Now, EPs are back! First up is Stuart Smith's band HEAVEN & EARTH with ‘ A Taste of Heaven' (Blackstar Records). The good news is that Paul Shortino, one of the rock world's most underrated vocalists has joined as a permanent member. (H&E webmaster note: Paul was a guest vocalist for this EP) His gritty, grizzled vocals are the perfect vehicle for Smith's songs, always more blues than AOR. The better news is that four of the eight tracks are new. Opener ‘Screaming For Redemption' recalls Cream's guitar, bass and drums wallop, with Shortino's raw, ragged edged vocal emoting over the top like a sinner who's just discovered that Jesus really does save after all. The elegantly crafted, deceptively understated 'Heaven' drifts deep into melodic rock territory, while the anti-hero name check 'Nasty Piece Of Work' punches all the blues buttons at the all right times. As owners of Heaven & Earth's previous material know, Smith can write a rock ballad as well as anyone, and better than most. 'It'd Be True' is a genuine heartstring tugger, a magnificent example of the power of unambitious lyrics, unashamed sentiment and unadorned melody, wrapped up in passionate vocals and sympathetic guitar work. The remaining four tracks showcase the first two albums, cleverly choosing high profile contributors Glenn Hughes, Richie Sambora and Joe Lynn Turner. That said, the highlight is probably Smith's rock guitar interpretation of Bach's ‘Jesu, Joy Of Man's Desiring'. This one is truly immense and great fun at one and the same time. A real feel good rendition, way up there with Gary Hoey's version. Be sure to checkout blackstarrecords.com or stuartsmith.com

by Brian MacGowen

HEAVEN & EARTH Reissue Black Star Records
8/10 Matthew Honey

Best melodic rock album ever by a Yorkshireman living in the USA , no question. When Stuart Smith formed his own label, Black Star, it seemed appropriate that his legendary debut should get dusted down, polished up and re-released - with two bonus tracks: ‘Life On The Line', featuring Bobby Kimball, and a cover of Gary Moore's ‘Still Got The Blues' from Joe Lynn Turner.

Back in 1998, Smiths' reputation as a guitarist gave him considerable leverage. Consequently, his debut album is peppered with guest appearances from the likes of Kelly Hansen, Joe Lynn Turner, Glenn Hughes, Richie Sambora, Chuck Wright, Jay Schellen. This number of guest appearances – four separate vocalists for example – would normally disrupt an album's flow and simultaneously hinder the establishment of any kind of cohesion, but such is the uniform quality of performance here, that it doesn't really seem to matter. Both Hughes and Sambora individually contribute powerful blues vocals, balancing an unflinching vocal toughness with compassionate tones on the little known ‘See That My Grave Is Kept Clean' and ‘When a Blind Man cries' respectively. Blues and rock ‘n' roll are branches on the same tree of course and Smith's album is largely successful in locking together immediate, stampeding rock songs – ‘Don't Keep Me Waiting' and ‘Do You Ever Think Of Me?' sound like trailers from the next Unruly Child album – with blues based standards and new material of a perversely commercial bent.

Producer Pat Regan clearly knew the importance of scope and scale, and provided Smith with a huge canvas which he eagerly filled with guitar playing that is both plangent and stately, ranging from the playful ‘Dreams Of Desire' through the gentle acoustics of ‘Road to Melnibone' to the unabashed, brazen power of his Blackmore influenced soloing on the title track, ‘Howling At The Moon' and ‘Lose My Number'. If you didn't buy this the first (or second time) around, now's the time. Recommended.