in March 1970.[13] Millington is the older sister of bassist Jean Y. Millington Adamian (born May 25, 1949, in Manila), Richard J. Millington, Stephen H. Millington, James E. Millington, David S. Millington, and Sylvia F. G. Millington Lyons.[6]
Philippines
Jack and Yola Millington and their children lived luxuriously [5] with Yola's parents Angel Limjoco and Felisa Limjoco (née Lejano) in various Manila locations until they moved to the United States in 1961, including at 56 R. Pascual Street, San Juan (then part of Rizal province); in the Wack Wack Golf and Country Club in Mandaluyong; near the old American School in Pasay; and on N. Domingo Street, San Juan;[14] and for several months just before they emigrated at the Howell Compound in Quezon City. Additionally, during 1953, Millington and her family lived for a year in Baguio with her grandparents.
At the age of eight, Millington began playing piano to entertain her family,[15] and later listened to music on the radio and attempted to play along on ukulele.[14][16][17] Her family encouraged her to sing and play ukulele at gatherings.[9]
Millington and her siblings attended The American School, then located in Donada Street in Pasay in Manila,[14] where she later recalled: "the racism we encountered at the American School was crushing."[18] By 1960 Millington transferred to the Assumption Convent school located in Makati, Metro Manila.[19] Early in 1961, when Millington was in the seventh grade,[20] she heard a girl play the guitar, which jump-started her interest in the instrument.[21][22]
On her 13th birthday, Millington was given a small, hand-made, mother-of-pearl inlaid guitar by her mother.[22]
United States
Three weeks later, in May 1961, the Millington family left the Philippines for the United States on the SS President Cleveland.[23] While on board ship, Millington switched from playing the ukulele to acoustic guitar. On June 22, 1961, the Millington family arrived in the U.S.,[16] and then settled in Sacramento, California.
Millington recalled: "We always felt like "other", never quite fitting in, both in Manila and Sacramento. Being both biracial and bicultural was a really really tough slot in the '50s into the '60s, our formative teenage years."[24] In an attempt to become more popular and make friends, in 1962, Millington and her sister Jean wrote their first song "Angel in White",[16] followed by "Miss Wallflower '62", which they sang with two other girls on their ukuleles at their junior high school variety show.[22][25] Millington recalled that afterwards, "Kids started coming up to us and telling us they liked it. So it dawned on us this was a way to make friends."[25] In 1962, Millington and her sister Jean began to sing folk songs together as an acoustic duo at hootenannies and similar events,[21][26] including the songs of Peter, Paul and Mary and other artists featured on the television program Hootenanny.[22]
Later in 1962, Millington and her sister Jean enrolled in the class of 1966 at C. K. McClatchy High School. During 1963, Millington was a member of a YWCA conference group of senior high school students chosen to visit the California State Legislature.[27] While students at McClatchy, the Millington sisters formed a band with Zenaida "Zenny" Prodon (born June 1949) (Class of 1965), an American Field Service exchange student from Meycauayan Institute High School (now Meycauayan College) in Meycauayan, Bulacan, Philippines.[28]
Musical career and biography
June (pictured left) with Jean Millington in 2011
1965–1968: The Svelts
With her mother's assistance, but against her father's wishes,[29]:17,76 in late 1964, Millington switched from acoustic guitar to electric guitar and bass[21] after a girl from another school who played drums [Kathy Terry] asked if Millington and her sister Jean would like to start a band. Millington recalled in 2013:
We were like, "Yeah, okay!" My dad took me to a pawn shop and got me a Sears Roebuck guitar with a little matching amp. That was my first rig–a complete and total thrill. Jean and I flipped a coin to see who would play bass in the band. (laughs) I won, so I got to stay on guitar. We learned to play by listening to the radio and by hanging out with boys who were in bands. We were 15 or 16 at the time.[22]
By early 1965,[9] Millington and her sister Jean formed The Svelts, an all-female rock band, with June on rhythm guitar, Jean on bass, Kathy Terry on drums, and Cathy Carter on guitar.[30][31]:121 According to Millington, the band's name, "came from a word my brother had just learned in school. To be svelte: thin, lithe. It sounded like what we wanted to be, kinda classy!"[32] The Svelts rehearsed initially in Terry's living room in Sacramento.[33] Managed and promoted by Richard "Dick" Leventon (born January 4, 1938; died September 30, 1991), The Svelts performed at sock hops, air force bases, and frat parties and gradually built a following.[30] In November 2012, Millington recalled:
Was it hard? Hell, yeah. Girls weren't supposed to go electric, so the resistance was incredible at first. Was it fun? You bet. By keeping our grades up at school, we began to lead successful double lives as Philippine-American girls by day, budding rockers at night, except we didn't do rock as much as we did girl group songs and Motown, which meant "He's So Fine" and "Heatwave," with "The Night Before" and "You Really Got Me" thrown in. If people danced to it, we did it. They were all great songs to cut your teeth on and learn compositionally.[34]
Later, Terry was replaced on drums by Filipino American Brie Berry (born August 9, 1949),[34] who was a student at Folsom High School (class of 1967). Before their senior year, Millington and her sister Jean performed during the summer of 1965 as a duo. In September 1965, they copyrighted their song "Footloose and Fancy-Free".[35]
After graduation from high school in 1966, Millington enrolled at the University of California, Davis, where, hoping to become a surgeon,[9] she majored in premedical studies with a minor in music.[36][9] However, after a year, Millington decided to suspend her studies to focus on her musical career.
