Previously a noted shinty player and sprinter, Ferguson joined Vale of Leven in 1872. He was part of their great team which won the Scottish Cup three times in 1877-79. One year, after doing so, they travelled down to England and beat Wanderers F.C., the FA Cup winners. Although an important game in a way, the match was not advertised, and they had not decided beforehand whether to use the Scottish or English throw-in rule.

He played for Scotland six times (three times each against England and Wales) and scored a total of six goals, briefly holding the record for the most goals scored for Scotland. He was only the second player ever to score a hat trick for Scotland (against Wales).

In later years he ran a pub in Kilmarnock.ohn Ferguson, sometimes known as Johnny or Jake, (1848 in Alexandria, West Dunbartonshire-6 September 1929) was a football player for Vale of Leven F.C. and Scotland, in the very early days of Scottish football in the 1870s.

Previously a noted shinty player and sprinter, Ferguson joined Vale of Leven in 1872. He was part of their great team which won the Scottish Cup three times in 1877-79. One year, after doing so, they travelled down to England and beat Wanderers F.C., the FA Cup winners. Although an important game in a way, the match was not advertised, and they had not decided beforehand whether to use the Scottish or English throw-in rule.

He played for Scotland six times (three times each against England and Wales) and scored a total of six goals, briefly holding the record for the most goals scored for Scotland. He was only the second player ever to score a hat trick for Scotland (against Wales).

In later years he ran a pub in Kilmarnock.ohn Ferguson, sometimes known as Johnny or Jake, (1848 in Alexandria, West Dunbartonshire-6 September 1929) was a football player for Vale of Leven F.C. and Scotland, in the very early days of Scottish football in the 1870s.

Previously a noted shinty player and sprinter, Ferguson joined Vale of Leven in 1872. He was part of their great team which won the Scottish Cup three times in 1877-79. One year, after doing so, they travelled down to England and beat Wanderers F.C., the FA Cup winners. Although an important game in a way, the match was not advertised, and they had not decided beforehand whether to use the Scottish or English throw-in rule.

He played for Scotland six times (three times each against England and Wales) and scored a total of six goals, briefly holding the record for the most goals scored for Scotland. He was only the second player ever to score a hat trick for Scotland (against Wales).

In later years he ran a pub in Kilmarnock.

as it emerges at speed from a tunnel. Whilst the whistle pig/groundhog (day) reference explores cycles of repetition beyond episodic improvisation, emphasising the value of revisiting and re-appropriating a previous moment. John configures the electric guitar as a site for multiple simultaneous points of interaction and queries the iconic cultural status of his instrument via feet, fingers and feedback. Robert crunches, growls and smashes both John's live sampled sound as well as his private stack of industrial bits and organic beats.Wide and disjointed, blending a fractured pulse with dynamic texture, this is an immersive and disorientating music; sometimes subtle, often invasive, always close. In capturing a moment and inscribing agency, the motionblur of the cover art offers a suitable metaphor for this duo's musical interactions. Live sampled source sounds are gesturally manipulated and reworked within open ended narratives, sounding like an air whistle blasting out from an old steam locomotive as it emerges at speed from a tunnel. Whilst the whistle pig/groundhog (day) reference explores cycles of repetition beyond episodic improvisation, emphasising the value of revisiting and re-appropriating a previous moment. John configures the electric guitar as a site for multiple simultaneous points of interaction and queries the iconic cultural status of his instrument via feet, fingers and feedback. Robert crunches, growls and smashes both John's live sampled sound as well as his private stack of industrial bits and organic beats.Wide and disjointed, blending a fractured pulse with dynamic texture, this is an immersive and disorientating music; sometimes subtle, often invasive, always close. In capturing a moment and inscribing agency, the motionblur of the cover art offers a suitable metaphor for this duo's musical interactions. Live sampled source sounds are gesturally manipulated and reworked within open ended narratives, sounding like an air whistle blasting out from an old steam locomotive as it emerges at sp

as it emerges at speed from a tunnel. Whilst the whistle pig/groundhog (day) reference explores cycles of repetition beyond episodic improvisation, emphasising the value of revisiting and re-appropriating a previous moment. John configures the electric guitar as a site for multiple simultaneous points of interaction and queries the iconic cultural status of his instrument via feet, fingers and feedback. Robert crunches, growls and smashes both John's live sampled sound as well as his private stack of industrial bits and organic beats.Wide and disjointed, blending a fractured pulse with dynamic texture, this is an immersive and disorientating music; sometimes subtle, often invasive, always close. In capturing a moment and inscribing agency, the motionblur of the cover art offers a suitable metaphor for this duo's musical interactions. Live sampled source sounds are gesturally manipulated and reworked within open ended narratives, sounding like an air whistle blasting out from an old steam locomotive as it emerges at speed from a tunnel. Whilst the whistle pig/groundhog (day) reference explores cycles of repetition beyond episodic improvisation, emphasising the value of revisiting and re-appropriating a previous moment. John configures the electric guitar as a site for multiple simultaneous points of interaction and queries the iconic cultural status of his instrument via feet, fingers and feedback. Robert crunches, growls and smashes both John's live sampled sound as well as his private stack of industrial bits and organic beats.Wide and disjointed, blending a fractured pulse with dynamic texture, this is an immersive and disorientating music; sometimes subtle, often invasive, always close. In capturing a moment and inscribing agency, the motionblur of the cover art offers a suitable metaphor for this duo's musical interactions. Live sampled source sounds are gesturally manipulated and reworked within open ended narratives, sounding like an air whistle blasting out from an old steam locomotive as it emerges at sp

as it emerges at speed from a tunnel. Whilst the whistle pig/groundhog (day) reference explores cycles of repetition beyond episodic improvisation, emphasising the value of revisiting and re-appropriating a previous moment. John configures the electric guitar as a site for multiple simultaneous points of interaction and queries the iconic cultural status of his instrument via feet, fingers and feedback. Robert crunches, growls and smashes both John's live sampled sound as well as his private stack of industrial bits and organic beats.Wide and disjointed, blending a fractured pulse with dynamic texture, this is an immersive and disorientating music; sometimes subtle, often invasive, always close. In capturing a moment and inscribing agency, the motionblur of the cover art offers a suitable metaphor for this duo's musical interactions. Live sampled source sounds are gesturally manipulated and reworked within open ended narratives, sounding like an air whistle blasting out from an old steam locomotive as it emerges at speed from a tunnel. Whilst the whistle pig/groundhog (day) reference explores cycles of repetition beyond episodic improvisation, emphasising the value of revisiting and re-appropriating a previous moment. John configures the electric guitar as a site for multiple simultaneous points of interaction and queries the iconic cultural status of his instrument via feet, fingers and feedback. Robert crunches, growls and smashes both John's live sampled sound as well as his private stack of industrial bits and organic beats.Wide and disjointed, blending a fractured pulse with dynamic texture, this is an immersive and disorientating music; sometimes subtle, often invasive, always close. In capturing a moment and inscribing agency, the motionblur of the cover art offers a suitable metaphor for this duo's musical interactions. Live sampled source sounds are gesturally manipulated and reworked within open ended narratives, sounding like an air whistle blasting out from an old steam locomotive as it emerges at sp