In his early days he was taken under the wing of heavies like Gibby Haynes (who produced 1993's The Full Custom Gospel Sounds of the Reverend Horton Heat) and Al Jourgensen (who produced 1994's Liquor in the Front). He has sinced moved on to an ongoing relationship with veteran producer Ed Stasium. Although albums helmed by Stasium typically sound like they were recorded on one microphone in a parking garage, in the case of the Reverend this actually works, since Stasium's simple bass-drums-guitar-plenty o' reverb setup gives added dimension to the band's attack.
Despite the discovery of these heretofore unsuspected depths to Jim Heath's psyche, Revival is still vintage Heat. He still plays guitar like a demon, spraying notes like a firehose over top of Jimbo Jones’ slap bass and Scott Churilla’s metalbilly drumming. As usual the Reverend raises a respectable ruckus, and as usual by song number fifteen the well has run a little dry.
The newfound depths suit him well, but for all its strengths, Revival is less consistent than some of his older albums. If you’re a fan it’s worth having, but if you are new to the Rev, there is no beating the manic punch of The Full Custom Gospel Sounds of the Reverend Horton Heat. Kudos to Yep Roc for landing the Reverend, but if they have another record in the contract, next time their A&R department should hold the Rev to a dozen great songs total.