In episode 24 we delve deeper into the history of Fanny being signed by producer Richard Perry, and we discuss two great Fanny covers, the rare recording of “Nowhere To Run” and from the first album, “It Takes a Lot of Good Lovin'”.  Alice, Kristen, and Byron are joined by Jean and June Millington, and Fanny’s head roadie, Jim Seagrave via pre-recorded interviews. From UFO Ann B.: Hi Fab Fanny Friday Podcasters I hope this finds you all well and busy collaborating on the next podcast – episode 24. I thought, as you had mentioned the titles you were to be analysing in the forthcoming broadcast, I’d throw in my ha’penny’s worth (as a mere novice and very amateur musician, so amateur that listening to these podcasts has inspired me to take up my guitar, and play, just like yesterday, after nearly 50 years) and see how my thoughts compare to yours. Firstly may I say I’m a fan of both tracks and I really like, and appreciate Fanny’s influence in making them their own. From what I could find, ‘It takes a lot of good loving’ was originally on the STAX label (‘It takes a lotta good love’ by Judy Clay), which, I believe tended to publish raw, authentic soul music, with a very blues and gospel sound and was produced by Issac Hayes and David Porter. On Fanny’s version, which to me feels more like the original than the second of the two tracks, I like the intro, the good beat and funk element. The music feels more balanced and rounded than the STAX version due to a more audible bass line. I imagine this track added to an incredible atmosphere to live performances and gave Fanny the opportunity to open up and ad lib with an appreciative, engaged audience. An early version of ‘Nowhere to Run’ was by Martha and the Vandellas, on the Motown label, which – compared to STAX, I think produced more refined ‘pop’ soul and R&B records. Fanny’s version doesn’t sound at all Motown to my ears – in my view their arrangement is far more from the rock angle and Alice’s drums give a distinct, positive sound. Again a great version for live performances especially with ad lib potential. The harmonies work well along with the beat and a catchy ‘chorus’ is a plus.. The difference, from what I have deduced (after a bit of unprofessional Google research) is that Motown songs were written by songwriters and producers, while STAX tracks were created by performers and arranged in the recording sessions. I’m sure you will put me right and I await your professional musical thoughts and judgement Podcasters. Looking forward to the next instalment, as always, and the analysis from ‘the pros’ as well as the engaging insight to the hows and whys of these two Fanny covers. Many thanks to the podcasters for all your hard work – as a listener, it’s very much appreciated and a great dip back to the music of my teenage years and the seventies. With all best wishes Ann NOTE: These podcasts will be produced once every two weeks.