After a number of personnel changes, including five different drummers, the Millington sisters were joined in 1968 by lead guitarist Adrienne "Addie" Lee Clement (from the Palo Alto band California Girls), recent graduate of Cubberley High School; and drummer Alice Monroe de Buhr (born September 4, 1949, in Mason City, Iowa),[34] who had moved to California at age 17, after the divorce of her parents,[37] in search of fame and fortune.[2] In this four-piece configuration, the Svelts gigged around the West in a renovated Greyhound bus, mainly playing cover songs. By early 1967, the Svelts (Millington, Wendy Haas, Brie Berry, and Jean Millington) had a band house in Los Altos, where they lived and rehearsed.
In 1967, Millington enrolled at the University of California, Berkeley, where she continued her premed studies for two quarters.[36][9] However, after playing in clubs on the US West Coast and Nevada, Berry, who had married Michael Brandt, left the band because of pregnancy,[31]:121 and subsequently became the mother of Brandi Angela Brandt (born November 2, 1968, in Santa Clara, California).
1968–1969: Wild Honey
While Millington attended classes, Clement and de Buhr toured as the Svelts, but later decided to rename the band Wild Honey, and gigged briefly in the Midwest before returning to California.[2] In 1968, Clement and de Buhr invited Millington and her sister Jean to join Wild Honey.[26] Consequently, Millington decided to terminate her university studies to become a full-time musician.[26][31]:121 Wild Honey played folk songs, Motowncovers, and some of their own songs,[31]:121 and played with Creedence Clearwater Revival, the Youngbloods, and the Turtles at fairs and private parties, and auditioned at the Fillmore West with the Doors.[33]
Hoping to secure a recording contract, in April 1969, Wild Honey relocated from Sacramento to Los Angeles to "either sign with a label or go back to school." However, frustrated by "playing all nasty inappropriate little gigs, suffering all the demeaning little scams",[5] and by a lack of success or respect in the male-dominated rock scene, Wild Honey decided to disband after one final open mic appearance at Doug Weston'sTroubadour Club in West Hollywood in 1969.[9] They were spotted at this gig by the secretary of producer Richard Perry, who had been searching for an all-female rock band to mentor.[37] Perry convinced Warner Bros. to sign the band to their Reprise Records subsidiary.[2] After Addie Clement left the band, Millington became the lead guitarist,[33] taking a year to learn to play lead guitar.[22] While searching for a fourth member for the band, Wild Honey recorded in various studios with an assortment of women, including former Svelts drummer Brie Berry Brandt.[22]
Later in 1969, the band was renamed Fanny to denote a female spirit,[38] although it was a deliberate double entendre.[39] Before recording their first album, In January 1970 keyboardist Nicole "Nickey" Barclay,[38] was added to the Fanny lineup.[40] Millington was the lead guitarist in Fanny with her sister Jean on bass, de Buhr on drums, and Barclay on keyboards.[2] The band lived in a Spanish style house they christened "Fanny Hill" on Marmont Lane overlooking the Sunset Strip in West Hollywood.[41] However, in March 1970, Barclay left Fanny to be a member of Joe Cocker's hastily organized Mad Dogs & Englishmen seven-week tour of the U.S.,[38] but rejoined Fanny reluctantly after that tour concluded in May 1970.[42][43] Their first big gig as Fanny was at the Santa Monica Civic Auditorium with the Kinks and Procol Harum.[33]
Fanny was the first all-female rock band to release an album on a major label. They eventually released five albums and achieved two top-40 singles on the Billboard Hot 100.[44] The band has long been considered pioneers and are highly respected by later all-women rock groups like The Go-Go's and The Runaways.[citation needed] In 1999 Fanny fan David Bowie said that Fanny was "extraordinary... they're as important as anybody else who's ever been, ever; it just wasn't their time."[38]
Because of tensions within the band,[31]:128 including frequent disagreements with Barclay over their conflicting musical preferences,[42] and soon after having a nervous breakdown "because of the pressures of touring, recording, coping with success, maintaining success, and maintaining a certain image in the boy-defined rock world",[29]:95–96 Millington left Fanny after their fourth album Mothers Pride was released in February 1973. Millington was replaced as lead guitarist in March 1974 by Patti Quatro (born Patricia Helen Quatrocchio on March 10, 1948, in Detroit, Michigan),[47] sister of Suzi Quatro, and former member of all-female bands The Pleasure Seekers and Cradle.[48] Thirty years after her breakdown, Millington summarized: "Instead of carrying it all, I just fell apart."[29]:96 In 2008, Millington revealed in an interview:
