Mara Levi's clear, powerful, and bittersweet voice, her intelligent, personal lyrics which always strike a univeral chord, and her intricate instrumental and vocal arrangements have been a staple of her contributions to the now (sadly) separated Kid Sampson. But never have the fullness of her abilities come together as well as they do in this, her solo debut.
Take "Hey Mister," the album's hard-hitting, hard-rocking centerpiece, a showcase of Levi's songwriting virtuosity. The track begins with a tender five-part a cappella refrain, quickly shifts to a driving, staccato pulse for the verse and then to a most rewarding of pay-offs: suddenly, the drums settle into a half-time rock groove while guitar, bass, and vocals fill the once silent spaces between the beats and Levi's soaring vocals assure us that "life's a ball." An off-beat organ bridge surprises and delights, Levi's muffled backing vocal tracks add a bad-ass layer to the already catchy lead on the chorus, and when the a cappella refrain re-enters, well, forget it. Just sit back and enjoy, because you're hooked.
The lyrics in "Hey Mister" hint at disparate experiences coming together under one theme or idea--in this case, that longing and impatience one has for a person just out of reach. Musically, the song, like the following track, "So Sorry," is made up of juxtaposed, sharply contrasting sections that evoke a shift in mood, a characteristic that extends to the album as a whole. Whereas this constant shifting could lead to a fragmented listening experience, "Hey Mister," "So Sorry," and all of LIFE'S A BALL feel perfectly balanced and progress seamlessly, loudly kicking ass for just the right amount of time and sedating us with a ballad just when we need our breath taken away. The two rocking tracks mentioned above, for instance, are followed by Levi's stripped-down, soul-bearing performance on "I'm Nothing," whose earnestness and accompanying violin will give you goosebumps.
The somber middle of the album gives way to the folky "Better Days," another highlight. "B-Flat Ditty" is a gorgeous little lullaby that leads to the boisterous "La Di Dee Da." There simply aren't many singer-songwriters out there who have the guts--and the songwriting prowess--to construct an entire refrain out of the phrase "la di dee da" and create what is perhaps the catchiest chorus ever to come out of the Pioneer Valley, the Northeast, the Midwest, maybe even...England and all English-speaking nations.
"La Di Dee Da" and the following "Kids in the Cosmos" both capture several aspects of Levi's emerging signature sound: a mix of acoustic guitar, bass, and piano set to a steady, mid-tempo rhythm that propels long, melodic phrases across a sea of voices. You will have a hard time just deciding which part to sing along with; each can hold its own melodically and yet forms only a fraction of Levi's lush harmonies. This is the point in the album at which you will ask yourself, "How the f**&^ does she do that?!"
"Sweet Misery," the haunting penultimate track and one of Levi's oldest compositions, is included here with a new piano arrangement. Whether or not it was intentional, the track serves as a poignant shout-out to the fans who have for years witnessed her impassioned live performaces of the song. You will simply not forget this melody. Ever. And that is a good thing.
This trio of songs rests atop one of the many blissful peaks of the deeply moving folk-rock-unclassifiable experience that is LIFE'S A BALL. Long before Levi belts the last track's refrain, you will know that she has indeed arrived, and you will feel utterly satisfied to have welcomed her music into your life.
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This CD is in my car stereo.