Free Albums Ranked and Reviewed Best to Worst
A list by JustGeorge93
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| 8 |  | 8.FreeFree Live! (1971) | ||
| 1971's Free Live! was a product that Island records released shortly after Free's first breakup. It was a logical move considering that "All Right Now" was still charting and receiving notable airplay, and the rather disappointing reception and takings that the Highway album had received. Free Live! is definitely one of the better live albums of the early 70's; the setlist nicely combines some heavy hits "All Right Now" and "Fire and Water" with some deeper cuts "Mr Hunter" and "Be My Friend" to make for a pretty decent concert souvenir. The only disappointing aspect of Free Live is that considering how fiery the band were into the studio, they chose to play more or less every song to the letter on the stage. It would have been nice to hear a new guitar, bass or drum solo, then again perhaps if the band knew they were releasing a live album they would have added those things. The hidden track "Get Where I Belong" is a nice little acoustic number that would have fit better on Highway. 6/10 | ||||
| 7 | | 7.FreeHighway (1970) | ||
| Highway was recorded just three months after Free scored the career-redefining hit "Alright Now," and while their profile was at a career-topping high, their morale was heading toward an all-time low. Guitarist Paul Kossoff was reeling from the death of friend Jimi Hendrix; a new single, "The Stealer," bellyflopped ignominiously; and, when the album followed suit, the band itself was not far behind. Heavily influenced by their admiration for the Band, Highway has understandably been described as Free's answer to Music from Big Pink, sharing both the laid-back vibe and mellow looseness of that role model. Where it went awry, of course, was in the fact that Free were not cut out to be country-rock guitar-twangers, no matter how fiery their missionary zeal. Yet the strutting rockers "The Stealer" and "Ride on a Pony" alone shatter the brave new mood, while reflective romancers like "Love You So" and "Be My Friend" could well have been composed specifically to rid the band of the shadow of "Alright Now," and prove that underneath the coolest exterior, there beat a heart of molten gold. Of course, Free had bathed in such waters before, and the closing "Soon I Will Be Gone" certainly bears comparison with any of their past ballads. Nevertheless, too much of Highway reacted to the pressures of the recent past rather than building upon the strengths that had made such events possible in the first place. 6/10 | ||||
| 6 | | 6.FreeFree at Last (1972) | ||
| 1972's Free at Last was really a noble effort by any rock band; Free reunited soon after disintegrating in an attempt to steer lead guitarist Paul Kossof from falling into a pit of self-destruction. Paul's drinking and drug habits had grown so vicious in the short months after Free's breakup that Paul, Simon and Andy reunited to save him and get him working again. This was not exactly the best environment for creativity as the tracks on Free at Last sound extremely rushed and all skim the surface of very generic subjects, particularly on songs such as "Catch a Train", "Soldier Boy" and "Magic Ship". Free at Last winds up being a very mixed bag due to the lack of enthusiasm from the band, and the poor state of Kossof's lead guitar work. However the album is still a must have for fans as it contains the unusually beautiful rock numbers "Little Bit of Love", "Guardian of the Universe", and "Child", which all recall the bands early jam-metal sound of their debut. The closing song "Goodbye", which can now be seen as the band's ode to Kossof, seeing as Free at Last did not do much to save him, as his health deteriorated and he passed away in 1975, but it has to be one of the most powerful songs ever recorded by a rock band. 6/10 | ||||
| 5 | | 5.Kossoff Kirke Tetsu RabbitKossoff Kirke Tetsu Rabbit (1972) | ||
| Immediately after Free's initial breakup after the disappointing sales of Highway, Paul Kossof was not ready to put music on hiatus for Free so he and drummer Simon Kirke recruited bassist Tetsu Yamauchi and keyboardist Rabbit Bundrick, who would both later feature on Heartbreaker, to record the bluesy labour of love Kossoff Kirke Tetsu Rabbit. Had it not been for Rabbit's distinctive keyboard work, which is a wonderful fusion of gospel organs and honky tonk piano, then this album would sound parallel to a Free record. It was Rabbit that really saved this album from being a flop; he provided a clear direction and framework for KKTR whereas Kossof was too self destructive to do anything besides wail on is guitar, despite being a breathtaking wail all the same. KKTR is actually a terrific album and should not be overlooked when revisiting the Free history, especially with strong tracks like "Blue Grass", "Sammy's Alright", "Anna", and "Colours". 6/10 | ||||
| 4 | | 4.FreeFree (1969) | ||