I was just so intent on my mission to do music come hell or high water that I was missing a lot of the subtleties of life—which is why I'd left Hollywood. I had intuited that I was in trouble and I had to leave—which was very difficult. It was hard to leave that whole scene, it was hard to leave rock 'n' roll in that way, it was hard to leave the band that we had worked so hard to establish, it was hard to leave my sister. But I was falling apart.[15]
1973–1975: Smiles and women's music
After she left Fanny in 1973,[49][50] Millington moved to Peconic, New York, on Long Island, and soon after to her recently purchased farm on Mead Mountain, Woodstock, New York, to focus on her songwriting and spiritual development.[31]:128[16] Soon after, Millington started a solo career in New York, where she eventually became the lover of musician Jacqueline "Jackie" Robbins (born circa 1950),[51] who played bass guitar, cello, and bass.[15][17] Millington and Robbins played together, but she also regularly played with other bands such as Randall's Island and Sha-Na-Na. Millington recalled in November 2012:
I jammed with whomever whenever I could, as that was part of what I'd felt was missing from my life. Most people don't realize how many women players there were in New York at that time. There were a lot, funky too, and serious about playing; they'd be practicing all the time.[34]
About 1973, Millington formed a band called Smiles in New York, which also included percussionist Padi Macheta.[52] In 1975, Millington worked in New Orleans as a guest musician on the Allen Toussaint-produced album Ain't No Stopping Us Now by the all-female jazz fusion band Isis that had been founded by Ginger Bianco and Carol MacDonald, who had both been in pioneer all-female band Goldie & the Gingerbreads.[34]
After a period of rest and renewal, in 1975, Millington began a musical association with Cris Williamson through her friendship with Robbins.[15] Through Williamson's influence, Millington became involved in the burgeoning women's music movement[53][54] (often code for lesbian music).[29]:33 In the winter of 1975, both Millington and Robbins traveled to Los Angeles to play on Williamson's The Changer and the Changed: A Record of the Times,[52][29]:96[55] which would become the definitive work of the genre.[16][56] Millington headlined major women's music festivals for decades.[57]
1975–1976: Fanny/ L.A. All-Stars
Due to the chart success of Fanny's song "Butter Boy", which became their biggest single, reaching number 29 on the Billboard Hot 100 on April 5, 1975,[58][59][60] the Millington sisters put together a new line-up of Fanny for a short tour, which also included former Svelts drummer Brie Howard, keyboardist Wendy Haas (born August 9, 1949) (formerly of pioneer all-female band The Freudian Slips of Atherton, California),[61][62] and percussionist Padi Macheta. This incarnation of Fanny played none of the older Fanny songs. This group ultimately morphed into a new all-women band called the L.A. All-Stars, which, by 1976, had generated some interest from record labels (including Arista),[63] but with the stipulation that the band tour as Fanny and play only old Fanny songs, which Millington opposed.[2][64] In 1976, Millington and the members of the L.A. All-Stars provided backing vocals on Lee Garrett's song "You're My Everything" that reached number 15 in the UK.[65][66]
In 1977, June and Jean Millington reunited as a duo called Millington, and recorded Ladies on the Stage (1978) for United Artists.[72] June Millington was also featured on the 1977 compilation album Lesbian Concentrate: A Lesbianthology of Songs and Poems (Olivia Records LF 915) that was a response to the antigay Save Our Children campaign of Anita Bryant.[73][74] In 1978, Millington and Robbins collaborated with Williamson on the album Live Dreams, which was a live album of recorded performances, featuring Millington on drums and guitars and Robbins on bass and cello.[75]
1980–1993: Solo albums, Fabulous Records, and personal life
In early 1980, Millington started working on her debut solo album, Heartsong, a soft-rock folk album, and toured to support the album.[55]
