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Freeflight Original Release, 1982 Excerpt from the book "IRISH ROCK ROOTS" By Mark J.Prendergast. ....there were, of course, exceptions. Guitarist Jimi Slevin, an inheritor of the sixties guitar-based style, continued to play vigorously up and down the country without a care in the world. Definitely forming a vital bridge during the lean mid-seventies, Slevin became a number one live attraction and the most popular home-based guitarist. After breaking formidable ground with the classical rock oriented Peggy's Leg, he was enrolled in Skid Row for a brief phase before forming his own Jimi Slevin Band in 1975, the hottest band in the country at the time. I can remember hundreds of long-haired youths descending on a large Dublin park on a summer's day in 1976 just to hear Slevin play. It was the time of flared designer trousers and open-necked shirts, and Slevin personified enough energetic freedom for young people to identify with. Slevin changed the name of his group to Firefly and cut the record Getting There for EMI in 1978. A mixed album of guitar music, the tracks 'Magic Lands' and 'Wouldn't It Be Nice' are prominent displays of Slevin playing at his inspired best. Deciding to level off and work on his own, Slevin spent many years conceiving his first solo project which was finally released in 1982. Freeflight (Ceirnini Cladaigh) is a masterwork. Jimi plays electric and acoustic guitars including a twelve-string, mandolin, tin whistle and
percussion. Trevor Knight is on keyboards. The music involves a series of classical guitar introductions and uilleann pipe passages, The track 'White Cottage' uses an echo effect to evoke the atmosphere of the Irish outdoors – the feeling of being out on the highland reaches, gulls circling overhead as dawn cracks through the mist and water slaps against the shore. Recorded in Slane Studios in county Meath, an area rich in mythology, the record is a perfect swan song to the idealism of the hippy rock culture. Here Slevin manages to transcend the limitations of that
culture by summoning forth the more aesthetic side of his own background and melting it with the traditions of his Celtic environment. Even though the guitar is still utilized as a basic tool for development, Slevin's use of the instrument is never indulgent or histrionic. For these reasons Freeflight was and still is one of the most essential of Irish rock albums. Press Reviews: Now I always thought that inside every folkie there was a funky desperately trying to emerge [e.g. Jackson Browne, Bob Dylan, Joni Mitchell et al] but it seems that in Jimi's case the opposite is true. He has just released his first solo album "Freeflight" (CCF7) on the Claddagh Records label, which shows off the more acoustic and classical side of his nature. It is innovative and progressive expressing superb playing talents while experimenting with a full range of sound and styles. Slevin is well known and regarded for his work with Peggy's Leg, Skid Row, and the Jimi Slevin Band. This time round it is mostly acoustic work which has the unusual timeless quality bringing together trad. vocals, pipes, and synth keyboards to give and amazing impression. The material crosses over to give it a place in what is going on today while at the same time holding on to a laid back
folk/trad/acoustic base. Not even a lengthy review could really do justice to the appeal of the LP and you would be foolish not to consider a listen. This album is strictly a product of outstanding identity. So if you feel your up to it you know the only solution. Pure Folk Magazine No.6 The album begins with a short but superb instrumental called "SUMMER" this runs into "STORMY SEAS" written by Jimi, as in fact are all the tracks on the album. The use of Mick Coyne on pipes and Trevor Knight on keyboards on this track makes it one of those tunes you just can't forget. "THE CHILDREN OF LIR" is a haunting melody, vocals on this track by Maggie Cody. The title track finishes the first side of the album, and of all the tracks this brings out the best in Jimi's playing. Side two starts of with "WHITE COTTAGE" once again a very strong acoustic instrumental of superb quality. "FOREVER AND A YEAR" is the milder of the three songs on the album. "OASIS", a short instrumental is followed by "LORDS OF THE ROCKS" a contemporary folk song. Once again the use of Mick Coyne on pipes in this track gives it that something extra, as they blend in beautifully with the lyrics. The album finishes with "DYLAN'S TUNE" which is brilliant catchy tune with a touch of class. This is a unique album of original Irish music. I for one enjoyed it to no end. RTE Guide 31.12.82 - Tracks 'n Grooves Just before Christmas, Jimi Slevin rang me in person to ask me to make mention of this new album by him. The last time I heard an album by Jimi Slevin it was a thumping hard rock job. Now the man has opted for a more acoustic sound. Much of it is gentle evocative stuff. Other tracks are just good songs like Stormy Seas. Slevin plays almost everything on this album. With Mick Coyne playing pipes on two tracks and Trevor Knight on keyboards on three tracks, Jimi plays all guitars, mandolin, whistle and percussion. A very
