It's amazing that this four-CD box set exists in the first place, considering not only that
Fanny never had a Top 100 album, but that they've never had a particularly big cult following either. But here it is, albeit in a limited edition of 5,000 (sold in North America only). And all the stops were certainly pulled to assemble material, including not only all four of their early-'70s Reprise albums, but dozens of extras, many of them unreleased. Non-LP singles, single-only versions, home and studio demos (the earliest of them dating from July 1969, when they were still known as
Wild Honey), alternate versions, outtakes: they're all here. Plus there's more: the tracks on the Canadian version of their debut album (which included three alternate versions never released elsewhere, as well as some cuts that only came out in the U.S. as non-LP singles) that didn't make it onto the U.S. configuration; seven songs from an April 1973 Philadelphia concert; four tracks from a live April 1972 Cleveland performance; six cuts from a demo session for the Mother's Pride album; even four Reprise radio commercials. Not to mention a 52-page booklet with extensive interview quotes from
June Millington,
Jean Millington, and
Alice de Buhr. By definition any serious fan of any act is going to be pleased with such thoroughness. But all the bells and whistles don't act as convincing evidence that
Fanny were any more than an ordinary, at times mundane, early-'70s rock band, leaving aside their pioneering status as an all-woman group on a major label that played their own instruments and wrote most of their material. The loads of non-LP and unreleased material aren't all that different than from what ended up on the four proper albums, though sometimes they show a more explicitly soul direction, as on the cover of
Maxine Brown's "One Step at a Time" and the unreleased take of
the Supremes' "Back in My Arms Again." The live recordings do prove that the band could rock convincingly and tightly on stage, and the fidelity on those is decent, though on the Cleveland cuts in particular it probably wouldn't have been judged up to release standard. Some of the demos are a mite folkier and more singer/songwriter-oriented than the albums, though that might be due more to the more basic arrangements than the material. Note that this doesn't include absolutely everything
Fanny did; there's nothing from their post-Reprise album for Casablanca, and an archival live album of 1972 stuff done in Cleveland contains music not on this box. ~ Richie Unterberger