![Fanny's Guitarist Discusses the Impact of "Let It Be" on Her Gear Setup]](https://backingtracksfullcollection.com/wp-content/uploads/2026/03/Fannys-Guitarist-Discusses-the-Impact-of-Let-It-Be-on-758x426.jpg "Fanny's Guitarist Discusses the Impact of \"Let It Be\" on Her Gear Setup] 1")
In the 1970s, Fanny – led by sisters June and Jean Millington on guitar and bass, respectively – broke the mold as the first all-female band to sign to a major label, Reprise Records – a Warner Bros. Records subsidiary that also housed acts like Jimi Hendrix and Fleetwood Mac.
Their pioneering approach also extended to their gear. June famously incorporated a Leslie speaker into her rig, after her original idea – that of using her Gibson ES-355’s stereo feature – didn’t quite work out.
“I am deaf in one ear,” she tells Guitar World. “That’s why I’m always on the left side of the stage. I even tried to play it through two amps.”
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The Leslie, designed by Don Leslie in the late ’30s, is a speaker cabinet that creates a swirling, moving sound by physically rotating its speakers. When used as part of a guitar rig, the player can then control it with an external switch or pedal that alternates between high- and low-speed settings, creating a truly distinctive sonic texture.
She continues, “I went right out and told our roadies we had to create my rig to include playing through a Leslie. What I would do is, I had a pedal, and I could turn it on, and I could vary the speed also.
“So I did have two amps on stage. I had my Fender, and I had that Leslie, and nobody else was doing that at the time. That Leslie was heavy, but we carried it everywhere.”
Guitar World’s interview with June and Jean Millington from Fanny will be published in the coming weeks.
And, speaking of the connection between Fanny and The Beatles, June recalls how the Fab Four turned out to be fans – and how the band ended up recording with seminal Beatles engineer, Geoff Emerick.