| Free were really a bunch of misfit rockers when they made their debut Tons of Sobs in 1968; an album that really set the bar for glam metal in its easy onslaught of distorted guitars and lyrics with wearied attitude. However when Island commissioned Free to record a follow-up there was a newfound sense of professionalism in their songwriting, which started the first growing rift within the ranks. Paul Rodgers and Simon Kirke pressed for a more calculated and commercial sound, whereas Paul Kossof and Andy Fraser yearned for the boundless jamming of Sobs. The result was a sophomore effort that really compromised between two different musical visions for Free. 1969's Free opens with the Sobs echo "I'll be Creepin'" which is a welcomed familiar return of the heavy guitar riffs and chunky bass lines along linear notes of sleazy rock. However the track quickly fades for songs that are more soulful and introspective like "Songs of Yesterday" and "Lying in the Sunshine" which tones down the rocking a little for a performance a little more easy going and reflective, which gives Free a personal touch and portrays them in the innocent juvenile light they all were and were losing at the time. Tracks like "Free Me" and "Mouthful of Grass" show the band finding their feet for a new musical direction that has the musical excess but harnesses it into a more structured and tight form. The rest of the album plays out like this, and it still rocks as hard like Sobs even if they're trying to sound smarter. 6/10 | ||||
| 3 | | 3.FreeHeartbreaker (1973) | ||
| Free at Last really had the feel of a swan song, the band were giving Paul as well as themselves some clarification of their abilities as musicians and composers but also to give the Free legacy some deserved closure. So it was surprising when Free continued recording afterwards and released, what would be their actual final album, Heartbreaker in 1973. It could be argued that with the departure of bassist Andy Fraser and the increasing decline of Paul Kossof, Paul Rodgers did not have that opposition that prevented him from embracing his musical ideas under Free. Therefore, Japanese bassist Tetsu Yamauchi, and keyboardist Bunny Bundrick were recruited to flesh out Paul's vision. It is amazing at how strong the songs that this ramshackled lineup manage to create, yet under the authority of Paul Rodgers they are given direction and evidently motivation. The instant stone-cold classic "Wishing Well" kicks off the album and finds Paul Kossof in fine form as he tears through this song with his blistering style. Free were arguably edging toward a more noticeable early form of heavy metal on their opener as well as the title track, which featured a heavy dose of distortion and screeching across lyrics of pain and anguish. A few of the other tracks emphasises that bluesy, easy-riding vibe that Paul Rodgers and Simon Kirke would later explore with Bad Company; "Come Together in the Morning", "Muddy Water", and "Easy On My Soul". A stunning farewell even though it did not contain the bass magic of Andy Fraser. 7/10 | ||||
| 2 | | 2.FreeTons of Sobs (1969) | ||
| 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. The band was 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. The fact that Free and Zeppelin were cut from the same cloth is immediately apparent, even before you start comparing the versions of "The Hunter" included on 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 rock contemporaries sound like flyweights by comparison. Sobs is beautifully bookended with the pastoral number "Over the Green Hills" Parts 1&2, and coming back into Part 2 after two of Free's heaviest tracks "Moonshine" and "Sweet Tooth" it does leave listeners wondering whether this is the hardest blues-rock band ever. 8/10 | ||||
| 1 | | 1.FreeFire and Water (1970) | ||
| If Fleetwood Mac, Humble Pie, and Foghat had never formed, Free would be considered one of the greatest post-Beatles blues-rock bands, and Fire and Water shows why. Conceptually fresh, with a great, roots-oriented, Band-like feel, the album found Free distinguishing itself with the public like Black Sabbath and Deep Purple did (in terms of impact only) in 1970. Free presented itself to the world as a complete band, in every sense of the word. From Paul Kossoff's exquisite and tasteful guitar work to Paul Rodgers' soulful vocals, this was a group that was easily worthy of the mantle worn by Cream, Blind Faith, or Derek & the Dominos. 1970's Fire and Water is Free's best albums, and quite possibly one of the best rock albums ever created. The band come off their experimental second album with a sole vision and shaped musical identity which they put into a leaner, tighter and more cohesive set of tracks that all pay tribute to the blues while court the commercial pop standards of the time. The album houses one of the signature rock tracks of the decade "All Right Now", as well as other flawless efforts like the title track, "Mr Big", "Oh I Wept", "Heavy Load", and "Don't Say You Love Me". A stunning work. 9/10 | ||||
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