I was only one or two tracks into Jon Troast's "Second Story" before I realized this wasn't just another folk-singer with a guitar.
Jon Troast has break-outta-the-pack written all over him.
The Players
The cleverly titled Second Story, Troast’s sixth independent release, and he has assembled some of Nashville’s best to mark the happy occasion. Produced by Mitch Dane (Jars of Clay, Bebo Norman), the 10-song disc also features some of my favorite players: Jar’s Steve Mason on electric guitar, Andrew Osenga’s always-reliable BGVs, David Henry’s strings, and Ben Shives’ piano and various keys. This dream team serves up Troast’s well-crafted, thoughtful folk-pop songs with an appealing joie de vivre that spills over into each track.
Track by Track
Troast mixes the playfulness of Dave Barnes with the eclectic sonic sensibilities of Sufjan Stevens, and his own soft tones and superb vocal arrangements add the icing, immediately apparent in the lilting rhythms of the engaging opener “Everything Not Her.” The folksy follower, “The Most,” is NPR material at its best, Shives’ rattling piano and David Henry’s warm horn adding textured charm. Troast’s creativity shines through the intuitive feel and frequent time changes of the acerbic “Knock Down.” His well-crafted messages are placed intelligently throughout. Hidden in the bright pop of “Was It Ever Really Mine” is thoughtful guidance the fragility of misplaced treasure, and the rootsy instrumentation of “You’re that Way” undergirds insightful comparisons of things of true value, including love, family, and sacrifice: “There’ll be a time you’ll want to give away your life/Just like Jesus dying for His bride/She was worth more than anyone could see/You’re that way to me.”
More Particulars
Other songs stand out for their sheer musicality: “Dish and the Spoon” percolates with bubbling nuances, while the thoughtfully arranged ballad “Better Love” discusses sacrificial love. Elizabeth Foster’s lovely BGVs and the unique phrasing make the note-bending “Hurt me Like A Good Friend” of great interest, even before the tracks builds to its final rich fervency. Troast’s plaintive vocals over the quiet keys of “Mary Jane” are achingly provocative, and Mitch Dane’s production touches add rich texture to the powerfully warm closer, “Family.” Jon Troast grew up in a family of nine, with four adopted siblings, and was wise enough to appreciate the experience for its life perspective, apart from its other more obvious benefits: “I don’t recall all of the details/But I know life is better when shared.” The tribute’s warm sincerity is nicely underscored by Dane’s sensitive programming effects. The album does have a NPR groove to it, but it deserves to be heard by the masses, as each and every track scores on this very appealing album. Jon Troast, how are you staying so far under the radar?