well thought out and nicely recorded album. Merits investigation. Southern Star 8.1.83 Another album which we had only barely time to gloss over before the Christmas rush beset us is Jimi Slevin's "Freeflight". The observation then after a preliminary hearing was that it is indeed a fine album. This verdict still stands, making this acoustic set worthy of further attention. Since the early seventies, Jimi Slevin's name has been synonymous with the more creative side of the contemporary Irish music scene. Regarded as one of the top guitarists on our native rock scene and known for his involvement with groups like Peggy's Leg, Skid Row and his own band, Slevin has surprised many with this primarily acoustic album on the adventurous Claddagh Label. However, there has always been an acoustic side to his music. He studied classical guitar ten years ago and composed many original pieces in this style, most of which remain unpublished. There is also a Blues, Latin and Irish Traditional edge to Jimi's playing, and he has been influenced by many musicians in these areas. On this, Jimi's first solo album, he sings lead and backing vocals; plays acoustic, electric and twelve-string guitars, mandoline, whistle and percussion as well as writing and arranging all the material. He is joined by guests Maggie Cody (vocals) Mick Coyne (uilleann pipes) and Trevor Knight (assorted keyboards). "Freeflight" (CCF 7) was produced by John Dee at the Slane Recording Studios in Co. Meath. Indeed, it's title is apt in that it is a very fresh and articulate expression of the mellower side of Slevin's musical talent. Let's hope that the critical acclaim which as greeted this album will prompt Jimi to release his unpublished works for our further entertainment and enlightenment. Sunday World 5.12.82 The last place I expected to see Jimi Slevin, Auto da Fe's guitarist, was on the Claddagh label. Is main involvement has been with rock music - he was with Peggy's Leg, Skid Row - but this album illustrates Slevin's acoustic style. It's a style that is totally original, containing as it does Blues, Latin, Classical and Irish traditional influences. As well a writing all the tracks Jimi sings lead and backing vocals, plays acoustic, electric and twelve-string guitars, mandolin, whistle and percussion. His use of Mick Coyne on uilleann pipes is a treat to hear as is the whole album. It's a unique album and I for one count it as a major contribution to the catalogue of original Irish music
Tracklist original album (41:22): 1 History Tells (5:45), 2 Think For Yourself (4:46), 3 Variations For Huxley (10:00), 4 Into The Nightmare (7:35), 5 Just Another Journey (9:45), 6 Sabre Dance (3:31). Bonus track: 7 Son Of Girilla (10:56) Peggy's Leg was a band from Ireland. It seems they were an instant success and still are an important part of the history of Irish rock music, although they recorded only one album (1973). An original pressing of the album can cost up to a thousand pounds, so collectible they surely are. At first, I thought they were just another progressive blues/rock band from the early Seventies. The opening tune starts very Sixties-like, musically and lyrically. Nothing special, really. But when things start to get rocking, I knew it was more than that. A lot more. The compositions are a lot more progressive than the blues most of their contemporaries based their music on. Although there are no keyboards on the album, there are influences from Yes and ELP. More complex structures and very interesting guitar work
