Gun - Gun (Reissue, Limited Edition) (1968/1989)

"Gun", the 1968 model, was called the most promisingly loud and original group of Great Britain, the "conservative version" of "Cream". All the musicians of this virtuoso trio (Adrian Curtis - solo guitar, Paul Curtis - bass, vocals and Luis Farrell - percussion) were with classical music education and neoclassical corrupt education. While most of the swinging London was crazy for its rambling and abstruse psychedelia, Gun tried to bring the power of hard rock polyphony to listeners, following the mighty backs of Cream and Jimmy Hendrix.

"Everything we did on our first album, Cream, was developed on the studio part of" Wheels Of Fire ", Adrian recalls, not without sadness." We cooked in the same cauldron (at one time Paul was going to take "Cream" as a vocalist) and therefore it is meaningless after so many years to discuss who, from whom, and what is creatively borrowed. "

"We are one of the first truly fatal teams," Louis Farrell said, not without pride. "I'm not talking about rock 'n' roll, do me a favor ... I mean hard rock. We expressed it often in strange forms, using choral groups on backing vocals, making symphonic insertions ... And when we were recording "Race with the Devil", the walls of the CBS studio were shaken by the work of our rhythm section. "

The design of the envelope of the debut album "Gun" (a collection of hideous monsters and each creature in pairs) corresponded more to some death metal team than the music of the hairy offspring of intelligent hippy families. Against the background of general joy and acidic euphoria, gloomy faces, black leather jackets "Gun" for a long time did not fit into vinyl rivers and chart beaches. They were noticed by Tony Hall, the "gray music cardinal" of Britain, the marriage agent of all little known metal companies, who let through all of their meat grinders all supposedly commercially unsuitable.

The real name of Curtis - Hurwitz - Tony Hall asked to replace, saying that if in America Ginsberg is in the order of things, then in Britain, to match the music and the requirements of the English show-biz, one must find something decisive and colonial.

After the release of the first "vinyloreza" about "Gun" everyone started talking to whom not laziness. Paul Curtis' sarcasm, arrangements for each of the eight compositions, instrumental skills allowed critics to talk about them as the main rivals of "Cream" on the British stage. "Race With The Devil" entered the Top10. In the same place was "Yellow Cab Man". The instrumental roll call in the twelve-minute "Take Off", the pseudo-classical "Ruperts Travels" and "The Sad Saga About the Boy and the Bee" could also be there if ...