| | Sheavy Republic? CD Sheavy Discography of CDs
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In the doom metal/stoner rock/sludge field, worshiping and adoring Black Sabbath are not only a popular thing to do -- they are almost obligatory. In many cases, the Sabbath influence has more to do with the riffs than vocals; a doom or stoner band that offers Sabbath-influenced riffs may have a vocalist who doesn't sound anything at all like Ozzy Osbourne. But on Sheavy's Republic?, Sabbath affects the playing, the writing, and the singing; the Canadians' riffs and songs have a major Sabbath influence, and Steve Hennessy's lead vocals are so Osbourne-like that his detractors have often argued, "Instead of emulating the Oz, why don't you develop your own vocal style?" But as Sabbath-obsessed as Republic? is, it would be a mistake to dismiss Sheavy as an exact replica of '70s-era Sabbath. Sure, these headbangers have spent a lot of time listening to Sabbath Bloody Sabbath, Paranoid, and Master of Reality -- there's no getting around that fact. But Republic? has a sludginess that you won't find on Sabbath's classic '70s recordings -- a sludginess that owes something to the Melvins as well as grunge (which, of course, was greatly affected by the Melvins -- a band that had a huge impact on Nirvana, Alice in Chains, Soundgarden, and many other Seattle bands of the late '80s and early '90s). And Republic?, in fact, was produced by someone with very strong sludge credentials: Billy Anderson, who is known for his work with the Melvins and Orange Goblin. Under Anderson's direction, Sheavy deliver an album that won't win any awards for being groundbreaking or terribly original but is enjoyable nonetheless. Anderson is a definite asset for Sheavy on this derivative but worthwhile doom/stoner/sludge outing. ~ Alex Henderson
Sheavy: Steve Hennessey (vocals); Dan Moore (guitar); Keith Folley (bass guitar); Ren Squires (drums).
Republic? Music Review Average Rating: (5 out of 5 stars)  sHEAVY should make it big.
As far as stoner/doom rock goes,in my opinion it has been dead since 1979,when Ozzy Osbourne was sacked from Black Sabbath.
Nothing really has come close to what Sabbath produced regardless of cover bands/tribute bands and the like.
Sabbath had a very distinct sound,that vanished when Ozzy was sacked,sure you still had the Iommi riffs,but the soul of the band was gone,and has never been recovered.
sHEAVY is like someone accidently rebuilding the Titanic,with no plans,sure some differences are there afterall it was unplanned.
Steve Hennesey Sounds like Ozzy's brother,the riffs are clean and tight,and as a whole the band is a close replica to Sabbath.
The album Republic? is the finest to come from the band so far,thanks to Billy Anderson who produced Republic?.
I have all the sHEAVY albums and they all rock.
If you loved Sabbath then allow yourself the privilege of their second coming.
Terry Halmshaw
Submitted by jeepmjw (Victoria Australia) 
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Purchase Republic? CD To buy, Click on price to add to cart | U F O Force It CD (1975) (Import) Remastered; United Kingdom
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| | Nebula Charged CD (2001)
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| | Thin Lizzy Black Rose: A Rock Legend CD (1979)
Republic? music CDs
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Hard rock quartet formed by Philip Lynott out of Dublin, Ireland. Thin Lizzy had numerous charting albums throughout the 70's & 80's. Black Rose was originally released in 1980. Featured guitarists are Gary Moore & Scott Gorham. 8 tracks. 2001 reissue.
Additional personnel includes: Bluesy Hughie (harp); Jimmy Bain (bass).
Recorded at Pathe Marconi Studios, Paris, France and Good Earth Studios, London, England.
Producers include: Tony Visconti, Thin Lizzy, Phil Lynott.
