Hi-Fi Stereo is a satisfying effort by this offshoot, and hopefully won’t be its last. “Sue Jack Daniels” is a hilarious high-speed lament of drunken mishaps and the distiller who’s to blame for them. Spotlight On Black Voices & Black Stories, Reverend Horton Heat Finds A Fan In Drew Carey. St. James and Bentley (who also co-produced) both appear on the band’s Bullseye LP, putting a hair more gleeful maniac jizz into the jagged-up but futile blues-rock boogie bluster of Let It Leak. Box 2449 Cheyenne, WY 82003 Phone: 307-369-1433 Email: post@thecheyennepost.com (Heat lays vocals on Jimmy Van Heusen’s “Ain’t That a Kick in the Head” and Sammy Mysels’ “Bim Bam Baby.”) Alexander’s tasty Hammond B-3 playing inspires Heat to deliver some jazzier guitar licks than most of his fans would expect. Heat and Stasium stuck to that template for Revival. Covers of Dr. Feelgood (“Milk & Alcohol”) and ZZ Top (“Heard It on the X”) give ‘Loin leader Ernie Locke stuff to sing, but then so do band originals like the moody “Inseminator” and the hellbent “Dip Your Body in Ink.”. The Reverend is unfortunately one of the most overlooked rock guitarists today, who really deserves more attention (just check out the roaring instrumental album opener "The Pride of San Jacinto"). We’ll be playing the Wolfman Jack Stage on the final night of, For our UK and European fans! We Three Kings is a fun, lively addition to anyone’s holiday set list. Despite the album’s vintage atmospherics, songs like “Marijuana” and “Eat Steak” make it clear they’re not reverent revivalists, either. The band’s twangy hysterics still set the basic course, but the songwriting is corny and conservative, and Jourgensen has the temerity to play industrial dress-up in a few spots: a relentless downbeat on “Baddest of the Bad,” the clattery synth drums on “Yeah, Right” and the strident, tinny tone (especially on “I Can’t Surf”) all draw connections to a genre for which the band has no rational use. It includes a new Heat original, “Bath-water Blues,” and a cover of Johnny Cash’s “Folsom Prison Blues.” The 20th Century Masters CD excerpts 15 tracks from the three Interscope releases; about half its tracks overlap the earlier compilation. Moved. Fan Interaction, “The Jimbos” is a video stream featuring the rock and roll duo of Heath and Wallace. On Hi-Fi Stereo, the trio applies its skills to a set of instrumental classics by such composers as Henry Mancini, Duke Ellington, Ray Charles, Duane Eddy, Nelson Riddle, Lee Hazlewood and Booker T. & the MG’s. This is one of the band’s best albums, with not a weak track in the box. Producer Ed Stasium (Ramones, Living Colour, Smithereens) imparts an unpleasant metallic quality to the rhythm guitar on too many tracks, as if he were trying to mainstream the band. That said, the appearance of two albums of covers in a row does raise the question of how badly the good Reverend’s songwriting skills might be in need of revival. Reverend Horton Heat is announcing a residency at the Gas Monkey Bar and Grill, Dallas Texas. Jim Dunlop Presents Reverend Horton Heat - Live From the Gas Monkey Bar and Grill - Part 1 Reverend Horton Heat Sep 26 - 07:30 PM PDT - 30 Min Show - Price: 50 Notes Fortunately, that was just the opening gambit in Heat’s musical negotiations with the devil. With substantial help from Asleep at the Wheel keyboardist Tim Alexander (who’s provided musical support to Heat as far back as the first album), the trio brings the Christmas spirit to its rollicking sound (or perhaps the other way around) on We Three Kings. Reverend Horton Heat-- the man, not the band -- was born James C. Heath in Corpus Christi, Texas. On the closing “Goin’ Back Home,” Heat boasts that “There’s about a billion bars, and a new one every day / There’s millions of notes that I can play.” Maybe so, but that abundance doesn’t translate to much variety here. Find tickets for Reverend Horton Heat, Hackensaw Boys showing at the Musica - Akron, US Wednesday Oct 28, 6:30PM Tickets starting at $25.00 From the salacious raunch of “Wiggle Stick” through “Livin’ on the Edge (of Houston),” played at lickety-split velocity, to the thoroughly dissolute funhouse mirror collapse of “Gin and Tonic Blues,” which wraps things up (Heath has admitted to actually passing out during the song’s recording), the album is an all-out ride toward twisted neo-‘billy righteousness. After that, the band gave Stasium another shot behind the boards on Lucky 7. Not that it necessarily means much, but Dallas rockabilly wildman Jim Heath (Horton Heat to record buyers, the Rev to his fans) sports a shit-eating grin and a hideous striped jacket on the first album, clenched eyes and a white clerical robe on the second, a screaming mouth and an AC/DC T-shirt on the third. Elsewhere, the group gets closer to its usual groove on “Frosty the Snowman,” “Santa Claus Is Coming to Town” and “Run Rudolph Run.” They also toss in a few less traditional Yuletide numbers, like Buck Owens’ “Santa Looked a Lot like Daddy” and Willie Nelson’s “Pretty Paper,” along with a serviceable original, “Santa on the Roof.” Nothing here qualifies as a “psychobilly freakout,” but who’d expect that from an album of Christmas music?

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