‘Save Our Sons and Daughters’ Scott Ferguson

‘Save Our Sons and Daughters’ Scott Ferguson

22 November, 2007 | 4.33PM

• Section: Music News
• Written by: ferrispark

‘Save Our Sons and Daughters’ by Scott Ferguson on Ferrispark Records. 

After the international success of Scott Ferguson’s numerous 12” record releases on his own Ferrispark imprint and many others (Gigolo, Deep Vibes, Third Ear, Deep Explorer, etc...), Ferguson presents his first full-length album entitled “Save Our Sons and Daughters.” The album combines diverse musical styles and influences reflecting an eclectic taste in rhythms and sound.

With the opening chill of “Cold” a story begins to unfold.  Dark and hypnotic, Alphonso Cox describes what it sometimes means to make ends meet on the streets of Detroit.  When the final break-beat fades, leaving the erie synth line standing alone, “Warehouse Dream” slips in to continue the story.  While a deep voice echo’s the words “You’ll be the man in Detroit” a mish-mesh of 808 percussion and sizzling 909 hats mimic the movement ones body might make while dancing from late Saturday night into early Sunday morning.  A slow dark synth progression speaks of the shadowy confinements and sadness running throughout the cold and decaying warehouses of Detroit.  Meanwhile the relentless booming bass drum of the TR808 represents a thriving heartbeat that gives new life to the previously deserted buildings. Pushing forward, a creeping 303 Acid line reawakens souls from the past and speaks in a strange tongue only few understand.  It was inside the confinements of these abandoned warehouses that Ferguson would begin dreaming of this extraordinary and futuristic electronic pulse.
The next two tracks on the album represent Scott’s love of early 70’s jazz fusion records.  By adding his own ideas and style he creates a sort of neo-electronic fusion.  “From Now Until” storms onto the dance floor with a mean spirited bass line intermingled with punchy Rhodes chords, a rattling open high hat, pulsating B3 stabs, a swirling string ensemble, and a hauntingly beautiful jazz flute.  From there begins “Seventy West at Sunset” a more moving, emotional and percussive piece.  Tight drums and slap bass make for a solid foundation in which the string ensemble, delayed Rhodes keys, and floating synth work together forming an alluring melody.  The track symbolizes a journey from one world to another.
The fifth track on the album “Once It Was That Way” makes use of ethnic words and rhythms to tell the sad story of an old man’s reflection of his life.  The man marvels over the days of his youth when fans, friends, and women flocked to his musical performances and to his side admiring his many great talents.  With time and age, sadly his talents have disappeared along with his followers.
“Stranger’s Gate” marks the halfway point of the album and with the halfway mark also comes a change of emotion.  Slightly more dance floor friendly, a funky slap bass and clavinet mix with heavy Rhodes chords, and an enchanting scat by vocalist Marvin Belton.  The energy helps make the transition into track seven much nicer.  “BeatBoxx” is the floor friendliest of the bunch, starting off with a straight funk break followed by a catchy bass-line, then progressing into an infectious filtered ARP synthesizer.  Spattered throughout the track is the laughter and words of Louis “Alonzo” Gross the property owner that housed Ferrispark Studios in Highland Park for seven years.
“A Night at the Grand Quarters” pays homage to an old hipster spot in Detroit’s New Center Area.  The ‘live’ feel of the track makes the listener feel right beside an excited and animate crowd, clapping and chanting.  In the past the building had offered a platform for great performers such as Marvin Gaye and during the 90’s played host to many of Detroit’s up-&-coming musicians and rappers.  It was while attending these talent shows that Ferguson fell in love with the Grand Quarters grandeur, carved high ceilings, and plush mahogany stage. Imaging this structure at its pinnacle acted as a fuel for his inspiration.  The conga rhythm and chanting crowd transcends into the mesmerizing “Nightingale Floor”.  A bluesy electric guitar and slow attacking strings whisks the listener away to a place where simplicity and beauty speak immensely.  The mood has changed, yet again.
Ending the album are two tracks that work together to tell the end of this tale.  “Uncle” continues on with simplicity and deep emotion.  A strange and scary story is recalled from memory of days past by the lone narrator. As he recites an unforgettable childhood experience the heaviness of his words weigh upon the listener.  Finally, the eleventh and last track “S.O.S.A.D (Hope)”, closes out the album.  Piano chords and light keys accompanied by record noise and jazzy drums start off this track.  Soon the song twists ands molds, changing forms and emotions added are a stabbing low bass, plucked acoustic guitar and soft strings that meld with the already established elements.  Finally a low-fi chorus synthesizer and a 303-esque filtered progression bring this musical journey to an end. 
“Save Our Sons and Daughters” is a soulful, meaningful, and intriguing look into the future of electronic music.

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