La ferocia di quegli show si puo` soltanto intravedere di sfuggita su Smoke 'Em If You Got 'Em (SubPop, 1991). Il passo minaccioso di Big Dwarf Rodeo, lo scalmanato Psychobilly Freakout fanno man bassa delle buone maniere, ma non sfasciano l'armonia piu` di tanto. Il gruppo sembra piu` intento a conquistarsi una reputazione nel campo del revival filologico alla Stray Cats, e ci riesce almeno in Bad Reputation, per non parlare dello strumentale Bullet, che sovrappone un tema surf di chitarra a un epilettico battito rockabilly. L'umorismo e` ancora acerbo, fa centro soltanto nella parodia country di Eat Steak e nel blues pornografico di Love Whip.

Il suo capolavoro, o quantomeno il suo disco piu` indemoniato, e` probabilmente The Full Custom Gospel Sounds (Sub Pop, 1993). Coronato dalla quadriglia andina di Bales Of Cocaine e dal boogie rombante di Wiggle Stick (degna continuazione di Love Whip), i due momenti piu` ilari, l'album sfoggia una parata mozzafiato di acrobatici rock and roll (Big Little Baby, You Can't Get Away From Me), di honkytonk agghiaccianti (The Devil's Chasing Me) e di strumentali travolgenti (la swingante Beer). Ma il reverendo perde davvero il controllo quando si cimenta con il materiale country: le ballate al galoppo di Livin' On The Edge e Lonesome Train Whistle si trasformano in orge epilettiche, con la grancassa scatenata al massimo dello "slapping". Il divertimento e` assicurato, il messaggio non va al di la` di una bonaria satira della morale borghese.

Heat si conquista peraltro la fama nazionale con Liquor In The Front (SubPop, 1994). Ripulito degli eccessi, il sound della maturita` caracolla con humour distaccato fra scampoli di rockabilly alla Stray Cats (Cruisin' For A Bruisin', I Could Get Used To It, Rockin' Dog), honkytonk alla Commander Cody (Five-O-Ford, rifacimento del traditional Hot Rod Lincoln) e strumentali demenziali (Big Sky, per cowboy innamorati di Morricone). Non e` rimasto molto della carica dinamitarda degli esordi, giusto Baddest Of The Bad, con una carica deragliante degna dei Surgery piu` indiavolati, e One Time For Me, un sinistro voodoobilly alla Gun Club. e forse Liquor Beer And Wine

Lost Bentley and hired Scott Churilla, Heat released It's Martini Time (Interscope, 1996), which is certainly not his most original collection. It's Martini Time and Crooked Cigarette are terrific rave-ups, but a little predictable in the scope of his work. Big Red Rocket Of Love and Generation Why lean towards punk-rock with more exciting results. The album has polished production and an aura of professionalism that contrast with everything the Reverend stood for.

The even slicker Space Heater (Interscope, 1998) confirms the suspicion that the Reverend is ageing. Except for the instrumental The Prophet Stomp, the caustic wit of Couch Surfin, the cowpunk rap of Revolution Under Foot, and the Duane Eddy-ish Pride Of San Jacinto, Heat's bar-band is content with recycling stereotypes of bar-bands. Nods to lounge music and to heavy metal do not bode well.

After so much restraint, Spend A Night In The Box (Time Bomb, 2000) comes as a mouthful of oxygen. The Reverend spits out the usual dose of witty barrelhouse (Spend A Night In The Box, Sleeper Coach Driver, Sue Jack Daniels) plus one of his best ballads (The Girl In Blue) and a demented instrumental boogie (The Millionaire). The Reverend is almost invincible when he plunges into the bare-bottom rock and roll of Big D Boogie Woogie and I'll Make Love. These days Heath owes quite a bit to bassist Jimbo Wallace and drummer Scott Churilla, a divine rhythm section. King, instead, belongs to Martini Time's loungecore.

A couple of slow numbers almost ruin the party, but overall Lucky 7 (Artemis, 2002) is the same old rockabilly mess (Loco Gringos Like A Party, Like A Rocket).

Revival (Yep Roc, 2004) is one of his least inspired works, despite being his most personal and his gravest. There are, fundamentally, no party songs, which is what made his albums so appealing. If he decided to change target, he may have overestimated his talent. It's the old paradox: the rocker lost his soul when he finally got one. Or, if you prefer: some people lose their friends when they sober up.

We Three Kings (2005) is a Christmas album.

Hi Fi Stereo (2008), credited to Reverend Organdrum, is a collection of instrumental covers performed by an organ-driven trios.

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