By August 1981, Millington had moved to the Bay Area,[76] and had separated from Robbins, with Robbins briefly becoming the partner of Cris Williamson.[51][77][78] In 1981 Millington started her own record label, Fabulous Records,[79] a subsidiary of Olivia Records.[80] Through most of the 1980s, Millington toured as a solo artist, promoting her albums released on Fabulous Records:[81]Heartsong (1981), Running (1983), and One World, One Heart (1988).[82]
In 1981 Millington produced activist Holly Near's "Fire in the Rain" album for Redwood Records.[69]
In 1984, Millington moved briefly to Kurtistown, Hawaii, where her youngest brother David lived, and wrote songs for her album One World, One Heart.[15] In an effort to deepen her understanding of Tibetan Buddhism, in the autumn of 1984 Millington started following the Dalai Lama around.[citation needed]
I lived with her at the college for two years and learned a lot about institutional thinking.[34]
Millington's 1993 solo release, Ticket to Wonderful, synthesized a 30-year exploration of musical styles and sounds – which began with folk and rock and journeyed through funk, reggae, salsa, pop, and world beat.[citation needed]
Since 1999
As of 1999, the Millingtons had formed a six-person band,[31]:123 the Slammin' Babes,[41] that released an album Melting Pot in August 2001.[84] The Slammin' Babes continued to perform until mid-2006.[85]
In 2002, Millington was featured in and was also the associate director of Radical Harmonies, a documentary about the history of women's music directed by Dee Mosbacher.[86] Millington was co-composer (with Lee Madeloni) for the 2009 documentary The Heretics, the inside story of a pivotal force in the "second wave" of the Women's Movement written and directed by Joan Braderman.[87]
Play Like a Girl, Millington and her sister Jean's most recent album, was released in August 2011 on Fabulous Records.[88] Millington explained its purpose:
When we started out in 1965, we 'played like a girl'. With this album, we're reclaiming that phrase and making it a statement of power and vision. It's a gift to still be rockin' out, while teaching the next generation how to find their own voices through music.[89]
In February 2013, Millington and fellow Fanny alumni Alice de Buhr and Jean Millington re-recorded two Fanny classic songs for a documentary entitled Feminist: Stories from the Women's Liberation 1963–1970.[22]
Millington plays Jane Wong, bassist and singer in an all-female band in the 2015 independent feature film SUGAR!, which was written by Leora Kalish and directed by Shari Berman. Starring Alice Ripley and Robert Clohessy, the film tells the story of the housewife of a Republican candidate for U.S. Senate, who secretly forms an all-women rock band.[92][93]
The 2021 documentary Fanny: The Right to Rock presents a history of Fanny from their origins through Fanny Walked the Earth.[94][95]
Institute for the Musical Arts
In 1986, Millington and Hackler founded the Institute for the Musical Arts (IMA) in Bodega, California.[96] The IMA received its nonprofit status in 1987, and operated its studio and programs from the historic Old Creamery in Bodega until 2001, when a 25-acre permanent property was purchased in Goshen, Massachusetts.[97][98] The IMA's nonprofit mission is to support women and girls in music and music-related businesses. Rooted in the legacy of progressive equal rights movements, IMA's development is guided by the visions, needs, and concerns of women from a diversity of backgrounds.[99] Its programs including a Rock 'n Roll Camp for Girls, and workshops on vocal and instrumental instruction, album production and recording techniques, lyric and music composition, and booking, promotion, and entertainment law.[100]
Awards and recognition
Millington has been highly regarded for her work on behalf of women musicians and the LGBT community.[101][102][103][104] Millington indicates that when she was 20 years old she knew she was a lesbian, and that while "everybody" associated with the band Fanny knew,[105] at that time "you didn't talk about it",[29]:95 and it was not featured in the promotion of Fanny.[105][106]
In 1996 the Audio Engineering Society honored Millington with its Lifetime Achievement award, and also presented Millington the first AES Women in Audio 'Granny' award along with Suzanne Ciani.[98] In 2000, the Bay Area Career Women gave her their LAVA award for being a "legend of women's music".[107] In 2005, Millington received the Outmusic Heritage Award[108][107] and in 2007 she, along with the other members of Fanny, received the ROCKRGRL Women of Valor Award[109] from magazine founder Carla DeSantis Black, Berklee College of Music and ROCKRGRL magazine.
