Following 'Judas Priest's' sabbatical, 'Glenn Tipton' formed a super group alongside 'Who' bassist 'John Entwistle' and legendary drummer 'Cozy Powell' and recorded this album back in 1996. The record label deemed 'Edge of the World' too old school, which led 'Glenn Tipton' to write and recorded 'Baptizm of Fire' and only 10 years later have these 'Tipton, Entwistle & Powell' recordings seen the light of day. As you would expect from the wealth of talent involved, they create a superb sound, if I'm going to be harsh 'Glenn's' vocals are the weakest element and overlooking a couple of unconvincing efforts mid album 'Edge of the World' is a pleasant surprise. Musically there is no shortage of variation and balances somewhere between Hard Rock and Metal drawing from artists such as 'Priest' later 'Sabbath' and 'Zeppelin' without imitating.

The album unfolds with a short languid intro 'Unknown Soldier', 'Glenn' does the lyrics no favours, but this still acts as a decent preface to the first track proper. The tempo is lifted for the brisk, hard rocking 'Friendly Fire', there's shades of 'Priest' here, as 'Glenn' gets in some fine guitar licks and solos, while the rhythm ebbs and flows superbly with 'Entwistle's' strumming bass nicely in the mix. Better still is the more straight-forward rocker titled 'The Holy Man', lyrically this is simplistic but it's a great energetic track, the chorus is infectious while 'Glenn's' screaming solo could be straight from 'Priest', 'Powell' also fails to disappoint with a lesson in timekeeping. Continuing the fine run is 'Never Say Die', this song moves a little closer into 'Who' territory, but still has plenty of edge, 'Glenn Tipton' works the decent lyrics pretty well, while 'Don Airey' contributes some fine keys. The harder edged 'Resolution' ensues, a moody atmospheric cut, that comes complete with another strong chorus, sweet instrumental work and a refined plod. Reaching the mid point of the album and some cracks start to appear, none more so than with the acoustic ballad 'Searching', 'Glenn's' unconvincing on vocals and even though the lyrics are fairly solid it comes off weakly. The momentum is restored with the odd sounding 'Give Blood' a strangely tuned rocker, that whilst lively is ultimately repetitive and fails to hold my interest. The second ballad is brought about by 'Crime of Passion', and as with 'Searching' this is decently penned, but 'Glenn' fails to put any passion into it and results in a droning long-winded affair. Thankfully the last three cuts fail to disappoint and the first of which is 'Walls Cave In' a darker almost 'Sabbath' sounding rocker, full of strong bass-lines, polished guitar work and a stronger more punchy vocal display from 'Glenn'. Superior still is the title track 'Edge of the World' which features plenty of 'Priest' influences especially with the big chorus (I think this would suit Halford down-to-the-ground), 'John' and 'Powell' move the track on sweetly, while 'Glenn' guitar licks turn up in timely fashion. The album bows out with the crafted 'Stronger than the Drug' which features mystical, almost Eastern undertones, that are nicely combined with sharp fret work, a catchy chorus and some of 'Glenn's' best vocals.

Overlooking the light-weight middle of the album, 'Edge of the World' exceeded expectations. It's a real shame this wasn't released earlier, as sadly neither 'John Entwistle' or 'Cozy Powell' are here to see the finished album!