- Two stunning sides rating at or near A+++
- Big, bold sound with plenty of detail and texture
- Relatively quiet vinyl for this album — Mint Minus to Mint Minus Minus throughout
- A 4 1/2 star album in the AMG
This is the just the kind of sound you want on an album like this — Big and Bold! If you’ve got the full range dynamic speakers to play the album good and loud, you will discover, as we have, what a powerful British Blues Rock album this is. No hits, just heavy electric blues played with feeling, a year before Zeppelin came along and took it to a whole new level.
Years ago — in 2011 to be exact — we said the following in a listing for a very good sounding domestic pressing:
Solid bass, present vocals, plenty of energy — the only thing missing here is the Tubey Magical richness and sweetness that only the British originals (in our experience) have, and in spades by the way. But try to find one! Over the last two or three years I think we’ve managed to get hold of exactly one clean copy.
Fast forward almost eight years and we’ve only had a couple more! I personally have seen the original British pressing of this album sell on the web for more than 1000 dollars, which explains why we never have them.
Over the Green Hills (Pt 1)
Walk in My Shadow
Wild Indian Woman
Goin’ Down Slow
I’m a Mover
Over the Green Hills (Pt 2)
AMG 1/2 Star Rave Review
Although Free was never destined to scrape the same skies as Led Zeppelin, when they first burst out of the traps in 1968, close to a year ahead of Jimmy Page and company, they set the world of British blues-rock firmly on its head, a blistering combination of youth, ambition, and, despite those tender years, experience that, across the course of their debut album, did indeed lay the groundwork for all that Zeppelin would embrace. That Free and Zeppelin were cut from the same cloth is immediately apparent, even before you start comparing the versions of “The Hunter” that highlight both bands’ debut albums. Where Free streaks ahead, however, is in their refusal to compromise their own vision of the blues — even at its most commercial (“I’m a Mover” and “Worry”), Tons of Sobs has a density that makes Zeppelin and the rest of the era’s rocky contemporaries sound like flyweights by comparison.