Black Rose: A Rock Legend would prove to be Thin Lizzy's last true classic album (and ...
| | Starz Violation CD (1977) Bonus Tracks; Remastered
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Starz' sophomore album, Violation, was quite similar to its predecessor. Jack Douglas was still the band's producer, and Starz continued to favor the type of slick, commercial hard rock that would be called pop-metal in the '80s and early '90s. This 1977 LP didn't establish Starz as major players in the pop-metal field; the New Yorkers did have a small following, although not a huge one. Nonetheless, this is an enjoyable record. It doesn't contain any pop-metal masterpieces like Kiss' "Shout It out Loud" or Sweet's "Ballroom Blitz," but tracks like "Cherry Baby" and "Rock Six Times" are certainly decent. Most of the time, Starz vocalist Michael Lee Smith sings about the same things that Kiss and Sweet were singing about in the '70s; namely, all-night parties and wild young women in tight dresses. Starz's lyrics, as a rule, were ...
| | Angel Witch CD (1980) (Import) United Kingdom
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Often overlooked as a progenitor of Britain's late-1970s metal movement in favor of Iron Maiden, Judas Priest et al., Angel Witch's eponymous debut was nonetheless a satisfying slice of Sabbath-influenced doom riffs, lyrical mysticism, and arena-ready twin-guitar melodies. For the most part, however, ANGEL WITCH delivers on tried-and-true trashing and slashing.
The British heavy metal rebirth of the late '70s and early '80s provided more than its share of impressive ...
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| | Randy Armstrong No Regrets CD (2003)
Republic? album
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Both as a solo artist and a member of the Doah World Music Ensemble, world fusion pioneer Randy Armstrong has been blending musical genres with imagination and style since the mid-'70s. 2003's NO REGRETS finds Armstrong continuing his efforts to forge a new musical language that combines jazz, classical, African, Indian, and Native American traditions. A wide variety of guitars (including a synth-guitar), percussion (including tabla, djembe and balafon), flutes, and studio manipulations make for a musical journey that spreads its geographical map wide. The results are organic and indigenous, yet decidedly contemporary. Armstrong composed nine of the album's 11 tracks (one of the two covers is Miles Davis's "Blue in Green," which receives a delicate treatment that feels Asian and country-tinged at once), making NO REGRETS an impressive tour-de-force from this talented musician.
Listening to No Regrets, Randy Armstrongs tenth album, is like listening to a whole season of concerts in one sitting. ...
| | Nas Illmatic: 10th Anniversary Platinum Edition CDs (1994) Bonus Tracks; Anniversary Edition
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Out of a seemingly endless array of hip hop albums, every now and again something fresh and powerful rises to the top of the pile. Hailing from the Queensbridge Housing Projects in Long Island City (home to Marley Marl among others), 20-year old Nasir "Nas" Jones is less concerned with being an impersonator than with being an originator, bypassing adolescent fantasies and B-boy braggadocio in favor of jazzy beats, rap noir realism and new answers to urban despair.
ILLMATIC is his story, a cautionary tale of the inner-city streets, and as Nas makes plain on his opener, "The Genesis," this is what he does, with or without a record contract, and it's going to be served up straight, no chaser. And because Nas has the courage to transcend popular trends, to separate himself from the ranks of wannabes and me-toos, he may be on the verge of inaugurating some stylistic changes of his own.
Production-wise, Nas has gathered together some of the superstars of the hip hop underground, producers the likes of Q-Tip, Pete Rock, L.E.S., DJ Premier and The Large Professor, but it is Nas's unique rhythmic cadences, his idiomatic sense of on-the-street wordplay, his disrespect for the high time and the empty rhyme that distinguishes ILLMATIC. When Nas rocks the mic, it's not a hedonist's wet dream, but a depiction of urban hope and despair, and thanks to Nas's poetic insights, he soon transports you there (in a manner seldom seen in black pop since the days of Stevie's INNERVISIONS and Marvin Gaye's WHAT'S GOIN' ON?).
Landmark 1994 debut from Queensbridge rapper mixed dope beats with elevated, poetic, but sternly street rhymes.
ILLMATIC is his story, a cautionary tale of the inner city streets, and as Nas makes plain on his opener, "The Genesis," this is what he does, with or without a ...
| | Rio Neon Midnight Surprise CD (2006)
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