In February 2016, there was a pop-up gallery multimedia retrospective of Millington's life and career called "Play Like a Girl".[110] Hosted in an empty storefront in downtown Northampton, Massachusetts, this gallery featured photographs, instruments, records, and other rock n' roll memorabilia from throughout Millington's life. This retrospective was inspired, in part, by the May 2015 publication of Millington's autobiography, Land of a Thousand Bridges: Island Girl in a Rock and Roll World.[111]
"Changing Horses" (Barclay) / "Conversation With a Cop" (Barclay) (1971; Reprise Records 0963)
"Conversations With a Cop" (Barclay) / "Come and Hold Me" (June & Jean Millington) (1971; Reprise Records 963)
"Charity Ball" (De Buhr, June & Jean Millington) / "Place in the Country" (Barclay) (US: 1971; Reprise Records 1033) (UK: 1971; Reprise Records K 14109) US Charts #40[58]
"Ain't That Peculiar" (Moore, Robinson, Tarplin, White) / "Think About the Children" (Millington) (US: 1972; Reprise Records REP 1080) (UK: 1972; Reprise Records K 14165) (Germany: 1972: Reprise Records REP 14165)
"Young & Dumb" (Ike Turner) / "Knock On My Door" (Barclay) (US: 1973; Reprise Records REP 1119) (UK: 1973 Reprise Records K14217) (Germany: 1972 Reprise Records REP 14 207)
The Breeders are an American alternative rock band based in Dayton, Ohio, consisting of members Kim Deal, her twin sister Kelley Deal, Josephine Wiggs and Jim Macpherson (drums).
Fanny was an American rock band, active in the early to mid 1970s. They were one of the first all-female rock groups to achieve critical and commercial success, including two Billboard Hot 100 Top 40 singles.
An all-female band is a musical group in popular music that is exclusively composed of female musicians. This is distinct from a girl group, in which the female members are solely vocalists, though this terminology is not universally followed. While all-male bands are common in many rock and pop scenes, all-female bands are less common.
"Under My Thumb" is a song recorded by the English rock band the Rolling Stones. Written by Mick Jagger and Keith Richards, "Under My Thumb" features a marimba played by Brian Jones. Although it was never released as a single in English-speaking countries, it is one of the band's more popular songs from the mid-1960s and appears on several best-of compilations, such as Hot Rocks 1964–1971. It was included as the fourth track on both the American and United Kingdom versions of the band's 1966 studio album Aftermath.
Two Sides of the Moon is the only solo studio album by the English rock musician Keith Moon, drummer for the Who. It peaked at No. 155 on the Billboard 200. The album title was credited to Ringo Starr. Rather than using the album as a chance to showcase his drumming skill, Moon sang lead vocals on all tracks, and played drums only on three of the tracks, although he played percussion on "Don't Worry Baby". The album features contributions from Ringo Starr, Harry Nilsson, Joe Walsh of the Eagles, Jim Keltner, Bobby Keys, Klaus Voormann, John Sebastian, Flo & Eddie, Spencer Davis, Dick Dale, Suzi Quatro's sister Patti Quatro, Patti's bandmates from Fanny Jean Millington and Nickey Barclay, and future actor Miguel Ferrer.
Barbra Joan Streisand is the thirteenth studio album by American singer Barbra Streisand, released in August 1971 on Columbia Records. It was her second consecutive album produced by Richard Perry and features backing work by members of the female band Fanny. Like the two previous studio albums, the singer continued to opt for a more contemporary repertoire, this time choosing three songs by Carole King, two by John Lennon, two by Burt Bacharach and Hal David in medley form, one each by Laura Nyro and the trio Michel LeGrand, Marilyn Bergman and Alan Bergman, and one by Donald Fagen and Walter Becker, who would go on to form Steely Dan.