during the instrumental parts. Of course, there's Cream, Blind Faith, Hendrix, and other Sixties' blues/rock bands among their influences. And people reading more of my reviews know I really love that stuff. Peggy's Leg take it a step further into the progressive direction. More types of music were fused, like jazz, and the melodic emphasis that defines progressive or symphonic music is also used. But mainly because of the foundation of the blues, this appeals to me more than Yes or ELP. More subtleties and feeling. Just Another Journey is more than just another musical journey. The two guitarists are playing where other prog bands are using a guitarist and keyboard player. Not very heavy, but still powerful. Great drum and bass work in the complex parts, and the interplay of electric and acoustic guitars are great. Very clever bridges and the vocal melodies fit perfectly. Peggy's Leg were not the first to record Sabre Dance. Not too long ago, I reviewed a 1972 album by Swiss band Spot, who also recorded this. Although the Leg's version is very good, their guitars are less aggressive, which would fit this piece of music better. No doubt Slevin is a great guitar player, but I think it's more the arrangements that make me prefer Spot's version. However, this is still a powerful, driving piece of music, which must have been a live favourite. The bonus track is a previously unreleased song. It's a live version of Son Of Girilla with great guitar work, and a drum solo. I am not fond of drum solos, especially when the drums sound a bit limited, like it's been played on a small kit. Still, using a lot of techniques and alternating soft and heavy parts (which reminds me of Ian Paice of Deep Purple) it's listenable even to me. But a drum solo for more than half of the ten minutes is too much for me. This song (well, the song around the drum solo) sounds heavier
than any of the songs on the album. A lot more Hendrix in the sound here. The sound quality is less than the studio recordings, but that was to be expected of a live recording this old. I didn't know about Peggy's Leg before, and I don't know if I can acknowledge their acclaimed important part in the history of rock, but I really like this album very much, and it will remain in the player a long time! If you like the original album, this CD is a must. If you don't know it, but you like the Sixties' progressive blues bands I mentioned before or the more jazz-progressive bands like Spirit, I recommend this CD to you too! Conclusion: 7.5 out of 10. Jimi Slevin - Freeflight
Tracklist: Summer (2:52), Stormy Seas (4:52), The Children Of Lir (6:30), Freeflight (4:56), White Cottage (3:38), Forever And A Year (4:23), Oasis (2:45), Lords Of The Rocks (6:05), Dylan's Tune (3:42) Bonus track: Gentleman Jim's (6:41) Jimi Slevin - Home To The Heart
Tracklist: Silver Sea (4:14), World Without Fear (4:33), Keem Bay (3:19), We Got Guns (6:24), The Bottle (4:12), Just To See You Smile (3:07), Gem (2:02), Sleep, Little Bird (2:37), Maggie Loughlin's (3:20), The Riteroad (3:22), Us And The Animals (4:21), Shine On, Gail (2:34), Signal Down The Line (3:38), Home To The Heart (3:51) Two albums in one review, because although the years of release are not less than nineteen, these albums are the first and the latest solo albums by Irish guitarist Jimi Slevin, probably best known for his work with Peggy's Leg (whose album CD re-issue I reviewed last year) and Skid Row. These albums, however, are quite different from those well-known names from the past. Acoustic guitar predominate the sounds on these CDs that are a mix of mainly blues and folk. Easy listening at first glance, especially Freeflight, but some songs contain clever guitar play in several layers, offering a lot more enjoyment to the more-than-casual listener, for example the subtleties in the chorus of Lords Of The Rocks. The first contemporary band that came to mind hearing these albums was Mostly Autumn, who I think combine progressive music and folk very nicely. A song like Stormy Seas, for example, is probably something they have been listening to all those years ago. The songs also have an Irish atmosphere, reminiscing for example Planxty, although Jimi's songs are less the type of folk music you'd expect to hear in pubs. There are still some songs and most of the instrumentals that have the style of the first album. Songs like World Without Fear and Maggie Loughlin's could have easily been on the Freeflight album. Different from the first album is We Got Guns. But also in this track you hear the subtle melodies and instruments and the true heart with which he writes and plays. A nice mix of electric guitar and piano soloing in the middle section of the song. Riteroad is the heaviest track on the album, showing Slevin's diversity as a songwriter and player. But also the diversity of his gentle and very warm voice, which here is almost funky. For both albums I have only one conclusion: beautiful music. It's probably very different from what you mostly read about on these pages, as my DPRP colleague Henri Bos already mentioned when he reviewed these albums in his CDelight section. Still, with many instrumentals and the first album largely played on acoustic instruments, Jimi Slevin's inspiration also has a prog. minded part, which shows in songs like Stormy Seas Conclusion for both albums: 7.5 out of 10. More soon |
