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An Album that's Just as Retarded as Flat Earthers. - 41%

Superchard, November 8th, 2018

After the abomination that was Baptizm of Fire, (you know it's an abomination due to spelling "baptism" with a "z") Judas Priest's Glenn Tipton was finally able to get the shelved project Edge of the World, which was actually recorded a year before before Baptizm of Fire out on the market for all the world to hear, and I'm sure that all 19 of us that actually heard the album thought it was pretty terrible, especially since the triple trouble trio sported on the album's cover touts the devastating amount of potential that could've been on display here. With Rainbow/Black Sabbath drummer Cozy Powell unfortunately never being able to see the album's release before his death in 1998 and The Who's bassist, John Entwistle of all people topping off the lineup. Sounds like a pretty solid lineup, right? Come now, you ought to know by now that these super group projects almost never work out, but this album does have more promise to it than it's youthful metal head demographic marketed predecessor. There are hints of Judas Priest in the first proper song on the album, "Friendly Fire", but it's not Screaming for Vengeance or Painkiller Priest, it's something more along the lines of a weaker version of what the harder tracks from Ram it Down with a fresh coat of studio polishing to give it an artificial sound that makes me uneasy for the rest of the album to come.

Sad to say, but it just doesn't get any better. There are even some decent lighter rock moments that are more akin to Entwistle's time with The Who, such as "Holy Man" and "Never Say Die", the latter of which plagiarizes Entwistle's song "Bridges Under the Water", literally stealing not only lyrics, but melodies as well. "Resolution" brings us back to a mid-tempo Judas Priest style pop-rock tune and it's followed up with a folk rock song entitled "Searching" that brings some flute and Don Airey's keyboards to the fray. Edge of the World may have some ambitious ideas here and there that I can respect, but are oft poorly implemented, and let's be honest, Tipton's voice isn't doing this or Baptizm of Fire any favors. He's not the worst vocalist I've heard, at least he's better than Bill Ward of Black Sabbath when he went solo, but seriously, that's a ridiculously low bar to set, and he comes close to being just as bad on "Crime of Passion".

Ugghh, is that Glenn Tipton, or Ozzy Osbourne with a head cold like he did on Ward One: Along the Way? He slides into his notes on "Searching", an acoustic uplifting tear jerker that's should be emboldened by a stronger set of pipes that can really emote its depressive state strongly. The worst is "Walls Cave In" where he's completely obnoxious, attempting to add nuance to his delivery that simply doesn't deliver, and he's nearly inaudible in parts of the chorus sections. And THAT'S not even the worst song, "Give Blood" tops everything as the single worst thing I've EVER, I repeat EVERRRR have heard come from Glenn Tipton whether it be from his solo ventures or Judas Priest. The annoying as fuck slap-happy upbeat melody emitting from Tipton's amplifier is one of the most irritating sequence of notes I've ever heard, and they come through so ear-piercingly. I can see why this project was scrapped from the get-go, it's fucking embarrassing!

So if you're coming into Tipton's solo work wondering whether or not he could possibly rival Rob Halford, or even Tim "Ripper" Owens for that matter, think again. I can't recommend this album over what Judas Priest or Fight were doing around the time this album was recorded in 1997. The album's comprised of tracks that range from completely disposable ego-oriented butt rock to solid, yet boring pop tunes that will degrade after a few listens. The title track is an epic number that I find to be the least offensive song the album has to offer, but boy oh boy, do they love to play that chorus. "Stronger Than the Drug" goes full 80's synth-pop to finish off the album, once again Tipton's weak vocals are on full display during the pre-chorus, but it does transition into a nice chorus that actually resonates with me in a very particular 1980's Chinese kung-fu good cop/bad cop-sploitation feature film kind of way with me if that makes any sense. Sleazy synth-pop butt rock that's sure to keep most metal heads far the fuck away from this release. I don't care if it is one of Cozy Powell's last releases, this is beyond disappointing.

Superchard gets super hard for:
Edge of the World
Friendly Fire
The Holy Man