Teresa Trull is an American female singer, musician, songwriter, and record producer from Durham, North Carolina. She is recognized as a pioneer in Women's music, with her debut album The Ways a Woman Can Be released on Olivia Records in 1977.
Linda "Tui" Tillery is an American singer, percussionist, producer, songwriter, and music arranger. She began her professional singing career at age 19 with the Bay Area rock band The Loading Zone. She is recognized as a pioneer in women's music, with her second solo album titled Linda Tillery released on Olivia Records in 1977. In addition to performing, she was the producer on three of Olivia's first eight albums. Within the women's music genre, she has collaborated with June Millington, Deidre McCalla, Barbara Higbie, Holly Near, Margie Adam, and others. Tillery was nominated for a Grammy Award in 1997 for Best Musical Album for Children.
Brie Howard-Darling is an American drummer, singer, percussionist, and songwriter of Filipino and European descent. She has recorded with such recording artists as Carole King, Ringo Starr, ELO, Keith Moon, The Temptations, Jimmy Buffett, Melissa Manchester, Janiva Magness, and Glen Campbell. She has toured extensively with Martin Mull, Kiki Dee, Jack Wagner, Bruce Willis, Robert Palmer, Carole King, Jimmy Buffett, Robbie Nevil, and Duran Duran. She has been a band member of Fanny, American Girls, Boxing Gandhis, Fanny Walked The Earth, and Cherie Currie & Brie Darling.
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Olivia Jean Markel White is an American singer, songwriter, and multi-instrumentalist. She is known as the lead singer and guitarist of the all-female garage-goth rock band the Black Belles.
Women in rock describes the role of women singers, instrumentalists, record producers and other music professionals in rock music and popular music and the many subgenres and hybrid genres that have emerged from these genres. Women have a high prominence in many popular music styles as singers. However, professional women instrumentalists are uncommon in popular music, especially in rock genres such as heavy metal. "[P]laying in a band is largely a male homosocial activity, that is, learning to play in a band is largely a peer-based... experience, shaped by existing sex-segregated friendship networks. As well, rock music "...is often defined as a form of male rebellion vis-à-vis female bedroom culture."
Mark Goldenberg is an American guitarist and songwriter, noted for his session work and composition of successful songs for Linda Ronstadt, the Pointer Sisters, and others.
Nicole Barclay is an American singer, songwriter and musician. She was a member of the all-female rock group Fanny and has collaborated with Joe Cocker, Barbra Streisand and Keith Moon.
Fanny Hill is the third studio album by American rock band Fanny, released in February 1972 by Reprise Records. It was recorded at Apple Studios in London and reached No. 135 on the US Billboard 200 charts. A single from the album, a cover of Marvin Gaye's "Ain't That Peculiar", became a minor hit, peaking at number 85 on the US Billboard Hot 100. It is named after Fanny Hill, a 1748 erotic novel which was, in the 1960s, repeatedly prosecuted and republished.
Charity Ball is the second studio album by the American rock group Fanny, released in July 1971 on Reprise. The album's title track became the group's first top 40 hit.
Fanny is the debut album by the American rock group Fanny, released in December 1970 on Reprise.
Mothers Pride is the fourth studio album by American rock band Fanny, released in February 1973 on Reprise. Produced by Todd Rundgren, it was the band's last album to feature original members June Millington (guitar) and Alice de Buhr (drums), and their final album for Reprise.
Rock and Roll Survivors is the fifth and final studio album by American rock band Fanny, released in 1974 on Casablanca Records. The album marked the only appearances by guitarist Patti Quatro and drummer Brie Howard, who replaced original members June Millington and Alice de Buhr. Produced by Vini Poncia, it was the band's only album for Casablanca. The album features the band's highest charting single "Butter Boy".
Fanny Walked the Earth is a 2018 studio album by a reformed version of American rock band Fanny named Fanny Walked the Earth. It has received positive reviews from critics.
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↑ "about_us". Ima.org. Archived from the original on January 6, 2021. Retrieved January 17, 2021.
↑ Reebee Garofalo, Rockin' out: popular music in the USA (2008), pp. 253-254. Garofalo describes Millington's career going from Fanny to women's music, record producer, and session player for Olivia Records.
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