‘Politically Uncorrect’ but a Whole Lot of Fun — New Album from The Reality

‘Politically Uncorrect’ but a Whole Lot of Fun — New Album from The Reality

Tampa’s The Reality have been on my radar screen since I first heard them play early in 2016, when they hooked me with their version of some delightfully funky and manic rock. I had the pleasure of reviewing their debut album, Rhetoric, when it was released that summer, and I also reviewed their sophomore release, Car Trouble, last summer.

[And, to satisfy Bone’s query last December, I heard The Reality a baker’s dozen times last year — leaders in the clubhouse!]

During that period, the trio found a new drummer, then picked up a keyboard player to expand to a quartet. Dan ‘shutupdan’ Jones, who handles lead vocals and plays guitar and trombone (and wears some “interesting” outfits), and Caleb Bone, bass player and second vocalist, have been in the band since its inception. Brian BA Jones plays drums and also sings.

Now the band has announced their third effort, and, if you know these boys at all, you won’t be the least bit surprised at the title: Politically Uncorrect. The band’s second keyboard player, Austin Kelly, is heard here on several tracks on organ. His recent replacement, Josh Kim, plays electric piano, clavinet, and synthesizers throughout the album.

Politically Uncorrect opens with “She’s Too High.” Drums enter first, then bass, Kelly on organ, and finally Jones on that funky James Brown-style guitar (hereinafter abbreviated JB style). Everybody is percolating on the first break. Dan has several vocal styles. Here it’s a talk/sing amalgam. Dan solos on the second break, the guitar distortion perfect. Kim solos next on synth, and Dan’s trombone gets the last “word.”

“Fat Fanny Pack” is about infatuation with — shocker here — a woman, loving everything about her down to her “fat fanny pack.” Deliberately tinny almost-acoustic guitar introduces some bouncy ’60s pop-ish sounds. Dan ends each chorus with “I’m her little…” Bone has a great solo, and BA’s cymbal work is of particular note. Dan concludes the song with “I’m her little… BITCH. True story, y’all.”

The next tune, “Out of My Life,” takes the opposite approach: “Back up out of my life, woman.” Well! Kelly’s organ vamp and Dan’s guitar kick it off. This is simply a great tune, with superb vocal harmonies. Bone is an excellent singer on his own, but he truly excels at harmony and backing vocals. There is a nice guitar and bass exchange near the end of the song.

One of Dan’s vocal stylings is a really choppy delivery, almost every syllable seeming to have its own beat in syncopation (well, that’s what I heard). He uses that on “Deserve the Lovin’,” this time defending women (it does seem to be the main topic). Bone’s space bass welcomes the song, then JB guitar, the drums on point. Dan’s chameleon-like voice does gymnastics here. Kim has an excellent electric piano solo that rolls into an even better solo on synth.

“Perfect People” is a song about people who are decidedly NOT perfect, calling them out. The choppy guitar and synth are having a ball as Dan’s hip hop lyrics spill out, scatological-style. After several stanzas, Dan says, “Hey, at least I’m being honest, right?” Followed by “Sorry, Momma.” Dan tries to destroy his wah-wah pedal underneath the last stanza.

“Set Her Free” — more women stuff! Dan’s singing is powerful here, and at least three tempo changes keep you bouncing. It starts out funky and continues to get deeper into the groove. Kim’s clavinet is all over this one. Guitar and bass romp together, and then Bone is amazing underneath the clavinet. Finally, guitar and clavinet step out.

The Reality also hits reggae themes, and that’s the heart of “End is Near,” defined by Dan’s guitar and Bone’s bass. Kelly gets that islands/Farfisa organ kind of sound. After great solos, Dan on trombone and Kelly on trumpet duet. And the vocal harmonies simply soar.

I want your lovin’, want your lovin’ ’til the end of time
I want your lovin’, want your lovin’ and I’ll give you mine
I want your lovin’, want your lovin’ in my stratosphere
I want your lovin’, want your lovin’ because the end is near

“Here” is a love song, beginning with barely amplified guitar (bouncing back and forth in your headphones, kids!). Kim’s electric piano sounds great behind the guitar solo, and one again the vocal harmonies are excellent.

Let Bone sing! Actually, he does, a lot, but his trained voice rings through. It is highlighted here on “Really Don’t Care.” Trombone and organ solo during the first break, synth on the second, with awesome bass backing.

And, finally, there is “Dancin’ in D.” Wait! you say. That song was on Rhetoric. And you would be correct. That one was great; this one is even better. BA gets the initial nod with a solo for the first 2:20 of the track. Bass falls, in, then guitar, and finally clavinet. And here Dan has a blast with his stutter-like delivery, adding extra syllables all along the way. There’s more JB guitar, a tempo change or two, wah-wah abuse, and more.

The remark I would make about The Reality is the same one I would use in talking about any band on the jam circuit: they deserve the lovin’, and they deserve to be heard — and seen — live. Politically Uncorrect does a damn good job of showing you what to expect when you do see them.

And see them you likely will. Their tours have been expanding their geographical cover each time they go out on the road, and there is never a dull moment with these boys — oh, unless they have car trouble.

The album release party for Politically Uncorrect is tonight at the Ringside Cafe in St. Petersburg. Read more about that here.

P.S. from Dan Jones:

You should drop Vinny Svoboda Music a like for the incredible production on our album. Dude is seriously a beast of a producer and an incredible musician as well as being super professional and easy and fun to work with, and I’ll recommend him for engineering every time.

Set times

   9:30  Future Vintage
11:00  The Reality
12:30  Guavatron

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